World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR BREAK UNTIL NOV 10
WEB-SHOP OPEN 24/7
(ORDER SHIPPING RESUMES NOV 10)
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1984, Japanese
Softcover (w. dust jacket), 98 pages (w. fold-outs), 42 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$220.00 - In stock -
First Japanese edition of H.R. Giger's Necronomicon from 1984. Beginning with a hommage from Salvador Dali and introduction by Clive Baker, the first in this series of oversized and visually overwhelming Giger-designed volumes takes us through the early history of one of the most brilliant fantasy artists of the century. From his "Passegen" series, his work for theatre, posters, album artwork, environments, personal works, is designs for Alejandro Jodorowsky's DUNE, and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries of the macabre. This is volume 1 of 2 of "HR Giger's Necronomicon" where Al Azred's legendary magical book of the most wonderful abominations and perversions, "Necronomicon" (made infamous in the pages of HP Lovecraft's "Cthulhu" mythology), becomes a visual reality!
With an introduction by Clive Baker and numerous texts by HR Giger as well as texts by Fritz Billeter and Simon Vinkenoog and a tribute from Salvador Dali. Note: Japanese language edition.
First Japanese edition, published by Treville, Tokyo, in 1984. Very good copy throughout with Very Good dust jacket. Some edge wear with fragile, oversized edition.
1987, Japanese
Softcover (w. dust jacket), 98 pages (w. fold-outs), 42 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$180.00 - In stock -
First Japanese edition of H.R. Giger's Necronomicon II, the second oversized and visually overwhelming Giger-designed collection that takes us further through the incredible history of one of the most brilliant fantasy artists of the century. Reproducing Giger's award-winning work for the film ALIEN, his paintings, environments, sculptural works, his work for never shot film "The Tourist", collaborations with Blondie's Debbie Harry, his "New York City" series from the late 1970's and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. Also includes interviews, texts, biography. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries of the macabre. This is volume 2 of 2 of "HR Giger's Necronomicon" where Al Azred's legendary magical book of the most wonderful abominations and perversions, "Necronomicon" (made infamous in the pages of HP Lovecraft's "Cthulhu" mythology), becomes a visual reality!
First Japanese edition, published by Treville, Tokyo, in 1987. Very good copy throughout with Very Good dust jacket. Some light wear to over-sized book.
2003, English
Softcover, 378 pages, 19.6 x 12.6 cm
1st Edition, Out of print title / used / very good
Published by
Dedalus / Cambs
$40.00 - In stock -
First 2003 edition of Gary Lachman's The Dedalus Book of the Occult, a celebration of the influence of occult thought and sensibility on some of the central poets and writers of the last two centuries, beginning with the Enlightenment obsession with occult politics, through the Romantic explosion, the paradoxically decadent and futuristic occultism of the fin de siècle, and the deep occult roots of the modernist movement. Swedenborg, Baudelaire, Huysmans and Strindberg are only some of the names to feature in this hidden history of western thought.
Very Good copy with some light wear to boards, rubbing.
1991, English
Softcover, 416 pages, 20 x 12.5 cm
1st Edition, Out of print title / used / very good
Published by
Dedalus / Cambs
$20.00 - In stock -
First 1991 edition of The Dedalus Book of British Fantasy : The 19th Century, compiled with introduction and notes by Brian Stableford.
Beginning in 1804 with Nathan Drake's 'Henry Fitzowen', The Dedalus Book of British Fantasy traces the development of the genre through the stories and poems of Coleridge, Keats, Dickens, Disraeli, William Morris, Christina Rossetti, Tennyson and Vernon Lee, until the end of the century and Richard Garnett's 'Alexander the Ratcatcher'.
Each text has been chosen to illustrate the development of the various aspects of fantasy in British Literature - the comic,the sentimental. the erotic and the allegorical - and the contribution that these authors made to the emergence of the genre.
G—VG copy with foxing to block edges, some light wear.
1973, English
Softcover, 244 pages, 17.5 x 10.7 cm
Out of print title / used / very good
Published by
Sphere / UK
$35.00 - Out of stock
"What you hold in your hands is more than a book. If we are lucky, it is a revolution"—Harlan Ellison
Anthologies seldom make history, but Dangerous Visions is a grand exception. Harlan Ellison's 1967 collection of science fiction stories set an almost impossibly high standard.
