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:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, 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.
2021, English
Hardcover, 616 pages, 21 x 29 cm
Published by
Sternberg Press / Berlin
$90.00 - Out of stock
During the Cold War, modernist art became a flagship of freedom and democracy in the West, and took on the role of a symbolic overcoming of fascism. Parapolitics: Cultural Freedom and the Cold War examines the cultural diplomacy of this period, particularly the activities and magazines of the Congress for Cultural Freedom, an organization funded by the Central Intelligence Agency that was tasked with steering the left away from Soviet Communism and toward a new world order established under the aegis of the United States. This book analyzes how the organization’s activities in the non-European world were a major force behind the culturalization of economic liberalism on an international scale. With extensive archival documentation and recent responses by artists and writers, this book is a rich reference for readers interested in challenging the structural conditions of contemporary art and the prevailing canons of modernism.
Edited by Anselm Franke, Nida Ghouse, Paz Guevara, Antonia Majaca
Contributions By Savita Apte, Doug Ashford, Michael Baers, Ivana Bago, Lene Berg, Annett Busch, Rhea Dall, Peter Delius, Kodwo Eshun, Jenifer Evans, Anselm Franke, Andrea Giunta, Nida Ghouse, Paz Guevara, Stacy Hardy, Barnor Hesse, Michael Hochgeschwender, Emmanuel Iduma, Iman Issa, Voluspa Jarpa, Gabi Ngcobo, Alexander Keefe, Hyunjin Kim, Christian Kravagna, Antonia Majaca, Porter Mccray, Sylvester Ogbechie, Rasha Salti, Erhard Schüttpelz, Chinmay Sharma, Yashas Shetty, Quinn Slobodian, Karin Zitzewitz
2016, English
Hardcover (clothbound), 91 pages, 20 x 26 cm
1st Edition, Out of print title / as new
Published by
Karma / New York
$190.00 - Out of stock
“Lee Lozano’s brief art career in New York, from 1961 to 1971, sometimes seems like a relay race: She moved deftly from gestural and hard-edge figuration to abstraction to task-based Conceptual pieces. By 1972, she had dropped out of the art world entirely. She then moved to Dallas and continued her 1971 conceptual work, in which she decided to ‘boycott women,’—i.e., not interact with them—for the rest of her life. Given her dizzying speed, it can be valuable to focus on a single year of her production. That’s just what LOZANO C. 1962 does, spotlighting thirty-one paintings, some as small as 31⁄4 × 23⁄4”. This handsome ninety-six-page clothbound book accompanied an electrifying exhibition last year at the Manhattan bookshop and gallery space Karma, where the brushy comic-tragic canvases, many depicting faces, penises, and airplanes, lined the walls. In the early ’60s Lozano was merging Surrealism with AbEx and art brut (she had moved to New York after attending the Art Institute of Chicago, which birthed the funny-freaky Monster Roster and Hairy Who). A recurring motif in these works are dick-like Pinocchio noses (‘man as pathological liar?’ asks Bob Nickas in his essay). In one piece, the long penis-nose of a grinning mask cleaves the mouth of another mask. It’s a subtle reminder that Lozano’s wry humor always had a razor-sharp edge. And this shrewdness was one way of surviving times as crazy as our own. As a page from one of her private notebooks here explains: ‘key to how to cope with the nixon danger: either kill it, which my intelligence absolutely refuses, or make a fool of it.’”—LAUREN O’NEILL-BUTLER, Bookforum, APR/MAY 2017
This lovely, quickly out-of-print hardcover volume collects these works together for the first time, alongside texts by Helen Molesworth and Bob Nickas.
Out-of-print. As New copy.
2018, English
Softcover, 224 pages, 23 x 28 cm
Edition of 1500,
Published by
Primary Information / New York
$68.00 - Out of stock
This publication is a compilation of Lee Lozano’s notebooks from 1967 to 1970. The three notebooks included here contain her seminal “Language Pieces” and drawings for her paintings, including 12 studies for her 11-panel masterpiece, “Wave Series.”
