Resultados de búsqueda: Títulos que empiezan por M de Goodbar Books

Spine is tight, but has a slight concave curve and some creasing. Clean, unmarked interior. Some sunning to the spine and parts of the covers, as well as some lightly bumped corners and areas of creasing. Dyed green end-papers and lots of beautiful woodcuts by Simon. 507 pp. Fiction

Tight, square spine. Clean, unmarked interior. Gilt stamping to spine remains bright. Some bumped corners, but shelf-wear is light overall. Mylar-protected jacket has some heavy rubbing and moderate edge-wear. Beautiful full cloth with two-color stamping and rich purple end-sheets. Includes lots of fantastic B&W illustrations. 730 pp. Spirituality/Esoterica.

Former library book with remainder marks to fore-edge and stamps to inside front cover and first (promotional) leaf. Interior is else clean and unmarked. Some areas of light cosmetic creasing to spine and covers. 222 pp. Journalism.

Tight, square spine with some sunning and very light creasing. Clean, unmarked interior. Front cover remains bright. Some subtle creasing to the back cover, as well as other light shelf-wear. There is a one-inch dent to the fore-edge. Stylish little movie tie-in with a cover montage of stills from its adaptation, the only Oscar Best Picture–winning film to receive an X rating (due to its 'homosexual frame of reference', according to the MPAA). The film is notable for featuring Warhol Superstars including Viva, Isabelle Collin Dufresne (Ultra Violet), Taylor Mead, and Joe Dallesandro as guests at a party the protagonist attends after being approached by a thinly disguised Polaroid-snapping pop artist in a diner. Born to a working-class Detroit family, Herlihy studied sculpture at Black Mountain College, palled around with Tennessee Williams in Key West, directed Tallulah Bankhead on stage, and acted opposite Jean Seberg in In the French Style. 191 pp.

Tight, square, uncreased spine. Clean, unmarked interior. Some light to moderate wear to the covers, including areas of creasing to the back. Lovely hippie modernist wraparound cover design by Anne Kent Rush to this influential classic, featuring a three-color sun and moon engaged in a circular embrace. The interior includes lots of serenely instructive drawings by Rush, who is also known for designing and illustrating the equally groovy Tassajara Bread Book by Edward Espe Brown. Downing studied bodywork at the Esalen Institute in the early 1970s and was integral in introducing Swedish massage to the US through this book. 184 pp.

First published as The History of Magic in 1948. Tight, square spine. Former owner stamp to front flyleaf, but interior is else clean and unmarked. Only light shelf-wear to the book. Jacket has two one-inch tears and some other light edge-wear. Jam-packed with B&W illustrations. 342 pp. Western Esotericism.

Spine is tight, but has some creasing, sunning, and a slight lean. Light edge-wear and a subtle (1/4-inch) closed tear to the front cover. Former owner name and stamp to inside front cover, but interior is else clean and unmarked. The second novel in the Patternist series, this heartrending origin story examines the metaphysical implications of eugenics as protagonist Mary, a gifted telepath, paves the road to hell, according to the back cover copy, by 'weaving her web of compassion, ambition, and global psychic power.' Incredible cover to this Avon edition, with phosphorescent, descending symmetry, clever use of the roller rink–ready typeface, Pluto Half-Solid (also seen on the 1972 Panther edition of Do Androids Dream of Electric Sheep?), and a memorable illustration by Clyde Caldwell. Better known for his curvy valkyries and sinuous dragons (artist Larry Elmore called them 'more serpentine—slimmer and more snakeish' than those of other artists), Caldwell helped shape the genre's aesthetic… Leer más

A Seymour Lawrence book. Translation of Mulata de Tal. Tight, square spine. Clean, unmarked interior. Only very light wear. Beautifully designed and printed book (Design by Larry Kamp and Barbara Liman). Embossed Mayan image to the front board. No jacket. 307 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, square spine has some sunning. Clean, unmarked interior. Light shelf-wear, including some bumped corners and gentle edge-wear. Another stunning Ellen Raskin cover to this sensationally marketed collection of ethnographic essays exploring folk healing modalities, viewed through a cross-disciplinary anthropological/psychological lens—or what editor Kiev terms 'transcultural psychiatry'. Contributions include Orhan M. Ozturk's 'Folk Treatment of Mental Illness in Turkey', Jozef Ph. Hez's 'The Changing Social Role of the Yemenite Mori', and Catherine H. Berndt''s 'The Role of Native Doctors in Aboriginal Australia'. Features an intro by Jerome D. Frank, known for his mid-1930s soda cracker experiment (an inspiration for the infamous Milgram experiment several decades later), in which participants were fed unappetizing cookies by researchers playing varyingly authoritarian roles, with subjects' reactions often dependent on the levels of obedience they felt expected of them. 475 pp.

