2008, ISBN: 9780393732405

Taschenbuch, Gebundene Ausgabe, Erstausgabe

New York City, NY: W. W. Norton & Company, 2003. First Edition. First Printing.. Hardcover. Fine/Fine Dust Jacket.. New York City, NY: W. W. Norton & Company, 2003. Hardcover. F… Mehr…

New York City, NY: W. W. Norton & Company, 2003. First Edition. First Printing.. Hardcover. Fine/Fine Dust Jacket.. New York City, NY: W. W. Norton & Company, 2003. Hardcover. Fine/Fine. First Edition/First Printing. 255 pages. Definitive biography on subject. One of the finest literary biographies of our time. Review Copy. Review Material laid-in. The First Hardcover Edition. Precedes and should not be confused with all other subsequent editions. Published in a small and limited first print run as a hardcover original only. The First Edition is now scarce. Presents Jerzy Ficowski's "Bruno Schulz, A Biographical Portrait: Regions of The Great Heresy" in a felicitous English translation. The very first book-length biography on Bruno Schulz. Ficowski is the one writer/scholar/poet who almost single-handedly championed his work, collected his art, memorabilia, and personal effects, and quite simply, knew him better than anyone else. The exemplary keeper of the flame, Ficowski supplements his beautifully and movingly written account with vintage photographs, manuscript pages, letters, and reproductions of Schulz's art. For Bruno Schulz was that rare, one-of-a-kind species of Mankind: A great artist who was an even greater writer, a visual and linguistic genius whose reputation rests mainly on two seminal books, "Street of Crocodiles" and "Sanatorium Under The Sign of The Hourglass". Reading them is a transformative experience; one will never think of literature (or art) in the same way again. ALL great art and literature have a spiritual dimension, NOT to be confused with mere religiosity, and indeed its exact opposite as it is immanent to the artist's humanity. Bruno Schulz is among the very greatest artist/writers because of his spiritual commitment, not just this dimension: "The Schulzian myth is at last augmented by Schulz's troubling and touching history. Ficowski's dedicated and crucial intimacy with Schulz's reticent life illumines indispensably the sources of a genius whom the evils of the twentieth century destroyed, yet whose work, year by year, grows more and more imperative: A kind of DNA code for the secret language of imagination" (Cynthia Ozick) . Just as Danilo Kis' greatest novel, "Hourglass", is an homage to Schulz's second book, the title of Ficowski's biography is taken from a line in "Tailor Dummies", one of the short stories in "Street of Crocodiles". "Schulz strikes us, stuns us even, with its overload of beauty" (John Updike) . An absolute "must-have" title for Bruno Schulz collectors. This is a Review Copy. The Review Material is laid-in. This title is a contemporary classic. As far as we know, this is the only Review Copy of the First Hardcover Edition/First Printing (American) available online and is in especially fine condition: Clean, crisp, and bright. Please note: Copies available online have serious flaws, are subsequent printings, or are remainder-marked. This is surely an accessible and lovely alternative. A rare copy thus. 35 plates. One of the greatest artist/writers of the 20th century. A fine copy. (SEE ALSO OTHER BRUNO SCHULZ TITLES IN OUR CATALOG). ISBN 0393051471., W. W. Norton & Company, 2003, 5, Zurich, Switzerland: Editions Stemmle, 2000. First Edition. First Printing.. Hardcover. Fine/Fine Dust Jacket.. Zurich, Switzerland: Editions Stemmle, 2000. Hardcover. Fine/Fine. First Edition/First Printing. 135 pages. Retrospective collection of color photographs. The first and only edition. Published in a small and limited print run as a hardcover only. The First Edition is now scarce. A brilliant production by Patrick McMullan and Ed Noriega: Oversize-volume format. Black hard boards with white titles on spine, as issued. Photographs by Patrick McMullan. Introduction by Glenn Albin. Printed on pristine-white, thick coated stock paper in Switzerland to the highest standards. In pictorial DJ, which features fashion and commercial model Josh Crosby, and titles on the cover and spine, as issued. Presents Patrick McMullan's "Men's Show". Behind-the-scenes photographs of New York's male fashion shows as only Patrick McMullan could have taken them. The photographs cover a considerable range, capturing the different moods and "feel" of a fashion show. There are tense, anxious moments, playful scenes, and others that hint at the extreme levels of competitiveness in modeling. A commentator once said that the NFL seems like the Minor League when compared to the visceral ruthlessness of the fashion modelling world. Still, the book is also about pleasure: The pleasure of undressing, dressing up, being made up, being fawned over, walking down the ramp, being ogled, being propositioned, and being photographed by the likes of Mario Testino, Bruce Weber, and Patrick McMullan. The models include Markus Schenkenberg, Joel West, Alex Lundquist, Tyson Beckford, and Mark van der Loo, to name just a few. The book is divided into six sections, each of which revolves around a major aspect of the fashion show: "Prep", "Wait", "Skin", "Glam", "Play", and "Sets". In other words, this is as much about fashion as it is a celebration of the beauty of the male face and body. McMullan dedicates his book