Posts Tagged → first edition

Amphigorey Too

by Edward Gorey

SIGNED | First Edition | G. P. Putnam’s Sons | 1975

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Edward Gorey was a Creative with a capital C – a writer, illustrator, set and costume designer, fur coat-clad style icon, and eccentric companion to a host of artists and intellectuals who formed a corner of the counterculture movement at Harvard, Boston, and beyond. Gorey was prolific – over the course of his career, he illustrated over 200 book covers, wrote and illustrated over 100 books, stories, and unclassifiable “works,” and won a Tony Award for Costume Design in the 1977 Broadway revival of Dracula, among other accomplishments.

Amphigorey Too was published as a follow-up to Amphigorey, the first collection of Gorey’s works. It anthologizes 20 Gorey stories that may be difficult to find or buy individually, including such gems as “The Beastly Baby,” “The Nursery Frieze,” “The Pious Infant,” “The Inanimate Tragedy,” “The Gilded Bat,” and more. Gorey’s signature style is on full display – Victorian, gothic, surrealist, absurd, and darkly funny. The combination of these elements leaves a reader unsettled, with a vague sense of the macabre, rendered whimsical with biting humor.

Gorey’s status as “cult classic” is a big factor in determining the value of this first edition, signed copy of Amphigorey Too – those who followed him followed him fervently, and consider his signature something to cherish. A Gorey book contains not only his one-of-a-kind words and illustrations, but also his personal flair, his refusal to define himself as a certain type of artist and person. Much as his work steered clear of categorization, Gorey himself defied binaries of sexuality and traditional notions of masculinity. His friends – including, notably, his roommate Frank O’Hara, who would go on to be a celebrated member of the New York School of poets – were mostly outwardly gay, and Gorey held himself with an exuberant, eccentric air, dressing flamboyantly in oversized fur coats, scarves, sneakers, and heavy rings. But despite copious speculation on his sexuality, Gorey never explicitly labeled himself, leaning instead towards answers such as this (printed in the September 1980 edition of Boston magazine): “What I am trying to say is that I’m a person before I’m anything else.” (If you want to read more about Gorey, O’Hara, and their participation in queer culture, we highly recommend the LitHub article “Edward Gorey, Frank O’Hara and Harvard’s Gay Underground” by Mark Dery.)

Gorey’s lasting influence shows in works influenced by his style, including Daniel Handler (Lemony Snicket’s) children’s books, A Series of Unfortunate Events, and the music video for the Nine Inch Nails song “The Perfect Drug,” which was designed to contain Goreyesque set elements and costuming. When Gorey died in 2000, he left much of his estate to a charitable trust that benefitted cats, dogs, bats, insects, and other such creatures, and he left his one-of-a-kind books to a following of readers eager to see the world through Gorey’s strange point of view. This signed first edition of Amphigorey Too is a celebration of art, counterculture, and uniqueness. If you love Gorey like we do, come by the store to take a look at this and 10+ other signed works in our collection!

Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream

by Hunter S. Thompson

First Edition, First Printing | Random House | 1972

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One of the most significant features of Hunter S. Thompson’s most famous novel is that it bends and breaks the boundaries of what can in fact be called a “novel.” Fear and Loathing in Las Vegas tells the story of Raoul Duke, a journalist, and Dr. Gonzo, Duke’s attorney, as they move through Las Vegas, shirking responsibilities, taking illicit drugs, and reflecting on the zeitgeist of post-sixties America. It draws details from two 1971 trips Thompson took to Las Vegas with Oscar Zeta Acosta, a Chicano Activist and attorney, blending fact and fiction to create a hazy, drug-fueled cultural commentary that shook up the literary scene.

This subversive style was not new to Thompson. His 1970 article for Scanlan’s Monthly, titled “The Kentucky Derby Is Decadent and Depraved,” ignored the obvious facts and details of the event, focusing instead on the rowdiness of the Derby’s wealthy patrons and Thompson’s own bad behavior. Boston Globe editor Bill Cardoso called it “gonzo journalism,” and the name stuck. Fear and Loathing popularized what became Thompson’s signature genre, which places the reporter at the center of the story, renouncing journalistic objectivity in favor of an impressionistic, hyperbolic, and satirical view of the subject of the reportage.

The first edition of Fear and Loathing on the Dawn Treader shelves is not actually the first time the story appeared in print—originally, Rolling Stones published it as a two-part story under the byline “Raoul Duke,” with illustrations by Ralph Steadman (who also illustrated Thompson’s debauchery at the Kentucky Derby). In July 1972, Random House capitalized on the story’s success and Thompson’s notoriety by publishing it as a book. The magazine and book versions of the story differ slightly—when the book was published, some rowdier characters’ names were redacted for the protection of their real-life counterparts.

Next time you’re in town, stop by to take a look at this special copy of a seminal novel that scintillates from the first line—which happens to be one of the Dawn Treader family’s favorites of all time: “We were somewhere around Barstow on the edge of the desert when the drugs began to take hold.”

The Catcher in the Rye

by J. D. Salinger

First Edition, First Printing, Later Dust Jacket | Little, Brown and Company | 1951

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This first edition, first printing of The Catcher in the Rye is a superstar on the Dawn Treader shelves. Since its publication in 1951, Salinger’s only novel has become an infamous problem child on high school reading lists. It has been banned, challenged, and removed from lists and libraries across the United States, but readers can’t stay away — it remains one of the most commonly assigned books in English classes, and around 1 million copies are sold each year.

Certain first editions of The Catcher in the Rye can be valued at up to $25,000 (and in one instance, $65,000!), depending on their condition and whether or not they wear the original dust jacket (first and second printings of the novel feature a photo of Salinger stretched across the back of the jacket, but the famously reclusive author requested its removal after he found himself increasingly present in the literary spotlight). Why is a first edition of The Catcher in the Rye so valuable? First editions in general are considered the closest a reader can get to the version of a book seen through production by its original author. Rarity of early printings and popularity of subsequent editions are also factors, and The Catcher in the Rye has certainly enjoyed its day — or century — in the sun.

Some credit the novel’s continued popularity to the “Streisand Effect,” a phenomenon where something is sought after explicitly because so many people are trying to keep it under wraps. Could repeated attempts to keep The Catcher in the Rye out of students’ hands be a reason why it is so often found in them? The novel of troubled adolescence has also caught a certain notoriety after being linked to several high profile violent crimes. Former security guard Mark David Chapman was found with a copy on the night he shot John Lennon. Inside, he had written, “This is my statement,” and signed the note “Holden Caulfield.” Robert John Bardo was carrying a copy of The Catcher in the Rye when he killed Rebecca Schaeffer in her home in 1989. It was also one of several books found in John Hinckley Jr.’s hotel room on the night he attempted to assassinate Ronald Reagan. The question of how much influence the novel had over these killers’ psyches — and how much influence these crimes have had over its popularity and sales — has been hotly debated.

Despite a history marred with censorship and allegations of criminal influence, The Catcher in the Rye remains a stalwart of the American literary canon. Next time you’re in town, stop by the Dawn Treader to take a look at our historic copy!