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London: William Heinemann, 1895. Small octavo, pp. [1-8] 1-151  + -page publisher's catalogue with first page headed "THE MANXMAN" inserted at rear, original decorated tan buckram, front and spine panels stamped in purple, publisher's monogram stamped in purple on rear panel, top and fore edges untrimmed, bottom edge rough trimmed. First British edition, first binding, earliest form of inserted publisher's catalogue. The Holt edition was published before the Heinemann edition and the text (presumably an earlier version of the story) differs significantly from the Heinemann edition (the better text) and from the NEW REVIEW serial. See Bergonzi, "The Publication of The Time Machine, 1894-1895," Clareson, ed., SF: The Other Side of Realism (1971), pp. 204-15. The author's first SF novel. "Many rank it as Wells's best book, certainly its qualities are striking and direct ... All time-travel stories since owe a debt to Wells, none has become so acclaimed." - Bleiler (ed), Science Fiction Writers, p. 26. "THE TIME MACHINE might be considered the first work of modern science-fiction, and it is still the classic statement of an important subgenre ... A remarkable work, and necessary reading." - Bleiler, Science-Fiction: The Early Years 2325. Anatomy of Wonder (1976) 2-161; (1981) 1-171; (1987) 1-103; (1995) 1-103; and (2004) II-1232. Clareson, Science Fiction in America, 1870s-1930s 800. Clarke, Tale of the Future (1978), p. 21. Lewis, Utopian Literature, p. 207. Locke, A Spectrum of Fantasy, p. 227. Negley, Utopian Literature: A Bibliography 1175. Sargent, British and American Utopian Literature, 1516-1985, p. 107. Survey of Science Fiction Literature V, pp. 2287-92. Suvin, Victorian Science Fiction in the UK, pp. 62-3. Bleiler (1978), p. 205. Reginald 15085. Currey, p. 525 (binding B, catalogue 1). Hammond B1. Wells 4. Wolff 7107.
München und Berlin: Verlag R. Oldenbourg, 1930. Octavo, pp. [i-ii] iii-viii 1-240, 61 illustrations and diagrams in the text, original pictorial yellow cloth, front and spine panels stamped in red, top edge stained red. Sixth edition, revised and enlarged. The fifth edition of DER VORSTOSS IN DEN WELTRAUM (1924), published in 1928, was extensively revised and enlarged. This sixth edition (the second edition under this title) was published in 1930. Both the fifth and the sixth editions were issued in cloth and in wrappers. The foremost first-generation western European publicist who was a moving force in the organization and promotion of rocket societies, in this case the Austrian groups and the German Rocket Society, was Max Valier (1893-1930). Valier's biographer traces his first thoughts of rockets and space travel back to his school days at Innsbruck University in 1913 -- 1914. His reputation as an authority on space travel was firmly established by the time of his first major astronomical work, DER VORSTOSS IN DEN WELTRAUM, published in 1924. Valier's career ended in 1930 when he was killed while experimenting with a liquid-propellant engine for a rocket car. Valier's role as chief rocket publicist in western Europe was assumed by Willy Ley, who from the appearance of his first book, DIE FAHRT INS WELTALL in 1926, was the preeminent astronautical author-lecturer for forty years (adapted from Winter, Prelude to the Space Age, the Rocket Societies: 1924-1940, p. 24). Ciancone 223. Hübner 700. Interlibrum 339. Ley, Rockets, Missiles, and Space Travel, revised edition, 1957, p. 508.
New York: The Macaulay Company, . Octavo, pp. [1-8] 9-256, original orange cloth, front and spine panels stamped in black, fore and bottom edges rough trimmed. First edition. Weird mystery thriller set on Long Island, inducted by Bill Pronzini into "The Alternate Hall of Fame" in SON OF GUN IN CHEEK. First published in TWO BOOK DETECTIVE MAGAZINE, February-March 1934, under the title "The Death Messenger." The second novel featuring private detective J. C. K. "Jigger" Masters, preceded by another weird thriller, THE ROSE BATH RIDDLE, also published in 1934. In HOUSE OF THE DAMNED Masters investigates strange doings and murder at Fernycroft Towers, "a castle built by an insane architect," far out on the eastern end of Long Island where, among other things, two men work "feverishly against time, upon a glittering white structure of plaster and mirrors" and "a hunched ogre of terrible strength " works "far below the surface of Long Island." "HOUSE OF THE DAMNED is a yarn that will suit those readers who demand a lot of killing and who do not care how wildly improbable the murderer and his methods are." - New York Times, 16 December 1934. "His thrillers are entertainingly awful, filled with character grotesques and absurd situations." - Robert Knowlton. Hubin (1994), p. 706.
