Search Results: Authors starting with C from ReadInk

New York: D. Appleton-Century Company, Inc.. Very Good in Good dj. (c.1947). First Edition. Hardcover. (price-clipped) [wear to and bumping to bottom corners (exposing board at one corner), inked date on front pastedown, ffep top corner clipped; jacket has a bit of paper loss at top corners and top of spine, a few small closed tears, spotting/soiling to rear panel]. Novel about a woman torn between the two men she loves. She's engaged to "the wellbred, refined Mark Richards," but "the thought of Laramie King, moody, passionate and unkempt, lingered in her mind." It's always the unkempt ones, isn't it? .

New York: William Sloane Associates. Near Fine in Very Good+ dj. (c.1953). First Edition. Hardcover. (price-clipped) [solid clean copy, mild shelfwear, publisher's sticker on ffep indicating this to be a "specially autographed edition"; jacket moderately edgeworn, a few small tears, faint dampstain along left edge of front flap, nothing too serious]. SIGNED by the author on the half-title page. "This dynamic, contemporary novel is set against the natural background of Northern Michigan's wild hinterland. It tells of Marty Jevons' search for a purpose in life and a woman to love. [With a rifle?] Marty is a young Marine veteran. The savage streak that most of us camouflage so carefully is his reason for living." Probably best not to bring that up on the first date. Signed by Author .

New York: Mitchell Kennerley. Very Good. 1914. First Edition. Hardcover. (no dust jacket) [good sound copy, moderate wear to extremities, hinges and binding fully intact, gilt lettering still bright on spine and front cover; top edge gilt]. (caricature sketches) A survey of the vaudeville scene of the day, with discussions and caricature sketches of nearly fifty leading performers. Many legendary names are included -- Harry Lauder, Nora Bayes, Ruth St. Denis, Vernon and Irene Castle, Elsie Janis, Houdini, Annette Kellermann, Al Jolson, Will Rogers, Bert Williams, Lillian Russell, etc. -- and just as many others whose one-time renown has faded to nothingness: Laddie Cliff or Ray Cox, anyone? Ching Ling Foo? (Also a few who you might not automatically think of as vaudeville performers, e.g. Ethel Barrymore and Sarah Bernhardt.) There are 49 plates in all: one in color (Bernhardt, the frontispiece), six in tint, and the remainder are black-and-white line drawings in what I would call a… Read More

[Washington DC]: The American Film Institute. Good. [1974]. First Edition. Stapled wraps. NOISBN . [a somewhat beat-up copy, clean inside and out but with numerous small creases/bends/dents in covers]. (B&W photographs) Tribute book for the AFI's second annual award, the first presented to an actor. Includes two short articles, "The Unforgettable Young Man" by Joan Blondell, and "James Cagney: A Few Thoughts on the Next 2 Billion Years" by Ray Bradbury; plus numerous comments from Cagney's professional colleagues and friends. At that time he had been retired from the screen for 13 years, but was subsequently lured back for two appearances, notably in Milos Forman's RAGTIME (1981) and much less notably in the dreadful 1984 TV-movie TERRIBLE JOE MORAN. .

New York: Arbor House. Very Good+ in Very Good dj. (c.1974). First Edition. Hardcover. [light shelfwear, slight fading to cloth at base of spine, a little age-toning to top edge of text block; jacket has a few tiny tears and minor paper loss at spine ends, some discoloration to rear panel]. (B&W photographs) INSCRIBED ("and I do!") and SIGNED by the author on the front endpaper. Memoir by the great American songwriter, "who teamed with such as Jule Styne and Jimmy Van Heusen to write the songs that have made him legendary and framed the lives of two generations of Americans." Signed by Author .