to his mentor, the late Andy Warhol, "who I know would love this book". An absolute "must-have" title for Patrick McMullan collectors. This title is now collectible. It comes with a copy of the 5 X 9 inch Agency Model Card of the skateboarder/supermodel Josh Wald and two original 4 X 5 inch color prints of supermodels in identical Speedos. This is one of few copies (with bonus materials) of the First Hardcover Edition/First Printing still available online and is in especially fine condition: Clean, crisp, bright. Please note: Copies available online have serious flaws or are remainder-marked. This is surely an accessible and lovely alternative. A rare set thus. 130 color plates. One of the most brilliant fashion and lifestyle photographers of our time. A fine copy. . ISBN 3908163293., Editions Stemmle, 2000, 5, New York City, NY: Pantheon Books, 2007. First Edition. First Printing.. Hardcover. Fine/Fine Dust Jacket.. New York City, NY: Pantheon Books, 2007. Hardcover. Fine/Fine. First Edition/First Printing. 660 pages. The author's fourth novel. Now considered a contemporary classic. The First Hardcover Edition. Precedes and should not be confused with all other subsequent editions. Published in a small and limited first print run as a hardcover original only. The First Edition is now scarce. Presents Ha Jin's "A Free Life". His first "American" novel. "Newcomers to the United States, Nan Wu and his wife, Pingping, have just brought their six-year-old son, Taotao, from China, so that they can all begin a free life in the West. Unsure but optimistic, the Wu family sets out on an uncharted journey through contemporary America in search not only of financial stability but also a sense of belonging, the tantalizing heart of the American Dream. Luminous, deeply moving, giving us both a bracingly intimate portrait of one family and a brilliant rendering of the vast, surprising, and challenging new homeland they discover together" (Publisher's blurb) . Began in 2000 on a Guggenheim Fellowship, the novel has taken Ha Jin eight years, off and on, to write. At almost 700 pages, it is his longest work to date. It is also Ha Jin's second breakthrough, as a Chinese expatriate, a writer, and dare one say it, a human being: Ha Jin came to the United States as an adult barely able to speak English. He still has difficulty speaking it and has said that the main impetus for writing is the opportunity it affords him to sit down and write and re-write, edit and re-edit, and start all over again if necessary until he is satisfied with the result. He uses his acquired language as a storyteller and poet of the first rank who bears witness to the collision between personal experience (in all its pain, beauty, and complexity) and the arbitrary suffering that History, Fate, and Destiny inflict upon all human beings, whether they be powerful or powerless. His sympathy for every human being in all his or her particularity is unsurpassed among contemporary American writers. "Reading Ha Jin is like falling in love: You experience anxiety, profound self-consciousness, and an uncomfortable sensitivity to the world, and somehow it's a pleasure. Like the best writers, Ha Jin sneaks emotional power into the plainest sentences" (The New Yorker Magazine) . An absolute "must-have" title for Ha Jin collectors. This copy is very prominently, neatly, and beautifully signed and dated (in the month and year of publication) in black pen on the title page by the author: "Ha Jin 11/04/07". It is signed directly on the page itself, not on a tipped-in page or bookplate. Laid-in is a copy of the Souvenir Program of the event itself, "Ha Jin: A Free Life", during which the signing was held. This title is a contemporary classic. This is one of few such signed and publication-month dated copies of the First Hardcover Edition/First Printing still available online and is in especially fine condition: Clean, crisp, and bright. Please note: Copies were damaged in transit by the publisher and have serious flaws even if they are New. This is surely an accessible and lovely alternative. A scarce signed copy thus. Winner of the PEN/Hemingway Award for "Ocean of Words". Winner of the Flannery O'Connor Award For Short Fiction for "Under the Red Flag". Winner of the PEN/Faulkner Award and the National Book Award in 1999 for "Waiting". One of the finest writers of our time. A fine copy. (SEE ALSO OTHER HA JIN TITLES IN OUR CATALOG). ISBN 0375424652., Pantheon Books, 2007, 5, Vilnius, Lithuania: Spausdino UAB, 2002. First Edition. First Printing.. Softcover. Fine/No Dust Jacket, As Issued.. Vilnius, Lithuania: Spausdino UAB, 2002. Softcover. Fine/None, As Issued. First Edition/First Printing. Unpaginated. Retrospective collection of black-and-white photographs. One of the most beautiful art photography books ever published in our time. The first and only edition. Published in a small and limited print run as a softcover original only. An original publication from Lithuania, none of the copies was commercially sold in the United States. The First Edition is now scarce. An austerely elegant production by Jonas Dovydenas: Oversize-volume format. Black softcovers with tritone plate reproduction pasted in front. Photographs by Jonas Dovydenas. Essay by Anders Kreuger in the English original and Lithuanian translation. Printed in tritone on pristine-white, thick coated stock paper in Vilnius, Lithuania to the highest standards. The