New York: Payson and Clarke Ltd, 1929. Octavo, pp. [1-8] 9-1177 [1178: colophon] [1179-1184: blank] [note: last three leaves are blanks], original decorated black cloth, spine stamped in orange, top edge stained orange. First U.S. edition. Published in Britain as GREAT SHORT STORIES OF DETECTION, MYSTERY AND HORROR. 1177-page anthology collecting sixty-two stories. "Gigantic, very well chosen collection of stories dealing with crime and the supernatural. An excellent historical introduction on the evolution of the detective story." - Bleiler, The Guide to Supernatural Fiction 1443. "Splendid anthology ... Sayers's introduction has become a classic in its own right, being the best short sketch of a general nature on the subject of mystery-detective fiction." - Tymn (ed), Horror Literature 2-85. "A cornerstone volume ..." - Barzun and Taylor, A Catalogue of Crime 2778. Barron (ed), Horror Literature 3-175.
A draft of the second of Vance's final two stories set in the Dying Earth, a continuation of THE EYES OF THE OVERWORLD. The story was first published in FLASHING SWORDS #4 (1977), edited by Lin Carter. The typescript is heavily reworked in a variety of fountain pen inks, with many changes, corrections, annotations and some doodling intermixed. The manuscript gives insight to Vance’s creative process. As to his working method, Vance often began by jotting down scenes, which he later quilted together. He rarely "outlined." Until later in his career when his eyesight failed, Vance often wrote the first draft in longhand, then a much more complete first typed draft (the version offered here), then a second, and sometimes third typed draft.
Boston: Printed and Published by Charles Gaylord, 1833. 12mo, two volumes in one: pp. [i-iii] iv [v-vi]  8-178 [179-180: blank]; [1-3] 4-119 [120: blank], inserted frontispiece with uncredited woodcut illustration, uncredited woodcut illustration on each title page, all attributed to David Claypoole Johnston, original pictorial paper covered boards with pinkish-brown linen shelf back. First edition, first printing with both title pages dated 1833. The first American anthology of fantastic fiction. A collection of eighteen Gothic and Romantic stories, most of which are weird or supernatural, including "The Magic Dice" by Thomas de Quincey, "Der Freischutz, or the Magic Balls" by Johann August Apel, "The Boarwolf" by Apel, and "Peter Rugg, the Missing Man" by William Austin, the last appearing for the first time in a book. "... an excellent selection for its day, with much material that is not generally available elsewhere." - Bleiler, The Guide to Supernatural Fiction 1427. Barron (ed), Fantasy Literature 1-1 (Apel's "Der Freischütz"). Frank, Through the Pale Door: A Guide To and Through the American Gothic 451. Bleiler (1978), p. 173. Reginald 15858. Wright (I) 2266.
Garden City: Doubleday, Doran & Company, Inc., 1933. Octavo, pp. [1-2] [i-vi] vii-viii [ix-x]  2-306 [307-308: blank] [note: first and last leaves are blanks], illustrations by Herbert Roese, original pictorial black cloth, front and spine panels stamped in gold, top edge stained red, other edges rough trimmed. First edition. An X-ray accident causes protagonist to appear unpredictably as a skeleton. Barron (ed), Fantasy Literature 3-326. Bleiler, The Guide to Supernatural Fiction 1500. Bleiler (1978), p. 182. Reginald 13390.
Garden City: Doubleday, Doran and Company, Inc., 1933. Octavo, pp. [1-12]  2-304 [305-308] [note: first and last leaves are blanks], illustrations by Herbert Roese, original pictorial salmon cloth, front and spine panels stamped in gold, top edge stained light orange, fore and bottom edges rough trimmed. First edition. "RAIN IN THE DOORWAY is Smith's other masterwork. Snatched into an adjacent dimension where all women are willing, work is a joke, and booze flows like water, Mr. Hector Owen finds himself partner in a firm reminiscent of the establishment run by the Marx Brothers in The Big Store (1941). Accidentally forced to return to our own sorrowful, rain-drenched world, Mr. Owen manages to retain the company of his new girlfriend, who promises to brighten even this vale of tears." - Paul Di Filippo in Pringle, ed., St. James Guide to Fantasy Writers, pp. 532-33. Barron (ed), Fantasy and Horror 5-277. Barron (ed), Fantasy Literature 3-325. Bleiler (1978), p. 182. Reginald 13389.