Lee Lozano (1930-1999) was an enigmatic artist making a diverse body of drawings, paintings, and conceptual works. While prolific, her production was limited to her time in New York from the early 1960s to the early 1970s. She was very actively engaged with other artists in New York until she decided to leave the art world in 1972. Until recently, much of her work has been difficult for the public to access. From the time of her boycott of the art world until her death, Lozano was an artist working conceptually even though she did not participate actively in the commercial art world for the last three decades of her life.
The pages of the notebooks contain notes and sketches related to her abstract paintings and also contain her texts, which were known as “Language Pieces.” The artist’s work in the books reveal her desire to live and create art within a structured system. Lozano considered the individual pages of her notebooks to be drawings, and they were sometimes separated and exhibited. Twenty-five years ago, the notebooks were photocopied and it is that record which serves as the basis for this book.
Notebooks 1967-70 was first published by Primary Information in 2010. This is the second printing.
1970,
Offset poster, 77 x 116 cm
1st Edition, Out of print title / used / very good
Published by
Vertigo Records / London
$450.00 - Out of stock
Stunning and extremely rare original vintage Magma poster, produced by Vertigo Records to promote their "Kobaïa" LP in 1970. Magma were a French progressive rock group founded in Paris in 1969 by classically trained drummer Christian Vander, inventor of the musical style termed Zeuhl, and creator of the fictional language, Kobaïan.
Dimensions : 77 x 116 cm
Very Good, with light markings and edge wear. Photos upon request.
1994, English
Softcover, 160 pages, 22 x 28 cm
1st Edition, Out of print title / used / very good
Published by
SAF Publishing / London
$70.00 - Out of stock
First edition of Wrong Movements : A Robert Wyatt History, published in the UK in 1994; researched, compiled, edited and written by Michael King. An enchanting and essential portrait of one of progressive music's founding fathers. Robert Wyatt (b. 1945) is an English musician. A founding member of the influential Canterbury scene bands Soft Machine and Matching Mole, he was initially a kit drummer and singer before becoming paraplegic following an accidental fall from a window in 1973, which led him to abandon band work, explore other instruments, and a forty-year solo career as one of the most singular voices and composers in the world. A key player during the formative years of British jazz fusion, psychedelia and progressive rock, Wyatt's own work became increasingly interpretative, collaborative and politicised from the mid 1970s onwards. Michael King's meticulous biography pieces together a chronological account of Wyatt's 30 year career and is packed with previously unpublished archive material and rare photographs, posters, letters, articles, et al. Punctuated by commentary from Robert Wyatt himself, as well as Alfreda (Alfie) Benge, Hugh Hopper, Daevid Allen, Kevin Ayers, Mike Ratledge, Keith Tippett, Carla Bley, Fred Frith and many others, Wrong Movements paints a fascinating portrait of this highly respected and individual musician. Includes a comprehensive discography of official releases, compiled with customary accuracy by Manfred Bress, editor of Canterbury Nachrichten. This includes details of guest appearances and samplers as well as the various editions of solo material, Softs albums et al. An essential reference for any enthusiastic listener.
Very Good copy.
2021, English
Softcover, 368 pages, 14 x 21.1 cm
Published by
W W Norton & Co / New York
$36.00 - In stock -
In this remarkable, inspiring collection of essays, acclaimed writer and critic Olivia Laing makes a brilliant case for why art matters, especially in the turbulent political weather of the twenty-first century.
Funny Weather brings together a career's worth of Laing's writing about art and culture, examining their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O'Keeffe, reads Maggie Nelson and Sally Rooney, writes love letters to David Bowie and Freddie Mercury, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, she celebrates art as a force of resistance and repair, an antidote to a frightening political time.
We're often told that art can't change anything. Laing argues that it can. Art changes how we see the world. It makes plain inequalities and it offers fertile new ways of living.