reproduction quality is outstanding in every respect. Without DJ, as issued. Presents Jonas Dovydenas' "Another Country Also Mine". In Lithuanian: "Sugrizimas I Palikta Krasta". Stunningly beautiful photographs of his native Lithuania by the immigrant/citizen who has made the American West his very own country, his masterpiece being "Nevada, A Journey" (1987) . This collection of photographs, taken between 1996 and 2002, on the other hand, is a homecoming and a pilgrimage-of-sorts: Dovydenas fled Lithuania with his family just before the Soviet occupation. He has been gone for a very long time, not entirely by choice. Throughout his work, Dovydenas' approach remains unapologetically nostalgic and celebratory at the same time. His hymnal images are authentic, eloquent, and moving without being sentimental, recalling - and worthy of - the work of Antanas Sutkus, perhaps the iconic Lithuanian photographer of our time. An absolute "must-have" title for Jonas Dovydenas collectors. This title is a contemporary art photography classic. This is one of few copies of the First Edition/First Printing still available online and is in especially fine condition: Clean, crisp, and bright. Please note: ALL other copies available online have very serious flaws (even if signed) yet are priced as though they had collectible value. This is surely an accessible and lovely alternative. A rare copy thus. Lavishly illustrated with tritone plates. One of the most brilliant American photographers of our time. A fine copy. (SEE ALSO OTHER JONAS DOVYDENAS TITLES IN OUR CATALOG). ISBN 9955438142., Spausdino UAB, 2002, 5, Harwich Port: Clock & Rose Press, 2004. Harwich Port: Clock & Rose Press, 2004. 8vo. First trade edition, preceded by a limited, numbered & signed edition of 125 copies. Cloth binding, 93 pp. James Wiley Clements, although he would deny it, stands as a remnant of a transitory time in the evolution of our consciousness as a people. This is a man who stood with Douglas MacArthur on the bridge of his flagship at Inchon, Korea, when to be an American was to stand for bravery, strength, and compassion- virtues we seem to have lost sight of now. Born in 1928 and raised by his grandmother on a one-mule farm in rural Alabama, the product of a fundamentalist Christian upbringing, he made the transition into a world larger than any he could have envisioned as a child. It is his (and our) gift that he observed the details of this passage so well and for so long. These poems, his first published book, preserve a perspective both wry and gentle that is almost extinct in American letters. These are immensely appealing poems: sometimes caustic, sometimes pensive, always alive with a vivid undercurrent of humor and compassion. He speaks to the Confederate dead, whose dying world shaped his early days. He speaks to the grace and humility that lives in all of us, urging, in his understated manner, a return to the roots of our national humanity before it withers away entirely. Wiley would say these are the simple poems of a simple man near the end of his days. He'd say he's publishing them because he wants to please a few friends and leave something behind for his grandson to remember him by. Yet, in "Yesterday, or Long Ago" there is a palpable sense of a man bearing witness to his times, appealing to the common denominator that makes us, collectively, the American people. And in this sense, we are all his grandchildren, and we may well be moved by this simple testament of a not-so-simple man. We hear him arguing with us already; "You can't say that. I make no such claims!" And this, of course, is true; Wiley makes no such claims. His poems speak for themselves. About the Author: Born in 1928, James Wiley Clements was raised by his widowed grandmother on a one-mule farm in central Alabama. With only a fourth grade education herself, his grandmother filled many lined tablets with her own poems and taught the little boy to write rhyming verse even before he entered elementary school. He attended a semi-rural high school at the village of Maplesville, Alabama, where his English teacher encouraged him to send poems to Senior Scholastic Magazine, which became his first publishing "credit." When his grandmother died in 1945, Clements was taken in by his uncle Alonzo, a farmer and Nazarene preacher who taught him, among other precepts, "You can't quarrel with a man about what he likes, as long as it's decent." Graduating from high school virtually penniless, he took a competitive examination and won a four-year scholarship to Birmingham-Southern College. He left college before the end of his first year to join the Navy, which sent him to journalism school, and he spent the next 7 years as a journalist and as political affairs assistant in the Pacific. At the outbreak of the Korean war Clements was called to Tokyo, and from thence to Douglas MacArthur's flagship, where he witnessed the first landing in Korea. He mustered out of the Navy in 1952, took his degree from Birmingham Southern in 1954, and eventually entered the nascent HMO business, where he spent his working career. Retiring from his consulting business in 1992, he undertook a study of Japanese language and literature, translating several important Japanese novels little known in the West, two of which had never before been put into English. He also resumed writing poetry in a serious way. In 1999, unhappy with the state of formal verse, Clements recruited two poets, Robert Mezey of Pomona College in Claremont Calif., and Bill Morgan of Illinois State University, to help him create and edit The Susquehanna Quarterly, an online magazine for new traditional poetry. After lapsing in 2003, the magazine was revived in 2004 and continues as one of the most respected poetry journals on the Internet. Clements now lives in Lewisburg, Pennsylvania with his wife, Deane Ellen. They have a daughter and a grandson living in Urbana, Illinois. Yesterday, or Long Ago is Wiley Clements' first published book of poetry. . First Edition. Hard Cover. New/New. Illus. by Campbell, Jeanette Sloan. 