MAJOR WORKS: BOOKS AND PERIODICALS, INCLUDING COLLABORATIONS AND TRANSLATIONS

a. First British edition
THE CLOSE CHAPLET BY LAURA RIDING GOTTSCHALK [publisher's device] | Published by  Leonard & Virginia Woolf at The Hogarth Press |52 Tavistock Square, London, W.C. 1 |1926
Collation: 7 1/8 x 4 7/8 in., [1]8 2-58, pp. [1-6] 7-76 [77-¬80]. [1]: 'THE CLOSE CHAPLET'. [2] : blank. [3]: title page. [4]: '[9 lines of verse] ROBERT GRAVES. | Printed in Great Britain by | NEILL & CO., LTD., EDINBURGH.' [5]: 'TO | MY SISTER ISABEL | AND TO | NANCY NICHOLSON'. [6]: blank. 7-8:
Contents. 9-[77]: text. [77]: colophon. [78-80]: blank.
Binding: Blue-gray paper over boards. Buff label (1 7/8 x 3 1/4 in.) on front printed in black. A double rule border encloses: 'THE | CLOSE CHAPLET | LAURA GOTTSCHALK'. Back blank. All edges trimmed.
Paper: Cream wove paper, including endpapers.
Contents:
9 As Well As Any Other
10 The Quids
12 Mortal
13 The Sad Boy
15 The Nightmare
16 Lucrece and Nara
18 Ahead and Around
20 One
21 Body's Head
29 Body in the Clouds
30 An Eye's Belief
31 Prisms
32 Virgin of the Hills
33 Virgin of the City ¬
I. Satan and Magdalen
II. Woman and Serpent
37 One Sense
38 Samuel's Toast of Death
40 Samuel's Elegy for Amalthea of the Legends
44 Sonnets in Memory of Samuel
47 Back to the Mother Breast
48 The Poet's Corner
49 The Simple Line
53 No More Are Lovely Palace
55 Truth and Time
56 The Definition of Love
57 Druida
59 Her Ageless Brow
61 Where Ghosts Look In
62 The Lady of the Apple
66 Many Gentlemen
67 John and I
71 John Lying Spying
73 To No Reply
76 And a Poor Prayer
77 For All Our Sakes

Note: Published October 7, 1926, at 5s. [publication date given in LRG to Idella Purnell, Aug. 1926]
b. First American edition

Collation: Identical to British edition.
Binding: Identical to British edition.
Paper: Identical to British edition.
Notes: Priced at $1.75. Although this is Riding's first volume of poems, a ghost called "Poems," attributed to Green¬berg Publishing Company, 64 pages, $1.75, appears in the Cumu¬lative Book Index for 1926 and in the U.S. Catalogue of Books in Print for 1928. This title also appears in Publishers' Weekly, March 13, 1926, but the publisher is listed as Adelphi. The discrepancy is due to Greenberg's acquisition of the Adel¬phi Company effective October 1, 1926. Greenberg continued to use the Adelphi imprint, which also appears in Anatole France at Home (A2), until January 1, 1928. Apparently Riding's first book of poems received its present title after it was first announced. Nevertheless, an advertisement in Contempo¬raries and Snobs (A5) in 1928 announced that First Poems was to be published by Jonathan Cape and Doran. The dust jacket of Poems: A Joking word (A9) in 1930 also cited this ghost volume as a source in addition to The Close Chaplet: "It in¬cludes the substance not only of The Close Chaplet published
in 1926 and of Love as Love, Death as Death, published in 1928, but also the deferred First Poems announced some seasons ago; and certain later poems."

A2 ANATOLE FRANCE AT HOME 1926

ANATOLE FRANCE | AT HOME | By I MARCEL LeGOFF | Translated by LAURA RIDING GOTTCHALK With unpublished photographs and documents ADELPHI COMPANY Publishers 1926

Collation: 9 x 6 in., unsigned, pp. [i-ii] iii-v [vi] vii [viii] ix-x [xi-xii] 1-197 [198-200]. 4 plates on coated stock before p. [i] [verso], after p. 52 [recto], after p. 116 [recto], and after p. 180 [recto]. Extra leaf front and back. [i]: title page. [ii]: 'COPYRIGHT, 1926, BY ADELPHI COMPANY THE VAIL¬BALLOU PRESS BINGHAMTON AND NEW YORK'. iii-v: Contents. [vi]: blank. vii: 'ILLUSTRATIONS'. [viii]: blank. ix-x: Foreword. [xi]: 'ANATOLE FRANCE AT HOME'. [xii]: blank. 1-197: text. [198-200]: blank.

