Sam Shepard 41891

Rolling Thunder Logbook

Viking Press, 1977. Gekartonneerd met stofomslag. Pp: 184. In the autumn of 1975, when ``New England is festering with Bicentennial madness,'' Bob Dylan and his Rolling Thunder Revue-a rag-tag variety show that Dylan envisioned as a traveling gypsy circus-toured twenty-two cities across the Northeast. Swept up in the motley crew, which included Joni Mitchell, Mick Ronson, Allen Ginsberg, Arlo Guthrie, Joan Baez, and Ramblin' Jack Elliot, was playwright Sam Shepard, ostensibly hired to write, on the spot, the script for a Fellini-esque, surreal movie that would come out of the tour. The script never materialized, but throughout the many moods and moments of his travels with Dylan and his troupe, Shepard kept an impressionistic Rolling Thunder Logbook of life on the road. Illuminated by forty candid photographs by official tour photographer Ken Regan, Shepard's mental-snap shots capture the camaraderie, isolation, head games, and pill-popping mayhem of the tour, providing a window into Dylan's singular talent, enigmatic charisma, and vision of America. ISBN: 9780670603251. Cond./Kwaliteit: Goed.

De SlegteProfessional seller

Book number: 3063986

Catalogue: Muziek

Keywords: 9780670603251

(Shepard, Sam)

Simpatico

Los Angeles, Fine Line Features, n.d. First Edition. 0 pp. Soft cover. Near fine in original wrappers with light rubbing and a slight bump on a rear corner. Press book for the release of the movie based on the Sam Shepard play. Laid into this copy are six fine black-and-white stills from the movie (actors Nick Nolte, Sharon Stone, Jeff Bridges, Albert Finney, etc.) and one color slide. Near Fine.

Library Books / Clayton Fine BooksProfessional seller

Book number: 015898

Wertheimer, Alfred and David Healy (artists) and Sam Shepard (writer)

Fool for Love. World Premiere. Poster [with Elvis Presley Tongue Kissing in 1956]

San Francisco: Magic Theatre. 29 x 23 inches. Printer proof with 3 smaller poster and one large one. Interview with Wertheimer about the photograph on this poster: 'How did you shoot the "Kiss"? I was in the men's room on the floor above the stage area at the Mosque Theater in Richmond, Virginia, on June 30 of 1956. I got more or less sidetracked and then I turned around and said: “Where’s Elvis?” Elvis had disappeared. I go down the stairs of the theater. I get down to the landing where the stage area is. You’ve now got 3,000 kids, mostly girls, in there, and the "Elvis Presley Show" is going on; except there’s no Elvis Presley around. I look down this long, narrow passageway, the light at the end of the tunnel. There’s a silhouette of two people at the far end, and I say, “Oh yes, there’s Elvis, with a girl, his date for the day.” Do I interrupt them? Do I squeeze off a frame or two from a distance or do I go closer in? Well, you start off becoming a human tripod, because you don’t want to start using flash. It’s really quite dark. So then you decide, well, if I get closer and Elvis gets annoyed, he might say, “Al, get out of here, you’ve had it, go back to New York, don’t bother.” But, if I don’t shoot it, I can’t really consider myself a journalist. After all, I came here to do the story, and that’s part of the story. There’s a handrail on the left side. So I move up about five feet, and they’re busy, they’re intently involved with themselves. So I climb up on the handrail, and I wrap my legs around these metal tubes, and I’m now shooting over her shoulder, into his face. I’m getting close-ups. Nobody’s paying any attention to me because when people are doing things that are more important to themselves than having their picture taken, you usually get good pictures. It’s a simple formula. So now I’m not satisfied, typically. I’m not satisfied with what? I’m not satisfied with back lighting. I want front lighting. But the only way to get front lighting is to go beyond where they are. So I put on my best maintenance man voice and say, “Excuse me, coming through.” I squeeze past the two of them. Again they don’t pay attention to me because they’re like hypnotizing each other. I’m now set on the landing facing the two of them, and I’m setting myself with the frame. It’s a fairly decent composition, and I’m waiting for something to happen within my frame. She says to him: “Elvis, I’ll betcha can’t kiss me,” and she sticks out her tongue just a teeny bit. And he says, “I’ll betcha I can,” in a very masculine, cool way. And he then approaches the kiss, he’s got his tongue stuck out just a wee bit, and he overshoots the mark. I didn’t realize that till I developed my film later on. He bent her nose, you see, a very romantic view. So now he backs off coolly, and tries it a second time, comes in for a perfect landing, and that’s the end of that. That tenth of a second became history.' Provenance: Peter Howard, Serendipity Books, Berkeley. .

