Search Results: Authors starting with L from Goodbar Books

Tight spine. Former owner name and address to the front pastedown. There is a handful of instances of underlining and notes to the text, as well as a few areas of very subtle creasing. Missing title page. Mylar-protected jacket is in lovely shape. Jacket features calligraphy by Shui Yim Tse. Full cloth with wounded spine and bright gilt stamping. 295 pp. Spirituality.

Tight, square spine. Clean, unmarked interior. Some light to moderate shelf-wear to the cover, including some fading and a bumped corner. Pages are somewhat tanned and some of the photos are starting to rub off slightly. Includes B&W photos. Scarce vintage guide to the Temple City. 95 pp. Spirituality/Esoterica.

Tight, square, uncreased spine. Clean, unmarked interior except for one line of notes in ink to the verso of the half-title. Some shelf-wear to the cover, as well as a couple small areas of sunning and soiling. 176 pp. Scholarly.

Tight, square, uncreased spine. Clean, unmarked interior. Some light edge-wear and rubbing to areas of the covers, as well as some light foxing to the edges, but in great shape overall. Includes B&W figures and illustrations. 256 pp. Crafts/Skills/Trades.

Clean, unmarked interior. Spine has some creases and a slight cosmetic skew, but remains tight. Some light shelf-wear, including a small dent to the back cover. Cocaine smuggler David Lee Henry lives the fast life, as evidenced by the cover of this scarce edition, which pairs a comically seamy illustration with some classy Futura Black type. Hill not only called this book's hero David Lee Henry, but also used the name as a pseudonym when penning screenplays like Road House, Harry Tracy, and 8 Million Ways to Die. After King of White Lady was optioned, Roger Corman–mentee Monte Hellman was hired to adapt it for the screen in 1979, with Francis Ford Coppola slated to direct and produce; Coppola abandoned the project when he became distracted by the agonizing experience of shooting Apocalypse Now. 239 pp.

Tight, square, uncreased spine. Former owner name to the title page, but interior is else clean and unmarked. Some edge-wear and other light wear to the covers. Jam-packed qith fascinating info and B&W figures and illustrations. Bibliography: p. 191. 192 pp. Homesteading.

Former library book with markings to front and back matter and a jacket that has been permanently affixed to the boards. Interior is else clean and unmarked. Tight, square spine. Rear interior hinge has cracked and been repaired with conservation tape. Mylar-covered jacket has call number affixed to spine. Bibliography: pp. 322 – 326. 338 pp. Scholarly.

Clean, unmarked interior. Spine is slightly loose and the back hinge appears to be a bit weak, but the book remains readable/sound overall. There is moderate wear to the boards and outer spine, including areas of rubbing and fraying. Lovely design to this book, with fantastic B&W figures and illustrations, and a gilt-stamped timber cross-section to the front board. Printed by Charles Dickens and Evans, Crystal Palace Press. 352 pp. Natural History.

Tight, square spine.Former owner stamps to flyleaf, title page, and fore- and top edges. Interior is clean and unmarked otherwise. Foot of spine is bumped, but very little shelf-wear to book overall. Gilt to spine remains bright. Edge-wear, rubbing, and a blacked-out price to the jacket. Lots of B&W illustrations, figures, and plates. Nice solid book. 303 pp. History.

Clean, unmarked interior except for a former owner label to the inside front cover and former owner stamps to the title page and inside back cover. Front hinge has been repaired with tape. There is some minor shelf-wear to the cover, as well as some subtle rubbing due to a printing error. Introduction by Kenny J. Williams. Best known as a poet (Maya Angelou alluded to his poem, Sympathy, when titling I Know Why the Caged Bird Sings), Dunbar published this, his final novel, in 1902, several years before his death at 33. The book anticipates the Harlem Renaissance by telling the tale of the Hamilton family, who flees the south for New York and devolves into debauchery after their father is wrongly imprisoned by a racist justice system. 'There is no poet, black or nonblack, who measures his achievement,' Nikki Giovanni writes of Dunbar. 'Even today. He wanted to be a writer and he wrote.' 195 pp.