8vo - over 7¾" - 9¾" tall., Clock & Rose Press, 2004, 6, Harwich Port: Clock & Rose Press, 2004. Harwich Port: Clock & Rose Press, 2004. 8vo. First trade edition, preceded by a limited, numbered & signed edition of 125 copies. Cloth binding, 93 pp. James Wiley Clements, although he would deny it, stands as a remnant of a transitory time in the evolution of our consciousness as a people. This is a man who stood with Douglas MacArthur on the bridge of his flagship at Inchon, Korea, when to be an American was to stand for bravery, strength, and compassion- virtues we seem to have lost sight of now. Born in 1928 and raised by his grandmother on a one-mule farm in rural Alabama, the product of a fundamentalist Christian upbringing, he made the transition into a world larger than any he could have envisioned as a child. It is his (and our) gift that he observed the details of this passage so well and for so long. These poems, his first published book, preserve a perspective both wry and gentle that is almost extinct in American letters. These are immensely appealing poems: sometimes caustic, sometimes pensive, always alive with a vivid undercurrent of humor and compassion. He speaks to the Confederate dead, whose dying world shaped his early days. He speaks to the grace and humility that lives in all of us, urging, in his understated manner, a return to the roots of our national humanity before it withers away entirely. Wiley would say these are the simple poems of a simple man near the end of his days. He'd say he's publishing them because he wants to please a few friends and leave something behind for his grandson to remember him by. Yet, in "Yesterday, or Long Ago" there is a palpable sense of a man bearing witness to his times, appealing to the common denominator that makes us, collectively, the American people. And in this sense, we are all his grandchildren, and we may well be moved by this simple testament of a not-so-simple man. We hear him arguing with us already; "You can't say that. I make no such claims!" And this, of course, is true; Wiley makes no such claims. His poems speak for themselves. About the Author: Born in 1928, James Wiley Clements was raised by his widowed grandmother on a one-mule farm in central Alabama. With only a fourth grade education herself, his grandmother filled many lined tablets with her own poems and taught the little boy to write rhyming verse even before he entered elementary school. He attended a semi-rural high school at the village of Maplesville, Alabama, where his English teacher encouraged him to send poems to Senior Scholastic Magazine, which became his first publishing "credit." When his grandmother died in 1945, Clements was taken in by his uncle Alonzo, a farmer and Nazarene preacher who taught him, among other precepts, "You can't quarrel with a man about what he likes, as long as it's decent." Graduating from high school virtually penniless, he took a competitive examination and won a four-year scholarship to Birmingham-Southern College. He left college before the end of his first year to join the Navy, which sent him to journalism school, and he spent the next 7 years as a journalist and as political affairs assistant in the Pacific. At the outbreak of the Korean war Clements was called to Tokyo, and from thence to Douglas MacArthur's flagship, where he witnessed the first landing in Korea. He mustered out of the Navy in 1952, took his degree from Birmingham Southern in 1954, and eventually entered the nascent HMO business, where he spent his working career. Retiring from his consulting business in 1992, he undertook a study of Japanese language and literature, translating several important Japanese novels little known in the West, two of which had never before been put into English. He also resumed writing poetry in a serious way. In 1999, unhappy with the state of formal verse, Clements recruited two poets, Robert Mezey of Pomona College in Claremont Calif., and Bill Morgan of Illinois State University, to help him create and edit The Susquehanna Quarterly, an online magazine for new traditional poetry. After lapsing in 2003, the magazine was revived in 2004 and continues as one of the most respected poetry journals on the Internet. Clements now lives in Lewisburg, Pennsylvania with his wife, Deane Ellen. They have a daughter and a grandson living in Urbana, Illinois. Yesterday, or Long Ago is Wiley Clements' first published book of poetry. . First Edition. Hard Cover. New/New. Illus. by Campbell, Jeanette Sloan. 8vo - over 7¾" - 9¾" tall., Clock & Rose Press, 2004, 6, Harwich Port: Clock & Rose Press, 2004. Harwich Port: Clock & Rose Press, 2004. 