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NEW YORK CITY IN 1979: to Jeanne's insulted beauty by Acker, Kathy

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$4,500.00

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Seller: Brian Cassidy Bookseller at Type Punch Matrix

Title: NEW YORK CITY IN 1979: to Jeanne's insulted beauty
Author: Acker, Kathy
Seller: Brian Cassidy Bookseller at Type Punch Matrix (United States)
Condition: Very good overall.
Description: [New York]: [Various], 1991. Very good overall.. Collection of five different versions of Acker's first critically acclaimed work - including a pre-publication copy of her own corrected typescript. The pre-publication copy gives key insight not only into Acker's writing methods, but also raises interesting questions about the intended structure of the finished story, and highlights the mutable interpretations regarding the published presentation of her prose writing, via four different versions included herein. This copy was sent by Acker in late 1979 to friend and fellow experimental writer Paul Buck. The pages have clearly been xeroxed on several different machines with different paper stock and print qualities evident in different sections, and pp. 29 is an original typescript passage (with visible typed corrections and numbered in holograph in Acker's distinctive hand) which has been taped onto the verso of a sheet of letterhead for "Performing Artservices Inc., 463 West St NY," an organization that provided management and administrative services to avant-garde artists. Included with this document are four published editions of the story. The first, although not always credited thus, was in International Times vol. 5 no 5. (January/February 1980). Run as "New York City '79" over the centerspread, this version is closest to the typescript form. There is persuasive evidence that the editors of I.T. were working from a similar photocopy, and whether instructed thus by Acker or not, they took the cut-up style of the piece at face value and ran it as a series of fragments differentiated from one another by the use of typefaces, and with no cohesive order. Probably due to space constraints, this version is also heavily abridged, however the notable omissions of the three statements about lesbians suggests that there was also a degree of selective censorship at work. The first publication of the complete text followed in July 1980 in the pages of San Diego magazine Crawl Out Your Window (Issue 7). Here, the sentences - which run over multiple pages in the typescript - are conventionalized into standard lines. There are also slight textual differences with a couple of additional sentences added. The first stand-alone publication came in Top Stories 9 (1981) which incorporated photographs by Anne Turyn. These images again mutate the text and raise further questions about Acker's editorial intention; the typescript title-page bears the uncompleted subheading "Photographs by", but gives no further allusions to this content. The final example is the 1991 Semiotext(e) collection HANNIBAL LECTOR, MT FATHER, which shows still further textual edits. In terms of form, the most marked difference between the typescript copy and the published editions that followed is the way in which the text is divided into a series of passages or episodes, numbered at the head of the page. These can be full paragraphs or single sentences, or, for example, the word "syphilis" which has an entire page to itself. This deliberate distribution of white space surrounding the single word (which in later editions is returned to the conventional layout of a sentence) adds nuance and valence to the story which is arguably altered in transcription. In the key collection of Acker Papers at Duke University, there is a comparable copy described thus in their catalogue: "60-page photocopied typescript, corrected in the photocopy, with original note on the title page, My Copy, by Acker". We have not been able to locate an original typescript, suggesting that this format with Acker's holograph corrections in the copy is as primary a resource for this text as is currently known. A revealing collection about Acker's Pushcart Prize-winning work, showing both her working methods and intentions, while simultaneously demonstrating their editorial undoing across numerous editions. Photocopy of typescript with one page original typescript bearing top-copy typed corrections and holograph number, that page taped to verso of letterhead. 60pp. printed on recto only, stapled at top right corner with neat tape reinforcement over staple on title page. Light wear to title page and final sheet, tail edge of two oversized sheets rubbed. Taped revision loose from browned tape mounts. With four published appearances featuring the story also provided.

THE NATIONAL PORTRAIT GALLERY OF DISTINGUISHED AMERICANS by Herring, James; Longacre, James B.

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$2,500.00

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Seller: Type Punch Matrix

Title: THE NATIONAL PORTRAIT GALLERY OF DISTINGUISHED AMERICANS
Author: Herring, James; Longacre, James B.
Seller: Type Punch Matrix (United States)
Condition: Very good.
Description: New York: Monson Bancroft, 1834. Very good.. First edition of this masterpiece of American art and history - with 144 detailed full-page engraved portraits of American founders, writers, and presidents alongside Jacksonian-era biographies. The NATIONAL PORTRAIT GALLERY was a work of great ambition, both a monument to the American founding sixty years before and a triumphant example of the excellence of American engraving as an art. "No work has come from the hands of American engravers equal in delicacy and beauty to this splendid series of portraits" (Francis P. Harper, 1898 catalogue). Longacre went on to become the chief engraver of the United States Mint, famous today for designing the Indian Head cent. The GALLERY's subjects include well-known founders such as Thomas Jefferson, George Washington, Alexander Hamilton, Benjamin Franklin (as well as lesser known but influential founders like John Dickinson); writers such as James Fenimore Cooper, Washington Irving, Catharine Sedgwick, and Lydia Huntley Sigourney; statesmen such as Daniel Webster, Henry Clay, and Edward Everett; and other icons like explorer Daniel Boone, lexicographer Noah Webster, and scientist David Rittenhouse. Most of the women included are First Ladies, such as Dolley Madison, Abigail Adams, and Martha Washington (whose biography was written by her grandson, G.W.P. Custis). A splendid set with crisp impressions, rare in contemporary morocco. Four volumes, 10'' x 6.75'' each. Contemporary full purple pebbled goatskin, gilt-stamped compartments to spine, gilt and black rules to boards. Yellow coated endpapers, all edges gilt. Illustrated with 144 engraved plates, engraved title pages, extra portraits of Washington (vol. I) and Franklin (vol. II): 150 total. Some rubbing to extremities, with spines gently sunned. A few gatherings toned here and there, with some marginal foxing. Vol. IV coated endpapers reacting chemically with binding paste (presumably due to materials used at time of binding). Engravings with sharp, early impressions.

Stranger on My Land [Eminent Domain] (Original screenplay for the 1988 television film) by Larry Elikann (director); Edward Hume, I.C. Rapoport (screenwriters); Tommy Lee Jones, Dee Wallace, Terry O'Quinn (starring)

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$75.00

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Seller: Royal Books

Title: Stranger on My Land [Eminent Domain] (Original screenplay for the 1988 television film)
Author: Larry Elikann (director); Edward Hume, I.C. Rapoport (screenwriters); Tommy Lee Jones, Dee Wallace, Terry O'Quinn (starring)
Seller: Royal Books (United States)
Description: Los Angeles: Edgar J. Scherick Associates, 1987. Final Draft script for the 1988 television film, here under the working title "Eminent Domain," originally aired on ABC on January 17, 1988. With the name and phone number of casting agent Pam Dixon in manuscript ink to the title page, and manuscript annotations throughout noting lines for the character Tiger, whose name was later changed to Rounder (played by actor Joseph Gordon-Levitt, in his film debut). A Vietnam veteran and his family live on a cattle ranch that is highly desired by the government as the site for a new Air Force base, forcing the family to decide whether they will accept the buyout or fight for their right to keep their home. Set in Montana, shot on location in Salt Lake City and Kamas, Utah. Green generic studio wrappers. Title page present, dated 7/29/87, noted as FINAL DRAFT / MASTER, with credits for screenwriters Edward Hume and I.C. Rapoport. 111 leaves, with last page of text numbered 113. Xerographic duplication, rectos only, with blue revision pages throughout, dated variously between 7/31/87 and 8/17/87. Pages Near Fine, wrapper Near Fine, bound with three gold brads.

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