[London]: Ghost Story Press, . Octavo, cloth. First edition. One of 400 numbered copies. Signed by Weighell on the title page. The author’s highly regarded first book, The White Road is an omnibus of all Weighell’s previously published fiction at the time. Fourteen stories collected from journals such as Ghosts & Scholars, numerous anthologies, as well as several stories original to this volume. Weighell’s fiction is characterized by his vast knowledge of incunabula, architecture, painting, mysticism, and the occult. Although his work pays direct homage to his two primary influences, M. R. James and Arthur Machen, Weighell’s stories are uniquely his own. While his protagonists are typically scholars, archaeologists, and bibliophiles, his best fiction moves beyond traditional antiquarian ghost stories to explore both wonder and terror in the presence of supernatural forces. Notable stories include “Carven of Onyx,” “The Greater Arcana,” “The Resurrection Brass,” and “The Case of the Fiery Messengers,” a Sherlock Holmes pastiche in which the great detective is consulted by M. R. James. The White Road is a major contribution to 20th-century supernatural fiction. - Boyd White.
Pasadena, TX: Glenn Lord, 1961-1973. Small octavo, printed wrappers. All published. A major source for material by and about Robert E. Howard. Many Howard poems, letters and fragments of fiction are printed here for the first time. Most issues are scarce, especially the early numbers.
West Kingston, Rhode Island: Donald M. Grant, Publisher, 1978. Large octavo, cloth. First edition. Signed inscription by Sydney-Fryer on front free end paper. Well-researched, comprehensive bibliography recording and categorizing Smith's literary work. Includes listings of poems, prose, first line indexes, juvenilia, translations, letters, and other material. Covers unpublished work as well as that printed in books (including anthologies), periodicals, and newspapers. One section, partially annotated, is devoted to source material about Smith appearing in books, magazines and newspapers, including dust jacket copy. Extensive chronological "Principal Facts of Biography," detailed study of his literary techniques, and series of letters from literary figures and friends (Ray Bradbury, August Derleth, Harlan Ellison, Fritz Leiber and others) are also present. Barron (ed), Horror Literature 8-100. Burgess, Reference Guide to Science Fiction, Fantasy, and Horror 419. Tymn (ed), Horror Literature 7-64.
Boston: Houghton Mifflin Company, 1961. Octavo, cloth. First edition. The author's second novel. 2500 copies printed. "Excellent satire." - Anatomy of Wonder (1995) 3-192. 1960 Hugo nominee. Anatomy of Wonder (2004) II-1203. Pringle, Science Fiction: The 100 Best Novels 31. Sargent, British and American Utopian Literature, 1516-1985, Additions.
New York: Ballantine Books, . Small octavo, cloth. First edition. The author's second book, a collection of twelve stories. Includes "The Battle," in which robots fight Satan's minions in Armageddon. "A dozen wry tales in the young Sheckley's best vein (this was his second book). Particularly notable is "A Ticket to Ttanai," about a grotesque world where husbands keep their wives in suspended animation most of the time -- and both sexes enjoy the benefits that the custom brings. It was this story among others which prompted Kingsley Amis to describe the author as 'science fiction's premier gadfly' (in NEW MAPS OF HELL)." - Pringle, The Ultimate Guide to Science Fiction, second edition (1995), p. 67. Anatomy of Wonder (1987) 3-334. Bleiler, The Guide to Supernatural Fiction 1463.
