{"title":"Literature: 22 New Acquisitions","description":"\u003cp\u003e\u003cspan\u003eWe are delighted to present our latest monthly instalment of new acquisitions, a selection of twenty-two literature items curated by our specialists at 22 Charing Cross Road.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"amis-martin-success-2","title":"AMIS, Martin. Success.","description":"\u003cp\u003e\u003cstrong\u003eAMIS, Martin.\u003c\/strong\u003e Success. \u003ci\u003eLondon: Jonathan Cape\u003c\/i\u003e. 1978.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s black cloth lettered in gilt to spine, typographic dust-jacket designed by Bill Botten with the printed price of £3.95 to front flap, top edge yellow; pp. 224; slight toning and spotting along top edge of jacket (only visible to reverse and flaps), only minor sunning to spine, otherwise the jacket remains very crisp and bright, spotting to top edge of textblock; internally crisp and clean; near fine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first impression.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTerence Service is ‘timid, balding and meaningfully short’ (\u003ci\u003eblurb\u003c\/i\u003e), and most significantly, sexually unsuccessful. On the other hand, his flatmate Gregory views success as something that comes in abundance. Terence feels reassured, however, by the presence of his foster-sister who moves in after a suicide attempt.\u003c\/p\u003e\n\u003cp\u003eA particularly nice example of Amis’ third novel, in a bright, crisp jacket.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125006\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122256322937,"sku":"2125006","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125006.jpg?v=1776858379"},{"product_id":"bell-clive-bell-clive-since-cezanne","title":"BELL, Clive. Since Cézanne.","description":"\u003cp\u003e\u003cstrong\u003eBELL, Clive.\u003c\/strong\u003e Since Cézanne. \u003ci\u003eLondon: Chatto and Windus\u003c\/i\u003e. 1922.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue cloth with white title-label to spine lettered in black, fore and bottom edge untrimmed; pp. [8], 229, [3], with eight black and white illustrated plates depicting artworks including a frontispiece; lacking the dust-jacket, toning and rubbing to title label, a little pushing to crown and base of spine; toning to edges of textblock, toning to endpapers, small ‘p’ to final blank; near fine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first impression of Clive Bell’s treatise on the Post-Impressionists.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eClive Bell was central to the artistic movement of the Bloomsbury Group. He met Leonard Woolf and others during his first term at Trinity College, Cambridge in October 1899. His love and interest in art grew during his years as a student, and he won the Earl of Derby scholarship which allowed him to travel to Paris in 1904. Although his scholarship of art grew, so did his love of cafés and the company of artists.\u003c\/p\u003e\n\u003cp\u003eIn 1914, he published \u003ci\u003eArt\u003c\/i\u003e for which he is best remembered. In this work he puts forward his theory of ‘Significant Form’, that the quality common to all works ‘that provoke our aesthetic emotions’ are the ‘relations and combinations of lines and colours’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee, BELL, Art (1914).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125003\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122259370361,"sku":"2125003","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125003b.jpg?v=1776858401"},{"product_id":"yansson-tove-author-and-illustrator-kingsley-hart-translator-who-will-comfort-toffle","title":"JANSSON. Tove ( author and illustrator ); Kingsley HART ( translator ). Who Will Comfort Toffle?","description":"\u003cp\u003e\u003cstrong\u003eJANSSON. Tove (\u003ci\u003eauthor and illustrator\u003ci\u003e); Kingsley HART (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Who Will Comfort Toffle? \u003ci\u003eLondon: Ernest Benn\u003c\/i\u003e. 1960.\u003c\/p\u003e\n\u003cp\u003eLarge 8vo. Publisher’s red cloth with white illustration and lettering to upper board, illustrated dust-jacket; ff. [14]; jacket price-clipped, wear with a closed tear to spine (c. 25mm) and front flap (c. 40mm), four small holes to jacket spine, spine a little bumped but cloth remains bright; lacking the blank single sheet showing Toffle in the top right-hand corner that was loosely inserted into volumes at the time of publication, Christmas label, previous owner’s purple stamp and bookseller’s label all to front free endpaper, a little spotting to preliminaries and endpapers, but the illustrations remain clean and bright; very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first impression of Jansson’s touching children’s story that follows Toffle’s search for companionship.