First 1973 Sphere volume of DANGEROUS VISIONS, a landmark science fiction short story anthology, edited by American author Harlan Ellison and illustrated by Leo and Diane Dillon. It was first published in 1967 and contained 33 stories, none of which had been previously published. A path-breaking collection, Dangerous Visions helped define the New Wave science fiction movement, particularly in its depiction of sex in science fiction. Writer/editor Al Sarrantonio wrote that Dangerous Visions "almost single-handedly [...] changed the way readers thought about science fiction." Contributors to the volume included 20 authors who had won, or would win, a Hugo, Nebula, World Fantasy, or BSFA award, and 16 with multiple such awards. Ellison introduced the anthology both collectively and individually while authors provided afterwords to their own stories.
Features the stories of Isaac Asimov, Harlan Ellison, Lester del Rey, Robert Silverberg, Frederik Pohl, Philip José Farmer, Miriam Allen de Ford, Robert Bloch, Brian W. Aldiss.
G—VG with foxing to block edge, toning to pages/spine.
1973, English
Softcover, 232 pages, 17.5 x 10.7 cm
Out of print title / used / very good
Published by
Sphere / UK
$35.00 - Out of stock
"What you hold in your hands is more than a book. If we are lucky, it is a revolution"—Harlan Ellison
Anthologies seldom make history, but Dangerous Visions is a grand exception. Harlan Ellison's 1967 collection of science fiction stories set an almost impossibly high standard.
Second 1973 Sphere volume of DANGEROUS VISIONS, a landmark science fiction short story anthology, edited by American author Harlan Ellison and illustrated by Leo and Diane Dillon. It was first published in 1967 and contained 33 stories, none of which had been previously published. A path-breaking collection, Dangerous Visions helped define the New Wave science fiction movement, particularly in its depiction of sex in science fiction. Writer/editor Al Sarrantonio wrote that Dangerous Visions "almost single-handedly [...] changed the way readers thought about science fiction." Contributors to the volume included 20 authors who had won, or would win, a Hugo, Nebula, World Fantasy, or BSFA award, and 16 with multiple such awards. Ellison introduced the anthology both collectively and individually while authors provided afterwords to their own stories.
Features the stories of Harlan Ellison, Howard Rodman, Philip K. Dick, Larry Niven, Fritz Leiber, Foe L. Hensley, Poul Anderson, David R. Bunch, James Cross, Carol Emshwiller, Damon Knight.
G—VG with foxing to block edge, toning to pages/spine.
1977, English
Softcover, 450 pages, 18 x 11.2 cm
Out of print title / used / very good
Published by
Pan / London
$35.00 - In stock -
1977 Pan paperback edition of 'Again, Dangerous Visions' a science fiction short story anthology, edited by American author Harlan Ellison first published in 1972. It is the follow-up to the ;landmark Dangerous Visions (1967), also edited by Ellison.
"There has never been anything quite like this book"—Theodore Sturgeon
"'The chief prophet of the New Wave in science fiction"—New Yorker
Features the stories of Harlan Ellison, John Heidenry, Ross Rocklynne, Ursula K. Le Guin, Andrew J. Offutt, Gene Wolfe, Ray Nelson, Ray Bradbury, Chad Oliver, Edward Bryant, Kate Wilhelm, James B. Hemesath, Joanna Russ, Kurt Vonnegut, T. L. Sherred, Barry N. Malzberg, H. H. Hollis, Bernard Wolfe, David Gerrold, Piers Anthony.
Like its predecessor, Again, Dangerous Visions, and many of the collected stories, have received awards recognition. "The Word for World is Forest", by Ursula K. Le Guin, won the 1973 Hugo for Best Novella. "When It Changed", by Joanna Russ, won a 1972 Nebula Award for Best Short Story. Harlan Ellison was recognized with a special Hugo Award for anthologizing, his second special award, in 1972. The collection as a whole won the 1973 Locus Award for Best Original Anthology.
