n.p.: Don Allen for the S. F. Arts Festival, 1964. Folio-sized folder containing 10 illustrated poetry broadsides created for the San Francisco Arts Festival. Limited to 300 copies signed by both poet and illustrator (except for David Meltzer who refused to sign his, and artist Phyllis Bailey). Includes the broadside..... More
[SF]: Privately published, 1967. 4to. Richard Brautigan, Gary Snyder, Lenore Kandel, and Lew Welch are among those scheduled to read in San Francisco during the "Summer of Love" in support of the Diggers who were instrumental in feeding and informing the influx of hippies to the Haight-Ashbury. Text and design..... More
SF: Privately published, 1960. 4to. An exceptionally early piece of Brautigan ephemera. This 1960 reading (where Brautigan received second billing) is the second earliest reading by him that we've ever seen an announcement for. Printed in black on white stock. A fine copy of a scarce, very early handbill... More
[n.p.: Paperbook Gallery, 1965]. Pamphlet. First edition of the author's first book. Introduction by Allen Ginsberg. Bremser was one of the original Beats, and one of the best of the jazz poets. Fine. More
NY: Perth Pamphlets, [1960]. Pamphlet. First edition. A critique of the Beats and "the nature of Beatness," including discussion of Kerouac, J.D. Salinger, James Cozzens, and Ginsberg. Fine. More
Middlesex: Penguin, 1969. First paperback edition. Published as Penguin Modern Poets 13. Very fine. More
[Hollywood: Living Color Productions/Jack Stevenson, 1982]. The "Special Family Issue" of this periodical from the publisher who issued Pandemonium. Features an interview with John Waters, five poems by Charles Bukowski, a photo essay on "The Future That Never Came," and more. Very near fine. More
n.p.: Privately published, 1994. White, Anvil brand, large size T-shirt printing drawings by Bukowski of multiple faces and "little man" figures. This quote by Bukowski is printed on the back: "The Difference Between Life And Art Is Art Is More Bearable." Hand-numbered "26" in the collar leading us to believe..... More
Chicago: Burley, Cross, & Co., [1959]. Softbound (no cloth issued). First edition. Illustrated with drawings. A collection of short stories (in some cases adapted from fairy tales or literary classics) written entirely in Beat slang. An amazing tour de force of hip lingo, one of the two most important books..... More
[Gottingen: Expanded Media Editions, 1973]. Softbound. First edition thus. Fine. (Bilingual English/German text.). More
n.p.:n.p., [1965]. Burroughs is standing on a fire escape in N.Y.C. in the sixties. He's wearing a suit, tie, and fedora, and is in the process of taking a puff on his cigarette. He's looking directly into the camera with a deadpan, stoned, classic Burroughsian look. A shot that epitomizes..... More
Atlanta: Coca-Cola Co., 1941. Softbound. First edition. The second of three books on flower arranging by William Burroughs' mother. Illustrated with amazingly kitch color photos of flower arrangements and bottles of Coke. Interesting item because her middle name "Lee" was the pseudonym Burroughs used for his first book Junkie. She..... More
NY: High Risk, [1995]. Softbound. "Advance uncorrected proof" in printed glossy wraps. Fine. More
Santa Barbara: Am Here Books, 1982. 4to. Softbound. First edition. Landmark catalog of Beat, avant-garde, and modern literature offered for sale, with commentary by Burroughs, Creeley, Clark, et al. Lacks the Burroughs record. Few handling impressions, very good plus. More
[NY: Viking, 1989]. Softbound. Uncorrected proofs. Few faint specks of foxing, else very near fine. More
[London]: Picador, [1995]. Softbound. Uncorrected proof of the first British edition. Features Charles Burn's excellent illustration of Burroughs on the front cover. Very fine. More
NY: Grove Press, [1962]. Hardbound in dust jacket. First American edition. Fine in near fine dust jacket with a few short tears (and a small piece of tape internally reinforcing top of spine). The jacket has none of the usual spine-fading and is very bright overall. More
NY: Grove Press, [1962]. Hardbound in dust jacket. First American edition in later printing dust jacket (with roman numerals and zip code on back panel). Fine in about fine dust jacket with a touch of fading to spine. A nice bright copy. More
n.p.:n.p., [1965]. Burroughs, in a suit, is holding his umbrella, his hat is perched on a torso sculpture on the floor next to him. Taken by a friend of Burroughs using Burroughs' camera, ca. 1965. Never published. Fine (8" x 10"). More
n.p.:n.p., [1965]. Burroughs is standing in suit and tie, holding his umbrella, looking sombre. There are 19th Century paintings on the walls around him. Taken by a friend of Burroughs using Burroughs' camera, ca. 1965. Never published. Fine (8" x 10"). More
n.p.:n.p., [1966]. Ian Sommerville is standing by the window holding a joint. Taken by a friend of Burroughs using Burroughs' camera, ca. 1965. Never published. Fine (8" x 10"). More
n.p.:n.p., [1965]. Burroughs is standing in the hallway of a cavernous English mansion. He's standing in suit and tie, holding his umbrella, with his fedora clutched to his chest, looking at the camera with a sombre expression. Behind him there are two young men standing in front of a tapestry..... More
n.p.:n.p., [1965]. Burroughs, wearing a black turtleneck and Army jacket, is standing at the end of a cobblestone street in Paris in the mid-sixties. Burroughs is in the foreground looking directly at the camera, with the street stretching off behind him. Never published. Fine (8" x 10")... More
n.p.:n.p., [1965]. Burroughs is standing next to a ladder in the hallway of a cavernous English mansion. He's wearing a suit and tie, holding his umbrella in one hand, and clutching his fedora to his chest with the other. He's looking at a painting that's out of the frame, creating..... More