(n.p.): Editions for the Armed Services, Inc.. Very Good. [1944] (c.1934). First Edition Thus. Stapled wraps. [moderately worn copy, slght fading along spine, short diagonal crease at bottom corner of front cover; internally quite clean, with typical signs of aging to cheap paper]. An outstanding association copy of Cain's most famous novel, INSCRIBED and SIGNED by the author on the title page -- an amusing inscription to film producer and fellow screenwriter Carey Wilson which reads: "To Cary [sic] Wilson / The best edition / of all / Jim." Wilson was the producer of the long-delayed MGM film version of the book, released in 1946, and in fact had been the first writer assigned to the property when MGM resuscitated it in 1944 (having owned the rights for several years but been put off by the censorship challenges), although the screenplay credit on the finished film was shared by Harry Ruskin and Niven Busch. The inscription is undated, but almost certainly dates from the… Read More

New York: Alfred A. Knopf. Very Good in Good dj. 1946. First Edition. Hardcover. (price-clipped) [moderately worn book, some dust-soiling to top of text block; jacket is edgeworn, minor paper loss at spine ends and most corners]. "This book deals with the West of the silver boom," per the author's note in the front of the book, which represented Cain's first serious effort in the realm of historical fiction. .

Boston: Houghton Mifflin Company. Very Good in Fair dj. (c.1939). First Edition. Hardcover. [book is moderately shelfworn, has a library-type pocket on front pastedown (with one-time owner's address label affixed), the same owner's signature on the copyright page, and a small envelope glued to the rear pastedown (see notes for content); the fold-out map affixed to rear endpaper is present and in excellent condition; jacket is heavily chipped along top edge, partially split along spine, a little paper loss at spine ends, a few tiny scrape marks on front panel, a tiny scraped hole in rear panel]. (American Guide Series) Series (B&W photographs) Comprehensive guide to the history, geology, climate, topography, flora and fauna of California's Death Valley. As typical with this excellent series, about 2/3 of the book is devoted to detailed automobile tours of the Valley -- in this case, divided between "Main Highways" (7 tours) and "Rough Roads" (13 tours).… Read More

New York: Hastings House. Very Good+. 1947. Revised 2nd Edition. Hardcover. (gray cloth; no dust jacket) [good sound copy, minor shelfwear, one-time owner's name at top of ffep, a list of 18 notable Bay Area names written in ink on a rear endpaper; there is also a thin line of some kind of schmutz stuck to the rear cover, apparently the residue of something that was once stuck to the book]. (American Guide Series) Series (B&W photographs, maps) A thoroughgoing historical/cultural/geographical/architectural portrait of the San Francisco Bay Area, including not just the city itself but also the harbor and its islands, the East Bay (Oakland, Berkeley, Alameda), the North Bay, the Monterey Peninsula, and even a bit of San Jose. As typical with these books, one of the highlights is the detailed tours (in this case, both walking and driving). .

New York: Lancer Books (70-042). Very Good+. 1963. 1st Edition (pbo). Softcover. [nice tight copy, minor edgewear to covers, very slight dog-earing at bottom right corner of front cover]. Mass Market PB "A story of fighting men -- and their women," sez the cover blurb -- but hey, I watched this show when I was a kid, and I don't remember any women figuring into it AT ALL. Maybe they only appeared in this "original novel based on the highly-rated ABC-TV show," which "follows the life and loves of Lt. Gil Hanley and his men as they battle for another yard of ground, and for survival." (And for French girls?) The show ran for five seasons -- longer than the U.S. was involved in the real World War II -- and here's a fun fact: when it debuted in the Fall of 1962, the war itself was only 17 years in the rear-view mirror. .

Detroit: Wayne State University Press. Fine. First Edition. Softcover. [a beautiful, as-new copy: no marks, no wear]. (Contemporary Approaches to Film and Television) Series Trade PB This book "is a wonderful analysis of Louis Feuillade's cinematic serials, which have been an inspiration to filmmakers and other artists throughout the twentieth century. [The author] gives us a fresh approach to Feuillade's work, not only situating it within the context of early French film history, but also within feminist theory and feminist film history. Indeed, [the] book demonstrates why feminist questions of spectatorship, stardom, and film form are central to the writing (and rewriting) of film history." (Cover blurb by Judith Mayne) .

