World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2008, English
Softcover, 112 pages, 17 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$25.00 - In stock -
Louis-Ferdinand Céline (1894-1961) is best known for his early novels Journey to the End of the Night (1932)—which Charles Bukowski described as the greatest novel of the past 2,000 years—and Death on the Installment Plan (1936), but this delirious, fanatical "biography" predates them both.
The astounding yet true story of the life of Ignacz Semmelweis provided Céline with a narrative whose appalling events and bizarre twists would have lain beyond credibility in a work of pure fiction.
Semmelweis, now regarded as the father of antisepsis, was the first to diagnose correctly the cause of the staggering mortality rates in the lying-in hospital at Vienna. However, his colleagues rejected both his reasoning and his methods, thereby causing thousands of unnecessary deaths in maternity wards across Europe. This episode, one of the most infamous in the history of medicine, and its disastrous effects on Semmelweis himself, are the subject of Céline's semi-fictional evocation, one in which his violent descriptive genius is already apparent. The overriding theme of his later writing—a caustic despair verging on disgust for humanity—finds its first expression here, and yet he also reveals a more compassionate aspect to his character.
Semmelweis was not published until 1936, after the novels that made Céline famous. "It is not every day we get a thesis such as Céline wrote on Semmelweis!" wrote Henry Miller of this volume.
VG copy with some cover rubbing/wear.
2001, English
Softcover, 296 pages, 21.54 x 13.72 cm
Published by
Verso / London
$60.00 - In stock -
Since the 1948 war which drove them from their heartland, the Palestinian people have consistently been denied the most basic democratic rights. Blaming the Victims shows how the historical fate of the Palestinians has been justified by spurious academic attempts to dismiss their claim to a home within the boundaries of historical Palestine and even to deny their very existence. Beginning with a thorough exposé of the fraudulent assertions of Joan Peters concerning the indigenous inhabitants of Palestine prior to 1948, the book then turns to similar instances in Middle East research where the truth about the Palestinians has been systematically suppressed: from the bogus.though still widely believed.explanations of why so many Palestinians fled their homes in 1948, to today.s distorted propaganda about PLO terrorism. The volume also includes sharp critiques of the wide consensus in the USA which supports Israel and its territorial ambitions while maintaining total silence about the competing reality of the Palestinians.
"the wide-ranging scope and demythologising structure of Blaming The Victims makes it especially relevant at the present time when the actions of the state of Israel seem to contradict received opinion as to its nature. The book provides a great quantity of information, analyses it convincingly and, through an impressive body of notes on primary and secondary literature, points the reader in the direction of further information."—Middle East International
"These forcefully argued treatises will be as enlightening as they are disturbing for anyone with an interest in Middle East Politics."—ALA Booklist
2014, English
Softcover, 176 pages, 21 x 14 cm
Published by
Columbia University Press / New York
$55.00 - In stock -
Informed by a provocative exhibition at the Louvre curated by the author, The Severed Head unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work--the power of horror--and the potential for the face to provide an experience of the sacred.
Kristeva considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon (a holy relic in which the face of a saint appears on a piece of cloth); the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction.
1995, English
Softcover, 256 pages, 15.6 x 23.4 cm
1st Edition, Out of print title / used / very good
Published by
Pluto Press / London-Sydney
$25.00 - In stock -
Louis Althusser is one of France's foremost intellectuals of the postwar period. Controversial and influential, his writings and reputation have extended beyond the boundaries of his own country to leave a lasting mark on the ideas of others. In turn, Althusser found inspiration in many of Lenin's ideas and, in the first significant study of this association, Majumdar offers an objective reevaluation of Althusser's overt espousal of Leninism during the two decades up to the end of the 1970s. Focusing specifically on Althusser's attempt to rehabilitate Lenin as an academically respectable philosopher, rather than as a politician, Majumdar takes the assessment forward to evaluate Lenin's legacy today. Althusser's neglect of the significant contribution Lenin made to political theory and his subsequent shift away from Leninism at the end of the 1970s are also examined.
Margaret A. Majumdar teaches French Political Thought at the University of Westminster and is a member of the University of Westminster Francophone Africa Research Centre. She co-edits the Bulletin of Francophone Africa and has written widely on politics and philosophy.
Very Good—Fine copy.
1951, English
Hardcover (w. dust jacket), 184 pages, 32 x 24 cm
1st Edition, Out of print title / used / good
Published by
Swen Publications / New York
$25.00 - In stock -
1951 hardcover first edition.
