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PBA Upcoming Auction (1 Viewer)

M

MULLINAX

Date: 1983-85 Auction: Live
187232 Bukowski, Charles Archive of 16 letters signed by Bukowski to the editor of the Bukowski Primer book, Loss Pequeño Glazier; plus a copy of the book, All's Normal Here Place: San Pedro, CA, et al.
Sale Date: 04/03/08

Date: [1960] Auction: Live
185510 Bukowski, Charles Flower, Fist and Bestial Wail - specially bound Don Klein copy with original artwork on covers Place: [Eureka, CA]
Sale Date: 04/03/08

Date: [December] 1964 Auction: Live
185511 Bukowski, Charles Grip the Walls [Wormwood Review No. 16] Place: Storrs, CT
Sale Date: 04/03/08

Date: 1982 Auction: Live
185512 Bukowski, Charles Ham on Rye Place: Santa Barbara
Sale Date: 04/03/08

Date: 1972 Auction: Live
187231 Bukowski, Charles Mockingbird Wish Me Luck - Presentation Copy Place: Los Angeles
Sale Date: 04/03/08

Date: 1986 Auction: Live
187116 Bukowski, Charles You Get So Alone at Times That It Just Makes Sense Place: Santa Rosa
Sale Date: 04/03/08
 
And here's a description of those letters.

(What sort of mother would name her kid "Loss"?)

____________________________

Author: Bukowski, Charles

Title: Archive of 16 letters signed by Bukowski to the editor of the Bukowski Primer book, Loss Pequeño Glazier; plus a copy of the book, All's Normal Here
Place: San Pedro, CA, et al.
Publisher:

Date: 1983-85

Item # : 187232

Description:
Comprises: 16 letters (13 are typed letters signed with some holographic corrections/notes and 3 are autograph letters signed), each signed by Bukowski to Loss Glazier, editor of All's Normal Here: A Charles Bukowski Primer (1985). Each 11x8½. One 3-page, rest single page, most end with small ink drawings by Bukowski. Includes all but two of the original mailing envelopes. Also, with copy No. 2 of 27 "officially-issued copies" of All's Normal Here (4to., pictorial wrappers, first edition), signed with star drawing and a epigram by Bukowski "When they blow us all to shit with the Bomb they won't have killed much" and signed by Glazier, on the title page. Together, all housed inside 3-ring binder.

Charts the course of Loss Glazier's primer book of Bukowski, All's Normal Here, from the inception in February 1983 to the completion of the project in late 1985. Also, sheds light of Glazier's 1984 publication of Going Modern (Oro Madre No. 10) [Krumhansl 92], which "was suppressed by Bukowski...he objected to the formatting and the amateur reproduction...according to John Martin ninety percent of this publication was destroyed" - Krumhansl. In these letters, Bukowski gives Glazier permission to use his piece (later titled Going Modern), for publication but did not want it produced in a chapbook format, but Glazier did, and therefore Bukowski wanted it suppressed/destroyed. Only a few copies survived, thus making it one of the most difficult "A" item Bukowski piece to obtain. In these letters, Bukowski writes: "I'm not writing much better now than I was decades ago when I was starving to death in those small rooms and on those park benches and in those flophouses, and while I was being nearly murdered in those factories and in the post office..." And about fame: "But things happen very quickly - one moment you're a drunken bum fighting with drunken and drugged and insane women in a low-class apartment, then it seems the next thing you're in Europe and you walk into a hall and there are 2,000 wild people waiting for you to read some poems...Getting famous when you're in your twenties is a very difficult thing to overcome. When you get half-famous when you're over 60, it's easier to make adjustments." Influences: "I've had my crutches: F.Dos[toevsky], Turgenev, some of Celine...Hamsun, most of John Fante...Sherwood Anderson, very early Hemingway,, all of Carson McCullers, the longer poems of Jeffers; Nietzche and Schopenhauer; the style of Saroyan without the content; Mozart, Mahler, Bach, Wagner, Eric Coates, Mondrian; e.e. cummings and the whores of East Hollywood...". Teaching creative writing: "Take some poets. Some start very well. There is a flash, a burning, a gamble in their way of putting it down. A good first or second book, then they seem to dissolve. You look around and they are teaching Creative Writing at some university. Now they think they know how to Write and they are going to tell others how to. This is a sickness: they have accepted themselves. It's unbelievable that they can do this. It's like some buy coming along and trying to tell me how to fuck because he thinks he fucks good."

Condition:
Original folds to letters, expected wear to envelopes; mild edge wear to the book; else a fine collection. A revealing and interesting archive that shows Bukowski's no-nonsense attitude towards life, writing and art.


