Gregory rabassa translation (13 risultati)

Soft cover. Condizione: Very Good. No Jacket. box 33 5¼"x8"; 183 pages; The binding and pages are clean, tight and square. There is no underlining, highlighting or margin notes. A used copy with normal reading wear. If you order multiple titles, I will combine them in order to reduce postage costs. If you have any questions, contact me before ordering for details. Toelke, Cathleen (Cover illustration) (illustratore). …

Soft cover. Condizione: Very Good. No Jacket. First Printing. box33 5¼"x8"; 183 pages; The binding and pages are clean, tight and square. There is no underlining, highlighting or margin notes. A used copy with normal reading wear. If you order multiple titles, I will combine them in order to reduce postage costs. If you have any questions, contact me before ordering for details. Cathleen Toelke (Cover illustration) (illustratore).…

Soft cover. Condizione: Good. No Jacket. box17 5¼"x8¼"; 422 pages; The binding and pages are clean, tight and square. There is no underlining, highlighting or margin notes. A used copy with normal reading wear. If you order multiple titles, I will combine them in order to reduce postage costs. If you have any questions, contact me before ordering for details.…

Hardback. Osman Lins (Translation by Gregory Rabassa), Alfred A. Knopf. Edition: First American EditionCondition remarks:Book: Good Jacket: Worn/faded, no tearsPages: Good Markings: No markingsCondition remarks: Light foxing on block but does not extent onto pages or text. Pages crisp.A landmark of Brazilian experimental fiction, Avalovar is a dazzlingly intricate novel that chronicles the intertwined lives of several women - most centrally a mysterious, luminous figure known simply as the Woman Made of Words - through a rigorous and hypnotic structural conceit. Osman Lins constructs the narrative around a Latin palindrome inscribed in a magic square, with each letter of the square governing a chapter, and a spiral that determines the order in which those chapters unfold, creating a reading experience that is simultaneously mathematical and deeply sensual. The prose moves between Renaissance Europe, twentieth-century Brazil, and a timeless mythological space, weaving together themes of language, desire, creation, and the sacred nature of the feminine. Lins argues, through the very architecture of the text, that form and meaning are inseparable - that the shape of a story is itself a kind of truth. Cerebral yet passionately lyrical, Avalovar stands as one of the most ambitious and rewarding works of Latin American modernism, demanding and richly repaying the reader's full attention. Hardback.…

dj. First Edition. First Printing. Octavo; brown cloth, with titles stamped in silver on spine; dustjacket; 120pp. Two tiny stains to front panel, with a touch of soil to upper edge of text; Near Fine. In a Fine first issue dustjacket, with One Hundred Days of Solitude printed on front flap. Basis for the 1987 Francesco Rosi film Cronaca di Una Morte Anunciata. KLEIN E8.a.3.…

dj. First American Edition. First Printing. Octavo; blue cloth, with titles stamped in gilt on spine; dustjacket; 183pp. Board edges slightly faded, else very Near Fine. Dustjacket is unclipped, lightly rubbed at extremities, with a vertical crease along front flap; Near Fine. KLEIN E7.a.1.

Hardcover. Book Club Edition. pp. [4], 422. Octavo. Bound in publisher's quarter-black cloth over light-green paper covered boards with title stamped in gilt to the spine, small Harper & Row monogram blocked in gilt to the lower-right margin of the front board, lime-green endpapers. Untrimmed page edges, common to Book Club Editions, and small square blindstamp, also indicative of B.C.E. editions to the lower-right margin of the rear board. No detectable flaws; a beautiful copy, accompanied with its original, vibrantly-illustrated, dustjacket showing some negligible wear along the edges of the panels (now housed in protective mylar cover). Very good+ to near fine. References: See Fau (p.22).…