"SINCE STALIN is a history of Communism.
SINCE STALIN is a contemporary history. The dark birth, the bloody adolescence, the sordid maturity of Communism are bracketed in our own lifetime.
SINCE STALIN is a true history. It traces the road of Communism with the original milestones re-stored, not as they have been shifted or shattered by the Kremlin's hacks and apologists. A complete bibliography-index cites the varied sources of the text, and each of the 425 photographs-many of them rare, some of them hitherto suppressed— has been painstakingly authenticated."
Good—VG copy in Average—Good dust jacket with wear to edges.
1978, English
Hardcover (w dust jacket), 286 pages, 22 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Holt Rinehart & Winston / Chicago
$20.00 - In stock -
First 1978 hardcover edition of Russia in Revolution, 1900-1930, Salisbury's narrative and pictorial portrait of the political and artistic upheaval that changed the course of Russian history and culture during the first three decades of the century. Profusely illustrated with photographic documents and graphics.
VG in G—VG dust jacket.
1957 / 1984, Polish / English / French / German
Hardcover (w. dust jacket and slipcase), 319 pages, 25 x 34 cm
Out of print title / used / very good
Published by
PAX / Warsaw
$100.00 - In stock -
Stunning 1984 hardcover, slip-cased re-print of 1957's Dni Powstania, a gripping pictorial account of the 1944 Warsaw Insurrection, profusely illustrated with b/w reproductions of photographs taken by Polish soldiers. "This album illustrates the struggle waged during those sixty three days. Unfortunately, the picture is incomplete. Difficult fighting conditions often made it impossible to photograph some of the most important scenes and actions, in spite of the heroic efforts of the photographers. A number of pictures were destroyed when their authors met their death or were taken prisoners. But even those photographs that survived destruction and are now being shown in this collection serve as evidence of what the Warsaw Insurrection stood for, and record the heroism of its soldiers. This album is being published so that their memory may live forever."
The Warsaw Uprising was a major World War II operation by the Polish underground resistance to liberate Warsaw from German occupation. It occurred in the summer of 1944, and it was led by the Polish resistance Home Army. The uprising was timed to coincide with the retreat of the German forces from Poland ahead of the Soviet advance. While approaching the eastern suburbs of the city, the Red Army temporarily halted combat operations, enabling the Germans to regroup and defeat the Polish resistance and to destroy the city in retaliation. The Uprising was fought for 63 days with little outside support. It was the single largest military effort taken by any European resistance movement during World War II.
Incredible book, seldom seen outside Poland.
Text in Polish. Summary in English, French and German.
Very Good copy book in heavy black debossed and red ink stamped boards, Good—VG dust jacket with edge scuff wear, particularly to the spine edges, Good—VG slipcase with printed paste-on, light edge tanning/wear.
1957, Polish / English / French / German
Hardcover (clothbound), 319 pages, 25 x 34 cm
1st Edition, Out of print title / used / good
Published by
PAX / Warsaw
$70.00 - In stock -
First 1957 hardcover edition of Dni Powstania, a gripping pictorial account of the 1944 Warsaw Insurrection, profusely illustrated with b/w reproductions of photographs taken by Polish soldiers. "This album illustrates the struggle waged during those sixty three days. Unfortunately, the picture is incomplete. Difficult fighting conditions often made it impossible to photograph some of the most important scenes and actions, in spite of the heroic efforts of the photographers. A number of pictures were destroyed when their authors met their death or were taken prisoners. But even those photographs that survived destruction and are now being shown in this collection serve as evidence of what the Warsaw Insurrection stood for, and record the heroism of its soldiers. This album is being published so that their memory may live forever."
The Warsaw Uprising was a major World War II operation by the Polish underground resistance to liberate Warsaw from German occupation. It occurred in the summer of 1944, and it was led by the Polish resistance Home Army. The uprising was timed to coincide with the retreat of the German forces from Poland ahead of the Soviet advance. While approaching the eastern suburbs of the city, the Red Army temporarily halted combat operations, enabling the Germans to regroup and defeat the Polish resistance and to destroy the city in retaliation. The Uprising was fought for 63 days with little outside support. It was the single largest military effort taken by any European resistance movement during World War II.
Incredible book, seldom seen outside Poland.
Text in Polish. Summary in English, French and German.
Good copy with foxing, marked and dusty cloth, edge wear, particularly to the spine edges, tanning.
1977, English
Hardcover (w. dust jacket), 88 pages, 28.5 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Greenhouse Publications / Carlton
$35.00 - In stock -
First hardcover 1977 edition.