Sale Number 377
Lot Number 31
Sale Name
Modern Literature; Beats, Bukowski & the Counter Culture; Sci-Fi & Detective Fiction

Sale Date 04/03/2008

Sale Time 1 PM PST
 
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something tells me that Loss saw the Linda King letters sell for so much and decided to cash in. The problem is that letters to a small press publisher will not have the draw that letters to a lover did... $15,000 won't happen.

Bill
 
Going Modern - "one of the most difficult "A" items to obtain"... That is laughable. I would not be surprised is all 500 were sold. As far a "supressed" title, this one is easy to find....

The low bid is $10,000, so that means that it is a sale at $5,000. I would put money on the auction ending at a bid of $5,000....

It is interesting that Bukowski specifically said to not publish this as a chapbook, yet the publisher did it anyway.

There are 11 copies of Going Modern on abe now starting at $25. Also, they show up on ebay weekly. Not exactly the rarest of "A" items...

Bill
 
I seem to remember the Loss Glazier letters being offered somewhere before and going unsold.

As far as the suppressed issue (ORO MADRE # 10) is concerned, I doubt that it's an "A" item.
I think Dorbin, Krumhansl et al defined "A" items as separate publications containing only Bukowski's work, so Going Modern is an "A" item by definition.
 
Boy that 27.50 sure looks nice. Especially in comparison.

Though that's the first copy of Flower, Fist, And Bestial Wail that I've seen for sale in the two years I've been following Buk... But that's WAY to rich for my blood. Unless I get approved for an Amex... Then I'll only be 1/8th in debt as much as my wife is from school... I think its worth it!
 
Hello. I'm Tom Lommen from PBA Galleries. If anyone has particular questions about the lots in the sale, especially Bukowski, I'd be happy to answer them. To clarify, all the lots open for less than the low estimate. Generally half the low estimate unless there is a reserve. The sale is on our site: http://www.pbagalleries.com/live/sale_details.php?s=377
And on Ebay Live Auctions:

http://search.ebay.com/_W0QQsassZpbagalleries

Flower, Fist and Bestial Wail (lot 217) - is from the Don Klein collection, originally Frances Smith's copy (mother of Bukowski's daughter), and is one of a kind as described in Krumhansl's note (page 16): "...without the printed paper wrappers cover...and sewn with black thread...with a pen and ink drawing by Bukowski titled "Looking Off into Space.'" http://www.pbagalleries.com/search/item185510.php

Glad the sale is getting some notice here. Tom
 
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If anyone has particular questions about the lots in the sale, especially Bukowski, I'd be happy to answer them.
My question would be, why watermark the large images on line?

The only reason I could think of in the years I've seen this done is to encourage a sale by defacing a "free" copy. But that doesn't make any sense. If I want it, and have the money to buy it, I will buy it, whether the image is watermarked or not.

Anyway, I'm a well know copyright scofflaw (ask Uncle Howard), so don't mind me.
 
It's an interesting thing and a great association (although it doesn't appear to be inscribed, or even signed, just has a handmade cover), but maybe people who know values better than I do can tell us which is worth more; that copy, or a pristine copy with the original cover.

If someone was standing in front of me with that copy in one hand, and a pristine copy with the original cover in the other hand, telling me that I could only choose one, I might have to go after the original cover.
 
If someone was standing in front of me with that copy in one hand, and a pristine copy with the original cover in the other hand, telling me that I could only choose one, I might have to go after the original cover.

Good point. I think that I'd be torn between the two (but want both of them).
 
It's an interesting thing and a great association (although it doesn't appear to be inscribed, or even signed, just has a handmade cover), but maybe people who know values better than I do can tell us which is worth more; that copy, or a pristine copy with the original cover.

If someone was standing in front of me with that copy in one hand, and a pristine copy with the original cover in the other hand, telling me that I could only choose one, I might have to go after the original cover.

I'd go for the pristine copy too, myself. But being as this is the first copy I've ever seen for sale... I'd easily go for it, had I the money. Or credit.
 
I'd go for the pristine copy too, myself. But being as this is the first copy I've ever seen for sale... I'd easily go for it, had I the money. Or credit.

God knows we'd all love to have some of Buk's really early stuff, and if we all had disposable incomes, we'd probably all have them. But, there's still plenty of rare stuff from the early-late 70s or 80s that can be had for much less. One thing about many of the BSP books/chapbooks that is missing is the act of Buk holding them in his hand and signing them. Sorry if you already know this (but someone here probably doesn't already), the vast majority of BSP signed items were signed "blind," that is, on sheets of colophon-to-be sheets that were later bound into books. The early shit was probably signed as bound, at least more often than BSP editions.