VG copy with some light cover wear, light page toning.
2024, English
Hardcover, 224 pages, 24.5 x 24.5 cm
Published by
Hatje Cantz / Berlin
Albertina Modern / Vienna
$90.00 - In stock -
Kubin's eerie, unsettling illustrations reveal his preoccupation with the world's evils
For Austrian artist Alfred Kubin (1877-1959), evil was intrinsic to his life and work. After a traumatic childhood growing up in Zell am See and subsequent mental crises, he began his artistic training in Munich in 1898. He processed his nightmares and obsessions in a large number of fantastical drawings. His subjects, perpetually pessimistic, remain relevant a century later: war, famine, pestilence, death and every horror in between. Kubin had a pronounced fear of the feminine, sexuality, night time and of being at the mercy of fate, all of which visited him in uncanny dreams. For Kubin, the aesthetic of evil proved to be the antithesis of the idyll: the deliberate suppression of a hideous reality.
Drawn from the Albertina Museum's collection of over 1,800 drawings by the artist, The Aesthetic of Evil displays Kubin's grotesque vision as well as his superb draftsmanship. Amid the violent, haunting atmosphere of his graphic works it is easy to see how Kubin became trapped in his dark visions, to the point where the inexhaustible, intangible specter of evil consumed his life. Essays by Elisabeth Dutz, Natalie Lettner and Brigitte Holzinger explore Kubin's cosmos of the sinister: his personal iconography of evil fueled by his nightmares and obsessions.
Highest recommendation.
2002, English / German
Softcover, 144 pages, 29 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Hatje Cantz / Berlin
$70.00 - In stock -
First edition of this major survey catalogue of the great Austrian draftsman, illustrator and author Alfred Kubin (1877–1959) from The Leopold Collection, Vienna, published by Hatje Cantz in 2002. Long out-of-print and one of the best catalogues on the master of the macabre.
Alfred Kubin, an accomplished draughtsman, was inspired by his fascination with the philosophies of Schopenhauer and Nietzsche; and influenced by the artists Goya, Klinger, Ensor, Redon, Rops and Munch. Kubin called his dreamlike imagery a vital "escape into the unreal": ghostly figures, hybrid creatures, variants of torture and self-torture, dream, vampirism, spiritualism, decadence, sex, death and birth. His extraordinary oeuvre comprises more than 20,000 drawings, a large part of it consist of pen drawings, portfolio pieces and illustrations from more than 70 books. This book features a representative selection of master sheets by the bizarre multi-talented artist.
Very Good copy with light wear.
1989, English
Softcover (staple-bound), 20 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Eyeball / London
$20.00 - Out of stock
Inaugural Autumn 1989 issue of Eyeball fanzine, "The European Sex & Horror Review", edited by Stephen Thrower with contributions from by Shock Xpress editor and Skullflower/Ascension guitarist Stefan Jaworzyn, Ramsey Campbell, Mark Ashworth, and Charlie Phillips. Features interview with Italian horror director Michele Soavi (Stage Fright, The Church, Cemetery Man, etc.), legendary horror author Ramsey Campbell's "La Notte Bava", Two Films By Pupi Avati (giallo masterpieces, The House with Laughing Windows and Zeder), plus reviews of "Gestapo's Last Orgy", "Chaos Pervers", "Erotic Rites Of Frankenstein", "Five Dolls For An August Moon" and more!
A must for European cult cinema and Giallo film fans!
VG copy, light wear.
1993, English
Softcover, 50 pages, 28 x 21 cm
1st Edition, Out of print title / used / good
Published by
Draculina Publishing / Illinois
$20.00 - In stock -
Second 1993 issue of Draculina Fear Book, edited and published by Hugh Gallagher of Draculina Publishing, an independent publishing company that, inspired by Hammer horror movies, produced hundreds of magazines, comics and books devoted to the intersection of smut and gore, the beautiful women of horror, and the cinematic world of schlock/gore/trash/exploitation/transgression. Beyond the abundance of photographs of vixens, vampiresses, she-wolves, scream-queens and she-devils, is a goldmine of interviews with and features on Lamberto Bava (Demons, Inferno, A Blade in The Dark, Tenebre, etc) , Russ Meyer (Faster, Pussycat! Kill! Kill! Vixen!, Beyond the Valley of the Dolls, etc.), John Waters (Pink Flamingos, Polyester, etc.), Sean S. Cunningham (The Last House on the Left, Friday the 13th, House, etc.), Dyanne Thorne (Ilsa, She Wolf of the SS), Camille Keaton (I Spit on Your Grave), Barbara Crampton (From Beyond, The Reanimator, Chopping Mall, etc.), articles on "Sex, Succubae, and Surrealism" (Rollin, etc.), girl-on-girl cat fight entertainment, and much more.