"This book is a study in both the technology and the cultural history of our forebears. It looks at how they built their structures, how they derived their techniques from traditional methods of Britain and Europe, and how they developed purely colonial innovations, such as the bark roof.
The numerous illustrations in these pages have been chosen, not merely for their pictorial qualities, but for the specific information they convey about this largely uncharted topic, and they include some rare contemporary material from both local and overseas sources."
VG copy / VG dust jacket.
1992, English
Softcover, 396 pages, 25.5 x 25.5 cm
1st Edition, Out of print title / used / very good
Published by
Macmillan / New York
$60.00 - In stock -
First 1992 edition of The Pictorial History of the Holocaust by Yitzhak Arad, an unbelievably vivid chronicle of the Nazi "Final Solution", with more than 400 photographs. "Although many books chronicling the Holocaust contain pictures ... there has never before been one as expansive as this. These photographs demonstrate in the most powerful way the depths to which mankind can sink".—Booklist.
VG copy with some light wear and spine creasing.
1986, English
Hardcover (w. dust jacket), 184 pages, 25.5 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Weidenfeld & Nicholson / London
$25.00 - In stock -
First 1986 hardcover edition.
"Reg Gadney's chronicle of the Hungarian revolution of 1956 brings to life with accuracy the drama of that extraordinary event, which still today has the power in this book to move me to tears?"—Michael Korda, author of Charmed Lives
CRY HUNGARY! takes us straight back to those thirteen days in October, 1956, when the Hungarian people rose up against the crushing Soviet occupation of their country. It was a spontaneous people's uprising: Hungarians from every class and occupation banded together. Workers and intellectuals, in the capital Budapest, and in the provinces, demonstrated for freedom. Stalin's great statue was torn down and broken up in the streets; members of the hated secret police were hunted out and killed. The Hungarian army refused to act against their compatriots and politicians responded to their people's demands.
At first the Russians retreated, but when they saw that there was nothing to fear from the West but fine words, their tanks rolled back into Budapest. A frantic defence ensued, but the Hungarian people had no weapons to match the steel might of the USSR, and finally they were forced to admit that Russian imperial power would never be relaxed.
This tragic but inspiring story is told by Reg Gadney in a dramatic narrative that draws on radio transcripts and eyewitness accounts and is illustrated by the many starkly moving and memorable photographs taken by the great photo-journalists who were in Budapest that October. Today, as George Mikes in his introduction records, a prosperous and not altogether oppressed Hungary wishes to forget the blood and suffering of an older generation, but for the refugees who fled to Western Europe and to the United States, CRY HUNGARY! will provide a unique record of a tale of glorious victory and bitter defeat.
VG book VG DJ
1952, German
Hardcover (Vol. I w. dust jacket, clothbound), 272 + 272 pages, 30 x 22 cm
1st Edition, Out of print title / used / good
Published by
Burda Druck und Verlag / Baden
$90.00 - In stock -
Both volumes of The Second World War in Pictures / Der zweite Weltkrieg im Bild, Vol I — From Nürnberg to Stalingrad + Vol II — From Stalingrad to Nürnberg, clothbound and gilded hardcovers, published in 1952 by Burda Druck und Verlag, Baden. 544 pages of over 1200 gravure photographs with commentary documenting everything from the 1938 Nazi Party days to the Nuremberg trials. Many of the photos (German war photos and photos taken by the Allies) were never published before and none were sanitized, so readers would be confronted with every horrifying aspect of World War II. Incredible and harrowing imagery with beautiful printing.
Der Zweite Weltkrieg im Bild Volume I has coverage of the great triumphs and victories of the Third Reich. Nazi dignitaries admiring the might of the Wehrmacht at Reichsparteitag 1938, the September 1938 Munich Agreement, the Nazi invasion of Poland, the establishment of the first Jewish ghettos, the Wehrmacht in Norway, the victorious battle on the west front in 1940, U-Boot battle at Scapa Flow, air victories over England, the Italian entry into WW2, the Axis Agreement, the start of the war in the Balkans and Greece, the DAK in North Africa, the start of Operation Barbarossa, heavy fighting in Ukraine, Pearl Harbor, to the first defeat on the east front.