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTowards the end of the 1950s, Jansson was becoming restless with being labelled solely as a children’s writer, and longed to be recognised as a painter, her first and primary passion. In the summer of 1959, however, she once again felt the pull to write another story. Her work had taken a slightly darker tone after the publication of \u003ci\u003eMoominland in Winter\u003c\/i\u003e (1957), and \u003ci\u003eWho Will Comfort Toffle?\u003c\/i\u003e continues in a similar vein.\u003c\/p\u003e\n\u003cp\u003eAt the beginning of the story, Toffle feels isolated; he walks past a Hemulen party, but feels as though he cannot go in, which only deepens his loneliness. Eventually, he must set aside his own troubles when a message in a bottle washes up to shore from Miffle, asking for someone to comfort her. Toffle then sets out on a journey to rescue her.\u003c\/p\u003e\n\u003cp\u003eThis book is among one of Jansson’s best-loved works in the Nordics, and it has never been out of print since its first publication.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee, Westin, Tove Jansson: life, art, words (2024)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124954\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122266087801,"sku":"2124954","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124954.jpg?v=1776858426"},{"product_id":"wilde-oscar-lord-alfred-douglas-translator-salome-a-tragedy-in-one-act","title":"WILDE, Oscar; [Lord Alfred DOUGLAS ( translator ); Aubrey BEARDSLEY ( illustrator )]. Salome. A tragedy in one act.","description":"\u003cp\u003e\u003cstrong\u003eWILDE, Oscar; [Lord Alfred DOUGLAS (\u003ci\u003etranslator\u003ci\u003e); Aubrey BEARDSLEY (\u003ci\u003eillustrator\u003ci\u003e)].\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Salome. A tragedy in one act. \u003ci\u003eLondon: Elkin Mathews \u0026amp; John Lane.\u003c\/i\u003e 1894.\u003c\/p\u003e\n\u003cp\u003eSmall 4to. Original blue-green woven cloth, gilt designs after Beardsley blocked to boards, spine lettered in gilt, fore- and tail-edges uncut; pp. [x], 67, [1], 14 (advertisements), [2], 10 plates including frontispiece, illustrated title-page, contents page, and tailpiece by Aubrey Beardsley, printed on glazed paper from line blocks engraved by Carl Hentschel; a few chips to joints and corners, small loss to head of spine affecting 2 letters of gilt text, spine sunned; internally very clean; a very good copy; bookplate of William Forbes Morgan (1841–1916) to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst English edition of Wilde’s one-act tragedy, the first with Beardsley’s illustrations (four of which contain caricatures of Oscar Wilde), one of only 500 copies, translated by and dedicated to Wilde’s lover, Lord Alfred Douglas.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSalomé\u003c\/i\u003e was written in French in late 1891 while Wilde was staying in Paris, and accepted for production by Sarah Bernhardt at the London Opera House in 1892. However, the Lord Chamberlain prohibited performances because of a ban on Biblical figures being presented on stage, an outcome that understandably incensed Wilde. It was finally published in French in 1893, and then in this translation in 1894.\u003c\/p\u003e\n\u003cp\u003eTranslating the nuances of Wilde’s original text, written in an idiosyncratic French, has been acknowledged as a Herculean task by all those who have attempted it, including Beardsley. Even though Wilde himself assisted Douglas, the author and the translator nearly came to blows: ‘Wilde immediately complained of Douglas’s sloppy, schoolboy French, and an infuriated Douglas blamed any faults upon the original. He and Wilde nearly split over the disagreements, and Robbie Ross – doubtless to his later regret – made peace between them that Fall’ (Daniel).\u003c\/p\u003e\n\u003cp\u003eThough Wilde tried to fix some of the errors, Douglas raged when he did, and wrote to the publishers that September, ‘as I cannot consent to have my work altered and edited, and thus to become a mere machine for doing the rough work of translation, I have decided to relinquish the affair altogether.’ (Daniel). Nevertheless, their relationship recovered, and the translation has since become the text most familiar to Anglophone audiences. Steven Berkoff used the Douglas translation for his critically acclaimed Salome at the National Theatre in 1988, with all its archaisms and errors unabridged.\u003c\/p\u003e\n\u003cp\u003eSadly, Wilde never saw the play produced. Its only performance during his lifetime was a one-off presentation at the Théatre de la Comédie-Parisienne on 11 February 1896, by which time he was already in prison. It was not performed publicly in Britain until 1931.