Hardcover. Book Club Edition. pp. [4], 422. Octavo. Bound in publisher's light-green cloth over boards with title stamped in gilt to the spine, small Harper & Row monogram blocked in gilt to the lower-right margin of the front board, lime-green endpapers. Untrimmed page edges, common to Book Club Editions, and small square blindstamp, also indicative of B.C.E. editions to the lower-right margin of the rear board. No detectable flaws; a beautiful copy, accompanied with its original, vibrantly-illustrated, dustjacket (now housed in protective mylar cover). Near fine. References: See Fau (p.22).…

dj. First American Edition. First Printing. Octavo; brown cloth, with titles stamped in gilt on spine and in blind on front cover; dustjacket; 120pp. Fine in a Near Fine, First State dustjacket (One Hundred Days of Solitude printed on front flap), unclipped, with mild wear to extremities. The Nobel Prize-winning author's powerful short novel about "a spectacular wedding, a sudden scandal, a (perhaps reluctant) murder to which an entire town appears to be an accessory before the fact, and the exotic manifestations of guilt.".…

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. First Edition; First Printing. First American edition. From the library of noted poet and translator Nathaniel Tarn with his bookplate on front past-down. SIGNED by Jose Donoso on half-title page with sentiment "Alla Santa Fe 1993." Fine in fine dust jacket. (158pp. ) Professor Tarn was a long time resident of Santa Fe. Choice association. ; 8vo 8" - 9" tall; 158 pages.…

Leather Binding. Condizione: Fine. No Dust Jacket. First Edition; First Printing. Limited in the series The Greatest Books of the Twentieth Century. Fine in brown leather binding with gilt edges & satin marker ribbon, without dust jacket as issued. (434pp. ) (6 1/2" X 9") Sharp copy. ; 6 1/2" x 9"; 434 pages. …

First American Edition. First Printing, a Review Copy, with publisher's typed slip and promotional photograph of the author laid in. Octavo (21.75cm); turquoise cloth, with titling and decorations stamped in silver and dark green on spine and front panel; decorative endpapers; dustjacket; [x],[2],3-146,[4]pp. Fine in a very Near Fine dustjacket, unclipped (priced $6.50), with some pinpoint rubbing at spine ends, and a tiny stain at upper corner of front joint on verso.The Colombian Nobel Prize-winner's third book translated into English, collecting the title story and six shorter works. Originally published in 1955 under the title La Hojarasca. Klein E3.a.1. …

First American Edition. First Printing, one of 7,500 copies. Octavo; hunter green cloth, with titles stamped in gilt on spine; variant with headband in olive green and yellow (no established priority); dustjacket; [xiii], 422pp, [1 blank]. Faint foxing to top edge, else Fine. Dustjacket is the so-called second state, with a "." instead of an excalamation mark at the end of the first paragraph on the front flap; price is unclipped, with some minor wear at spine ends, and a few very tiny nicks and tears to extremities; bright, very Near Fine example. A superlative copy of the Nobel Prize winner's masterpiece, and likely the most widely-read Spanish language novel aside from 'Don Quixote.' The present example is a review copy, with the publisher's typed slip laid in; the slip differs from other Harper & Row review slips from the same period, in that in states "IMPORTANT: please note that this is UNCORRECTED PROOF." Also laid into this copy is a brief, one page typed letter from Harper & Row publisher Cass Canfield, Jr. to Dr. Howard B. Gotlieb, former Director of Special Collections at Boston University. The letter is dated 21 October, 1969 - some four months prior to publication of the book - and mentions the enclosure of an advance proof of 'One Hundred Years of Solitude.' It isn't lost on us that the copy these materials came to us in is not an uncorrected proof (of which we presently know of exactly 2 copies). We can only surmise that these proof materials were placed into this copy of the book in-house; Canfield, whose business card is also laid into the book, may have decided that Gotlieb should receive a hardbound copy and not a paperbound proof, and thus would have placed the materials in one of the first hard copies manufactured. Evidence supporting copies in dustjacket with the "." on the front flap being printed prior to publication is discussed at length in Don Klein's 'Gabriel García Márquez: Una Bibliografía Descriptiva, Tomo II.' In it, Klein mentions that two editorial heads at Harper & Row received review copies directly from the printer, both in jackets ending in "." Additionally, the review copy received by translator Gregory Rabassa bore a jacket also ending in a "." and not the exclamation mark (p.635-636). And while we are fully cognisant that review materials often migrate from copy-to-copy within the trade, sufficient evidence is present that the migration here was more than likely the publisher's doing. The only such copy we have handled, the only other known to us being the bibliographer's copy. Klein E2.a.1.…