8vo. First trade edition, preceded by a limited, numbered & signed edition of 125 copies. Cloth binding, 93 pp. James Wiley Clements, although he would deny it, stands as a remnant of a transitory time in the evolution of our consciousness as a people. This is a man who stood with Douglas MacArthur on the bridge of his flagship at Inchon, Korea, when to be an American was to stand for bravery, strength, and compassion- virtues we seem to have lost sight of now. Born in 1928 and raised by his grandmother on a one-mule farm in rural Alabama, the product of a fundamentalist Christian upbringing, he made the transition into a world larger than any he could have envisioned as a child. It is his (and our) gift that he observed the details of this passage so well and for so long. These poems, his first published book, preserve a perspective both wry and gentle that is almost extinct in American letters. These are immensely appealing poems: sometimes caustic, sometimes pensive, always alive with a vivid undercurrent of humor and compassion. He speaks to the Confederate dead, whose dying world shaped his early days. He speaks to the grace and humility that lives in all of us, urging, in his understated manner, a return to the roots of our national humanity before it withers away entirely. Wiley would say these are the simple poems of a simple man near the end of his days. He'd say he's publishing them because he wants to please a few friends and leave something behind for his grandson to remember him by. Yet, in "Yesterday, or Long Ago" there is a palpable sense of a man bearing witness to his times, appealing to the common denominator that makes us, collectively, the American people. And in this sense, we are all his grandchildren, and we may well be moved by this simple testament of a not-so-simple man. We hear him arguing with us already; "You can't say that. I make no such claims!" And this, of course, is true; Wiley makes no such claims. His poems speak for themselves. About the Author: Born in 1928, James Wiley Clements was raised by his widowed grandmother on a one-mule farm in central Alabama. With only a fourth grade education herself, his grandmother filled many lined tablets with her own poems and taught the little boy to write rhyming verse even before he entered elementary school. He attended a semi-rural high school at the village of Maplesville, Alabama, where his English teacher encouraged him to send poems to Senior Scholastic Magazine, which became his first publishing "credit." When his grandmother died in 1945, Clements was taken in by his uncle Alonzo, a farmer and Nazarene preacher who taught him, among other precepts, "You can't quarrel with a man about what he likes, as long as it's decent." Graduating from high school virtually penniless, he took a competitive examination and won a four-year scholarship to Birmingham-Southern College. He left college before the end of his first year to join the Navy, which sent him to journalism school, and he spent the next 7 years as a journalist and as political affairs assistant in the Pacific. At the outbreak of the Korean war Clements was called to Tokyo, and from thence to Douglas MacArthur's flagship, where he witnessed the first landing in Korea. He mustered out of the Navy in 1952, took his degree from Birmingham Southern in 1954, and eventually entered the nascent HMO business, where he spent his working career. Retiring from his consulting business in 1992, he undertook a study of Japanese language and literature, translating several important Japanese novels little known in the West, two of which had never before been put into English. He also resumed writing poetry in a serious way. In 1999, unhappy with the state of formal verse, Clements recruited two poets, Robert Mezey of Pomona College in Claremont Calif., and Bill Morgan of Illinois State University, to help him create and edit The Susquehanna Quarterly, an online magazine for new traditional poetry. After lapsing in 2003, the magazine was revived in 2004 and continues as one of the most respected poetry journals on the Internet. Clements now lives in Lewisburg, Pennsylvania with his wife, Deane Ellen. They have a daughter and a grandson living in Urbana, Illinois. Yesterday, or Long Ago is Wiley Clements' first published book of poetry. . First Edition. Hard Cover. New/New. Illus. by Campbell, Jeanette Sloan. 8vo - over 7¾" - 9¾" tall., Clock & Rose Press, 2004, 6, Harwich Port: Clock & Rose Press, 2004. Harwich Port: Clock & Rose Press, 2004. 8vo. First trade edition, preceded by a limited, numbered & signed edition of 125 copies. Cloth binding, 93 pp. James Wiley Clements, although he would deny it, stands as a remnant of a transitory time in the evolution of our consciousness as a people. This is a man who stood with Douglas MacArthur on the bridge of his flagship at Inchon, Korea, when to be an American was to stand for bravery, strength, and compassion- virtues we seem to have lost sight of now. Born in 1928 and raised by his grandmother on a one-mule farm in rural Alabama, the product of a fundamentalist Christian upbringing, he made the transition into a world larger than any he could have envisioned as a child. It is his (and our) gift that he observed the details of this passage so well and for so long. These poems, his first published book, preserve a perspective both wry and gentle that is almost extinct in American letters. These are immensely appealing poems: sometimes caustic, sometimes pensive, always alive with a vivid undercurrent of