Baldwin, JamesGo Tell It On the Mountain. New York: Alfred A. Knopf, 1953
8vo. Publisher's pictorial wrappers; lightly worn, a few small chips to extremities, rear cover lightly soiled, spine sunned. [With] Two typed letters signed ("Jimmy") to Edward Parone ("Eddie"). Overall 5 pages (about 270 x 210 mm), Corsica and Paris, the envelopes postmarked 2 May 1957, and 7 October 195(?); the letters lightly toned, one separating along folds in a few places. Housed together in a black slipcase with folding cloth chemises.
First edition, presentation copy of Baldwin's first book, inscribed on the half-title to Edward Parone: "For Eddie — because I'm happy to find that we can talk to each other — Jimmy." Parone was a talent scout for the William Morris Agency, and counted himself as one of Baldwin's friends and advisors. The advance issue with the cover design rejected by Baldwin, who felt it was too stereotypical.
Accompanied by two illuminating letters written to Parone from Europe. In the first letter, written from Corsica, Baldwin writes: "I'm nearing the end — I hope — of a new novel; and when I've come to the end of it, I shall be coming home again; to do the research for yet another novel ... Have just come back from Paris, Mountain's just been published there, good press, much excitement, everything looks very promising — but, Lord, I really felt very strange and lost there."
Heartbreak and censorship weigh heavy on Baldwin in the other letter, written from Paris. Of Lucien Happersberger, who he later described as his "one true love of my life," he writes: "...one of the most compelling reason's for [returning to Paris], was that I simply could not endure not knowing how things were with Lucien, whether he were alive or dead, demoralized or well, how his children are. I had to know and the only way to know was to be on the spot." Baldwin goes on to discuss problems with, Giovanni's Room: "The news about my novel is bad: they fear censorship troubles, it seems that no-one will touch it unless I 'tone' it 'down' ... 'Toning down' the book will mean, I'm afraid, no book — and I'm certainly not going to murder my own child. Moreover — I know the book is not obscene and I also know that I'm not the first writer to run afoul of the censorship laws of his day. The book itself will survive, it only has to wait its time ... the news about G's Room has been a terrible blow."
PROVENANCE:Edward Parone (presentation inscription, signature and blindstamp on front free endpaper) — Roger Rechler (Christie's New York, 11 October 2002, lot 14)
Baldwin, JamesGo Tell It On the Mountain. New York: Alfred A. Knopf, 1953
8vo. Publisher's pictorial wrappers; lightly worn, a few small chips to extremities, rear cover lightly soiled, spine sunned. [With] Two typed letters signed ("Jimmy") to Edward Parone ("Eddie"). Overall 5 pages (about 270 x 210 mm), Corsica and Paris, the envelopes postmarked 2 May 1957, and 7 October 195(?); the letters lightly toned, one separating along folds in a few places. Housed together in a black slipcase with folding cloth chemises.
First edition, presentation copy of Baldwin's first book, inscribed on the half-title to Edward Parone: "For Eddie — because I'm happy to find that we can talk to each other — Jimmy." Parone was a talent scout for the William Morris Agency, and counted himself as one of Baldwin's friends and advisors. The advance issue with the cover design rejected by Baldwin, who felt it was too stereotypical.
Accompanied by two illuminating letters written to Parone from Europe. In the first letter, written from Corsica, Baldwin writes: "I'm nearing the end — I hope — of a new novel; and when I've come to the end of it, I shall be coming home again; to do the research for yet another novel ... Have just come back from Paris, Mountain's just been published there, good press, much excitement, everything looks very promising — but, Lord, I really felt very strange and lost there."
Heartbreak and censorship weigh heavy on Baldwin in the other letter, written from Paris. Of Lucien Happersberger, who he later described as his "one true love of my life," he writes: "...one of the most compelling reason's for [returning to Paris], was that I simply could not endure not knowing how things were with Lucien, whether he were alive or dead, demoralized or well, how his children are. I had to know and the only way to know was to be on the spot." Baldwin goes on to discuss problems with, Giovanni's Room: "The news about my novel is bad: they fear censorship troubles, it seems that no-one will touch it unless I 'tone' it 'down' ... 'Toning down' the book will mean, I'm afraid, no book — and I'm certainly not going to murder my own child. Moreover — I know the book is not obscene and I also know that I'm not the first writer to run afoul of the censorship laws of his day. The book itself will survive, it only has to wait its time ... the news about G's Room has been a terrible blow."
PROVENANCE:Edward Parone (presentation inscription, signature and blindstamp on front free endpaper) — Roger Rechler (Christie's New York, 11 October 2002, lot 14)
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
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