New York: Doubleday, Page & Co., 1902. Octavo, pp. [i-vi] vii [viii] [1-2] 3-498 [499-500: blank] [note: last leaf is a blank], original decorated olive green cloth, front and spine panels stamped in gold and black, rear panel stamped in black. First edition, first printing. Presentation copy with signed inscription by Stoker dated 22 March 1902, a week prior to publication date (29 March 1902) on front free endpaper: "My dear Elizabeth (Newbery?) / with love & greetings / Bram Stoker / 22.3.02." The Doubleday, Page edition preceded the British Heinemann edition by several months. Ingenious romantic adventure novel "set in Cruden Bay, involving a gun battle at sea, a castle with secret passages, and coded writing based on a cipher described by Francis Bacon." - Dalby, p. 38. "I found the story admirable. It has not the fearsomeness of 'DRACULA' but it is beautifully handled and the girl very admirable indeed ... I've done a bit in cryptograms myself, but that knocks me out!" - Arthur Conan Doyle. Bleiler, The Guide to Supernatural Fiction 1547. Bleiler (1978), p. 187. Reginald 13732. Dalby 13a.
London: David Nutt, 1894. Small octavo, pp. [1-8] 1-167 , original pictorial bevel-edged cloth, front and spine panels stamped in black, top and fore-edges untrimmed. First edition. Collects seven stories. Stenbock's only collection of short fiction. Sullivan (ed), The Penguin Encyclopedia of Horror and the Supernatural, p. 401. Locke, A Spectrum of Fantasy Volume II, p. 104. See Tymn (ed), Horror Literature 3-227. Bleiler (1978), p. 186. Reginald 13606.
New York and London: Harper & Brothers Publishers, 1900. Small octavo, pp. [1-4] 1-163 , original decorated blue cloth, front panel stamped in white, light green, and silver, spine panel stamped in white. First edition. A presentation copy with a nice full-page inscription by Serviss on the front free endpaper: "To Mr. William T. Gregg, / my old friend, who / wherever I might / meet him in the / universe would make / me regret the passing / of the old days on / the earth / Garrett P. Serviss / Nov. 8th 1900." The second of four science fiction novels by Serviss, the first to be published as a book. Basically, a catastrophe novel. Following the discovery of a rare metal that replaces gold as the world's monetary standard human greed reduces the moon to rubble and the earth narrowly escapes destruction. "Serviss's best story." - Bleiler, Science-Fiction: The Early Years 1996. Anatomy of Wonder (1981) 1-148. Clareson, Science Fiction in America, 1870s-1930s 681. Clarke, Tale of the Future (1978), p. 26. Locke, A Spectrum of Fantasy, p. 192. Locke, Voyages in Space 190. Suvin, Victorian Science Fiction in the UK, p. 81. In 333. Bleiler (1978), p. 177. Reginald 12902. Wright (III) 4869.
[New York]: Bluejay Books Inc., . Octavo, cloth. First edition. The author's first book, "a stunningly original horror novel, one of the best published in the 1980s." - Barron (ed), Fantasy and Horror (1999) 6-337. Winner of the 1986 World Fantasy Award for best novel. Barron (ed), Horror Literature 4-272. Jones and Newman (eds), Horror: 100 Best Books 94.
London: Michael Joseph, . Octavo, boards. First edition. Collects four Troon stories. "A brief, episodic 'family saga' about the near future exploration of space." - Pringle, The Ultimate Guide to Science Fiction, second edition (1995), p. 271.
London: Michael Joseph, . Octavo, boards. First edition. The U.S. and earlier British editions have textual differences. "A really original scenario; social criticism; good story. Very popular; basis for superior SF film [Village of the Damned]." - Anatomy of Wonder (1987) 3-413. "... only slightly short of being a science fiction masterpiece." - Survey of Science Fiction Literature III, pp. 1391-94. Barron (ed), Fantasy and Horror (1999) 6-404.