Der Zweite Weltkrieg im Bild Volume II shows the grim “Total War” in Germany. Defeat on the battlefield in the Soviet Union and Crimea, and destroyed Kriegsmarine ships and submarines at sea, the American entry in the war in North Africa, the D-Day invasion of Normandy and Allied landings in the south of France, the 20 July 1944 plot to kill Hitler, Allied air raids on German cities, the Battle of the Bulge, the Red Army in East Prussia, Silesia and Pomerania, the battle for Berlin, Hitler’s death, Hermann Goering’s capture, Mussolini’s end, German capitulation, the Potsdam Conference, all the way to the Nuernberg Trials.
Average—Good copies, volume I with poor dust jacket (creased and torn), both copies with with tanned page edges, rubbed/dusty cloth and wear to board extremities.
1979, English
Hardcover (w. dust jacket), 274 pages, 23.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Wydawnictwo Literackie / Kraków
$140.00 - In stock -
Rare first 1979 hardcover bi-lingual (Polish/English) edition of "Building the Barricade" a seminal collection of poetry of witness by the Polish poet Anna Świrszczyńska (1909-1984), a confronting document of Świrszczyńska’s experience as a military nurse and member of the Polish Resistance during the sixty-three days of the 1944 Warsaw Uprising — the Polish underground's resistance to liberate Warsaw from Nazi German occupation. In this original translated edition published by Wydawnictwo Literackie, Kraków, the poems are accompanied by the photography of Jerzy Tomaszewski (1924– 2016), who fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partially damaged) come from a collection which had been lost for over thirty years. Their recent discovery in the 1970s was an important historical and artistic event.
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Anna Świrszczyńska, born in Warsaw, Poland, in 1909, is one of the most significant Polish poets and playwrights of the entire postwar period. She attended Warsaw University where she studied medieval and baroque Polish literature. She began publishing poems in the 1930s. During the Nazi occupation of Poland, Świrszczyńska joined the Polish Resistance and was a military nurse during the Warsaw Uprising. Anna Świrszczyńska died in Krakow of cancer in 1984.
Translations by Magnus J. Krynski, Professor of Slavic Literatures at Duke University and author of many essays on contemporary Polish literature, and Robert A. Maguire, Professor of Russian Literature at Columbia University.
Anna Swirszczynska is one of the most significant Polish poets and playwrights of the entire postwar period. Among the works that gained her this position are the volumes of poetry Wind, I Am Female, Happy as a Dog's Tail and the plays Gunfire on Dluga Street and Conversation with My Own Foot. The first of these plays is set in Nazi occupied Warsaw while the second takes up the theme of a potentital nuclear destruction of the world.
Magnus J. Krynski, Professor of Slavic
Literatures at Duke University, is the author of many essays on contemporary Polish literature. Robert A. Maguire is Professor of Russian Literature at Columbia University.
His books include Red Virgin Soil and Gogol from the Twentieth Century. Krynski and Maguire are the translators of a selection of Tadeusz Rózewicz's poetry, The Survivor and Other Poems, published by Princeton University Press. Their translations were most favourably received by critics. At present they are preparing a volume of Wislawa Szymborska's poems in English.
Jerzy Tomaszewski fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partialy damaged) come from a collection which had been lost for over thirty thirty years. Their recent discovery was an important historical and artistic event.
Building the Barricade - Anna Świrszczyńska - translated by Piotr Florczyk - Introduction by Eavan Boland
$20.00 - ISBN 978-1-945680-68-7
Building the Barricade, a volume of poems by the Polish poet Anna Świrszczyńska (1909-1984), is a seminal collection of poetry of witness. Divided into three sections, the poems document Świrszczyńska’s experience as a military nurse during the sixty-three days of the 1944 Warsaw Uprising.
In a statement regarding the publication of Building the Barricade Świrszczyńska wrote: “Life in Warsaw during the Uprising was a nightmare. The city was deprived of water, electricity, gas, and food supplies. For the most part, the sewer system did not function; the hospitals had no medicines or clean water. Day and night German bombers raged over the capital, burying the living beneath the rubble.”
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Very Good copy in G—VG dust jacket with some edge wear esp to spine corners, preserved under archival mylar wrap.
1985, English
Softcover (w. paste-ins), 224 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$120.00 - In stock -
"A chrestomathy of dicey enchantments.'—CITY LIMITS
Now rare, long out-of-print 1985 Atlas Anthology 3, edited by Alastair Brotchie & Malcolm Green. "Benign Pollution, Enthused Writing". The third production from the legendary Atlas Press, the third general anthology and the first book to be actually typeset (a very expensive business in those days).