1995, English
Softcover, 140 pages,
Out of print title / used / fine
Published by
Head Heritage / UK
$190.00 - Out of stock
Collectible 2nd Edition of Julian Cope's cult book Krautrock Sampler: One Head's Guide to the Great Kosmische Music - 1968 Onwards. Written by musicologist and former The Teardrop Explodes singer, Julian Cope, Krautrock Sampler is a book describing the underground music scene in Germany from 1968 through the 1970s, first published in the United Kingdom in 1995 by Head Heritage and all prints now long gone. Krautrocksampler gives a subjective and very animated account of the phenomenon of krautrock from the perspective of the author, who states: I wrote this short history because of the way I feel about the music, that its supreme Magic and Power has lain unrecognised for too long. The book comprises a narrative of the rock and roll culture in post-WWII West Germany, and although it really doesn't delve into more obscure artists of the moment, the book was important in bringing mainstream light to those now highly regarded central artists associated with the term Krautrock, dedicating chapters focused on individual major artists like Can, Faust, Tangerine Dream, Neu! and Amon Düül I and II, followed by LP reviews of their records.
Fine copy, like new.
1997, English
Softcover, 240 pages, 30.5 x 24.5 cm
1st Edition, Out of print title / used / very good
Published by
Federico Motta Editore / Milan
$750.00 - Out of stock
The best book on Enzo Mari that barely exists! Published in a limited edition in 1997 and immediately out-of-print, this beautifully produced, comprehensive monograph on the work of Italian designer Enzo Mari (1932—2020) is an in-depth authoritative survey of his entire oeuvre and theory, profusely illustrated throughout with photographs and drawings of all of his designs, accompanied by essays, reflections, texts by Mari, comprehensive index and a wonderful interview with Enzo Mari himself, all in bi-lingual English and Italian. An important, and extremely collectible reference book on one of the most important designers of the 20th century. Edited by theorist, historian and critic of architecture and design François Burkhardt, who was editor-in-chief of Domus magazine at the time of publishing this book.
"Enzo Mari is an unusual person, an artist, an impassioned humanist. His unusual ability to combine idea and form makes him an exceptional presence on the international design scenario. He has managed to elaborate a coherent theoretical corpus, particular attention being dedicated to social and political problems. At the same time, he has succeeded in creating a magnificent collection of designs, all different, rational and sincere; this includes some true works of art and of great beauty, without doubt as many points of reference for the history of twentieth century design. Mari is radical in his ideas and subtle in his designs. but irreprehensible in both cases, standing apart from post modern kitsch as too from pseudo functionalist orthodoxy, not creating a style but assenting a philosophy. He is a non-conformist and has tried to use his work to change the environment, introducing a percentage of Utopia into every project." — from the book jacket.
Enzo Mari (1932-2020) was an Italian designer, graphic designer, illustrator and artist. His works range from design to painting, from graphics to gallery displays. He was both a teacher and a political activist. Today he is considered one of the greatest theorists of design.
Very Good copy, only light cover wear. Includes inserted colour invite/fold-out card brochure for the exhibition Enzo Mari "Le Travail Au Centre" at the University of Montréal, Canada, as part of Les Conférences Internationals, École de Design Industriel, held in 1999.
1961, Italian
Softcover (leporello), 24 x 18 cm folded / 24 x 500 cm unfolded (approx)
Numbered, limited edition,
1st Edition, Out of print title / used / good
Published by
Danese / Milan
$520.00 - Out of stock
Extremely rare, beautiful first 1961 edition of Enzo Mari's "L'Altalena" [The See-Saw], published by Danese, Milano. An iconic early Mari title, "L'Altalena" can be either a book, a game or an entertaining strip to decorate a room. Housed in delicate, printed dust jacket/envelope is a leporello (concertina-fold) illustrated book presenting the animals of his famous "18 Animali" (1957) puzzle for Danese in book form. Making use of the woodpieces of the puzzle to stamp a series of see-saw balancing acts between cumbersome elephants, sinuous snakes and statuesque kangaroos, "L'Altalena" speaks conceptually to children of quantity, shapes, weight and balance. A joyous introduction to one of his most popular design works of the 1950s. Unfolded, the book spans 5 metres long! A stunning and highly collectible publication that is still being re-printed today! Stamped no. 226 of this limited, rarely seen first edition. Printed in Milan.