Binding and dust jacket: Black cloth over boards. Front printed in gold. A decorative rectangle encloses: 'ANATOLE FRANCE | AT HOME | [rule broken by fleur-de-lis] | MARCEL LE GOFF'. Spine printed in gold: 'ANATOLE | FRANCE | AT HOME | [rule] LE GOFF | ADELPHI'. Back blank. All edges trimmed.
Buff dust jacket printed in red and black. Front reprints photograph that is used as frontispiece.

Paper: Cream wove paper, including endpapers.

Contents:
1 The First Conversations
6 Anatole France and the War
24 The War and Literature
36 Some Historical Characters
53 The War and the New Program
62 Patriotism and Socialism
77 America and the War
91 Anatole France on Idleness and Beauty
101 Anatole France and Spiritualism
115 Clemenceau and Caillaux
133 The Historical Christ
144 The Peace Treaty and After the War
164 Memories of the Past
175 Booksellers, Antiquarians and Other Pleasant Persons
183 The Last Days of Anatole France
194 Conclusion
Illustrations:
Frontispiece: Anatole France
52 Mme France's Bedroom at La Bechellerie
116 La Bechellerie
180 The Library at La Bechellerie

Notes: In the Cumulative Book Index, the listed publisher is Greenberg, which operated the Adelphi Company from October 1, 1926, to January 1, 1928. The price was $2.50. Riding's name was misspelled on the title page.

A3 VOLTAIRE 1927

Collation: 8 x 5 1/2 in., unsigned, pp. [i-ii] [1-4] 5-30. [i]: blank. [ii] frontispiece--an engraving captioned 'VOLTAIRE.' [1]: title page. [2]: 'To | L.G.'. [3]: 'Foreword', dated 1921. [4]: 'Au bord de l'infini ton coeur doit s'arreter; | La commence un abyme, it faut le respecter. VOLTAIRE'. 5-27: text. 28-30: 'THE ARGUMENT'.

Binding: Heavy black paper folded to form 2 1/2 in. front and back flaps. Buff label (1 7/8 x 3 3/8 in.) on front with double rule border enclosing 'VOLTAIRE | LAURA RIDING'. Back blank. Only top edge trimmed.

Paper: Cream laid paper, including endpapers.
Notes: Published in November, 1927, the book was written in 1921 when she was married to Louis Gottschalk, to whom it is dedicated. They were divorced in 1925, and two years later she began to publish under the name Laura Riding. But by the time she got word of this decision to Leonard and Virginia Woolf it was too late: the title page of Voltaire was already printed with “Laura Riding Gottschalk.” An earlier set of proofs the Woolfs had sent her had never been received. Laura then asked that “Gottschalk” be put in parentheses on the title page, but instead Leonard Woolf deleted the name with a heavy black double-rule, making it, in one literary historian’s opinion, “the ugliest title page among all the Hogarth Press books.”

A4 A SURVEY OF MODERNIST POETRY 1927
a. First British edition

Collation: 7 1/2 x 5 in., [A]8 B-S8 T4, pp. [1-8] 9-291 [292] 293-295 [296]. [1]: 'A SURVEY OF | MODERNIST POETRY'. [2]: blank. [3]: title page. [4] 'Printed in Great Britain by R. & R. CLARK, LIMITED, Edinburgh'. [5]: 'NOTE | This book represents a word-by-word collabora- | tion; except for the last chapter, which is a | revision by both authors for the purposes of this | volume of an essay separately written and printed | by one of them'. [6]: blank. [7]: Contents. [8]: blank. 9-291: text. [292]: blank. 293-295: 'INDEX OF | PRINCIPAL PROPER NAMES'. [296]: blank.

Binding and dust jacket: Buff paper over boards printed with red pattern. Black cloth on spine extends 1/4 in. onto front and back. Spine printed in gold: 'A SURVEY | OF MODERNIST | POETRY | LAURA RIDING | AND | ROBERT GRAVES | HEINEMANN'. Top and fore-edges trimmed.
Dust jacket is buff with red printing. Front displays title and authors' names between decorative brackets. Back adver¬tises Poems: 1914-1926 by Robert Graves. Copy on inside flap reads: "This is a sympathetic and authoritative study of the untraditional elements in modern poetry--the first of its kind. The authors treat of the work of T.S. Eliot, Edith, Osbert and Sacheverell Sitwell, E.E. Cummings, Gertrude Stein, Marianne Moore, John Crowe Ransom and of other 'modernist' rather than merely 'modern' poets of England and America; showing what standards these set themselves, and to what extent they justfy their theories." Back flap advertises The Land by V. Sackville¬West and Willie Lamberton by Elizabeth Manning.

Paper: Cream laid paper, including endpapers.

