The Invention of Solitude by Auster, Paul - 1982

New York: Grove Press, 1969 Stated first printing, first bilingual edition with Spanish/English text, review copy with publisher's slip laid-in. Spine ends gently softened, else book in fine condition; dust jacket in fine condition. An exceptional copy.

New York: E. P. Dutton / Emece Editores, 1972 First printing of the stated first edition. Book in fine condition; dust jacket with a tiny scratch/nick to middle front cover and a couple tiny chips to crown of spine, else fine.

Port Townsend: Copper Canyon Press, 1986 First printing of the first edition, with Spanish/English text. Book and dust jacket in fine condition.

Denver: Alan Swallow, 1964 First printing of the first edition. Signed by Samuel French Morse directly on the title page; additionally, French wrote the following inscription on the front-free endpage: "For Bill Kienbusch / who is often / 'Colloquial as August when we're / here' / June 1965 / Sam"

American artist, William Austin Kienbusch (1914-1980), a magna cum laude graduate of Princeton, was best known for his semi-abstract landscapes of Maine. Representations of his work are on exhibit at the Smithsonian Museum of American Art in Washington, D.C.

Morse finished his inscription to Kienbusch using the first line of the last stanza from the concluding poem for this volume: "A Poem in Praise of Hancock Point," p.91. (The referenced poem was also included in Morse's, The Collected Poems, 1995.)
"Colloquial as August, when we're here-- / A rhyme for rustics, like a villanelle. / We listen for but almost never hear / The kind of talk that makes our… Read More

New York: Scribner Poetry / Simon & Schuster, 2005 First printing of the first edition. Signed by David Lehman directly on the title page; additionally signed at their page of contribution by John Ashbery, Stephen Dunn, Galway Kinnell, and D. Nurkse. Light shallow crimping at spine ends, else book and dust jacket in fine condition.

New York: Harper & Row, 1984 First printing of the stated first edition. Signed by Saul Bellow directly on the front-free endpaper. Faint toning to endpapers, else book in fine condition; dust jacket with a faint crease to upper spine, else fine.

New York: Grove Press, 1969 Stated first printing, first bilingual edition with Spanish/English text, review copy with publisher's slip laid-in. Spine ends gently softened, else book in fine condition; dust jacket in fine condition. An exceptional copy.

New York: E. P. Dutton / Emece Editores, 1972 First printing of the stated first edition. Book in fine condition; dust jacket with a tiny scratch/nick to middle front cover and a couple tiny chips to crown of spine, else fine.

Denver: Alan Swallow, 1964 First printing of the first edition. Signed by Samuel French Morse directly on the title page; additionally, French wrote the following inscription on the front-free endpage: "For Bill Kienbusch / who is often / 'Colloquial as August when we're / here' / June 1965 / Sam"

American artist, William Austin Kienbusch (1914-1980), a magna cum laude graduate of Princeton, was best known for his semi-abstract landscapes of Maine. Representations of his work are on exhibit at the Smithsonian Museum of American Art in Washington, D.C.

Morse finished his inscription to Kienbusch using the first line of the last stanza from the concluding poem for this volume: "A Poem in Praise of Hancock Point," p.91. (The referenced poem was also included in Morse's, The Collected Poems, 1995.)
"Colloquial as August, when we're here-- / A rhyme for rustics, like a villanelle. / We listen for but almost never hear / The kind of talk that makes our… Read More

New York: Scribner Poetry / Simon & Schuster, 2005 First printing of the first edition. Signed by David Lehman directly on the title page; additionally signed at their page of contribution by John Ashbery, Stephen Dunn, Galway Kinnell, and D. Nurkse. Light shallow crimping at spine ends, else book and dust jacket in fine condition.