Clean, unmarked interior. Spine is tight and uncreased. There is some minor shelf-wear to the cover, as well as some subtle rubbing due to a printing error. Introduction by Kenny J. Williams. Best known as a poet (Maya Angelou alluded to his poem, Sympathy, when titling I Know Why the Caged Bird Sings), Dunbar published this, his final novel, in 1902, several years before his death at 33. The book anticipates the Harlem Renaissance by telling the tale of the Hamilton family, who flees the south for New York and devolves into debauchery after their father is wrongly imprisoned by a racist justice system. 'There is no poet, black or nonblack, who measures his achievement,' Nikki Giovanni writes of Dunbar. 'Even today. He wanted to be a writer and he wrote.' 195 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… Read More

Inscribed by Le Guin to the title page: 'For BJ/With best wishes./Urula K. Le Guin/14II04'. Stated 1st Ed. Tight, square spine. Clean, unmarked interior. Metallic stamping to spine remains bright. Mylar-protected jacket has some light rubbing, but is in great shape overall. Design by Linda Lockowitz. 246 pp. Fiction.

Tight, square, uncreased spine. Clean, unmarked interior. Some small areas of creasing and edge-wear to the covers. In this often overlooked novel, Le Guin questions the Narnian fantasy portal trope and muddies the boundary between childhood flights of imagination and grown-up responsibilities. First published in the US as The Beginning Place, the book tells the tale of two protagonists at the threshold of adulthood and their relationship with the mythic village of Tembreabrezi, a twilight town unburdened by the strictures of time which has found itself increasingly isolated due to the townsfolk's fear of a ravenous beast roaming its outskirts. The creature, which Le Guin describes as 'white, wrinkled, twice a man's height, dragging its bulk painfully and with terrible quickness, round mouth open in the hissing howl of hunger and insatiable pain, and blind,' is strikingly depicted here by Richard Clifton-Dey, also known for his covers of Philip José Farmer's Lord Tyger and Blue Öyster Cult's album,… Read More

Tight, square spine has some very faint cosmetic creasing. Clean, unmarked interior. Some very light shelf-wear. Cover illustration by Mike Mariano. Cover typography by Gun Larson. 270 pp. Fiction.

Inscribed by Le Guin to influential feminist scholar Cheris Kramarae to the title page. Tight, square spine. Clean, unmarked interior. No notable wear to the book. A few areas of very light soiling to the jacket. 306 pp. Scholarly/Journalism.

Tight, square spine. Clean, unmarked interior. Some toning to the inside covers and moderate to heavy wear to the covers, including areas of creasing, light soiling, and chipping. First published in 1966, just before the up-and-coming sci-fi writer would dance in a conga line with Allen Ginsberg during a Portland, Oregon, protest against the Vietnam invasion, the first edition of Planet of Exile was released as part of the Ace Double series, in a tête-bêche format bundled together with Thomas M. Disch's Mankind Under the Leash. This later edition features eye-catching cover art, uncredited and rendered in pen, ink, and watercolor, setting the otherworldly mood for the second book in the Hainish Cycle, which Le Guin claimed is actually not 'a cycle or a saga. . . . There are some clear connections among [the books], yes, but also some extremely murky ones.' 124 pp. Mass-Market Paperbacks.

Tight, square spine. Clean, unmarked interior. An area of heavy rubbing to the back cover, but else only light shelf-wear. Leadbeater's influential treatise on the human aura, featuring 26 full-color plates, uncredited, but likely created by the same artist who illustrated the theosophist's collaboration with Annie Besant, Thought-Forms: John Varley (grandson of the astrologer and artist who commissioned William Blake's drawing series, The Visionary Heads), who is reported to have been assisted by two mysterious figures known only as Mr. Prince and Miss McFarlane. Varley's expressive images would go on to influence the work of abstract artists including Malevich, Kandinsky, and Mondrian. 126 pp. Theosophy.

A Biological Sciences Curriculum Study Book. Tight, square spine. Clean, unmarked interior. Some light wear to the covers including areas of rubbing, creasing, and gentle edge-wear. Includes bibliography and two-color illustrations. 178 pp. Scholarly.

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.