Good copy with a couple of loose pages, general magazine reading wear.
2009, English
Softcover, 912 pages, 13.84 x 20.96 cm
Published by
Picador / USA
$49.00 - In stock -
The posthumous masterwork from "one of the greatest and most influential modern writers”—James Wood, The New York Times Book Review
Composed in the last years of Roberto Bolaño's life, 2666 was greeted across Europe and Latin America as his highest achievement, surpassing even his previous work in its strangeness, beauty, and scope. Its throng of unforgettable characters includes academics and convicts, an American sportswriter, an elusive German novelist, and a teenage student and her widowed, mentally unstable father. Their lives intersect in the urban sprawl of SantaTeresa—a fictional Juárez—on the U.S.-Mexico border, where hundreds of young factory workers, in the novel as in life, have disappeared.
Translated from the Spanish by Natasha Wimmer.
2008, English
Softcover, 656 pages, 13.84 x 20.96 cm
Published by
Picador / USA
$46.00 - In stock -
The Savage Detectives is an exuberant, raunchy, wildly inventive, and ambitious novel from one of the greatest Latin American authors of our age.
New Year's Eve, 1975: Arturo Belano and Ulises Lima, founders of the visceral realist movement in poetry, leave Mexico City in a borrowed white Impala. Their quest: to track down the obscure, vanished poet Cesárea Tinajero. A violent showdown in the Sonora desert turns search to flight; twenty years later Belano and Lima are still on the run.
The explosive first long work by "the most exciting writer to come from south of the Rio Grande in a long time" (Ilan Stavans, Los Angeles Times), The Savage Detectives follows Belano and Lima through the eyes of the people whose paths they cross in Central America, Europe, Israel, and West Africa. This chorus includes the muses of visceral realism, the beautiful Font sisters; their father, an architect interned in a Mexico City asylum; a sensitive young follower of Octavio Paz; a foul-mouthed American graduate student; a French girl with a taste for the Marquis de Sade; the great-granddaughter of Leon Trotsky; a Chilean stowaway with a mystical gift for numbers; the anorexic heiress to a Mexican underwear empire; an Argentinian photojournalist in Angola; and assorted hangers-on, detractors, critics, lovers, employers, vagabonds, real-life literary figures, and random acquaintances.
A polymathic descendant of Borges and Pynchon, Roberto Bolaño traces the hidden connection between literature and violence in a world where national boundaries are fluid and death lurks in the shadow of the avant-garde. The Savage Detectives is a dazzling original, the first great Latin American novel of the twenty-first century.
Translated by Natasha Wimmer.
1981, English
Softcover, 48 pages, 40 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Charles E. Tuttle / Tokyo
$140.00 - In stock -
Scarce first Japanese edition (entirely in English language), published in Tokyo by Charles Tuttle, of this beautifully produced over-sized 1981 book by H. R. Giger. Foreword by Timothy Leary.
In 1981, a year after being awarded the Oscar for Best Achievement for Visual Effects for Alien, the book H.R. GIGER N.Y. CITY was published. This series of post Alien works, the result of an intense period of non-stop painting, literally day and night, were inspired by Giger's trip to New York City and a template which his colleague Cornelius de Fries, brought back from one of his excursions into the electronic industry. The stencil was actually a sheet of scrap metal from which electrical components had been punched out. Alongside these incredible works are drawings, articles, press clippings, posters and polaroids from Giger's time in New York City.
