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Blind Horse Books [ABAA]
Blind Horse Books [ABAA - FABA]
Membership(s): ABAA, ILAB, IOBA, FABA
Levertov, Denise (1923–1997) ; Poet The Double Image [1946 First Edition] [First Book] [Signed Association Copy to Ben Raeburn] LEVERTOV DEBUT BEFORE BLACK MOUNTAIN — INSCRIBED TO BEN RAEBURN
$850.00
An association copy of the poet’s debut collection, representing the only volume published under her original surname, ‘Levertoff.’ This copy features a remarkably warm, self-reflective 1964 inscription from Levertov to Ben Raeburn, the visionary founder of Horizon Press. The inscription provides a rare bridge between her early British neo-romantic roots and her eventual place at the center of the American avant-garde.
KEY FEATURES
+++ Visuals: Typographic title page printed in red and black, matching the minimalist postwar jacket design.
+++ Binding: Publisher’s light tan cloth with gilt spine lettering and a distinct brown title panel impressed on the front cover.
+++ Imprint: London: The Cresset Press, 1946. True first edition, first printing.
+++ Specs: Octavo, 7 inches tall; 7-46 numbered pages.
+++ Provenance: From the private library and estate of Ben Raeburn, founder of Horizon Press.
LIMITATION & SIGNATURES: Inscribed and signed by the author on the front free endpaper: ‘To Mitch’s publisher—still unseen by me but none the less endeared—Ben Raeburn—from Denise, Christmas 1964. These poems … were written when I was 19, 20, 21—mental age about 14/15.’
CONDITION: Near Fine / Near Fine.
+++ The Book: The bindings are tight and square, with the cloth remarkably clean and the gilt lettering completely bright. The top of the spine shows one small blemish; otherwise, the extremities are sharp and well-preserved. Internally, the text block is exceptionally clean, white, and free of any markings or foxing.
+++ The Jacket: Housed in the original cream dust jacket printed in red and black, which is an uncommon survival for this fragile wartime production. The jacket shows light, attractive toning to the spine and minor edge handling, with a faint blemish at the crown. It is not price-clipped and is now preserved in a clear, archival mylar protective sleeve.
HISTORICAL SIGNIFICANCE —
Denise Levertov was the essential bridge between the formal, neo-romantic traditions of wartime Europe and the open, ‘projective’ verse of the American post-war avant-garde. The Double Image captures her at the absolute beginning of this literary journey, containing the verses she composed between the ages of 19 and 21 while working as a civilian nurse in London during the Blitz.
The specific association with Ben Raeburn is of primary significance to mid-century literary scholarship. As the long-time head of Horizon Press, Raeburn was a quiet titan of the New York publishing scene, shepherding the works of avant-garde icons, artists, and cultural critics into print.
This copy transcends a mere presentation greeting; it functions as a critical association document. Levertov’s explicit commentary on her own ‘mental age’ during the book’s production offers an intimate, self-critical retrospective insight that she rarely shared in her formal autobiographical writings, making this an invaluable primary artifact for institutional research.
SCHOLARLY FEATURES
+++ Design & Production: A prime example of late wartime British economy printing, utilizing lightweight paper stocks that rarely survive in this crisp, unblemished state.
+++ Regional Transition: Documents Levertov’s pre-American period, capturing her work before her interactions with the Black Mountain and San Francisco Renaissance movements altered her metric style.
+++ Publishing History: Illustrates the late-career connections between Horizon Press executives and major figures of the post-war poetic shift.
SUBJECTS: British Literature, 20th Century Poetry, Black Mountain Poets, Women Writers, New York Literary Scene, Horizon Press, Association Copies, Modernism.
GENRES: First Edition, Association Copy, Poetry.
BIBLIOGRAPHIC REFERENCE: Dowgiallo A1.
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$800.00New York: Red Ozier Press, 1984. Large 4to quarter cloth. Limited to 115 copies (90 in wrappers) signed by composer and artist, this is one of 25 copies bound in Claire Maziarczyk’s wastepapers over boards. Very slight indentation lower front board, still easily a fine, unread and bright copy. In an essay on Red Ozier, press bibliographer Michael Peich highlights this title: “Red Ozier published dozens of titles that are distinguished examples of the physical book. One book, Paul’s Blues, deserves mention for its combination of solid typography and interesting art. The text reproduces songs that the composer Ned Rorem wrote based on lyrics composed by Paul Goodman. In the introduction Rorem discusses his association with Goodman and how the songs were written in 1947. Following the introduction is a reproduction of Rorem’s fair-hand manuscripts for each of the three songs, the printed lyrics of the songs, the composer’s journal entries from around the date of Goodman’s death on 3 August 1972, and an afterword by Rorem. The manuscript is a complex mixture that is both solemn (Rorem’s tribute to his friend) and entertaining (the songs themselves). [Press founders] Ken and Steve solved the textual complexity by choosing a straightforward, elegant typographic presentation. The only adornment in the book is Rivers’ energetic title page which addresses the creative collaboration between poet and composer; in an almost excited way it prepares the reader for the text that follows. The finished product is a masterful job of keeping all the elements of the text in perfect balance and harmony. It is a high point of production from the press because it combines, with almost disarming ease, classical typography with a new technology (the title page was reproduced by color Xerox and transferred to the sheets).”
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THE LEIPZIG MEDAL WINNER
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1 of 960; first ed. of Dickinson's Second Series
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