Paris: Edite par W. Coquebert, n.d., . Small quarto, pp. [1-4] 1-324, engraved illustrations by Bertall, O. Penguilly and St.-Germain, ten on inserted plates, numerous others in the text, original pictorial brown cloth, front and rear panels stamped in blind and gold, spine panel stamped in gold, a.e.g., yellow coated endpapers. First edition. Versins calls this the first detailed forecast of the future (aside perhaps from Webb's THE MUMMY, 1827) to explore the malignant repercussions of advancing technology. With its extravagant and grotesque illustrations, it makes a fitting bookend to Robida's LA VINGTIEME SIECLE (1883), steam versus electricity, to bracket the first flowering of French dystopian literature, serving as a model, despite its faults, of all the futuristic nightmares that followed, even into the twentieth century (Versins, pp. 822-824). Souvestre projects Marthe and Maurice, his observers from the present day, into the year 3000 and sets them down in Tahiti, where scantily-clad people live in a machine-ridden age. Pipes dispense not only water in homes but fire, light and fresh air. An endless roll of newsprint displays the breaking news of the hour (sound like the Internet?). The very clouds are mined for water and electricity. Infants are handed over to steam-operated feeding machines before being classified by phrenologists and assigned a purpose in life corresponding to their physiognomy. They are then moved to greenhouses where the correct degree of heat ensures the maturation of their brains. All learning is based on the memorization of mnemonic devices. Criminals are either given very lenient or very severe treatment, the latter sent to solitary confinement until they have devolved into complete stupefaction. The technology of 3000 is dominated by steam (including steam-powered shoes) and balloons. Fanciful flying machines present some of the most charming images. Versins credits the little-known Charles Nodier's 1833 compositions, HURLUBLEU and LEVIATHAN-LE-LONG as influences on Souvestre. Versins, Encyclopédie de l'Utopie, des Voyages Extraordinaires, et de la Science Fiction, pp. 822-24.
London: Printed by and for Sampson Low, Berwick Street, Soho, 1796. 12mo, four volumes: pp. [i-v] vi-xvi  2-309 [310-312: blank]; [i-ii]  2-256; [i-ii]  2-268; [i-iv]  2-442 [443-444: ads], full eighteenth-century tree calf, spine richly tooled in gold, red leather title pieces, black leather number pieces, gauffered edges. First edition. "In MARCHMONT, Mrs. Smith achieved a synthesis of domestic and Gothic fiction, a convergence of the imaginary horrors of Gothic fantasy and the real horrors of domestic life during an era of revolution and reaction. In one of the sequences of action, she also included her philosophical reservations about the tyrannical direction of the French Revolution, a didactic strain she had previously introduced in THE BANISHED MAN (1794). The title, 'Marchmont' refers to a family, to a young man who attempts to maintain the decent family name against ruthless schemers, and to the decaying family mansion at Eastwoodleigh, the habitat of ghosts and other unnatural phenomena. To the 'haunted' house of Marchmont comes the heroine, Althea Dacres, sentenced by her angry father to be incarcerated within this foreboding ruin until she consents to marry her father's monstrous lawyer, the coarse and brutal Mr. Mohun. Unknown to Althea, young Mr. Marchmont has also taken up secret residence in the ruined home in order to avoid a swarm of avaricious creditors directed by one of Mrs. Smith's most memorable Gothic demons, the attorney, Mr. Vampyre. The concentration of evil in a diabolically intelligent male character reflects Mrs. Smith's acceptance of the need for this type of character in making her work marketable for a Gothic readership. Vampyre foreshadows Dickens's voracious lawyers and inhuman professionals who feed off the monetary misfortunes of good characters, -- Mr. Tulkinghorn in BLEAK HOUSE (1852-1853) would be an analogous personality. Althea experiences an array of supernatural sounds and sights, all caused by the hidden fugitive, Marchmont. Discovered at last, Marchmont and Althea form a lover's alliance, then flee from the ruined castle together in what must have been a satisfying sequence of images for Gothic readers, the two worthy victims released from the chamber of horrors. But more separations and distresses lie ahead for the young lovers, for in Mrs. Smith's vision, the return from the Gothic world to the social world brings no assurance of safety. Marchmont goes to France just as the Terror is reaching its pinnacle, witnesses all the horrors, loses his Rousseauistic idealism, experiments with country living, and finally reenters repressive English society, even if this means surrendering to Vampyre and his brood of bill collectors. Meanwhile, Althea's own sufferings continue upon the death of her father and the abrogation of her inheritance by Mohun. But a stroke of sudden wealth for both Marchmont and Althea, a ploy used on countless occasions by the Victorian novelists to extricate their good characters, transforms a tense and sad tale into a success story. Vampyre's vicious campaign to ruin Marchmont is blunted when Mr. Desborough, a benevolent creditor who despises the methods of Vampyre, comes forward with a bequest. Althea also obtains a large inheritance from an equally mysterious source. In this happy conclusion, we can see Charlotte Smith's concession to a mandatory narrative formula. Her strongest achievement in MARCHMONT and elsewhere is her conception of the novel as medium for thinking through and testing the volatile ideas of a dangerous decade. To this end, she understood that the most appealing social theories often have a darker side that could be best expressed through the various modes of the Gothic." - Frank, The First Gothics 425. Summers, A Gothic Bibliography, p. 399. Garside, Raven and Schöwerling 1796: 82.