Features: Hans Carl Artmann, Pierre Albert-Birot, Wolfgang Bauer, Konrad Bayer, Pierre Bettencourt, Peter Blegvad, Andre Breton, Jean-Pierre Brisset, Günter Brus, René Crevel, David Gascoyne, Alfred Jarry, James Kirkup, Karl Kraus, Jean Lorrain, Harry Mathews, Gustave Meyrink, Pier Paolo Pasolini, Georges Perec, Benjamin Peret, Oskar Panizza, Raymond Queneau, Jacques Rigaut, Herbert Rosendorfer, Raymond Roussel, Paul Scheerbart, Mathew Phipps Shiel, Kurt Schwitters, Boris Vian, Austryn Wainhouse, Robert Walser, Unica Zürn, Etcetera Etc.
"Here is a prose based on Romanticism, in this century focused around the early Expressionism and the Surrealist movement. It is a literature of unusual beauty and bitter humour, political (in the widest sense), it asserts a complete freedom of form and content. Neither 'cool', restrained nor boring! An important collection of unjustly neglected authors, past and present, which includes many who are seldom translated into English."
Highest recommendation.
Good—Very Good copy complete with all the paste-ins. General wear and tanning.
1988, English
Hardcover, 286 pages, 23 x 14.6 cm
1st Edition, Out of print title / used / very good
Published by
Cambridge University Press / Cambridge
$60.00 - In stock -
Rare first 1988 hardcover edition, this book is a comprehensive study of the writings of Jean-Paul Sartre. As well as examining the drama and the fiction, the book analyses the evolution of his philosophy, explores his concern with ethics, psychoanalysis, literary theory, biography and autobiography and includes a lengthy section on the still much-neglected study of Flaubert, L'Idiot de la famille. One important aim of the book is to rebut the charges made by many theorists and philosophers by revealing that Sartre is in fact a major source for concepts such as the decentred subject and detotalised truth and for the revolt against individualistic humanism. Dr Howells also takes into account much posthumously published material, in particular the Chaiers pour une morale, but also the Lettres au Castor and the Cranets de la drole de guerre. The work is a substantial contribution to Sartre studies, but has been written with the non-specialist in mind; to that end all quotations are translated into English and gathered in an appendix.
Very Good copy.
1905, English
Hardcover (leather bound, gilded), 276 pages, 15 x 9.5 cm
Out of print title / used / average
Published by
J.M. Dent & Sons / London
$60.00 - Out of stock
Gorgeous gold embellished green leather bound 1905 printing of American essayist and Transcendentalist Ralph Waldo Emerson's Second book of essays (including "The Poet") together with "Nature", published by J.M. Dent & Sons, London. Probably the most important collection of his essays from his most fertile period, written in he mid-1830s to the mid-1840s. "Nature", written in 1936, represents Emerson's move away from the religious and social beliefs of his contemporaries, formulating and expressing the philosophy of Transcendentalism.
Ralph Waldo Emerson (1803—1882), who went by his middle name Waldo, was an American essayist, lecturer, philosopher, minister, abolitionist, and poet who led the Transcendentalist movement of the mid-19th century. He was seen as a champion of individualism and critical thinking, as well as a prescient critic of the countervailing pressures of society and conformity. Friedrich Nietzsche thought he was "the most gifted of the Americans," and Walt Whitman called Emerson his "master".
Average—Good copy with tanning to edges/spine, wear to extremities, some foxing, toned pages. Binding still sound with ribbon present.
1946, English
Hardcover, 286 pages, 19 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Hutchinson International Authors / London
$40.00 - In stock -
Rare first English edition of Heinrich Mann's controversial "Man of Straw", published by Hutchinson International Authors Ltd. London, 1946, originally published in the German language by Leipzig K Wolff, Berlin in 1918. Der Untertan (literally "the underling", translated into English under the titles Man of Straw, The Patrioteer, and The Loyal Subject) is one of the best known novels of German author Heinrich Mann. An indictment of the Wilhelmine regime and a warning against the joint elevation of militarism and commercial values, "Man of Straw" was beloved in the Weimar Republic and burnt by the Nazis. The title character, Diederich Hessling, a dedicated 'Untertan' in the sense of a person subservient to a monarch or prince, is an immoral man who is meant to serve as an allegory of both the reign of Kaiser Wilhelm II and German society of his time. Hessling is the embodiment of the corrupt society in which he moves and his progression through life forms the central theme of this book.