Wittenborn Art BooksProfessional seller

Book number: 16-2948

Catalogue: Ephemera

Basso, Primo; Shepard, Sam; Fajon, Robert (illus)

L'Enfant Enfoui / Buried Child

France, Presses Universitaires de Nancy, 1982. Paperback Octavo. Paperback. wraps, 159 pp text in French cover lightly worn Standard shipping (no tracking) / Priority (with tracking) / Custom quote for large or heavy orders. Good .

San Francisco Book CompanyProfessional seller

Book number: 92860

Catalogue: Theatre

Keywords: Play

Chaikin, Joseph; and Shepard, Sam; Barker, Nicola; Jones, Thom; Thomson, David; Powers, Sara; et al.Coppola, Francis; Founding Editor; Brodeur, Adrienne; Editor-in-Chief.

Zoetrope Short Stories. Volume 1 Number 1. Winter 1997. [Zoetrope: All-Story].

New York: AZX Publications, 1997. 1997. - Small folio [14 inches high by 10-1/2 inches wide], unbound leaves laid into pictorial wrappers, as issued. The wraps are lightly rubbed & chipped with some rippling to the paper. There is a partially detached mailing label on the front wrap. 58 pages, unbound as issued. Full-page pictorial story titles in color. There is a small area of very light dampstaining to the bottom corners of the pages. Good.

Francis Coppola explains in his introductory Letter to the Reader that this new magazine will publish only short stories and one-act plays. He emphasizes that stories will not be chosen because they seem to lend themselves to film adaptation but solely on the strength of the writer's voice and the quality of the writing. Each issue will include a short story commissioned by Coppola and based on a idea provided to the writer, and also a classic short story which has been successfully adapted to film. The magazine was later renamed Zoetrope: All-Story and has received every major short-fiction award, including the National Magazine Award for Fiction.

Among the contents of this first issue are a commissioned story,"The Baker's Wife" by Sara Powers; an essay by David Thomson "What Happens Next? Hollywood and the short story"; and fiction by Nicola Barker, Joseph Chaikin and Sam Shepard, and Thom Jones.

Rare. Good .

Blue Mountain Books & Manuscripts, Ltd.Professional seller

Book number: 32133

Catalogue: Literature

Keywords: LITERATURE; FICTION; SHORT STORIES; SHORT FICTION; FILM; ZOETROPE SHORT STORIES; FIRST ISSUE; ZOETROPE: ALL-STORY; FRANCIS FORD COPPOLA; ADRIENNE BRODEUR; COMMISSIONED STORIES; FILM ADAPTATIONS; DAVID THOMSON; SARA POWERS; JOSEPH CHAIKIN; SAM SHEPARD; NIC

Hall, Douglas Kent and Sam Shepard

In New Mexico Light

Santa Fe, NM, Museum of New Mexico Press, 2007. Hardcover. Black photo-illustrated DJ with white lettering; black boards with stamped and gilt lettering; 261 pp.; richly illustrated. Photographer, writer, award-winning filmmaker, and poet Douglas Kent Hall is one of the great documentarians of his generation. His photographs of mainstream and counterculture subjects include rock music icons, bodybuilders and prison inmates, cowboys and countercultural heroes. At center is his exploration of the modern American West and the heart that beats there--sometimes violently, often poetically. For over thirty years Hall has photographed and written about New Mexico's unique mix of places and people, a broad representation including ancient sites and Spanish churches, Indian ceremonial dances, portraits of artists and writers, viejos and vagabonds. This book presents 182 black-and-white images accompanied by Hall's insightful essay on the interplay of artistic process with the cultural and natural landscapes of New Mexico. In New Mexico Light is a celebration of New Mexico's contradictions and splendor through the photographs and words of a master observer. -- DJ. VG (Ex art library with sticker on the DJ spine and on rear pastedown, with minimal markings; DJ is lightly edgeworn/scuffed/smudged; textblock has light smudging; interior is in excellent condition.) .

