Results
JUNGLE STORIES.
New York: Glen-Kel Pub. Co., Inc., 1952. Octavo, single issue, pictorial wrappers. Pulp magazine. Ki-Gor, Jungle Lord.
STARTLING STORIES.
Springfield, MA: Better Publications, Inc., 1949. Octavo, single issue, cover by Earle Bergey, pictorial wrappers. Pulp magazine. Fiction by L. Ron Hubbard writing as "Rene Lafayette," a Jack Vance Magnus Ridolph story, Murray Leinster, Clifford Simak and others. Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 611-617.
STARTLING STORIES.
Springfield, MA: Better Publications, Inc., 1949. Octavo, single issue, cover by Earle Bergey, pictorial wrappers. Pulp magazine. Fiction by L. Ron Hubbard writing as "Rene Lafayette," a Jack Vance Magnus Ridolph story, Murray Leinster, Clifford Simak and others. Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 611-617.
ALL THE FUNNY FOLKS: THE WONDER TALE OF HOW THE COMIC-STRIP CHARACTERS LIVE AND LOVE "BEHIND THE SCENES."
New York: The World Today, Inc., [1926]. Quarto, pp. [1-9] 10-112, color illustrations by Louis Biedermann, original green cloth, spine panel lettered in gold, color pictorial onlay affixed to front panel, pictorial endpapers. First edition. A story by Jack Lait featuring 1920's comic characters created by George McManus, George Herriman, Frederick Burr Opper, Reuben L. Goldberg, E. C. Segar, Chester Gould, all shown interacting -- at a banquet, the races (a match between Spark Plug and Maud), and at a wedding -- in color drawings (some double page) by Louis Biedermann. Louis Biederman worked as a staff assistant at King Features at this time, filling in when cartoonists went on vacation, inking different cartoonists work and pitching in on the lettering. This allowed Biederman to develop the skill of being able to copy any of the cartoonists at King features and it was he who was assigned the artwork in this book. To write the book, King Features brought in erstwhile Hollywood scriptwriter, playwright and newspaper columnist Jack Lait, who would later co-author "New York Confidential", "Chicago Confidential" and "Washington Confidential". This duo created what was in essence a marketing book about the stable of comic characters at King Features. Though the book itself is not rare, the wraparound dustwrapper containing all the Hearts/King Features characters is scarce.
BEFORE ADAM.
Norwalk, CT: The Easton Press, [1987]. Octavo, illustrations by Frank Mayo, full leather, a.e.g. Later edition. New introduction by Philip Jose Farmer. London's first SF novel in which he uses a favorite theme, atavism, as a device to project a consciousness into the past. "The hard realistic edge and controlled language make this one of London's best, an important minor classic." - Survey of Science Fiction Literature I, pp. 144-48. Collector's notes laid in. Issued as part of the Easton Press "Masterpieces of Science Fiction" series. Angenot and Khouri, "An International Bibliography of Prehistoric Fiction," SFS, VIII (March 1981), 45.
THE JACKET (THE STAR ROVER).
London: Mills & Boon, Limited, [1915]. Octavo, pp. [1-4] [1] 2-333 [334: printer's imprint] [335-336: ads] 1-[32]: ads [note: the 32 pages of ads are signatures 22 and 23 and are not an inserted catalogue], inserted color frontispiece, original green cloth, front panel ruled in blind, spine panel stamped in gold, bottom edge rough-trimmed. First edition, first printing with "Published 1915" on copyright page. The British edition preceded the U.S. edition. The British edition was deposited in the British Library 4 August 1915 and was listed as "ready" in Athenaeum 7 August 1915. The U.S. edition, titled THE STAR ROVER, was published by Macmillan in October and a copy was received by the Boston Athenaeum 14 October 1915. The protagonist is tortured in prisoner and develops the ability to go into a trance like state and travel through an astral plane exploring past lives. "Possibly the most curious of London's novels. ... Some of the phantasmagoric episodes have considerable power. The book reveals an unexpected side of Jack London. Not only was he the victim of poverty in his youth, as his concern for social justice might suggest, he was the illegitimate son of a spiritualist and an astrologer." - T. Collins in Smith (ed), Twentieth Century Science Fiction Writers (1981), p. 343. Loosely based on the experiences of a San Quentin prisoner London came to befriend. Filmed as a silent picture in 1920. Anatomy of Wonder (1976) 2-110 and (1981) 1-119. Barron (ed), Fantasy Literature 3-223. Bleiler, The Guide to Supernatural Fiction 1031. Clareson, Science Fiction in America, 1870s-1930s 518. Locke, A Spectrum of Fantasy, p. 142. Schlobin, The Literature of Fantasy 674. Survey of Science Fiction Literature V, pp. 2159-62. In 333. Bleiler (1978), p. 126. Reginald 09153. BAL 11962. Baird and Greenwood, An Annotated Bibliography of California Fiction 1664-1970 1544.
THE SCARLET PLAGUE ...