The novel was completed during the July Crisis in 1914, shortly before the outbreak of World War I. Extracts had been published in the satirical magazine Simplicissimus from 1912 onwards, causing great controversy. Mann signed a contract with the magazine Die Zeit im Bild [de] for the publication of the censored version of the novel from the beginning of 1914, but on 1 August the publication was stopped as "inappropriate". A book edition was not published until 1918 by Kurt Wolff in Leipzig.
Luiz Heinrich Mann (1871—1950), best known as simply Heinrich Mann, was a German writer known for his sociopolitical novels. From 1930 until 1933, he was president of the fine poetry division of the Prussian Academy of Arts. His fierce criticism of the growing Fascism and Nazism forced him to flee Germany after the Nazis came to power during 1933. He was the elder brother of writer Thomas Mann. Mann's essay on Émile Zola and the novel "Der Untertan" (published over the years 1912-1918) earned him much respect during the Weimar Republic, since they satirized Imperial German society. Together with Albert Einstein and other celebrities during 1932, Mann was a signatory to the "Urgent Call for Unity", asking the voters to reject the Nazis. Mann became persona non grata in Nazi Germany and left even before the Reichstag fire of 1933. He went to France where he lived in Paris and Nice. During the German occupation, he made his way to Marseille, where he was aided by Varian Fry in September 1940 to escape to Spain. Assisted by Justus Rosenberg, he and his wife Nelly Kröger, his nephew Golo Mann, Alma Mahler-Werfel and Franz Werfel hiked for six hours across the border at Port Bou. After arriving in Portugal, the group stayed in Monte Estoril, at the Grande Hotel D'Itália, between 18 Sep and 4 Oct 1940. On 4 Oct 1940, they boarded the S.S. Nea Hellas, headed for New York City. The Nazis burnt Heinrich Mann's books as "contrary to the German spirit" during the infamous book burning of May 10, 1933, which was instigated by the then Nazi propaganda minister Joseph Goebbels.
VG copy with some light sunning and marking, lacking dust jacket. From the library of Melbourne artist and academic Bernhard Sachs (1954-2022). Name penned to blank endpaper.
1988, English
Hardcover, 282 pages, 22 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Cambridge University Press / Cambridge
$45.00 - In stock -
Very rare first hardcover edition of Anna K. Kuhn's book-length chronological study in English of Christa Wolf's works, published by Cambridge in 1988. It traces the development and continuity of the writer's major themes and concerns against the backdrop of her constantly evolving relationship to Marxism, and documents the rise of her feminist consciousness. It does not, however, focus only on political and feminist issues, but addresses all facets of Wolf's identity by showing how her works reflect her own self-understanding. Forced by the clash between her vision of a humane socialism and the practice of socialism she observed in the German Democratic Republic to reassess her role as a writer and critic, Wolf broke through to her unique style in The Quest for Christa T., a work initially repudiated in the GDR both for its unorthodox subject matter and for its unconventional form. Since then, Wolf has effectively challenged the restrictions placed on writers in the GDR by writing on topics such as the Nazi past (Patterns of Childhood), Romanticism (No Place on Earth), patriarchal attitudes in the GDR (Cassandra) and the Chernobyl nuclear disaster (Storfall)."
Anna K. Kuhn's research interests include women's literature, feminist theory, film studies and German cultural studies.
VG copy w/o dust jacket. Note: not the 2009 re-issue often listed as a 1988 edition.
1977, English
Softcover, 222 pages, 19 x 11.5 cm
1st Edition, Out of print title / used / good
Published by
Seven Seas Books / Berlin
$45.00 - In stock -
Rare first 1977 English edition of this collection of important essays by German novelist and essayist Christa Wolf (1929—2011) first published in German in 1973. Translated here by Joan Becker.
"The Reader and the Writer consists of a number of essays and prose pieces by a leading writer of the German Democratic Republic and a concluding portrait of the author by biogeneticist, Hans Stubbe. "Writing," says Christa Wolf in the title essay, "is only one operation in a more complex process to which we give the splendid name of living." Her concern for literature's function within the context of life is a theme that runs through all her pieces. Whether she is describing the simple heroism of people she has encountered or reminiscences of a darker past or a visit to a biogeneticist at his research center her sense of vitality, honest quest for answers and warmth of personality are always present. Essays on other writers include those on Bertolt Brecht, Vera Inber, Ingeborg Bachmann, Fred Wander and Anna Seghers who come alive first as people and as writers whose works express the profound commitment of their lives. Another is a sketch that recalls a date in 1948 when she read her first Marxist book, Engels on Feuerbach, in which she underlined: "In the place of moribund reality comes a new viable reality. That was the process which was to fill my life..."—publisher's blurb
Christa Wolf (1929—2011) was German novelist and essayist. She is considered one of the most important writers to emerge from the former East Germany. Wolf was a German writer of rare purity and sensitivity who grew up under nazism and became an adult under communism. Her work records the impact of these ideologies on individual lives. She was, as one critic put it, "a writer of scrupulous 'touchstone' honesty", and it is the pursuit and uncovering of truth, under the most beleaguered circumstances, that defines her.