Kevin Mullen, BooksellerProfessional seller

Book number: 201125

Catalogue: Photography

Keywords: Photography, Douglas Kent Hall ; Hall, Douglas Kent ; ;

Halpern, Daniel, Editor; Selections By Albee, Edward; Baraka, Amiri; Gorey, Edward; Keillor, Garrison; Shepard, Sam. . .,

Plays in One Act.

Hopewell, Nj., Ecco Press, 1991. Trade Paperback., Vg in Wraps. Pages Clean & Tight. Pages: 502.

Vintage BooksProfessional seller

Book number: MASTER227511I

Catalogue: Drama

Marranca, Bonnie, editor. Sam Shepard

American Dreams: The Imagination of Sam Shepard

New York, PAJ Publications, 1981. First Edition. 0 pp. Hardcover. 0933826125. Near fine in very good dust jacket with rubbing and a closed tear on the rear panel. Near Fine/Very Good.

Library Books / Clayton Fine BooksProfessional seller

Book number: b34706

Keywords: 0933826125

Shepard, Sam (Playwright) and Alfred Wertheimer (artist)

Fool for Love. World Premiere. Poster [with Elvis Presley Tongue Kissing in 1956]

San Francisco: Magic Theater, 1983. Poster. 24 x 16 inches. Interview with Wertheimer about the photograph on this poster: How did you shoot the "Kiss"? I was in the men's room on the floor above the stage area at the Mosque Theater in Richmond, Virginia, on June 30 of 1956. I got more or less sidetracked and then I turned around and said: “Where’s Elvis?” Elvis had disappeared. I go down the stairs of the theater. I get down to the landing where the stage area is. You’ve now got 3,000 kids, mostly girls, in there, and the "Elvis Presley Show" is going on; except there’s no Elvis Presley around. I look down this long, narrow passageway, the light at the end of the tunnel. There’s a silhouette of two people at the far end, and I say, “Oh yes, there’s Elvis, with a girl, his date for the day.” Do I interrupt them? Do I squeeze off a frame or two from a distance or do I go closer in? Well, you start off becoming a human tripod, because you don’t want to start using flash. It’s really quite dark. So then you decide, well, if I get closer and Elvis gets annoyed, he might say, “Al, get out of here, you’ve had it, go back to New York, don’t bother.” But, if I don’t shoot it, I can’t really consider myself a journalist. After all, I came here to do the story, and that’s part of the story. There’s a handrail on the left side. So I move up about five feet, and they’re busy, they’re intently involved with themselves. So I climb up on the handrail, and I wrap my legs around these metal tubes, and I’m now shooting over her shoulder, into his face. I’m getting close-ups. Nobody’s paying any attention to me because when people are doing things that are more important to themselves than having their picture taken, you usually get good pictures. It’s a simple formula. So now I’m not satisfied, typically. I’m not satisfied with what? I’m not satisfied with back lighting. I want front lighting. But the only way to get front lighting is to go beyond where they are. So I put on my best maintenance man voice and say, “Excuse me, coming through.” I squeeze past the two of them. Again they don’t pay attention to me because they’re like hypnotizing each other. I’m now set on the landing facing the two of them, and I’m setting myself with the frame. It’s a fairly decent composition, and I’m waiting for something to happen within my frame. She says to him: “Elvis, I’ll betcha can’t kiss me,” and she sticks out her tongue just a teeny bit. And he says, “I’ll betcha I can,” in a very masculine, cool way. And he then approaches the kiss, he’s got his tongue stuck out just a wee bit, and he overshoots the mark. I didn’t realize that till I developed my film later on. He bent her nose, you see, a very romantic view. So now he backs off coolly, and tries it a second time, comes in for a perfect landing, and that’s the end of that. That tenth of a second became history. .