New York: Alfred A. Knopf, 1935. Octavo, pp. [1-10] [1-2] 3-366 [367-370: blank] [note: first two and last two leaves are blanks], original black cloth, front panel stamped in blind, spine panel stamped in gold, running Borzoi stamped in blind on rear panel, top edge stained maroon, fore-edge untrimmed, bottom edge rough trimmed. First U.S. edition. Traven's most famous novel and his second book published in America. This edition was prepared from Traven's English-language manuscript, but supposedly was heavily rewritten by Knopf's editorial staff. Basis for the classic film starring Humphrey Bogart and Walter Huston.
London: Selwyn & Blount, Ltd., n.d., . Octavo, pp. [1-10] 11-251 [252-256: blank] [note: first and last two leaves are blanks used as front and rear paste-downs and endpapers, original red boards, front and spine panels stamped in black. First edition. Collects fifteen stories by Dion Fortune, Jessie Douglas Kerruish and others, several first published in WEIRD TALES. This volume is notable for the first professional publication of David H. Keller's famous psychological horror tale "The Dead Woman," and the first appearance of Dermot Chesson Spence's "Little Red Shoes," which subsequently gave its name to Spence's rare and much-sought collection of nasty ghost stories. Also includes Oswell Blakeston's "The Crack," a nightmarish piece strangely reminiscent of Lovecraft's "Nyarlathotep." The eleventh and last volume in the important "Not at Night" anthology series. Barron (ed), Horror Literature 3-195. Bleiler, The Guide to Supernatural Fiction 1594. Tymn (ed), Horror Literature 4-302. Bleiler (1978), p. 193. Reginald 14084.
Newark, N. J. The Newark Printing and Publishing Company, 1869. Large octavo, pp. [1-3] 4-84, printed in double columns, inserted frontispiece, original green wrappers printed in black. First edition in English. Verne's third book, DE LA TERRE Á LA LUNE: TRAJET DIRECT EN 97 HEURES (1865), was first published in book form in English as FROM THE EARTH TO THE MOON: PASSAGE DIRECT IN 97 HOURS AND 20 MINUTES ... by the Newark Printing and Publishing Co. in the latter half of 1869 as a paperbound book following its publication in seventeen installments over a two-month period commencing June 10th in the NEWARK DAILY AND WEEKLY JOURNAL OF NEW JERSEY. This edition of FROM THE EARTH TO THE MOON was the second book by Verne to be published in English, preceded only by the D. Appleton and Company edition of FIVE WEEKS IN A BALLOON, published in New York 13 March 1869. Anatomy of Wonder (1995) 1-93 and (2004) II-1180. Taves and Michaluk V003. Myers 26 ("This will probably rank for all time as the most rare of all Verne editions!").
London: Sampson Low, Marston, Searle, and Rivington, 1882 [i.e. November 1881]. Octavo, pp. [1-8]  2-190 [191: printer's imprint] [192: blank], six inserted plates plus 27 other illustrations in text, some full page, by W. Fitzgerald and W. V. Cockburn, original cream imitation vellum over bevel-edged wooden boards, front and spine panels stamped in red and gold, rear panel stamped in red, white endpapers with floral pattern printed in gold, a.e.g. First edition. The author's first book of fiction. A collection of eight grim fantasy tales. "The whole was somewhat stern stuff for children, especially with some weird illustrations by Fitzgerald and Cockburn that depicted, among others, the ghastly spectral plague, a blood-spattered giant, and the terrible kingdom of the King of Death ... It did not make much money but it brought quite a lot of notice." - Ludlam, A Biography of Dracula: The Life Story of Bram Stoker (1962), pp. 61-2. Barron (ed), Fantasy Literature 2-149. Locke, A Spectrum of Fantasy, p. 207. Sullivan (ed), The Penguin Encyclopedia of Horror and the Supernatural, p. 404. Bleiler (1978), p. 187. Reginald 13733. Dalby 3a.