In lovely shape: tight, square spine; clean, unmarked interior; no notable shelf-wear. Despite the copyright page's affirmation of nihil obstat and imprimatur (the Catholic Church's 'official declaration that a book or pamphlet is free of doctrinal or moral error'), this Merton collection is, for the time of its original publishing (1963), surprisingly ecumenical, sympathetically treating a wide range of mystical experiences as it draws parallels between Julian of Norwich, St. John of the Cross, Meister Eckhart, and Jakob Böhme with followers of Buddhism and classical Chinese thought, while also championing existentialism through a Christian lens. Cover designer Jacqueline Schuman, who here employs a lovely Albers-esque pattern of nesting rectangles, is also noted for her wallpaper-inspired covers for E. P. Dutton's Barbara Pym series and the Deco-influenced Colette works published by Farrar, Straus and Giroux's Noonday imprint. 303 pp. Eastern Spirituality.

Tight, square spine. There are a few instances of underlining in pencil, but text is very clean otherwise. Some very light toning to the end-sheets. Very little shelf-wear to the cover. Price-clipped dust jacket has some edge-wear, chips, and some very small, subtle areas of soiling. Beautiful mid-century design. Translation of Der Zen-Weg, revised and edited by R. F. C. Hull and Alan W. Watts. Includes original sales slip, dated 1964, from The First Zen Institute of America. 125 pp. Spirituality.

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, uncreased spine. Interior is unmarked, but slightly toned. Small former seller label to the inside front cover. Light shelf-wear, but a nice copy overall. Lilly found inspiration at an early age in the subjective idealism of George Berkeley, as well as the pharmacological control methods explored in Brave New World, which led to his study of biology at Dartmouth, where he participated as a subject in a glycocyamine study requiring a protein-free diet eventually leading to extreme fatigue and delirium. In the 1950s, he began research into dolphin communication at his NASA-funded dolphinarium in the Caribbean, work explored in this influential book. Kaleidoscopic cover featuring volunteer naturalist Margaret Howe Lovatt and bottlenose dolphin Peter, who was featured on the TV series Flipper and would later take his own life by refusing to breathe after being moved to a claustrophobic abandoned bank building in Miami. 286 pp.

Tight, square spine. Clean, unmarked interior. Very little wear to the book. Jacket has some edge-wear and a few small areas of rubbing. Quintessential literary modernist Lawrence meets quintessential mid-century modernist Alvin Lustig in this ND New Classics edition of the controversial novelist's retelling of the passion of Christ. Originally called The Escaped Cock, London publisher Martin Secker most likely rejected this title because of the double entendre, although Lawrence biographer Brenda Maddox insists the author 'refused to acknowledge that "cock" connoted anything but a rooster, just as he denied the blasphemous pun contained in the story's climactic line, uttered as the man observes the miracle between his legs: "I am risen!"' Lustig's jacket communicates the protagonist's conflicted existence between the material and metaphysical by depicting three abstracted figures in the process of resurrection, suggesting both the body/soul/spirit paradigm and the number of days Christ spent… Leer más

In lovely shape: tight, square, uncreased spine; clean, unmarked interior. Only very gentle shelf-wear. Includes B&W figures. 211 pp. Spirituality/Esoterica.

Tight, square spine. Pages are toned, but else clean and unmarked. Some gentle edge-wear and bumped corners, but no other notable shelf-wear. 86 pp. Poetry.

Tight-square spine. Interior is unmarked except for a former owner inscription to the first blank leaf. There is some moderate wear to the cover, including a few subtle chips and creases and sunning to the back. There is a light damp-stain aesthetically affecting around the last 100 pages at the edges. Cover design by Loretta Li. Bowles's complete works—or 'entire shelf', as Truman Capote puts it in his introduction—are collected here. Capote also calls Bowles 'a spookily accurate mimic' and 'kind of a glutton, as one might suspect from her stories', while describing the ceilings of her and Paul's Tangiers home as 'so low that one has almost literally to move on hands and knees from room to room . . .' At the time of this publication, the Ecco Press's logo was a sprightly drawing by the Bowles' good friend, Ahmed Yacoubi, who was also a frequent collaborator of La MaMa Experimental Theatre Club. 476 pp.

Tight, square, uncreased spine. There is some underlining to the last five pages, but interior is else clean and unmarked. There is a crease running vertically down the length of the back cover, but no other notable shelf-wear. Beckett was 'discovered' by Grove's Barney Rosset in 1952 when the publisher read an essay called 'Samuel Beckett: An Introduction', written by a young translator named Richard Seaver, who in passing had seen copies of Molloy and Malone, yet to be published in English, displayed in the Paris window of Éditions de Minuit. 190 pp. Fiction.

Tight, square spine. There are scattered instances of underlining in pencil, but interior is clean overall. A small area of soiling to the back board, but not much other shelf-wear of note. Some toning, rubbing, and light edge-wear to the jacket. Jacket design by Patricia Saville Voehl. Includes B&W plates. 310 pp. Natural History.