Enzo Mari (1932-2020) was an Italian designer, graphic designer, illustrator and artist. His works range from design to painting, from graphics to gallery displays. He was both a teacher and a political activist. Today he is considered one of the greatest theorists of design.
Very Good copy with Good dust jacket/envelope that shows the usual discolouration of this early edition, and some wearing away to the spine due to the very delicate, soft card used. Internally beautifully preserved.
1977, Italian
Softcover (with dust jacket), 182 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Poltronova / Italy
$390.00 - Out of stock
Beautiful, very rare volume published in 1977 by the mighty Poltronova. This valuable reference presented with notes by Poltronova founder Sergio Cammilli, surveys one of the most innovative furniture companies and exponents of Italian Radical Design, highly cited and fully illustrated with more than 500 images of projects and various creations by the artists and designers they collaborated with.
Poltronova was founded just north of Florence by Cammilli in 1957, and by 1958 a young Ettore Sottsass was hired to be the company's artistic director. Cammili had a background in art, and many believe it was the founder’s remarkable openness to bold creative expression that led the company to become one of the most daring in 20th-century Italian design. In 1966, Cammilli and Sottsass visited the Superarchitettura exhibition, presented at Galleria Jolly 2 in Pistoia. This era-defining project was organized by Superstudio and Archizoom—two counterculture student groups from the University of Florence’s Faculty of Architect; it’s now seen to be a landmark moment in the development of Radical Design movement. Cammilli and Sottsass immediately changed the direction of the Poltronova from sleek modern furniture to began working with young, iconoclastic designers, and helped to usher in the postmodern era in design. Archizoom designed the company’s new factory and programmed events at the headquarters, which included a poetry reading and meditation workshop led by poet Allen Ginsberg.
Design by Leonardo Baglioni, "Facendo mobili con Poltronova" compiles the entire history under the direction of Cammilli and Sottsass, who left Poltronova in the 1970s, presenting all the iconic works by Archizoom, Sergio Asti, Gae Aulenti, Mario Ceroli, De Pas D'Urbino Lomazzi, Max Ernst, Gianfranco Fini, Angelo Mangiarotti, Gino Marotta, Giovanni Michelucci, Ugo Nespolo, Gianni Ruffi, Ettore Sottsass, Superstudio, Lella and Massimo Vignelli, Achilli Brigidini Canella, Giampiero and Giovanni Bassi, Franco Bettonica, Sergio Cammilli, Graziella Guidoti, Luciano Nustrini, Paolo Portoghesi, Van Onck/Von Klier, Rino Vernuccio...
Very Good copy with light wear and tanning to jacket.
1994, English
Hardcover, 96 pages, 22 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$100.00 - In stock -
First English edition of the early hardcover monograph dedicated entirely to the "decadent and hermetic" erotic photography of Italian designer Carlo Mollino, published by Taschen in 1994 and long out-of-print. Profusely illustrated throughout in colour and b/w, with accompanying quotes and texts from the designer, illustrated essay by Falvio Ferrari, plus illustrated biography of Mollino.