humor and compassion. He speaks to the Confederate dead, whose dying world shaped his early days. He speaks to the grace and humility that lives in all of us, urging, in his understated manner, a return to the roots of our national humanity before it withers away entirely. Wiley would say these are the simple poems of a simple man near the end of his days. He'd say he's publishing them because he wants to please a few friends and leave something behind for his grandson to remember him by. Yet, in "Yesterday, or Long Ago" there is a palpable sense of a man bearing witness to his times, appealing to the common denominator that makes us, collectively, the American people. And in this sense, we are all his grandchildren, and we may well be moved by this simple testament of a not-so-simple man. We hear him arguing with us already; "You can't say that. I make no such claims!" And this, of course, is true; Wiley makes no such claims. His poems speak for themselves. About the Author: Born in 1928, James Wiley Clements was raised by his widowed grandmother on a one-mule farm in central Alabama. With only a fourth grade education herself, his grandmother filled many lined tablets with her own poems and taught the little boy to write rhyming verse even before he entered elementary school. He attended a semi-rural high school at the village of Maplesville, Alabama, where his English teacher encouraged him to send poems to Senior Scholastic Magazine, which became his first publishing "credit." When his grandmother died in 1945, Clements was taken in by his uncle Alonzo, a farmer and Nazarene preacher who taught him, among other precepts, "You can't quarrel with a man about what he likes, as long as it's decent." Graduating from high school virtually penniless, he took a competitive examination and won a four-year scholarship to Birmingham-Southern College. He left college before the end of his first year to join the Navy, which sent him to journalism school, and he spent the next 7 years as a journalist and as political affairs assistant in the Pacific. At the outbreak of the Korean war Clements was called to Tokyo, and from thence to Douglas MacArthur's flagship, where he witnessed the first landing in Korea. He mustered out of the Navy in 1952, took his degree from Birmingham Southern in 1954, and eventually entered the nascent HMO business, where he spent his working career. Retiring from his consulting business in 1992, he undertook a study of Japanese language and literature, translating several important Japanese novels little known in the West, two of which had never before been put into English. He also resumed writing poetry in a serious way. In 1999, unhappy with the state of formal verse, Clements recruited two poets, Robert Mezey of Pomona College in Claremont Calif., and Bill Morgan of Illinois State University, to help him create and edit The Susquehanna Quarterly, an online magazine for new traditional poetry. After lapsing in 2003, the magazine was revived in 2004 and continues as one of the most respected poetry journals on the Internet. Clements now lives in Lewisburg, Pennsylvania with his wife, Deane Ellen. They have a daughter and a grandson living in Urbana, Illinois. Yesterday, or Long Ago is Wiley Clements' first published book of poetry. . First Edition. Hard Cover. New/New. Illus. by Campbell, Jeanette Sloan. 8vo - over 7¾" - 9¾" tall., Clock & Rose Press, 2004, 6, New York: W W NORTON & CO, 2008. 1st Edition . Hardcover. Near Fine/Good. A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London Dock Company was granted the first patent for "indented or corrugated metallic sheets" in 1829, he little realized what he was starting. Within a few years engineers were putting up warehouses and elegant railway stations of corrugated iron. By the late 1840s entrepreneurial manufacturers were sending out build-it-yourself cottages for gold prospectors in California and Australia. Whole townships complete with churches, sports pavilions, hotels, and meeting halls were soon available from catalogs, to be flat-packed and sent around the world. The First World War brought the development of the shelter known as the Nissen hut, perhaps the most iconic of all corrugated iron buildings and forerunner of the Quonset hut. Today corrugated sheet metal has proved invaluable in relief work and is used so often as roofing in the developing world that it can lay claim to shelter more people from the elements than any other building material. But the big surprise comes as architects around the world rediscover the virtues of this durable, biodegradable, and environmentally sound material, sufficiently versatile to create unique works of architecture and to house thousands in disaster zones. It answers the needs of both high-tech aesthetics and low-tech aspirations for affordability and ease of construction, as demonstrated by such cutting-edge architects as Will Bruder and Lake/Flato Architects in the United States; Glenn Murcutt in Australia; Rem Koolhaas, Nicholas Grimshaw, and Foreign Office Architects in Europe; and Shuhei Endo in Japan. Whether the appeal lies in nostalgia for rain on rusting tin roofs or in the sophistication of contemporary architecture, corrugated iron deserves to be taken seriously. It has a long and fascinating history and a future as bright as its past. 200 color & b/w photos & drawings. 1.8kg for outside NZ, W W NORTON & CO, 2008, 3.25<