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMason 350; Ross, ‘Later Work’ 86; Samuels Lasner 59. See Daniel, ‘Lost In Translation: Oscar, Bosie and Salome’, Princeton University Library Chronicle (2007)\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124696\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122271494521,"sku":"2124696","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124696b.jpg?v=1776858538"},{"product_id":"craddock-harry-gilbert-rumbold-illustrator-the-savoy-cocktail-book","title":"CRADDOCK, Harry; Gilbert RUMBOLD ( illustrator ). The Savoy Cocktail Book.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘THE ABSORBING SUBJECT OF ABSORBING ALCOHOL’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eCRADDOCK, Harry; Gilbert RUMBOLD (\u003ci\u003eillustrator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Savoy Cocktail Book. \u003ci\u003eLondon: Constable \u0026amp; Company\u003c\/i\u003e. 1930.\u003c\/p\u003e\n\u003cp\u003e8vo. Original cloth-backed boards, lettered in gilt to spine, attractive Art Deco design to the upper cover in green, black, silver and grey, decorative end papers; pp. 288 (the first issue with pagination beginning from preliminaries), with the recipe for ‘Bacardi Cocktail’ tipped in to p. 25 as issued, Art Deco coloured illustrations throughout by Gilbert Rumbold; wear to edges of boards, minor wear to cloth at hinges of spine, a little rubbing to gilt lettering, but otherwise boards are uncommonly bright and clean; very light spotting to edges, some minor spotting to preliminaries and endpapers; near fine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe true first edition of this celebrated cocktail book in unusually bright condition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSought after by collectors for both its recipes and the fine Art Deco design, some cocktails included are the ‘Corpse Reviver’, ‘four of these taken in swift succession will unrevive the corpse again’. This drink was intended to be ‘taken before 11a.m., or whenever steam and energy are needed’. The ‘Earthquake Cocktail’, whose greatest quality is that ‘if there \u003ci\u003eshould\u003c\/i\u003e happen to be an earthquake on when you are drinking it, it won’t matter’. The ‘Rattlesnake Cocktail’, ‘so called because it will either cure Rattlesnake bite, or kill Rattlesnakes, or make you see them’.\u003c\/p\u003e\n\u003cp\u003eOne cocktail invented by Harry Craddock at the Savoy Hotel on 29th February 1928, in celebration of the Leap Year was the ‘Leave it to me Cocktail’. It is said ‘to have been responsible for more [marriage] proposals than any other cocktail that has ever been mixed’. Perhaps, this is not surprising with its lethal mix of brandy, Vermouth, Grenadine, and gin.\u003c\/p\u003e\n\u003cp\u003eCraddock begins his foreword by stating, ‘If everyone knew even a little about the absorbing subject of absorbing alcohol there would be even less Prohibition in the United States of America than there is now.’ Craddock was obviously willing to tailor some recipes for his friends across the pond with a section dedicated to ‘Cocktails Suitable for a Prohibition Country’, but all of the recipes contain alcohol in some form with the ‘Special (Rough) Cocktail’ even containing ‘1 Dash of Absinthe’. Craddock claims, however, that the alcohol for these was easy enough to attain.\u003c\/p\u003e\n\u003cp\u003eA wonderfully designed book evoking the spirit and gaiety of the 1930s; this copy remains particularly bright.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124671\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122280800633,"sku":"2124671","price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124671.jpg?v=1776858547"},{"product_id":"manhood-harold-alfred-manhood-harold-alfred-apples-by-night","title":"MANHOOD, Harold Alfred. Apples By Night.","description":"\u003cp\u003e\u003cstrong\u003eMANHOOD, Harold Alfred.\u003c\/strong\u003e Apples By Night. \u003ci\u003eLondon: Jonathan Cape\u003c\/i\u003e. 1932.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue cloth lettered in yellow to spine, a wonderful Bauhaus inspired illustrated dust-jacket with printed price of 7s. 6d. to front flap, loosely inserted is a contemporary promotional ‘Now and Then’ bookmark advertising the Jonathon Cape periodical; pp. 314, [2]; a little soiling to jacket with a couple of spots (more prominent to reverse); spotting to edges of textblock slightly visible on outer margins of pages, light offsetting and spots to endpapers; very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first impression.