Carlo Mollino (1905–73) was an architect, designer, photographer, writer, skier, racing driver and stunt pilot. In a career that spanned more than four decades, Mollino designed buildings, homes, furniture, cars and aircraft. One of the most dashing figures of mid-century Italy, Mollino was famed for his design finesse and his elegant organicism. In 1949 he published an important book on photography: Message from the Darkroom. Sometime around 1960, he began to seek out women - mostly dancers - in his native Turin, inviting them to his villa for late-night modeling sessions. The models would pose against extraordinary backdrops, designed by Mollino, in clothing, wigs and accessories that he had carefully selected. Finally, having printed the Polaroids, Mollino would painstakingly amend them with an extremely fine brush, to attain his idealized vision of the female form. The pictures, which totalled around 1,200, remained a secret until after his death, in 1973. Only a few were ever publicly shown, until this acclaimed first edition was published by James Crump in 2002. Reviewing this book, The New Yorker declared, "This lavish selection of several hundred Polaroids preserves the essential mystery of a project both decadent and hermetic. Though clearly the product of a deep obsession, the photographs are deliberately impersonal, each baroque detail an invitation for the viewer to imagine Mollino's encounters with the women."
Very Good copy
1991, English / Japanese
Softcover (w. acetate dust jacket), 56 pages, 30 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$190.00 - In stock -
One of the best and earliest publications dedicated entirely to the "decadent and hermetic" erotic photography of Italian designer Carlo Mollino, this wonderful book was published by Fiction Inc. in Tokyo in 1991. Very scarce, this volume comes wrapped in printed acetate dust jacket, and is illustrated in colour throughout with Mollino's private erotic glamour photos accompanied by the essay "Body Furniture" by photography critic and founder of Déjà-vu magazine Kohtaro Iizawa. This special over-sized glossy format benefits viewing the minute details of Mollino's paint-brush edits to the photographs rarely so easily seen in other books by enlarging them dramatically from the original polaroids. Selected from the roughly 1200 surviving Polaroids, never exhibited during his life, which were found following his death in 1973, all re-touched and/or partially coloured by hand by Mollino. Also includes interior photographs.
Carlo Mollino (1905–73) was an architect, designer, photographer, writer, skier, racing driver and stunt pilot. In a career that spanned more than four decades, Mollino designed buildings, homes, furniture, cars and aircraft. One of the most dashing figures of mid-century Italy, Mollino was famed for his design finesse and his elegant organicism. In 1949 he published an important book on photography: Message from the Darkroom. Sometime around 1960, he began to seek out women - mostly dancers - in his native Turin, inviting them to his villa for late-night modeling sessions. The models would pose against extraordinary backdrops, designed by Mollino, in clothing, wigs and accessories that he had carefully selected. Finally, having printed the Polaroids, Mollino would painstakingly amend them with an extremely fine brush, to attain his idealized vision of the female form. The pictures, which totalled around 1,200, remained a secret until after his death, in 1973. Only a few were ever publicly shown, until this acclaimed first edition was published by James Crump in 2002. Reviewing this book, The New Yorker declared, "This lavish selection of several hundred Polaroids preserves the essential mystery of a project both decadent and hermetic. Though clearly the product of a deep obsession, the photographs are deliberately impersonal, each baroque detail an invitation for the viewer to imagine Mollino's encounters with the women."
Very Good copy with only light wear to plastic jacket.
2000, English
Softcover, 208 pages, 27 x 19 cm
Out of print title / used / very good
Published by
Booth-Clibborn / London
$90.00 - Out of stock
Published in London in 1999, Dysfunctional, compiled by Aaron Rose, Ben Weaver and Andrew Holmes, was a phenomenal book that bypassed all the hype surrounding skateboarding to cut to the artistic heart and independent spirit of the culture between the 1970s-1990s, presenting an explosive history of skate related photography and artwork — a scrapbook of direct and challenging images that speak for themselves. Introductory texts by Aaron Rose, Gary Scott Davis and Craig R. Stecyk III examine skating from a personal point of view; the iconography, the lifestyle, the networks, the attitude. Stecyk's extensive timeline traces its history by presenting the extraordinary facts simply as they are. Packed with reproduced and never before printed artwork, photography, board graphics, skate zines, magazines, advertising, and more from Dogtown to Powell to Big Brother and all between. Includes Q&A biographies with all contributors, skaters, artists and protagonists of the period.
Very Good copy of the second print.