2008, ISBN: 9780393732405

Gebundene Ausgabe

New York: W W NORTON & CO, 2008. 1st Edition . Hardcover. Near Fine/Good. A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London D… Mehr…

New York: W W NORTON & CO, 2008. 1st Edition . Hardcover. Near Fine/Good. A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London Dock Company was granted the first patent for "indented or corrugated metallic sheets" in 1829, he little realized what he was starting. Within a few years engineers were putting up warehouses and elegant railway stations of corrugated iron. By the late 1840s entrepreneurial manufacturers were sending out build-it-yourself cottages for gold prospectors in California and Australia. Whole townships complete with churches, sports pavilions, hotels, and meeting halls were soon available from catalogs, to be flat-packed and sent around the world. The First World War brought the development of the shelter known as the Nissen hut, perhaps the most iconic of all corrugated iron buildings and forerunner of the Quonset hut. Today corrugated sheet metal has proved invaluable in relief work and is used so often as roofing in the developing world that it can lay claim to shelter more people from the elements than any other building material. But the big surprise comes as architects around the world rediscover the virtues of this durable, biodegradable, and environmentally sound material, sufficiently versatile to create unique works of architecture and to house thousands in disaster zones. It answers the needs of both high-tech aesthetics and low-tech aspirations for affordability and ease of construction, as demonstrated by such cutting-edge architects as Will Bruder and Lake/Flato Architects in the United States; Glenn Murcutt in Australia; Rem Koolhaas, Nicholas Grimshaw, and Foreign Office Architects in Europe; and Shuhei Endo in Japan. Whether the appeal lies in nostalgia for rain on rusting tin roofs or in the sophistication of contemporary architecture, corrugated iron deserves to be taken seriously. It has a long and fascinating history and a future as bright as its past. 200 color & b/w photos & drawings. 1.8kg for outside NZ, W W NORTON & CO, 2008, 3.25<