Good—VG copy. Clear laminate peeling with age at cover edges, repaired by some pieces of tape, cover in tact with only light edge wear. Binding and interior VG throughout., a well preserved copy.
1993, English
Softcover, 246 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Museum of Contemporary Art / Sydney
$45.00 - In stock -
Rare 1993 exhibition book published to accompany "La Cita Transcultural: Art from Latin America", a curatorial project by Nelly Richard, 9 March – 13 June 1993, Museum of Contemporary Art Australia (MCA) Sydney, featuring the work of Luis F Benedit, Juan Davila, Eugenio Dittborn, Arturo Duclos, Flavio Garciandia and the essays of Nestor Garcia Canclini, Ticio Escobar, Celeste Olalquiaga, Nelly Richard, Osvaldo Sanchez.
This major exhibition of artists from Latin America questioned the nostalgic and stereotypical view of Latin America as an exotic and primitive culture. It set up a dialogue between five artists and five authors, emphasising the dislocation, appropriation and reconversion of multiple cultural and artistic references. Through the development of these themes, hybrid identities, signs and cultures were allowed to emerge in the artists’ practice, reflecting the authors’ provisional relationships with language and identity.
This exhibition was the outcome of a dialogue between critic Nelly Richard and artist Juan Davila that began in the early 1980s. Davila was based in Melbourne, but continued to be involved with and explore political and cultural issues in his home country of Chile. Davila and Richard’s discussions evolved from the conflicts and similarities between these greatly divergent cultures with different indigenous and colonial histories. It also considered the larger project of developing a post-colonial understanding of art across a diversity of contexts and regions, acknowledging the heterogeneity of all culture and the complex relationships between centre and periphery.
La Cita Transcultural aimed to initiate an ongoing dialogue and exchange with artists in Chile, Cuba, Argentina and other countries in Latin America.
Very Good copy with residue of old bookshop sticker to back cover. Previous owner's name to title page, Australian curator/author Linda Michael.
2023, English
Softcover, 304 pages, 22.86 x 15.24 cm
Published by
Latin American Research Commons / Mountain View
$49.00 - In stock -
Diamela Eltit's literary work emerged on the Chilean cultural scene in the 1980s when the Pinochet regime (1973-1990) had consolidated its project of extermination, censorship, and neoliberal shock therapy. Forced to write in a suffocating atmosphere of restriction and violence, Eltit boldly cultivated a radical, insurrectional poetics aimed at questioning the very underpinnings of authoritarian power and discourse.
While Eltit's novels, published between 1983 and the present, provide a remarkable vision of Chile that has evolved over the past decades, she offers a different vantage point through her prolific and rigorous cultivation of literary essays.
Translated for the first time into English, this collection of Eltit's essays allows readers to delve into her key concerns as a writer and intellectual: the neoliberal marketplace; the marginalization of bodies in society; questions of gender and power; struggles for memory, truth, and justice after dictatorship; and the ever-complex relationships among politics, ethics, and aesthetics.
Diamela Eltit (Santiago de Chile, 1947) is a Chilean writer and university professor. She is a recipient of the National Prize for Literature.
1975, English
Softcover (staple-bound), 32 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Jill Matthews / Adelaide
$80.00 - In stock -
Exceptionally rare independent publication issued for International Women's Day in 1975, compiled by Australian social and feminist historian Jill Matthews (b. Adelaide 1949) — a crucial, harrowing and inspiring chronology of women's life in Australia since white settlement which expands into texts on Aboriginal Women, The Vote, Work, Education, closing with a directory of Women's Organisations across South Australia.
"In 1974, the United Nations declared that the whole of 1975 would be International Womens Year. This booklet arises from research carried out specifically for Intermational Womens Day—March 8, celebrated in South Australia by a march through the streets of Adelaide and various goings-on at the Festival Centre. The booklet aims to provide some factual information concerning the herstory/history of women in Australia since white settlement and to offer a few interpretations of these facts for discussion"—Jill Matthews
In 1984 Matthew's authored her rewritten PhD thesis as Good and Mad Women: The Historical Construction of Femininity in Twentieth Century Australia, published by Allen & Unwin. In her 1987 review, British historian Catherine Hall considered it to be an "essential starting point for British readers into the rapidly extending world of Australian feminist history".
