vendler helen editor (24 risultati)

hardcover. Condizione: Fair.

Soft cover. Condizione: Very Good. Softcover; light creasing of lower corner of title page and several pages; o/w in very good condition. Book.

Condizione: As New. Unread copy in mint condition.

Condizione: New. Brand New.

Paperback. Condizione: Good+. First Printing. 528pp. Numerous photos. Light general wear. Size: 8vo - over 7¾" - 9¾".

paperback. Condizione: As New. Excellent, unread, like-new condition. Interior is pristine. No writing or markings of any kind.

hardcover. Condizione: Fine copy in fine dust jacket. Profusely illustrated (illustratore). 1st. Tall 8vo, 528 pp., Companion volume to the PBS television series.

Soft cover. Condizione: Fine. No Jacket. 1st Edition. Stated first edition, presumptive first printing. Slight edge wear. Clean, bright pages.

Soft cover. Condizione: Fine. Fine condition! Clean, bright, and tight -- no markings of any kind. Includes seven poems by Denise Levertov; and an essay, "In Memory of Stanley," a tribute and appreciation of the American novelist and short story writer Stanley Elkin, by literary critic Helen Vendler. Ships from NC. All journals are sealed in recycled plastic, packaged securely with recycled cardboard backing (and recycled packaging when available), and shipped promptly with tracking information. (E-8.).

Hardcover. Condizione: Near Fine. Condizione sovraccoperta: Near Fine. 1st Edition. First UK edition. 8vo. Complete jacket with illustration by Faranak has light wear to perimeter and a tiny closed tear to rear upper corner. Blue cloth boards, silver title and attributions to spine. Good corners and edges - firm binding. Mild toning to text block. Personal signature in prelims dated "August '89 / Dublin." 440pp. Good cross-section of mid-century generation representatives.

hardcover. Condizione: As New.

Trade Paperback. Condizione: Near Fine. First Edition. Near Fine, internally clean, solid 37 page paperback with some minor fading to the spine.

Mass Market Paperback. Condizione: Good.

Softcover. Condizione: Fine. Premier issue. Octavo. vi, 216pp. A trifle worn and soiled, about fine. Contributions by Ashbery, Creeley, Milosz, Bidart, Brock-Broido, Foster Wallace ("How Don Gately Found God"), Drummond de Andrade, and many others, as well as several dozen reviews, including Heaney on Milosz, David Foster Wallace on Kathy Acker, Tony Hoagland on Michael Blumenthal, and Donald Hall on Michael Longley.

Hardcover. Condizione: Brand New. new edition. 304 pages. 9.50x12.00x1.25 inches. In Stock.

Hardcover. Condizione: Brand New. 1152 pages. 9.50x6.75x2.25 inches. In Stock.

Hardcover. Condizione: Brand New. new edition. 304 pages. 9.50x12.00x1.25 inches. In Stock.

Hardcover. Condizione: Brand New. 250 pages. 9.60x6.20x1.20 inches. In Stock.

Paperback. Condizione: Brand New. 2nd edition. 715 pages. 9.25x5.50x1.25 inches. In Stock.

Hardcover. Condizione sovraccoperta: dj. First Edition, First Printing. Octavos. In very Good condition with Very Good dust jackets. Dust jackets protected with mylar coverings, prices uncut: "USA $49.95" on both. Mild general shelf wear overall. CONTENTS: Vol. I. (xlvii, 1153 pages). Blue spine with black lettering. Mild bumping to tail of spine and dust jacket spine. -- Vol 2. (liii, 1085 pages). Orange spine with black lettering. Shelved in above Renaissance. 1412220. Shelved Dupont Bookstore.

Hardcover. Condizione: Brand New. 1st edition. 1031 pages. 9.50x6.75x2.00 inches. In Stock.

