Search Results: Authors starting with N from Goodbar Books

Saddle-stitched binding remains sound. Former owner name to inside front cover and last page verso, but interior is else clean and unmarked. There are areas of soiling and light creasing to the covers. Some heavily bumped corners have caused curling corners to a few pages. Jam-packed with B&W photos and beautiful map reproductions. Centerfold features 'Oregon Ter.: Portland Ogn 1878', with red-printed overlay. Oversized.

In beautiful shape: tight, square spine and clean, unmarked interior. Very little shelf-wear. Jam packed with historical B&W photos documenting Roseburg's past. 128 pp. History.

Saddle-stitched binding remains sound. Clean, unmarked interior. There are some areas of severe toning/sunning to the covers, as well as a handwritten price to the front. No other notable wear. 56 pp. Miscellaneous.

Tight, square, uncreased spine. Former owner name and stamps to half-title, but interior is else clean and unmarked. Some light shelf-wear, but nice solid copy overall. Cover design by Alf Dahlberg. 244 pp. Scholarly.

Inscribed by Navarro to the title page 'To Maria—/¡Sigue con la lucha!/Joe Navarro'. Saddle-stitched binding is sound. Interior is clean and unmarked. There is some soiling to the exterior of the covers. Cover art by Jack Avila. 34 pp. Poetry.

Tight, square spine. Former owner bookplate to the half-title, but otherwise clean and unmarked. The rear corner at the head of the fore-edge is bumped, but else only very gentle shelf-wear. Foreword by Sherley Anne Williams. This post–Harlem Renaissance novel received mixed reviews upon its original publication in 1937, and more than two decades later, Hurston had faded to such obscurity that she contacted Harper & Brothers via handwritten query: Robert Hemenway notes that the 'Barnard graduate, author of four novels, two books of folklore, one volume of autobiography, [and] the most important collector of Afro-American folklore in America, [was] reduced by poverty and circumstance to seek a publisher by unsolicited mail.' In 1978, that same publisher (by then renamed Harper & Row) owned the rights to Their Eyes Were Watching God, and leased them to the University of Illinois Press after Alice Walker famously located the gravesite of the recently rediscovered author. Ironically, this UI Press… Read More

Tight, square spine. Clean, unmarked interior. There is a thin layer of mildew between the front board and the inside of the jacket, but scent is not overpowering. No other notable wear to the book. Some rubbing and chipping to the jacket. Lots of B&W photos by Garrett. 148 pp. Crafts/Skills/Trades.

Former owner inscription to first blank leaf, but interior is else clean and unmarked. Some cosmetic creasing and sunning to the spine, as well as a few small areas of edge-wear. Perfect binding is beginning to loosen, and the first few several leaves have separated, but are present. Jam-packed with B&W photos. 106 pp. Memoir.

Signed by Read to the front cover. Saddle-stitched binding remains sound. Interior is clean and unmarked except for a small patch of discoloration to one page from a newspaper clipping (the clipping, included with the book, is from the Newberg Graphic, Thurs., Aug. 31, 1978, ad is an article, titled 'Early Newberg Campus History Recalled', is about another book written by Daisy Newhouse Read). Light to moderate wear to the wraps, including some light creasing and one small area of soiling to the back. History.

Inscribed by Newlin to Ed and Cheri McLain: 'June, 1988/To Ed and Cheri McLain, (two teachers extraordinaire!) We will always cherish your friendship. Thanks for a marvelous year. Love, Cedar/Charles/Gretchen Newlin'. Tight, square, uncreased spine. Clean, unmarked interior. Some areas fo very light rubbing to the covers, as well as a badly bumped corner to the fore-edge at the foot. Art/Poetry.

Tight, square spine. Interior is unmarked except for a few rare instances of markings in ink. A couple bumped corners and a very small area of soiling to the fore-edge, but very little shelf-wear otherwise. Jacket has a couple chips, some very light soiling, and gentle edge-wear. Jam packed with full-color and B&W photos of Gatto's work. Introduction by Noce. 129 pp. Art.

In lovely shape: tight, square, uncreased spine; clean, unmarked interior. Light shelf-wear, including some very subtle creasing to a small area of the front cover. Edited by Alma Cremonesi. Typeset by Laraine Goodman. Alta Gerrey's Shameless Hussy Press, the first feminist publisher in the US, grew out of a Bay Area women's commune when Gerrey learned how to letterpress print. She soon expanded her skillset to include offset and went on to publish first books by Pat Parker, Ntozake Shange, Mitsuye Yamada, Susan Griffin—and this vivid collection by Noda. There is an intensity behind Yoshimura's quiet line drawings that hints at her harrowing biography: born in an American concentration camp during World War II, as a young woman she became involved with the Symbionese Liberation Army and was involved in a plot to kidnap World Bank president, Robert McNamara.

Hardbound manuscript of 1985 interview with Estolv Ethan Ward made available by the Bancroft Library for research purposes. Stated 'Copy No. 12. Includes photos, facsimiles, an index, and an intro by James R. Herman. Tight, square spine. Clean, unmarked interior. Only very gentle wear. 309 pp. Oversized.

Tight, square spine has some sunning and a very small area of soiling. Former owner name to the half-title, but interior is else clean and unmarked. Light wear to the covers, including some bumped/creased corners, but book is in nice shape overall. Intro by Robert D. Lundy. Designer Ernst Reichl, active from the 1930s through the 1970s, was known for his 'whole book' approach, wherein a unifying design vision takes into consideration typesetting, binding, paper quality, and cover design. He's most famous for Random House's 1934 edition of Ulysses, with its influential Mondrian-esque cover and Weiss-caps title spread. Here, The Octopus, the first book in Norris's uncompleted The Epic of the Wheat trilogy, boasts a cover with color-blocked, torn-edge collage and a lovely modernist interior, with chapter headings and folios in Futura, a treatment typical of the titles Reichl designed for Sagamore's American Century Series, which highlighted works by muckrakers and Progressive Era novelists critical of… Read More