Very Good copy, well preserved copy with light general wear and a few light drip marks to the cover.
1981, English
Softcover, 84 pages, 29.3 x 29.3 cm
1st Edition, Out of print title / used / very good
Published by
Wild & Woolley / Sydney
$140.00 - In stock -
First 1981 edition of this large-format, full-colour monograph on the inimmitable American–Australian illustrator, artist and concept designer Ron Cobb (1937—2020), published by Wild & Woolley in Glebe, Sydney. Profusely illustrated, Colorvision is a chronological survey of the diverse artwork of Ron Cobb, from his early days in Los Angeles, where he was born, to Sydney, where he moved in 1972 and spent most of his life. With accompanying bio and texts and anecdotes from Cobb's collaborators, the book comprehensively surveys his earliest work in Hollywood, his Monsters covers, his radical political cartoon work for the 1960's Underground Press, through to the dominant focus of the book — his groundbreaking 1970's concept art for major films including Dark Star (1974), Star Wars (1977), Alien (1979), Raiders of the Lost Ark (1981), and Conan the Barbarian (1982).
By the age of 18, Cobb, with no formal training in graphic illustration, was working as an animation "inbetweener" artist for Disney Studios in Burbank, California. He progressed to becoming a breakdown artist on the animation feature Sleeping Beauty (1959), the last Disney film to have cels inked by hand. After Sleeping Beauty was completed in 1957, Cobb was laid off by Disney and worked assorted jobs, painted covers for the legendary Monsters magazine, before being drafted and sent to Vietnam. After his discharge, Cobb began contributing to one of the first underground newspapers of the 1960s, New Age esotericist and editor Art Kunkin's Los Angeles Free Press, noted for its radical politics, as well as the Mother Earth News and other counterculture magazines. Cobb became regarded as one of the finest political cartoonists of the mid-1960s—early 1970s, outspoken on topics of war, ecology, and injustice. Cobb also created a symbol which was later featured on the Ecology Flag. Disenfranchise, Cobb moved to Sydney in 1972, and began contributing to the Australian alternative press, magazines such as The Digger, and published art books with Wild & Woolley. Cobb returned to cinema work when he worked with Dan O'Bannon to design the eponymous spaceship for the 1973 cult film, Dark Star (he drew the original design for the exterior of the Dark Star spaceship on a Pancake House napkin). After contributing designs for Alejandro Jodorowsky's uncompleted film adaption of Frank Herbert's novel Dune, Cobb was engaged by Lucasfilm to produce conceptual artwork for the space fantasy film Star Wars (1977). Working alongside artists John Mollo and Ralph McQuarrie, he created the designs for a number of exotic alien creatures for the Mos Eisley cantina scene. His incredible concept work continued with Alien (1979), Raiders of the Lost Ark (1981), Conan the Barbarian (1982), Back to the Future (1985), The Abyss (1989), Total Recall (1990), and Southland Tales (2006), and directed the Australian comedy film Garbo in 1992. During the 1990s, Cobb developed characters and designs for Rocket Science Games, becoming an influential figure in video game design just as he had become in film.
Very Good copy with light handling wear only, light tanning, edge wear to covers.
1992, English
Softcover, 160 pages, 42.5 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$150.00 - Out of stock
"This three-foot, in-your-face, on-your-lap monster belongs on every five-foot shelf."
Rare first edition copy of the most unruly of the remarkable special book issues of the original Semiotext(e) journal — the Semiotext(e) Architecture Issue, published in 1992, edited and Schizo-designed as an enormous and heavy landscape magazine by Hrazten Zeitlian, featuring the work of Brian Boigon, Atom Egoyan, Felix Guattari, Arthur Kroker, Catherine Ingraham, Hrazten Zeitlian, Erwin Panofsky, Jesse Reiser, Daniel Libeskind, Stan Allen, Daniel Tiffany, Greg Ulmer, and many others packed into an explosion of architectural and typographical DIY desktop delirium. "Complex texts struggling with architectures intended to drag you into a visual and conceptual maelstrom. [...] a volume too big to open in most city apartments."—MIT Press
First edition. Not the 2009 reprint.
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Very Good copy with light general wear. Very well preserved for the format!