Posts Tagged ‘Out of Print’
June 25, 2014 | by Dan Piepenbring
The old girl kept writing and complaining about the police. It was enough to start Townrow on a sequence of dreams. Night after night he floated in the sunset-flushed, marine city. He could smell the salt and the jasmine. He dreamed that Mrs Khoury, Mr Khoury and he were all sailing out of the harbor in a boat that slowly filled with water. He dreamed he was in a hot, dark room with a lot of men who argued and shouted. It must have been in the Greek Sailing Club because when a door opened there were oars and polished skiffs; and opposite, high over Simon Artz’s, of the other side of the Canal, was Johnnie Walker with his cane and his top hat setting off for Suez. Or was it the Med.?
So begins P. H. Newby’s Something to Answer For, the 1969 novel that won the first-ever Booker Prize. “The Booker was not, as it is now, a high media event,” Anthony Thwaite wrote in an obituary for Newby in 1997. “I remember the then–sales director of Faber & Faber, the book’s publisher, telling me that the prize probably resulted in no more than about four hundred extra copies.”
That’s a shame, because Newby, who was born today in 1918, deserved, and deserves, more attention. Graham Greene called him “a fine writer who has never had the full recognition that he deserves,” and that’s as true now as it was in Newby’s lifetime. Very few of his twenty novels are still in print; in the whole of The Paris Review’s archive, his name comes up only once, in Truman Capote’s 1957 Art of Fiction interview: “Well, who are some of the younger writers who seem to know that style exists? P. H. Newby, Françoise Sagan, somewhat.”
In additional to his success as a novelist, Newby enjoyed a long career as a broadcast administrator—he rose through the ranks to become the managing director of BBC Radio. He lived in Cairo from 1942 until 1946: it was “like living in a human laboratory, in which there were no inhibitions,” Thwaite writes, and it informed a number of his novels, Something to Answer For among them. Read More »
May 12, 2014 | by Sadie Stein
I am ashamed to admit that, as recently as one week ago, I’d never heard of Fredda Brilliant. My life was the poorer for it. Born in Poland to a Jewish family in the diamond trade, Brilliant was an actress, novelist, screenwriter, and activist who died in 1999. According to the dust jacket of her 1986 memoir-cum-art-book Biographies in Bronze, “She also composes the music and lyrics for songs which she herself sings at concerts, radio, and TV.”
She was best known, however, as a sculptor and personality. As the Independent related in her obituary,
Nehru once said of Fredda Brilliant that when at work she looked like a mad woman—in day-to-day life she would without restraint sing out loud in public—tears would flow as easily as laughter and anger. She promenaded around the Sussex village of Henfield dressed in long black dresses, tasselled shawl about her shoulders and brilliant headscarf encircling her dark hair and small face—in winter she would wear a fur coat to the knees.
The dust jacket intrigued me, yes, when I came across Biographies in Bronze on the dollar cart at Unnameable Books. But it was not until I actually opened the book—specifically, to the picture of Brilliant’s bust of one Tom Mann—that I knew it must be mine.Read More »
January 3, 2013 | by Sadie Stein
Selected from AbeBooks’ Weird Book Room.
November 12, 2012 | by Sadie Stein
Selected from the AbeBooks’ Weird Book Room.
June 7, 2012 | by Ali Pechman
My first “boyfriend” broke up with me at camp in a letter that read, “You look like the girl from Planet of the Apes—I mean the ape she played, not the girl who played her.” He meant Helena Bonham Carter in the Tim Burton version that had come out that summer. More specifically, he meant that for an eleven-year-old, I had very unruly and freakishly thick eyebrows.
Having kempt mine since that summer (on a necessarily frequent basis), I notice eyebrows more often than is normal; they bear special significance to me. Midway through Alfred Hitchcock’s Shadow of a Doubt, Charlie confronts her uncle about his awful secret life as a woman strangler. Sitting across from him at a seedy bar, she watches his hands painfully wringing a napkin, then she tells him all that she knows: wordlessly, she raises a single eyebrow. The plot hinges on that one thin line of hair. Read More »