Fantastic Swiss surrealist painter, sculptor and set designer Hans Rudolf “Ruedi” Giger was born in 1940, the son of a chemist. He spoke of a father who viewed art as a "breadless profession", and strongly encouraged his son to enter into pharmaceutics. Despite this, in 1962, he moved to Zürich, where he studied Architecture and industrial design at the School of Applied Arts until 1970. Giger's style and thematic execution have been hugely influential. His design for the Alien was inspired by his painting Necronom IV and earned him an Oscar in 1980. His books of paintings, particularly Necronomicon and Necronomicon II (1985) and the frequent appearance of his art in Omni magazine continued his rise to international prominence. Giger is also well known for artwork on several music recording albums. His most distinctive stylistic innovation is that of a representation of human bodies and machines in a cold, interconnected relationship, he described as "biomechanical". His paintings often display fetishistic sexual imagery. His main influences were painters Ernst Fuchs and Salvador Dalí. He was also a personal friend of Timothy Leary. Giger suffered from night terrors and his paintings are all to some extent inspired by his experiences with that particular sleep disorder, making his first paintings as a means of art therapy. In 1998 Giger acquired the Château St. Germain in Gruyères, Switzerland, and it now houses the H. R. Giger Museum, a permanent repository of his work.
Good—Very Good copy, tight binding with some cover wear and corner wear, some sunning to edges.
1997, English
Softcover (staple-bound), 40 pages, 21 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Midnight Media / UK
$50.00 - In stock -
Rare English film digest / filmography by Lucas Balbo and Laurent Aknin on one of cinema's most fascinating and complicated human beings, Klaus Kinski. Kinski was a German actor. Equally renowned for his intense performance style and notorious for his volatile personality, he appeared in over 130 film roles in a career that spanned 40 years, from 1948 to 1988. Published in this one edition in 1997 by Published by Midnight Media, Disorder & Genius is an excellent introduction and concise synopsis of Kinski's acting career, and an indispensable reference tracing his complete filmography chronologically, each listing with film details and short overview, profusely illustrated with film stills, poster artwork, vhs covers, and publicity images in colour and b/w.
"Klaus Kinski died in 1991 amid almost general indifference. Nikolaus Gunther Nakszynski—his real name—was born in Zoppot, Poland on 18 October 1926; in his autobiography, "Dying to Live" (released in the USA as "All I Need Is Love" and subsequently withdrawn and banned — then in 1996 was re- issued, in both the UK and USA, as “Kinski Uncut", with extra text but with 'minor' alterations to avoid possible lawsuits!), he went into great detail about his childhood, a nightmare of poverty, promiscuity and incest... After the war, he went on the German stage where he came in contact with some of the greatest directors of the period. He achieved a certain notoriety with his recitals of poems by Rimbaud and above all the Medieval French bawdy poet Villon. Later he appeared in some of Cocteau's plays such as "The Typewriter" and "The Human Voice", this last being a long monologue by a woman on a telephone. Kinski played the woman and provoked a scandal. But, he earned Cocteau's admiration. He ended his theatrical career with an "adaptation" of the New Testament which provoked a riot.
From the end of the 1940s, Kinski was offered many parts in films which he took up sporadically, believing, as he said himself, that all that was merely shit..."—from the introduction
Near Fine copy.
2018, English
Hardcover, 480 pages, 17.4 x 23.2 cm
Published by
Atlas Press / London
$74.00 - In stock -
Georges Bataille's secret society, long the stuff of legend, is now revealed in its texts, meditations, rules and prohibitions.
This book recounts what must be one of the most unusual intellectual journeys of modern times, in which the influential philosopher, cultural theorist and occasional pornographer Georges Bataille (1897-1962), having spent the early 1930s in far-left groups opposing the rise of fascism, abandoned that approach in order to transfer the struggle onto "the mythological plane."
In 1937, Bataille founded two groups in order to explore the combinations of power and the "sacred" at work in society. The first group, the College of Sociology, gave lectures that were intended to reveal the hidden undercurrents within a society on the verge of catastrophe. The second group was Acéphale, a genuine secret society and anti-religion whose emblem was a headless figure that, in part, represented the death of God. Until the discovery a few years ago of the group's internal papers (which include theoretical texts, meditations, minutes of meetings, rules and prohibitions and even a membership list), almost nothing was known of its activities.
