Search Results: Authors starting with G from Goodbar Books

Tight spine, although there is a slight skew that does not affect the book's soundness/readability. Clean, unmarked interior. There is a small area of adhesive remainder to the front panel and gently bumped corners, but very little shelf-wear otherwise. Lovely Sumi brush illustrations to the cover and frontispiece. 121 pp. Spirituality/Esoterica.

Former owner name to half-title, but interior is else clean and unmarked. Spine is heavily creased and has a curve. Some rubbing and sunning to the covers, as well as a very small former seller label to front cover. Sewn binding. Fantastic cover design by Janet Halverson. 956 pp. Fiction.

Tight, square spine. Clean, unmarked interior. Only very gentle wear. Design by Jim Cook. Cover design by Francine Rudesill. Noel Young, a printer and designer for Black Sparrow Press who struck out on his own and founded Capra Press in 1969, adopted the following publishing philosophy: 'Approach writers you admired, acquire book rights to their shorter and offbeat works, and turn them into books.' This release, Volume V of Capra's Back-to-Back Series (two titles with their ends meeting in the middle) embodies that method as it features off-genre ventures into screenwriting by a trio of literary icons from the US's Pacific Northwest. Neither script—Le Guin's is based on the Mahabharata, while Carver and Gallagher's is a Dostoevsky biopic—ever made it to the big screen ('You are a courageous producer, a wonderful crew, and the best director in the world!' Le Guin tells readers in her intro).

Clean, unmarked interior. There is a slight skew to the spine, as well as some sunning, but binding is sound. There are two chips to the front cover, but only gentle shelf-wear otherwise. Some light foxing to the edges and tanning to the inside covers. Translated by Gregory Rabassa. Design by Sidney Feinberg. 422 pp. Fiction.

Some light edge-wear. Spine is square and tight. A small crease in the upper spine side of the front cover. Text block is unmarked. 156 p. The Nobel prizewinner got his start as a journalist, and here he writes an unconventional detective story. There's a psychedelic true-crime reenactment quality to the stylized murder scene depicted on the cover. 156 pp.

Tight, square, uncreased spine. Clean, unmarked interior. Only the gentlest of shelf-wear. Text design by Roy Trevelion. Cover design by Sue Lamble. Jam-packed with beautiful B&W plates of Glover's work. 144 pp. Art.

No copyright date stated, but looks to be early to mid-twentieth century. Saddle-stitched binding remains sound. Clean, unmarked interior. There is some toning and light soiling to the covers, as well as a crease to the front lower corner at the fore-edge. Some foxing to the first and last leaves. Full of beautiful full-color botanical lithographs. Lovely cover printed in three colors. Natural History.

Saddle-stitched binding remains sound. Clean, unmarked interior. Light to moderate shelf-wear, including some small areas of creasing and edge-wear. Includes two maps (one B&W and one two-color) inserted into pocket to inside back cover. Features B&W charts throughout. 45 pp. Natural History.

Nice sharp corners, uncreased, tight spine, unmarked pages. Very minor edge-wear. First performed in 1728, The Beggar's Opera democratized opera for the English and would two centuries later serve as the source text for Brecht's The Threepenny Opera. This edition, which features a cover detail of one of William Hogarth's paintings depicting the trial of Macheath, was released by the once ubiquitous chain store's publishing arm when it was on its way up; a year later, B&N's flagship New York retail outlet would overtake London's Foyles bookshop to be the world's largest bookstore. Features a lengthy essay and in-depth textual commentary by Lewis, a bibliography, a chronology of Gay's life, and a reproduction of the title page from the original 1728 edition. Important research tool for understanding Hauptmann, Brecht, and Weill's adaptation to The Threepenny Opera. 143 pp. Theater.

Cover design by Rhonda Ries. Clean, unmarked pages. Tight, uncreased spine. Very faint crease running the length of front cover. Chapters include 'Founding of New Orleans and Early Years 1718 1730', 'French Period 1731 1761', 'Spanish Period 1762 1802', 'Early American Period 1803 1830', 'Antebellum Years 1830 1860', 'The Civil War and Reconstruction 1860 1890', and 'The Creole Legacy Continues'. Includes appendix titled 'First Names and Surnames Common before 1803', as well as Bibliography and Suggested Reading. 152 pp. History.