2013, English
Softcover, 320 pages, 11.5 x 16.5 cm
Edition of 1000,
Published by
Surpllus / Melbourne
$24.00 - Out of stock
Making Worlds: Art and Science Fiction is an anthology of new texts by artists, curators, art historians and writers who are self-confessed science fiction fans. The linking point is the idea of science fiction as a platform for the building of alternate art histories. This collection is concerned with the ways in which science fiction might be performed, materialised or enacted within a contemporary context.
Edited by Amelia Barikin and Helen Hughes, with contributions by: Adrian Martin, Amelia Barikin, Andrew Frost, Anthony White, Arlo Mountford, Brendan Lee, Charles Green, Chris McAuliffe, Chronox, Damiano Bertoli, Darren Jorgensen, Dylan Martorell, Edward Colless, Helen Hughes, Helen Johnson, Justin Clemens, Lauren Bliss, Matthew Shannon, Nathan Gray, Nick Selenitsch, OSW, Patrick Pound, Philip Brophy, Rex Butler, Ryan Johnston, and Soda_Jerk.
Designed by Brad Haylock.
2014, English
Softcover, 12 pages, 21 x 15 cm
Published by
Neon Parc / Melbourne
$10.00 $5.00 - Out of stock
Catalogue published to accompany the exhibition Damiano Bertoli — Associates, at Neon Park, Melbourne, 06 May–06 June, 2014. Illustrated throughout with exhibited works on paper in full-colour, with text by Nik Papas and Matthew Benjamin. Extending his interest in the radical sentiments of the 1960s and ’70s, Melbourne-artist Bertoli here engages with the Memphis Group, a radical design studio operating in Milan from 1981–88, coupling their iconic "anti-design" patterns and typographic forms (here labor-intensively rendered in pencil on A0 paper) with the declarative strategies of the Italian leftist Autonomia movement of the 1970s.
2012, English
Softcover, 12 pages, 210 x 150 mm
Published by
Neon Parc / Melbourne
$10.00 $4.00 - In stock -
Catalogue published to accompany the exhibition Josh Smith, Franz West, at Neon Park, Melbourne, July 4 - August 4, 2012. Illustrated throughout with paintings and collages by both artists, and West's Meta-Memphis lamp edition. Catalogue essay by Emily Cormack.
2009, English
Softcover (hand-painted/drawn), 96 pages, 21 x 15 cm
Ed. of 1000 (each unique),
1st Edition, Out of print title / used / very good
Published by
Hiromi Yoshii Gallery / Tokyo
$100.00 $40.00 - Out of stock
Hand-painted artist book by Josh Smith. "Designed in New York by Josh Smith, Todd Amicon and 38th Street Publishers for Hiromi Yoshii Gallery." Printed in Japan in an edition of 1000 copies. Smith has treated each book's glossy, white covers as a blank canvas, painting and illustrating each on the front and back, making them unique editions. Content is entirely made up of a rich selection of cropped black and white reproductions of Smith's paintings, drawings, stamps, collages, xeroxes, scans of his signature fish, leaves, faces, name (JOSH SMITH), etc. Published to accompany the exhibition "Paintings", Hiromi Yoshii Gallery, Tokyo, Japan, 2009.
Almost as new copy, light tanning to cover edge, otherwise tight and clean throughout. Paint and marker on covers. Some shelf scratching to marker line work.
2021, English
Hardcover, 382 pages, 24 x 31 cm
Published by
Stolpe Publishing / Stockholm
$80.00 - Out of stock
Hilma af Klint’s Catalogue Raisonné, the sixth of seven volumes, about one of Sweden’s most fascinating collections of artistic output.
Hilma af Klint is now regarded as a pioneer of abstract art. Her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich. Now, for the first time, af Klint’s works, some 1,600 in all, have been collected in a Catalogue Raisonné. Af Klint’s work should be seen and appreciated in the series of paintings often depicting specific themes and this ground-breaking publication, divided into seven volumes, allows for this. Volume VI focuses on the time after her mother’s death in 1920 when Hilma af Klint gave up her geometrical works and began to paint with watercolours, as in the series On the Viewing of Flowers and Trees, from 1922.