This book is the first to collect a representative selection of the writings of Bataille, and of those close to him, in the years leading up to World War II. The texts published here comprise lectures given to the College of Sociology by Bataille, Roger Caillois and Michel Leiris, essays from the Acéphale journal and a large cache of the internal papers from the secret society. A desperate narrative unfolds, wherein Bataille risked all in a wholly unreasonable quest--with a few fellow travelers, he undertook what he later described as a "journey out of this world."
Additional texts by Roger Caillois, Pierre Klossowski, Michel Leiris, and by Georges Ambrosino, Pierre Andler, Michel Carrouges, Jacques Chavy, Jean Dautry, Henri Dobier, Henri Dussat, Imre Kelemen, Jean Rollin, Patrick Waldberg.
And with drawings by André Masson
Highest recommendation!
1994, English
Softcover, 352 pages, 20.5 x 15 cm
Published by
Exact Change / Boston
$38.00 - Out of stock
Andre Breton described Maldoror as "the expression of a revelation so complete it seems to exceed human potential." Little is known about its pseudonymous author, aside from his real name (Isidore Ducasse), birth in Uruguay (1846) and early death in Paris (1870). Lautreamont bewildered his contemporaries, but the Surrealists modeled their efforts after his black humor and poetic leaps of logic, exemplified by the oft-quoted line, "As beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella." Maldoror's shocked first publisher refused to bind the sheets of the original edition--and perhaps no better invitation exists to this book, which warns the reader, "Only the few may relish this bitter fruit without danger."
This is the only complete annotated collection of Lautreamont's writings available in English, in Alexis Lykiard's superior translation. For this latest edition, Lykiard updates his introduction to include recent scholarship.
2025, English
Hardcover (w. dust jacket), 384 pages, 25 x 16.5 cm
Published by
Penguin Press / New York
$58.00 - In stock -
The new novel from Thomas Pynchon, bestselling and award-winning author of Gravity’s Rainbow, The Crying of Lot 49, Vineland, and Inherent Vice. US hardcover first edition.
“A masterpiece.” —The Telegraph
“Bonkers and brilliant fun.” —The Washington Post
“Late Pynchon at his finest. Dark as a vampire’s pocket, light-fingered as a jewel thief, Shadow Ticket capers across the page with breezy, baggy-pants assurance — and then pauses on its way down the fire escape just long enough to crack your heart open.” —Los Angeles Times
Milwaukee 1932, the Great Depression going full blast, repeal of Prohibition just around the corner, Al Capone in the federal pen, the private investigation business shifting from labor-management relations to the more domestic kind. Hicks McTaggart, a onetime strikebreaker turned private eye, thinks he’s found job security until he gets sent out on what should be a routine case, locating and bringing back the heiress of a Wisconsin cheese fortune who’s taken a mind to go wandering. Before he knows it, he’s been shanghaied onto a transoceanic liner, ending up eventually in Hungary where there’s no shoreline, a language from some other planet, and enough pastry to see any cop well into retirement—and of course no sign of the runaway heiress he’s supposed to be chasing. By the time Hicks catches up with her he will find himself also entangled with Nazis, Soviet agents, British counterspies, swing musicians, practitioners of the paranormal, outlaw motorcyclists, and the troubles that come with each of them, none of which Hicks is qualified, forget about being paid, to deal with. Surrounded by history he has no grasp on and can’t see his way around in or out of, the only bright side for Hicks is it’s the dawn of the Big Band Era and as it happens he’s a pretty good dancer. Whether this will be enough to allow him somehow to Lindy-hop his way back again to Milwaukee and the normal world, which may no longer exist, is another question.