Wittenborn Art BooksProfessional seller

Book number: 51-1730

Catalogue: Ephemera

Ramon del Valle-Inclan, Sam Shepard, Albert Camus, Lao She, Juli Kim-Michailow, Botho Strass, William Mastrosimone

Stücke international 1 + Stücke international 2

Berlin, Volk und Welt, 1989. Erste Auflage, Gebundene Ausgabe, Sie erhalten den Band Stücke international 1 zusammen mit dem Band Stücke international 2. Sehr interessante Exemplare in gutem altersbedingtem Zustand, Leineneinband beim 2. Band fleckig, dafür mit Schutzumschlag, ohne Namenseintragung, ohne Widmung, Text sehr gut, Leinen, Schutzumschlag, ISBN: 3353003800. sehr gut - gebraucht

buchgenie.de Sigrun WuerteleProfessional seller

Book number: BU034558

Catalogue: Romane, Erzählungen, Geschichten, Kurzgeschichten, Berichte, Novellen

Sam Shepard

Five Plays _ Chicago _ Icarus's Mother _ Red Cross _ Fourteen Hundred Thousand _ Melodrama Play

Indianapolis, Bobbs-Merrill, 1967. Paperback Octavo. Paperback. wraps. 170 pp, first edition, spine sunned. Good .

San Francisco Book CompanyProfessional seller

Book number: 71870

Catalogue: Theatre

Sam Shepard, Fool for Love.

Fool for Love. Das neue Stück des Autors von Paris, Texas

Heyne Verlag 1988-08. Broschiert Sehr guter altersbedingter Zustand, ohne Namenseintrag ISBN: 3453350839. sehr gut - gebraucht

buchgenie.de Sigrun WuerteleProfessional seller

Book number: BU135975

Catalogue: Romane, Erzählungen, Geschichten, Kurzgeschichten, Berichte

Shepard Sam

A mi-chemin - Collection 10/18 domaine étranger n°3985.

Robert Laffont, 2006. 2006. In-12. Broché. Très bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 179 pages.. . . . Classification Dewey : 810-Littérature américaine. ISBN: 2264042621.

Le-livre.comProfessional seller

Book number: RO80271190

Catalogue: LETTRES

Keywords: 22640426211

Shepard Sam

Rolling Thunder Logbook

Viking, 1977. First Edition. 0670603252. Rolling Thunder Log Book by Shepard Sam Viking Press, 1977, lst. ISBN: 0670603252 Hardback in good condition with poor dust jacket. Text is clean and unmarked, binding tight some slight tanning of pages due to paper used and age. Dust jacket shows heavy wear with ding, nicks, rips, tears. This is the story of when a young famous playwright and well known musician Bob Dylan decided in the midst of the Bicentennial madness to hit the road on tour. Shepard as script writer as Dylan planned to film the entire trip. While in the end there was no film Shepard's script covers this extraordinary event. Loaded with B&W photos, stories of life on the road. 184 pages. Good/Poor.

Phoenix Books (Joanne's Used Books)Professional seller

Book number: 005363

Catalogue: Performing Arts

Keywords: Sam Shepard, Bob Dyland Raodtrip 0670603252

Sam, Shepard:

The Unseen Hand and Other Plays.

Toronto, New York, London, Sydney, Auckland: Bantam 1989. 339 p. Softcover. Acceptable. Ex-library with usual markings. Cover slightly damaged. Isolated penciled underlinings. Free shipping within Germany. Shipping costs to EU-countries: 9.50 EUR, to non-EU-countries: 15.00 EUR.

Antiquariat Thomas HakerProfessional seller

Book number: 873902

Catalogue: Theater-Stücke

Keywords: Drama, Play, Literature ISBN: 9780553342635