Produced with the permission of the Hilma af Klint Foundation and featuring introductions by Daniel Birnbaum and Kurt Almqvist, a separate slip cased edition containing all seven volumes will be available in autumn 2021.
2021, English
Hardcover, 350 pages, 27.4 x 13.6 cm
Published by
Repeater Books / London
$40.00 - In stock -
A selection of Repeater authors choose their favourite horror stories for this new anthology, with each writing a critical introduction for the story of their choice.
Edited by novelist and Repeater publisher Tariq Goddard and “horror philosopher” Eugene Thacker, The Repeater Book of the Occult is a new anthology of horror stories that explores the ever-shifting boundaries between the natural and supernatural, between the real and the unreal. As the editors note, “In the grey zone between what appears and what is, lies horror. But horror writing is also a certain disposition, a way of thinking based on a suspicion regarding the world as it is given to us, and a doubt regarding the accepted ways of explaining that world to us – and for us.”
The Repeater Book of the Occult includes introductions by Repeater authors such as Leila Taylor, Carl Neville, Rhian E Jones, and Elvia Wilk, and features horror classics by Algernon Blackwood, Charlotte Perkins Gilman, and Edgar Allan Poe, as well as forgotten gems by authors such as W.W. Jacobs, Mark Twain, and Sheridan Le Fanu.
Eugene Thacker is the author of several books, including In The Dust Of This Planet (Zero Books, 2011), and Cosmic Pessimism (Univocal, 2015). He is Professor at The New School in New York City.
Tariq Goddard was born in London in 1975. He read Philosophy at King’s College London. His first three novels were shortlisted for various awards including Whitbread (Costa) First Novel Award, Bollinger Everyman Wodehouse Prize and the Commonwealth Writer’s Prize. His fourth and fifth books won the Independent Publishers Gold medal for Horror Writing and Silver medal for Literary Fiction respectively. He lives on a farm in Wiltshire with his wife and children.
2021, English
Softcover, 340 pages, 14.6 x 21 cm
Published by
Strange Attractor / London
$32.00 - Out of stock
An anthology investigating the influences behind Dungeons & Dragons, the most popular modern role-playing game.
Drawing upon the original list of "inspirational reading" provided by Gary Gygax in the first Dungeon Master's Guide, published in 1979, as well as hobbyist magazines and related periodicals that helped to define the modern role-playing game, Appendix N offers a collection of short fiction and resonant fragments that reveal the literary influences that shaped Dungeons & Dragons, the world's most popular RPG. The stories in Appendix N contextualize the ambitious lyrical excursions that helped set the adventurous tone and dank, dungeon-crawling atmospheres of fantasy roleplay as we know it today. Featuring tales by Poul Anderson, Frank Brunner, Ramsey Campbell, Lin Carter, Lord Dunsany, Robert E. Howard, Tanith Lee, Fritz Leiber, H. P. Lovecraft, David Madison, Michael Moorcock, C. L. Moore, Fred Saberhagen, Clark Ashton Smith, Margaret St. Clair, Jack Vance, and Manly Wade Wellman.
2011, English
Softcover, 179 pages, 14.3 x 22.2 cm
Published by
Zero Books / UK
$39.00 - In stock -
"Thacker's discourse on the intersection of horror and philosophy is utterly original and utterly captivating..." Thomas Ligotti, author of The Conspiracy Against the Human Race
The world is increasingly unthinkable, a world of planetary disasters, emerging pandemics, and the looming threat of extinction. In this best-selling book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live - a central motif of the horror genre. In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker's hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music.
2021, English
Softcover, 456 pages, 21.6 x 14 cm
Published by
University of Minnesota Press / Minnesota
$89.00 - Out of stock
A groundbreaking collection of writings by Michel Foucault and the Prisons Information Group documenting their efforts to expose France's inhumane treatment of prisoners.