1982, English
Softcover, 406 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Del Rey / New York
$25.00 - Out of stock
“H.P. Lovecraft has yet to be surpassed as the twentieth century’s greatest practitioner of the classic horror tale.”—Stephen King
“The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”—H.P. Lovecraft
This is the collection that true fans of horror fiction must have: sixteen of H.P. Lovecraft’s most horrifying visions, including: The Call of Cthulu: The first story in the infamous Cthulhu mythos—a creature spawned in the stars brings a menace of unimaginable evil to threaten all mankind. The Dunwich Horror: An evil man’s desire to perform an unspeakable ritual leads him in search of the fabled text of The Necronomicon. The Colour Out of Space: A horror from the skies—far worse than any nuclear fallout—transforms a man into a monster. The Shadow Over Innsmouth: Rising from the depths of the sea, an unspeakable horror engulfs a quiet New England town. Plus twelve more terrifying tales! Introduction by Robert Bloch.
VG 1982
2025, English
Hardcover, 272 pages, 30 x 23 cm
Published by
Image Comics / US
$75.00 - In stock -
"Vaughn was one of the lights of America."—Moebius
Collecting for the first time, in chronological order, underground comix legend Vaughn Bodē's charmingly risqué strips and "Bodé Broads" from Cavalier magazine ("the kind men like.")
Originally written and drawn in the 1970s, this volume represents a time capsule in erotic humor as only a master of the form could create it. This beautiful hardbound book also collects Bodē's hard-to-find three-page strips and other rarities.
With a foreword and additional new art from Vaughn's son, Mark Bodē. Underground comix enthusiasts, Bodē aficionados and fans of adult humor won't want to miss this uncensored and digitally remastered omnibus.
Vaughn Bodē (1941 – 1975) was an American underground cartoonist and illustrator known for his character Cheech Wizard and his artwork depicting voluptuous women. In 1963, at age 21, and while living in Utica, New York, Bodē self-published Das Kämpf, considered one of the first underground comic books. In the late 1960s and early 1970s, he illustrated covers and interior art for the science fiction digests Amazing Stories, Fantastic, Galaxy Science Fiction, Witzend and Worlds of If. Discovered by fellow cartoonist Trina Robbins, Bodē moved to Manhattan in 1969 and joined the staff of the underground newspaper the East Village Other. Beginning in 1968 and continuing until his untimely death from autoerotic asphyxiation in 1975, Bodē entered a prolific period of creativity, introducing a number of strips and ongoing series, most of which ran in underground newspapers or erotic magazines. Bodē described his sexuality as "auto-sexual, heterosexual, homosexual, mano-sexual, sado-sexual, trans-sexual, uni-sexual, omni-sexual." A contemporary of animator Ralph Bakshi, Bodē has been credited as an influence on Bakshi's animated films Wizards and The Lord of the Rings. Bodē has a huge following among graffiti artists, with his characters remaining a popular subject of the culture. Bodē was inducted into the Will Eisner Award Hall of Fame for comics artists in 2006.
2017, English
Softcover, 256 pages, 21 x 14 cm
Published by
New Directions / New York
$39.00 - In stock -
"The president of the republic of dreams"—Louis Aragon
"An intoxicating sui generis novel by the greatest mesmerist of modern times"—André Breton
"Genius in its pure state. The Proust of dreams."—Jean Cocteau
The wealthy scientist Martial Canterel guides a group of visitors through his expansive estate, Locus Solus, where he displays his various deranged inventions: a machine propelled by the weather, which constructs a mosaic out of varying hues of human teeth; a hairless cat charged with a powerful electric battery; a bizarre theater in which corpses are reanimated with a special serum to enact the most important movements of their past lives. Wondrously imaginative and narrated with Roussel’s deadpan wit, Locus Solus is unlike anything else ever written.
Translated from French by Rupert Copeland Cunningham
"[H]e was a seminal influence on surrealism, Dadaism, the nouveau roman, and the Oulipo….Roussel could have attempted to go the way of a popular writer like Rostand or of an avant-garde writer like Breton, but, both admirably and foolishly, he remained Roussel to the end."—Ryan Ruby, Lapham's Quarterly
"Raymond Roussel's works immediately absorbed me: I was taken by the prose style even before learning what was behind it—the process, the machines, the mechanisms—and no doubt when I discovered his process and his techniques, the obsessional side of me was seduced a second time by the shock of learning of the disparity between this methodically applied process, which was slightly naive, and the resulting intense poetry."—Michel Foucault
"There is hidden in Roussel something so strong, so ominous, and so pregnant with the darkness of the 'infinite spaces' that frightened Pascal, that one feels the need for some sort of protective equipment when one reads him."—John Ashbery
1994, Japanese
Softcover, 210 pages, 15 cm x 21 cm
1st Edition, Out of print title / used / very good
Published by
Tom Shobo / Japan
$140.00 - Out of stock
Too Negative No. 2 December 1994, featuring the first publication of corpse photographer Kiyotaka Tsurisaki.