I'm drooling just looking at some of the PBA stuff, but hell, other than that 1985 NYG @ $100, I haven't got a prayer.

So, look around; you can find some personally-signed items for much less than these rarities in the PBA auction, as nice as these are.
 
The early shit was probably signed as bound, at least more often than BSP editions.
Very few of the early chapbooks were issued signed (were any, come to think of it?), people usually sent them to him for signing or knew him and had him sign.

But even the Webb books were signed first on paper in Los Angeles that was shipped back to Louisiana and later collated in. It makes sense to do it that way for a few reasons, but mainly, the books were done in small batches. To then send those batches to Bukowski to sign and then send back would be both dangerous and a waste of money. Second, imagine Bukowski sitting in front of a fresh new copy of It Catches, he pulls out the silver or yellow paint pen and starts writing or signing, but a big blob of paint comes out and smears, or he misspells something or just thinks the autograph sucks. It's easier to throw away a sheet of purple paper than a finished book.

It wouldn't have made sense for Black Sparrow to send hundreds (or thousands) of books in crates or boxes either.
 
I'm sad to say that I also send the sheet for signature and then bind it in. Imagine my horror is, after spending so much time on a book, the whole batch gets lost on its way to the author or back. It is much safer and cheaper to send the sheets. Sometimes I do the whole book (if it is very small), but have never found a reason to be worried about it.

I can tell you that I am comfortable saying that at least 90% of all signed editions by all authors are done this way, if not more. Even of the publisher and the author were in the same town, it would not make sense to have them sit in front of 500 books that had to be signed in one sitting, when they could take a stack of papers home and sign them over a couple days.

I also have never cared much if the paper was held in the author's hand or if the whole book was held in the author's hand. It just seems trivial to me.

Bill
 
Someone asked me just the other day if I signed the whole book or just loose sheets when I signed a hardbound collection of horror stories (The Best of The Horror Show), along with dozens of other authors. My answer was ... I couldn't remember. It was too long ago (circa late 1980s or early 90s) and I guess it didn't leave a big impression on me what I was signing. How I signed did stick in my memory, because there were some well-known authors in there and I didn't want to spaz out and make an ugly signature right next to some classy act like Poppy Z. Brite. So I guess it doesn't really matter if it's a loose sheet or a full book, from an author's perspective. It is a lot cheaper and safer to just mail the sheets around, and saves oil, which we are quickly running out of.
 
and I seem to remember a letter by Buk to the Webbs about him signing these sheets. Not sure if it's in one of the BSP-books of letters. What I do remember is him saying they should send some more papers to sign because "ink is cheap" and signed copies help sell. (quote in brackets is verbatim.)

and yes, I too think it would be the best way to produce a signed edition, to only send the lose sheets and bind them in later. Anything else doesn't make sense, for terms of money, effort and risk of damage/loss as said here before.
 
and I seem to remember a letter by Buk to the Webbs about him signing these sheets. Not sure if it's in one of the BSP-books of letters. What I do remember is him saying they should send some more papers to sign because "ink is cheap" and signed copies help sell. (quote in brackets is verbatim.)
Even the signings for the Webbs he did in small batches. There's another thread around here somewhere that shows he signed in a few different batches, months apart (since he always dated it's easy to tell).

I signed 150 books once (after they were bound), and let me tell you, it's insanity. Try taking just one piece of paper and signing your name 50 times. You start to forget how to write your own name, the signatures get weird looking...I had to stop and go do something else after each 20 or 25 pages because my signature was becoming a scribble (more than it usually is, I mean)
 
heh. I painted 110 books for sunnyoutside, on letterpressed covers, after they were finished and bound.

fortunately I can't paint anyway.

not stressful at all. just don't fuck any of em up.:)
 
and I seem to remember a letter by Buk to the Webbs about him signing these sheets. Not sure if it's in one of the BSP-books of letters. What I do remember is him saying they should send some more papers to sign because "ink is cheap" and signed copies help sell. (quote in brackets is verbatim.)

and yes, I too think it would be the best way to produce a signed edition, to only send the lose sheets and bind them in later. Anything else doesn't make sense, for terms of money, effort and risk of damage/loss as said here before.

A... certain author's biography references this letter, too, I believe. I just read the part about the Webbs and how they got the signatures in there.
 
Flowers in the Shadow of the Storm

I painted 110 books

fortunately I can't paint anyway.


The book is beautiful, and it's available here:

(click the picture)

2386445801_98efa666dd_m.jpg
 

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