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA companion volume of short stories to the author’s \u003ci\u003eNightseed\u003c\/i\u003e (1928), which ‘may be likened to a barrel of West Country cider’ (\u003ci\u003eblurb\u003c\/i\u003e). Manhood pursued an alternative lifestyle, living in a repurposed railway carriage, where he grew his own food and brewed his own cider.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124655\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122282045817,"sku":"2124655","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124655.jpg?v=1776858562"},{"product_id":"farina-richard-been-down-so-long-it-looks-like-up-to-me","title":"FARIÑA, Richard. Been Down So Long It Looks Like Up to Me.","description":"\u003cp\u003e\u003cstrong\u003eFARIÑA, Richard.\u003c\/strong\u003e Been Down So Long It Looks Like Up to Me. \u003ci\u003eNew York: Random House\u003c\/i\u003e. 1966.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s quarter binding with green cloth to spine and blue card over boards, lettered and illustrated with white, black and yellow, top-edge blue and fore-edges untrimmed, illustrated dust-jacket designed by Eric Von Schmidt with printed price of $5.95 to front flap; spine a little sunned and whites of jacket a little rubbed, minor shelfwear; ex-libris label front pastedown partially removed; very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first impression of Fariña's first and only novel.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePart campus novel, part travelogue, Richard Fariña's novel explores the complexities of early adulthood through its protagonist, Gnossos Pappadopoulis. He wrote the novel while still a student at Cornell University, where he shared a room with Thomas Pynchon, who described this book as coming ‘on like the hallelujah chorus done by 200 kazoo players with perfect pitch’. (\u003ci\u003eBlurb\u003c\/i\u003e)\u003c\/p\u003e\n\u003cp\u003eAfter leaving Cornell, Fariña became a staple of the Greenwich Village art scene, befriending the likes of Bob Dylan and Joan Baez, whose younger sister – Mimi – he would go on to marry in 1963. Fariña is often viewed as a bridge between the Beat Generation, and the hippie counter culture movement of the late 1960s. His life tends to raise more questions than it answers; tragically, he died in a motorcycle accident on the same day he signed copies of his book at the Carmel bookshop and café in California, published only two days before.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee, Barnett, Richard Fariña: lost genius who bridged the gap between beats and hippies (Guardian, 2016).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124653\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122282471801,"sku":"2124653","price":375.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124653.jpg?v=1776858577"},{"product_id":"joyce-james-ulysses-1","title":"JOYCE, James. Ulysses.","description":"\u003cp\u003e\u003cstrong\u003eJOYCE, James.\u003c\/strong\u003e Ulysses. \u003ci\u003eLondon: John Lane the Bodley Head\u003c\/i\u003e. 1936.\u003c\/p\u003e\n\u003cp\u003eTall 8vo. Original green linen buckram, lettered in gilt to spine, Eric Gill’s Homeric bow illustration in gilt to upper board, top edge gilt, other edges untrimmed; pp. [xiii], [3], 765, [3]; cloth discoloured (especially at extremities) and stained, spine sunned, extremities and text block rubbed; light foxing internally, but generally clean; a good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst UK edition, no. 341 of 900 copies on japon vellum paper bound in linen buckram, from a total edition of 1,000.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Bodley Head edition of \u003ci\u003eUlysses\u003c\/i\u003e, the first published in the United Kingdom, includes the first Joyce bibliography as well as appendices concerning the obscenity case that had kept the work from British printers. Unsurprisingly for a book with such a chequered publication history, there are a number of typographical differences from earlier editions. Despite Joyce correcting the proofs while on holiday in Copenhagen in early 1936, several mistakes were later spotted. The bibliography, by Peter Pertzoff, had been submitted without further corrections or acknowledgment from Joyce. Pertzoff was apparently surprised to see it appear, inaccuracies and all, in this edition.\u003c\/p\u003e\n\u003cp\u003eThe typography and design was overseen by Allen Lane and Joyce’s representative Paul Léon. Eric Gill was commissioned to design the binding of this edition with its iconic Homeric bow on the upper board.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSlocum \u0026amp; Cahoon A23.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124635\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122284241273,"sku":"2124635","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124635b.jpg?v=1776858599"},{"product_id":"manning-olivia-len-deighton-illustrator-my-husband-cartwright","title":"MANNING, Olivia; Len DEIGHTON ( illustrator ). My Husband Cartwright.