Now rare and highly collectible, Too Negative, the "Forbidden Picture Book", was a visceral and visually explosive glossy cult arts magazine that reflected the gory-depraved-beyond salvation-bad taste expressions visible in international subculture at the height of 1990s underground publishing, a time when art was pushing the limits of taste and morality. Edited solely by legendary Japanese publisher and gallery owner Kotaro Kobayashi and published by Tom Publication Inc. between 1994—2000, each thick, glossy volume takes on the aesthetics of a vibrant fashion magazine in the great Japanese "mook" format (the magazine book) packed cover to cover with themes of Eros and Thanatos, such as fetishism, erotica, medical/autopsy photography, death journalism, Japanese bondage, grotesque and neo-surrealist art, crime scene photography, tattooing/irezumi, piercing, and all things of the mondo, macabre, bizarro realm. Frequent collaborators and featured artists were Kiyotaka Tsurisaki, Joel-Peter Witkin, Trevor Brown, Kiyoshi Ikejiri, to name a few. With a Japanese publishing lineage that may be found in earlier bounding-pushing periodicals such as the 1920s erotic grotesque magazine Hentai Shiriou (Pervert Documents), Tasuhiko Shibusawa’s incredible 1960s avant-garde journal Le Sang Et La Rose, or Fiction Inc’s SALE2 journal published from 1980—mid 1990s, Too Negative, and affiliated periodicals such as ORG, Spiral, Schizo, etc. took their subjects to another level of extremism, even by Japanese standards.
Not for the faint hearted.
This issue, Too Negative No. 2 December 1994, features the corpse/death photography of Kiyotaka Tsurisaki, fetish photography of Kiyoshi Ikejiri, Kotaro Kobayashi, Setsuko Chiba, the artwork of Trevor Brown, photography of Nancy Burson, doll art by Katan Amano, loads of vintage medical, autopsy and death photography, tattoo and piercing fetish, freak postcards, sex dolls, and much more.
Very Good copy with some cover/extremities wear.
1976, English
Softcover, 128 pages, 18 x 11 cm
Out of print title / used / very good
Published by
Corgi / London
$30.00 - In stock -
Scarce Corgi UK 1976 paperback edition of The Skull of The Marquis de Sade, a collection of short stories by author Robert Bloch, master of the monstrous. This story collection contains: The Skull of the Marquis de Sade; A Quiet Funeral; The Weird Tailor; The Man Who Knew Women; Lizzie Borden Took an Axe.; The Devil's Ticket; and The Bogey Man Will Get You.
Robert Albert Bloch (1917-1994) was an American fiction writer, primarily of crime, psychological horror and fantasy, much of which has been dramatized for radio, cinema and television. He also wrote a relatively small amount of science fiction. He is best known for his best-selling book, Psycho, upon which Alfred Hitchcock based his classic film.
Very Good copy, light edge wear and cover wear/toning.
1991, English
Softcover, 88 pages, 23.5 x 15.5 cm
Out of print title / used / very good
Published by
Creation Books / London
$50.00 - Out of stock
Scarce Creation Classics 1991 illustrated edition of Arthur Machen's first book, "The Great God Pan", once described by The Westminster Gazette as "An incoherent nightmare of sex..." upon its publication in 1894. An unwittingly complimentary description for one of the greatest works of weird horror and decadence, in which Machen unfurls with his singular eye for the bizarre and macabre the tale of a young girl cursed by her unnatural parentage to become a creature of shape-shifting polysexual demi-human evil. This special paperback edition with illustrations throughout by the great Austin Osman Spare. Includes bibliography and introduction by Iain S. Smith.
Good—VG copy with some cover wear.