Hardcover. Condizione: New. John Newman (illustratore). Octavo, 9-7/8 by 6-7/8 inches, 192 pages. The type is English Garamond composed and cast in Monotype for the text and large sizes for display handset. The type and the 24 relief prints in three colors from polymer plates were printed by letterpress. The paper is Magnani wove, Italian mouldmade, for the text and Canson Mi-Teintes, French mouldmade, for the prints. The binding is Smyth-sewn, with headbands, in a three-piece cover: a gray goatskin spine with titling, black cloth sides, with an inset additional print on the front cover. All copies are signed by the artist, in an edition of 300 copies. This edition of the poetry of Elizabeth Bishop (1911-1979) has been selected and introduced by Helen Vendler. In the years since Bishop's death, her stature has grown remarkably, as Vendler tells us in an introduction that begins by lauding the innovations of early twentieth century poetry: "Ezra Pound, with his command 'Make it new!' encouraged his contemporaries to break with tradition, and many seemed to join him in the effort, not least his friend and fellow-expatriate Thomas Stearns Eliot. E.E. Cummings brought typographical play into whimsical and satiric lyrics, flouting conventions of erotic propriety, while Frost - although asserting a rootedness in New England - had to go to London to be published, and drew on Latin lyric for his stoicism and epigrammatic force. Marianne Moore's poems were unsettling amalgams of satire, fable, and sermon, unwilling to observe generic borders. After the rebellious exhilarations of those modern poets, it seemed that any subsequent collection of poets might be a disappointing one. To everyone's surprise, the next American constellation was no less brilliant: Robert Lowell, Sylvia Plath, John Berryman, John Ashbery. . . . Against such contemporaries, Elizabeth Bishop seemed decorous, "feminine", "modest", hardly dangerous. Living in Brazil, and publishing at intervals of several years, she was not visibly part of the American cluster of poets. Although she was always esteemed by her fellow-poets, it was only in her latter years that she was understood and prized by the wider public. Since her death in 1979, she has become the most popular poet of her generation, in part because of her plain- spoken language but also because of her candor and depth of feeling. This is a selection of thirty-nine poems considered her most important and most representative by Professor Vendler. The sculptor John Newman has long been a reader of poetry and Elizabeth Bishop is one of his favorite poets. For this Arion Press artist book, John Newman has made twenty-four drawings of small sculptures made between 1998 and 2016, with a twenty-fifth for the cover. Reversing the process in his early sketches for objects-never-to-be-made, he has now depicted forms he has already made, each from one point of view, as works of graphic art, flat on the page, in gouache, in black, gray, and white, on tan paper. These drawings have been transformed into relief prints and printed by letterpress from polymer plates on French mould-made paper. The titles and dates of creation of the sculptures are used as the titles for the prints, which appear on the facing page of poetry, below the running foot. The prints are arranged in chronological order and spaced at regular intervals throughout the poetry. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condizione: New. Diebenkorn, Richard (illustratore). Limited Edition. Quarto, 10 1/4 inches by 8 inches, 202 numbered pages plus 24 unnumbered pages for the half-titles, poetry excerpts, and etching leaves (226 pages total). The type is Baskerville, in Monotype composition by Mackenzie & Harris, and handset for display. The titles are handset Worrell Uncial, printed in red. The etchings were proofed at Crown Point Press in San Francisco, and the plates were editioned by R.E. Townsend in Georgetown, Massachusetts. The paper is Somerset, mould-made in England. The binding, done in-house, is hand-sewn with the etchings tipped to stubs and sewn through, with a red leather spine, green cloth sides, and gold spine titling. The slipcase has the same cloth on the edges with red paper sides and a paper spine label. During discussions between Hoyem and Helen Vendler about making a selection of Yeats' poems for an artist book, she proposed Richard Diebenkorn (1922-1993). Yeats was his favorite poet; he had read the poetry since his youth. Diebenkorn was aware of the Wallace Stevens selection by Vendler for Arion Press, and during a meeting at his home and studio in Healdsburg, California, he said that the Jasper Johns etching as a frontispiece was not sufficient for the book, in his opinion, and that he would do more to honor Yeats. The six etchings begin with a double map of Ireland, positive and negative, with an excerpt from "I am of Ireland" that ends "But time runs on, runs on." Then appear five images of coats, from reprensentational to abstract to a recombination, as if retracing the stylistic stages of his whole career, anding with an indicator of a new direction. The coats were inspiried by a drawing he had made for his mother during World War II showing his Marine Corps tunic on a hanger on an opn closet door. Its foreboding emptiness upset her, so she rolled it up and put it away in a dresser drawer, only to be found after her death. When Hoyem and Ketcham visited the Diebenkorns in their home, the drawing was framed in one corner of the living room. Adjacent, on the next wall was another work of Diebenkiorn, about the same size: a recent abstract of a cost or a suit bag or a body bag. The edition consisted of of 400 numbered copies, plus 26 lettered copies hors de commerce, signed by the artist. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Condizione: Fine. Number 200 of 250 numbered copies, with 26 lettered copies hors de commerce. It is the forty-seventh publication of the Arion Press and rather scarce with no copies in commerce. The book shares characteristics with the sixth publication of the press, Moby-Dick, by the same author, of 1979, in that the same typeface is used, Goudy Modern . it is printed on the same paper, which was made for that edition by hand to the specifications of the press at the Barcham Green Mill in England and bears watermarks of the mill, the press, and of a sperm whale; and the same artist, Barry Moser, has engraved a new portrait of Herman Melville on Resingrave for the frontispiece. The text type was composed and cast on the Monotype by Mackenzie & Harris. The display type is Goudy Open and was set by hand. The book was designed and produced by Andrew Hoyem and conceived in many ways as a companion to the 1979 Moby Dick, one of the most important press books of the twentieth century." [from the Prospectus]. This book was suggested to Hoyem by the renowned scholar of poetry, Helen Vendler. She regarded Melville as among the greatest American poets of the 19th century and was eager to make a selection that would show the variety of his best poetry. Despite the importance attached to his poems today by scholars and critics, seldom did readers have any appreciation for Melville the poet. Bound in bright blue cloth with darker blue dyed leather goatrskin bands left over from the earlier Moby Dick. The bands run across the top and bottom edges of the book with title and author in silver foil. Printed on octavo sized paper of 6.75 x 9 7/8 inches using Goudy Modern type in a smaller point size than the 1979 volume. Top page edges trimmed, while the fore-edge and bottom edges are untrimmed. The signatures were folded by hand and each copy was sewn by hand with linen thread over linen tapes. Housed in a blue cloth slipcase with blue goatskin title label to spine. Accompanied by the prospectus. In fine condition. Measures 7 x 10 inches. 156 numbered pages. PRI/110424.