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe Eternal Husband\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMANNING, Olivia; Len DEIGHTON (\u003ci\u003eillustrator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e My Husband Cartwright. \u003ci\u003eLondon: Heinemann\u003c\/i\u003e. 1956.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue cloth lettered and bordered in red to spine, with Siamese cat monogram in red to front panel, in the price-clipped dustwrapper designed and illustrated by Len Deighton; pp. 125, [3]; pushing to spine tips, light bumping to lower outer corners, scattered spotting to page block edges, closed tear (c. 2.5 cm) to upper edge of wrapper front panel, light rubbing to extremities, rear panel a little dusty with small area of light abrasion; a very good copy in like wrapper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first printing, signed by Len Deighton, of this witty portrait of Manning's larger than life husband, R. D. \"Reggie\" Smith, with Deighton's wonderful drawings featured throughout the book.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished in December 1956, \u003ci\u003eMy Husband Cartwright\u003c\/i\u003e collects twelve sketches which originally appeared in \u003ci\u003ePunch\u003c\/i\u003e magazine. Although not stated on the wrapper, Cartwright is based on Manning’s own husband, R. D. \"Reggie\" Smith, a garrulous character, who as a BBC producer, worked closely with Dylan Thomas, Noel Coward, Louis MacNeice,  among others. Recently released documents also reveal that he was part of a Communist cell, recruited by Anthony Blunt.\u003c\/p\u003e\n\u003cp\u003eManning’s witty rendering of Smith in \u003ci\u003eMy Husband Cartwright\u003c\/i\u003e predates his fuller portrait – as “Guy Pringle” – in her semi-autobiographical Balkan Trilogy. Cartwright, the jacket tells us, is “an enigma of pure reason, a helpful hindrance, the quintessence of kindly egoism, generous to a fault—and what a fault! His simplicity is baffling. Its elucidation would call for the terms of space-time continuum. In short, he is The Eternal Husband.”\u003c\/p\u003e\n\u003cp\u003eThe text is perfectly complemented throughout by Len Deighton’s wonderful drawings and jacket design, which appeared five years before his first book, \u003ci\u003eThe Ipcress File\u003c\/i\u003e, was published. Deighton has neatly signed this copy in black ink to the top-edge of the title page.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124529\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122286633337,"sku":"2124529","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124529.jpg?v=1776858623"},{"product_id":"milne-a-a-toad-of-toad-hall-a-play-from-kenneth-grahame-s-the-wind-in-the-willows","title":"MILNE, A.A. Toad of Toad Hall: A play from Kenneth Grahame’s 'The Wind in the Willows'.","description":"\u003cp\u003e\u003cstrong\u003eMILNE, A.A.\u003c\/strong\u003e Toad of Toad Hall: A play from Kenneth Grahame’s 'The Wind in the Willows'. \u003ci\u003eMethuen and Co.\u003c\/i\u003e 1929.\u003c\/p\u003e\n\u003cp\u003e8vo. Original blue cloth, lettered in gilt to spine, frog vignette in gilt to upper board, top-edge gilt, in beige typographical dust-jacket; pp. [16], 166, [2], [8 (publisher’s catalogue)]; extremities of cloth very lightly rubbed, jacket a little soiled with light wear to extremities, spine very slightly darkened, and one short closed tear to head, spotting to edges of textblock, offset to front free endpaper; a few light spots to first and final leaves, else a very good and clean copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of A. A. Milne's theatre adaptation of \u003ci\u003eThe Wind in the Willows\u003c\/i\u003e.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eToad of Toad of Hall\u003c\/i\u003e first premiered at Liverpool Repertory Theatre on 21 December 1929. The play deviates slightly from the novel, most notably with the elevation of the character of Toad to the protagonist of the story.\u003c\/p\u003e\n\u003cp\u003eMilne is quoted on the front flap of the dust-jacket describing the play as ‘enough of Kenneth Grahame in it to appease his many admirers, and enough of me in it to justify my name upon the title-page’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2122889\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122290762105,"sku":"2122889","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2122889.jpg?v=1776858684"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/collections\/claret_ae30aa6b-6193-4848-876c-b232f0248edd.jpg?v=1776859646","url":"https:\/\/sotherans.co.uk\/collections\/literature-22-new-acquisitions.oembed","provider":"Sotherans","version":"1.0","type":"link"}