Authors: Michel Foucault and Prisons Information Group
Edited by Kevin Thompson and Perry Zurn
Translated by Perry Zurn and Erik Beranek
Founded by Michel Foucault and others in 1970–71, the Prisons Information Group (GIP) circulated information about the inhumane conditions within the French prison system. Intolerable makes available for the first time in English a fully annotated compilation of materials produced by the GIP during its brief but influential existence, including an exclusive new interview with GIP member Hélène Cixous and writings by Gilles Deleuze and Jean Genet.
These archival documents — public announcements, manifestos, reports, pamphlets, interventions, press conference statements, interviews, and round table discussions — trace the GIP's establishment in post-1968 political turmoil, the new models of social activism it pioneered, the prison revolts it supported across France, and the retrospective assessments that followed its denouement. At the same time, Intolerable offers a rich, concrete exploration of Foucault's concept of resistance, providing a new understanding of the arc of his intellectual development and the genesis of his most influential book, Discipline and Punish.
Presenting the account of France's most vibrant prison resistance movement in its own words and on its own terms, this significant and relevant collection also connects the approach and activities of the GIP to radical prison resistance movements today.
1992, French / Japanese
Softcover (french-folds w. parchment dust-jacket and obi-strip),
Ed. of 950, first hand-numbered ed. 19/50,
1st Edition, Out of print title / used / very good
Published by
Taito Vision / Tokyo
$200.00 - Out of stock
Stunning, very rare Japanese publication collecting the works of married Surrealist artist-couple Unica Zürn and Hans Bellmer, issued in a limited edition of 950 copies by Taito Vision in 1992. This copy scarcer still, being one of the first edition of 50 hand-numbered copies (no.19/50). Contents include colour reproductions of Unica Zürn's print series "Oracles et Spectacles", published in 1967 after a series of drawings created by Zürn during a 1960 hospitalization caused by a clinically diagnosed psychotic episode. They are accompanied here by a selection of her anagrammatic poetry and a hommage to Zürn by husband Bellmer. These are followed by colour reproductions of Hans Bellmer's "Petit Traité de Morale" print series from 1966-68. Accompanied by biographies, a series of texts in Japanese, a full catalogue and portraits of the artists. A stunning book making these wonderful print editions by two important Surrealists available together in book-form.
Very Good copy in Very Good dust jacket protected in publisher's removable parchment jacket and publisher's obi-strip (both not pictured here, both with some tanning and wear). A most complete and limited copy.
1970 / 1975, Japanese
Softcover (w. dust jacket), 100 pages, 26 x 18 cm
Out of print title / used / very good
Published by
Iwasaki Art Co. / Japan
$70.00 - Out of stock
Lovely 1975 Japanese monograph on the work of Aubrey Beardsley, first published in 1970. Profusely illustrated throughout with 155 works, illustrated biography, biography and list of works, wrapped up in textured stock cover and dust jacket. Texts by Tadayuki Omori.
Aubrey Vincent Beardsley (1872 – 1898) was an English illustrator and author. His black ink drawings were influenced by Japanese woodcuts, and emphasized the grotesque, the decadent, and the erotic. He was leading figure in the aesthetic movement, the British counterpart of Decadence and Symbolism. He produced extensive illustrations for books and magazines such as The Studio, The Yellow Book, and The Savoy. Beardsley was a public as well as private eccentric. He said "I have one aim—the grotesque. If I am not grotesque, I am nothing." Oscar Wilde said Beardsley had "a face like a silver hatchet, and grass green hair." Wilde's irreverent wit and work reflected the decadence of his era and his influence was enormous, despite his early death from tuberculosis at age 25. His influence is clearly visible in the work of the French Symbolists, the Poster Art Movement of the 1890s, the work of many later-period Art Nouveau artists such as Papé and Clarke and 20th fantasy illustration.
Very Good copy in VG original dust jacket.