Savoy IL: Land of Lincoln Press. Near Fine in Near Fine dj. (c.2009). First Edition. Hardcover. [one tiny dent in bottom edge of both covers, otherwise no significant wear; jacket shows a bit of surface handling wear, minor wrinkle at bottom edge of rear panel]. (B&W photographs) INSCRIBED and SIGNED by the primary author (Callahan) on the title page. In his first assignment as Investigations Commander for a nine-county area in East-Central Illinois, the author reviewed a 14-year-old murder case. The investigation changed his life, as it led to a (successful) years-long fight to free the two innocent men who had been wrongfully convicted of the crime -- a fight that also exposed "the corrupt administration of [Illinois] Governor George Ryan and the politically compromised command of the Illinois State Police." The case was the subject of a 2015 episode of the CNN documentary series "Death Row Stories," entitled "Murder in Paris," in which Callahan… Read More

New York: Authors Press. Fair. 1940. 3rd printing. Hardcover. (no dust jacket) [worn but intact copy, slight fading to spine cloth, bumping to all corners, fraying to cloth and some exposure of boards at bottom edge, several small gouges in rear cover, small bookseller's rubber stamp inside, one-time owner's name at top of title page]. INSCRIBED and SIGNED by the author on the title page: "To Marie Vasgard / with good luck wishes / Robert E. Callahan / 1947." As nearly as I can make out the plot of this somewhat overwrought novel, it has to do with a man who places hundreds of "lonely hearts" advertisements in newspapers around the country, in order to investigate and expose the matrimonial bureaus (matchmaking rackets sometimes referred to in the book as "love cults") that take advantage of lonely women looking for mates. He has undertaken this project to fulfill the wish of his now-deceased wife, and through it he also apparently hopes to… Read More

Berkeley: University of California Press. Near Fine. 1982. (Vol. XXXV, No. 4). Periodical. [minor wear to front cover]. (B&W photographs) The primary feature of this issue is their annual round-up of the year's film books, with reviews or informative annotations on almost 100 books. Also in this issue: an interview with the renowned Hungarian filmmaker István Szabó; two articles, "Power and Dis-Integration in the Films of Orson Welles" by Beverle Houston, and "Harvard Film Studies: A Review" by Brian Henderson; and a review of Szabó's film CONFIDENCE (1980). (We have numerous other issues of this and other film-related periodicals that are not listed online; please inquire if you have particular needs or wants.) .

Berkeley: University of California Press. Near Fine. 1982. (Vol. XXXVI, No. 1). Periodical. [nice clean copy, minimal handling wear]. (B&W photographs) This issue includes interviews with Hector Babenco (with special attention to his film PIXOTE) and Emile de Antonio (the latter interviewing himself). Articles: "Time and Stasis in LA JETÉE" (about the Chris Marker film); an analysis of three films by Walter Hill (SOUTHERN COMFORT, THE LONG RIDERS, and THE WARRIORS); an analysis of Jonathan Demme's MELVIN AND HOWARD and its connections with the work of Frank Capra. Film reviews: TIME BANDITS (Terry Gilliam), VICTOR/VICTORIA (Blake Edwards), THE LONG GOOD FRIDAY (John MacKenzie), and THREE BROTHERS (Francesco Rosi). (We have numerous other issues of this and other film-related periodicals that are not listed online; please inquire if you have particular needs or wants.) .

Berkeley: University of California Press. Fine. 1982. (Vol. XXXV, No. 3). Periodical. [pristine copy, with no discernible wear]. (B&W photographs) In this issue: an interview with the great cinematographer Vittorio Storaro; a long analysis of Abel Gance's NAPOLEON; an examination of the work of documentary filmmaker Les Blank; an examination of the relationship of filmmaker Stan Brakhage's work to that of postmodernist poet Charles Olson. Also reviews of contemporary films: REDS; MONTENEGRO; and TAPS. Book reviewed include David Thomson's "Overexposures." (We have numerous other issues of this and other film-related periodicals that are not listed online; please inquire if you have particular needs or wants.) .