Inscribed by Geier to the front flyleaf: 'John F. Keefe/with Rama's best wishes and mine/Marguerite Geir'. Tight, square spine. Clean, unmarked interior. Metallic stamping to spine remains bright. Very little wear to the book. Light wear to the jacket, including a few small areas of toning, soiling, and chipping. 98 pp. Fiction.

Tight, square spine. Clean, unmarked interior. Only very light wear to the book. Jacket has some areas of gentle edge-wear, but is in lovely shape overall. Translated by Bernard Frechtman. First published in Paris in 1951 by Librairie Gallimard in Œvres Complètes as Miracle de la Rose. Classic Grove design with full buckram and black stamping to the spine, as well as Roy Kuhlman–created jacket featuring a portrait of Genet by photographer-to-the-literati Jerry Bauer. Bauer, who was a master of natural light and who often incorporated a candid quality into the art of the portrait, boasts a truly stunning body of work of author photos, including Patricia Highsmith, Samuel Beckett, Joyce Carol Oates, Muriel Spark, Jean Rhys, Jack Kerouac, and many others. Regarding his own appearance, Bauer once remarked, 'On a good day, I am Elton John. On a bad day, I am Woody Allen.' 344 pp.

Tight spine has some subtle cosmetic creasing. Clean, unmarked interior. Only very light shelf-wear. Translated by Bernard Frechtman. First published in Paris in 1951 by Librairie Gallimard in Œvres Complètes as Miracle de la Rose. 'Indeed,' writes Genet, 'it seems that when tragedians, while performing, reach the heights of tragedy, their chests swell because of the rapidity of their breathing.' The line between tragedy and melodrama is thin in this classic Genet novel, as reflected in the Technicolor cover photo by Harold Zipkowitz: a rose's vertical growth—transcendent but ultimately claustrophobic—into the neatly and narrowly stacked type above. Features a chatty Grove Press subscription insert asking the reader to 'join The Underground' and mail in a card stating, 'Gentlemen: I am adventurous, literate, adult and wish to take advantage of your offer . . .' 344 pp.

Tight, square spine. Clean, unmarked interior. Some light shelf-wear. A richly illustrated atlas by outsider geographers, one known for his prolific output. Heimann, who has penned kitsch-focused design monographs including Sins of the City: The Real Los Angeles Noir; May I Take Your Order?: American Menu Design 1920–1960; and Close Cover Before Striking: The Golden Age of Matchbook Art, joins with Georges to explore folk commercialism at the outer edge of the New World. 139 pp.

Spine is square, tight, and uncreased. Interior is clean and unmarked besides some notes in ink to the final page. There is some fading and tanning to the spine and back cover, as well as some light edge-wear and a couple very small areas of soiling to the fore-edge, first leaf, and inside front cover. 442 pp. Politics & Philosophy.

Spine is square, but is starting to loosen slightly. Book remains sound and readable overall, and there is no other notable wear. Clean, unmarked interior. Jacket has suffered some toning/sunning and moderate to heavy chipping/tearing/edge-wear. Forewords by Eugene Underhill and Royal Lee. 216 pp. Crafts/Skills/Trades.

Tight, square, uncreased spine. Unmarked interior. Minor edge-wear and a small spot of subtle pen marking to the back panel. Translated by Dorothy Bussy, who was a good friend of Gide and anonymously published her groundbreaking lesbian novel, Olivia, with Virginia Woolf's Hogarth Press in 1949. Printmaker Antonio Frasconi, who incorporated expressionistic title lettering into the woodcuts that grace both the books' covers, often carved blocks from the driftwood found on the beach in front of his home. 'Sometimes the wood gives you a break," he said, "and matches your conception of the way it is grained. But often you must surrender to the grain, find the movement of the scene, the mood of the work, in the way the grain runs.' 148 pp.

Tight, square spine. Clean, unmarked interior. No notable shelf-wear to the book. Gilt to spine remains bright. Jacket has some edge-wear, some light rubbing, and a chip to the back. Features B&W illustrations. 159 pp. Biography.

Clean, unmarked pages besides some markings to the first few pages and former library markings to the front matter and edge of text block. Tight, square spine. Minor edge-wear. Library binding with green buckram over boards. Lots of B&W illustrations. 505 pp. Natural History.

Clean, unmarked interior besides former library markings to the front and back matter, spine, and edges of the text block. Minor shelf-wear. Beautiful full-color plates and B&W illustrations. 441 pp. Natural History.