New York: The Macmillan Company, 1915. Octavo, pp. [1-8] 9 [10] 11-181 [182: blank] [183-188: ads] [189-192: blank] [note: last two leaves are blanks], illustrations by Gordon Grant, original pictorial red-brown cloth, front panel stamped in orange and yellow, spine panel stamped in orange, yellow and gold, fore and bottom edges rough trimmed, decorated endpapers. First published edition, preceded by a copyright printing. A world catastrophe novel in the tradition of Mary Shelley's THE LAST MAN (1826) and M. P. Shiel's THE PURPLE CLOUD (1901). "Undoubtedly London's best fantastic story, told with considerable artistry and with less tub-thumping and breast-beating than usual." - Bleiler, Science-Fiction: The Early Years 1358. Anatomy of Wonder (1976) 2-109; (1981) 1-118; (1887) 1-60; (1995) 1-60. Clareson, Science Fiction in America, 1870s-1930s 517. Locke, A Spectrum of Fantasy, p. 142. Bleiler (1978), p. 126. Reginald 09150. BAL 11960. Baird and Greenwood, An Annotated Bibliography of California Fiction 1664-1970 1543.
THE SCARLET PLAGUE ...
New York: The Macmillan Company, 1915. Octavo, pp. [1-8] 9 [10] 11-181 [182: blank] [183-188: ads] [189-192: blank] [note: last two leaves are blanks], illustrations by Gordon Grant, original pictorial red-brown cloth, front panel stamped in orange and yellow, spine panel stamped in orange, yellow and gold, fore and bottom edges rough-trimmed, decorated endpapers. First edition. A world catastrophe novel in the tradition of Mary Shelley's THE LAST MAN (1826) and M. P. Shiel's THE PURPLE CLOUD (1901). "Undoubtedly London's best fantastic story, told with considerable artistry and with less tub-thumping and breast-beating than usual." - Bleiler, Science-Fiction: The Early Years 1358. Anatomy of Wonder (1995) 1-60. Clareson, Science Fiction in America, 1870s-1930s 517. Locke, A Spectrum of Fantasy, p. 142. Bleiler (1978), p. 126. Reginald 09150. BAL 11960. Baird and Greenwood, An Annotated Bibliography of California Fiction 1664-1970 1543.
MIRAGE ON LOVECRAFT: A LITERARY VIEW.
Baltimore, MD: Jack L. Chalker and Mark Owings: Publishers, 1965. Large octavo, mimeographed, pictorial wrappers, stapled. First edition. One of approximately 200 copies printed. Examination of Lovecraft, his views on fantastic literature and his literary style. Contributions by Lovecraft, August Derleth, David Keller and others.
THE GLASS TOO MANY.
New York City: Bookfinger, 1973. Octavo, cloth. First U.S. edition. Occult detective novel with Gregory George Gordon Green known as Gees. Text offset from the Wright and Brown edition. Bleiler: The Guide to Supernatural Fiction, #1102.
WIRELESS.
[New York]: The Mysterious Press, [1993]. Octavo, boards. First edition.
VICTIMS.
New York: Trident Press, 1972. Octavo, Hardcover. First edition.
PLANET STORIES.
New York: Love Romances, 1953. Octavo, single issue, cover by Anderson, pictorial wrappers. Pulp magazine. Includes "The Infinites" by Philip K. Dick (his third appearance in Planet). Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1953. Octavo, single issue, cover by Anderson, pictorial wrappers. Pulp magazine. Includes "The Infinites" by Philip K. Dick (his third appearance in Planet). Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1954. Octavo, single issue, cover by Freas, pictorial wrappers. Pulp magazine. Includes "James P. Crow" by Philip K. Dick. Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1952. Octavo, single issue, cover by Vestal, pictorial wrappers. Pulp magazine. Incudes Philip K. Dick"s second professionally published story, "The Gun." Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1954. Octavo, single issue, cover by Freas, pictorial wrappers. Pulp magazine. Includes fiction by Robert Sheckley. Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1954. Octavo, single issue, cover by Freas, pictorial wrappers. Pulp magazine. Includes fiction by Robert Sheckley. Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1953. Octavo, single issue, cover by Anderson, pictorial wrappers. Pulp magazine. Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1953. Octavo, single issue, cover by Freas, pictorial wrappers. Pulp magazine. Includes a Leigh Brackett story. Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1955. Octavo, single issue, cover by Freas. pictorial wrappers. Pulp magazine. Includes fiction by Algis Budrys, Poul Anderson and others. Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
PLANET STORIES.
New York: Love Romances, 1954. Octavo, single issue, cover by Freas (mistakenly credited to Algis Budrys), pictorial wrappers. Pulp magazine. Includes a Leigh Brackett story as well as early fiction by Michael Shaara (who would write THE KILLER ANGELS). Unabashedly the magazine was a proponent of "space-opera." In Leigh Brackett's introduction in the anthology THE BEST OF PLANET STORIES (1974) she states "the so-called space opera is the folk-tale, the hero-tale of our particular niche in history." Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 476-481.
THE REEFS OF SPACE.
London: Dennis Dobson, [1965]. Octavo, boards. First edition. The first volume in the Starchild Trilogy.
THE STARCHILD TRILOGY: THE REEFS OF SPACE, STARCHILD, ROGUE STAR.
Garden City, New York: Nelson Doubleday, Inc., nd. [1977]. Octavo, boards. Later printing of the first combined (and first U.S. hardcover) edition. Code I20 on page 435. Issued by the Science Fiction Book Club. Collects THE REEFS OF SPACE (1964), STARCHILD (1965), and ROGUE STAR (1969). "Authoritarian dystopia" - Sargent, British and American Utopian Literature, 1516-1985, pp. 288; 296.
STARCHILD.
London: Dennis Dobson, [1966]. Octavo, boards. First edition. The second volume in the Starchild Trilogy. "Authoritarian dystopia" - Sargent, British and American Utopian Literature, 1516-1985, p. 296.