Berkeley: University of California Press. Good. 1962. (Vol. XV, No. 4). Magazine. [worn copy, with various creases/bends in covers, slight overall ripple to magazine]. (B&W photographs) Highlights of this issue: an interview with Harold Lloyd; a long article by Pauline Kael, consisting of "remarks on movie critics and some recent movies," most notably Jack Clayton's THE INNOCENTS, but also taking in A VIEW FROM THE BRIDGE and WEST SIDE STORY (which is also reviewed separately in this issue by Albert Johnson), among others; a rundown on "Films of the Quarter," with contributions by Kael, Stanley Kauffmann, Gavin Lambert, Dwight Macdonald, and Jonas Mekas; a section of reviews of "New York films," which includes both "pro" and a "con" reviews of Shirley Clarke's THE CONNECTION and a review of Jonas Mekas's GUNS OF THE TREES. .

Berkeley: University of California Press. Very Good+. 1981-1982. (Vol. XXXV, No. 2). Periodical. [upper section of front cover a little wrinkled, light external surface wear]. (B&W photographs) Article in this issue: "A Musical Comedy of Empire" by Brian Henderson, an analysis of of "imperialist machinations" underlying the Astaire-Rogers musical FLYING DOWN TO RIO (1933); "Le Nouveau Godard" by Peter Harcourt, an exploration of the director's SAUVE QUI PEUT (LA VIE) (1980); "M.P.A.A. Ratings and the Box Office," a statistical analysis. Also included is an interview with director Georges Franju, and reviews of these contemporary films: LILI MARLEEN; LIGHTNING OVER WATER; THE FRENCH LIEUTENANT'S WOMAN; CUTTER'S WAY; and MY DINNER WITH ANDRE. (We have numerous other issues of this and other film-related periodicals that are not listed online; please inquire if you have particular needs or wants.) .

Berkeley: University of California Press. Very Good. 1958. (Vol. XII, No. 2). Periodical. [modest edgewear all around, some minor creasing in front cover, some red-ink underlining in the Minnelli article]. (B&W photographs) In the first three articles in this issue, grouped under the title "The Growing Edge," the authors tell of their personal encounters with three filmmakers: Satyajit Ray, Luis Bunuel, and Luigi Zampa (the latter piece incorporating an interview). Also in this issue: "Hollywood's Favorite Fable," in which Arthur Mayer discusses and debunks "the myth of the virtuous producer-distributor and the wicked exhibitor"; the first installment of an 2-part examination of the films of Vincente Minnelli, by Albert Johnson (covering his career through THE BAD AND THE BEAUTIFUL); an article about casting for motion pictures and TV, by Lola G. Yoakem. Films reviewed: THE ROOTS OF HEAVEN and THE BARBARIAN AND THE GEISHA (both directed by John… Read More

Berkeley: University of California Press. Very Good. 1961. (Vol. XIV, No. 4). Periodical. [minor wear, nice clean copy, some partially-erased writing in blue ink at top of front cover]. (B&W photographs) In this issue: "The Cinema Delimina: Films from the Underground," by Stan Vanderbeek; "Forbidden Fruit: The Nazi Feature Film, 1933-1945," by David Stewart Hull; and "Yugoslav Short Films," by Donald Richie. Especially interesting is the fourth article, "An American Film Institute: A Proposal," by Colin Young, a lengthy piece which represents an early conceptual floating of the idea of a national film institute that would ultimately come to fruition about six years later. (This proposal, however, predates the National Endowment for the Arts, under which the AFI was eventually established; that federally-funded agency wasn't created until 1965. At this time, the idea was that this nascent AFI would be created as a nonprofit cultural… Read More