2008, ISBN: 0393732401

Gebundene Ausgabe

[EAN: 9780393732405], Near Fine, [PU: W W NORTON & CO, New York], Jacket, A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London Dock Co… Mehr…

[EAN: 9780393732405], Near Fine, [PU: W W NORTON & CO, New York], Jacket, A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London Dock Company was granted the first patent for "indented or corrugated metallic sheets" in 1829, he little realized what he was starting. Within a few years engineers were putting up warehouses and elegant railway stations of corrugated iron. By the late 1840s entrepreneurial manufacturers were sending out build-it-yourself cottages for gold prospectors in California and Australia. Whole townships complete with churches, sports pavilions, hotels, and meeting halls were soon available from catalogs, to be flat-packed and sent around the world. The First World War brought the development of the shelter known as the Nissen hut, perhaps the most iconic of all corrugated iron buildings and forerunner of the Quonset hut. Today corrugated sheet metal has proved invaluable in relief work and is used so often as roofing in the developing world that it can lay claim to shelter more people from the elements than any other building material. But the big surprise comes as architects around the world rediscover the virtues of this durable, biodegradable, and environmentally sound material, sufficiently versatile to create unique works of architecture and to house thousands in disaster zones. It answers the needs of both high-tech aesthetics and low-tech aspirations for affordability and ease of construction, as demonstrated by such cutting-edge architects as Will Bruder and Lake/Flato Architects in the United States; Glenn Murcutt in Australia; Rem Koolhaas, Nicholas Grimshaw, and Foreign Office Architects in Europe; and Shuhei Endo in Japan. Whether the appeal lies in nostalgia for rain on rusting tin roofs or in the sophistication of contemporary architecture, corrugated iron deserves to be taken seriously. It has a long and fascinating history and a future as bright as its past. 200 color & b/w photos & drawings. 1.8kg for outside NZ, Books<

2008, ISBN: 0393732401

Gebundene Ausgabe

[EAN: 9780393732405], Near Fine, [PU: W W NORTON & CO, New York], Jacket, A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London Dock Co… Mehr…

[EAN: 9780393732405], Near Fine, [PU: W W NORTON & CO, New York], Jacket, A fine copy with a tiny repair to a very short closed tear on the jacket. When Henry Palmer of the London Dock Company was granted the first patent for "indented or corrugated metallic sheets" in 1829, he little realized what he was starting. Within a few years engineers were putting up warehouses and elegant railway stations of corrugated iron. By the late 1840s entrepreneurial manufacturers were sending out build-it-yourself cottages for gold prospectors in California and Australia. Whole townships complete with churches, sports pavilions, hotels, and meeting halls were soon available from catalogs, to be flat-packed and sent around the world. The First World War brought the development of the shelter known as the Nissen hut, perhaps the most iconic of all corrugated iron buildings and forerunner of the Quonset hut. Today corrugated sheet metal has proved invaluable in relief work and is used so often as roofing in the developing world that it can lay claim to shelter more people from the elements than any other building material. But the big surprise comes as architects around the world rediscover the virtues of this durable, biodegradable, and environmentally sound material, sufficiently versatile to create unique works of architecture and to house thousands in disaster zones. It answers the needs of both high-tech aesthetics and low-tech aspirations for affordability and ease of construction, as demonstrated by such cutting-edge architects as Will Bruder and Lake/Flato Architects in the United States; Glenn Murcutt in Australia; Rem Koolhaas, Nicholas Grimshaw, and Foreign Office Architects in Europe; and Shuhei Endo in Japan. Whether the appeal lies in nostalgia for rain on rusting tin roofs or in the sophistication of contemporary architecture, corrugated iron deserves to be taken seriously. It has a long and fascinating history and a future as bright as its past. 200 color & b/w photos & drawings. 1.8kg for outside NZ, Books<