Contents:
9 I. Modernist Poetry and the Plain Reader's Rights
35 II. The Problem of Form and Subject-Matter in Modernist Poetry
59 III. William Shakespeare and E.E. Cummings: A Study in Original Punctuation and Spelling
83 IV. The Unpopularity of Modernist Poetry with the Plain Reader
110 V. Modernist Poetry and Dead Movements
131 VI. The Making of the Poem
155 VII. Modernist Poetry and Civilization
189 VIII. Variety in Modernist Poetry
223 IX. The Humourous Element in Modernist Poetry
258 X. Conclusion
293 Index

Notes: 1000 copies at 7s. 6d. were published November 3, 1927. The method of textual analysis demonstrated in the third chap¬ter is the focus of a dispute about the origin of the New Criticism. Riding's position appears in "Correspondence," Modern Language Quarterly, 32 (December, 1971), 447-448 (C44).
Reprints were issued by Haskell House (New York) in 1969; Folcroft Library Editions (Folcroft, Pa.) in 1971; Norwood. Editions (Norwood, Pa.) in 1976, 1977, and 1978; and R. West (Philadelphia) in 1977.
**al. Second British impression (1929)
A SURVEY OF | MODERNIST POETRY | BY | LAURA RIDING AND ROBERT GRAVES | [publisher's device] | LONDON | WILLIAM HEINEMANN LTD. | 1929

Collation: Identical to first British edition except p. [4] has impression and printer's notices.
Binding: Black cloth over boards. Front and back blank. Spine printed in gold: 'A SURVEY | OF MODERNIST POETRY | LAURA RIDING | AND | ROBERT GRAVES | HEINEMANN'. Top and fore-edges trimmed.
Paper: Cream laid paper, including endpapers.

Notes: Published in September, 1929, at 7s. 6d. This impression is cited in Higginson's bibliography (H111), but I have not seen it.
b. First American edition (1928)

Collation: Identical to British edition.

Paper: Cream laid paper, including endpapers.

Notes: Only the title page and binding differ from British edition since both were printed in Britain. American publica¬tion of 500 copies at $2.00 each appeared a year later than the British edition. A reprint of this edition was issued by Scholarly Press (St. Clair Shores, Mich.) in 1972.

A5 CONTEMPORARIES AND SNOBS 1928
a. First British edition

Collation: 7 1/2 x 5 in., [A]8 B-Q8, pp. [1-4] 5 [6-8] 9-121 [122] 123-199 [200] 201-255 [256]. [1]: 'CONTEMPORARIES AND SNOBS'. [2]: blank. [3]: title page. [4]: 'FIRST PUBLISHED IN MCMXXVIII | MADE & PRINTED IN GREAT BRITAIN | BY BUTLER & TANNER LTD | FROME AND | LONDON | [ornament]'. 5: Contents. [6]: blank. [7]: 'CONTEMPORARIES | AND SNOBS'. [8]: blank. 9-121: text. [122]: 'NOTE' [explaining relationship between Parts I and II]. 123-199: text.[200]: blank. 201-255: text.[256]: 'BY THE SAME AUTHOR | POETRY | The Close Chaplet, Hogarth Press, 1926. | Voltaire, Hogarth Press, 1927. | First Poems, Jonathan Cape and the George H. | Doran Co. [forthcoming]. | Love As Love, Death As Death, Seizin Press [forth- | coming]. | PROSE | Survey of Modernist Poetry (Laura Riding and | Robert Graves), Heinemann and the George | H. Doran Co., 1927. | Anthologies Against Poetry (Laura Riding and | Robert Graves), Jonathan Cape and the | George H. Doran Co. [forthcoming].'

Binding: Beige cloth over boards. Front blank. Back blind-¬stamped with publisher's device. Spine printed in blue: 'CONTEM- | PORARIES | AND | SNOBS | [ornament] | LAURA | RIDING | JONATHAN CAPE'. Top edge colored gray. All edges trimmed. Note: I have the British edition. The spine is printed in gold on 1” x 2” maroon patch at the top. No gray. The wording and spacing is as above. What is “blind-stamped”? I can see no publisher’s device on the back of my book.

Paper: Cream wove paper, including endpapers.

Contents:
9 1. Poetry & the Literary Universe
9 I. Shame of the Person
18 II. Poetry, Out of Employment, Writes on Unemployment
31 III. Escapes from the Zeitgeist
56 IV. Poetic Reality and Critical Unreality
79 V. Poetry and Progress
97 VI. The Higher Snobbism
123 2. T.E. Hulme, the New Barbarism, & Gertrude Stein
201 3. The Facts in the Case of Monsieur Poe

Notes: Published at 7s. 6d. in February, 1928. Although the list of books "By the Same Author" on p. [256] includes First Poems, this volume never materialized. A partial explanation appears on the dust jacket blurb of Poems: A Joking Word, which states that this collection includes the contents of the projected volume. The ghost volume was also announced as Poems, to be published by Greenberg Publishing Co. in 1926 at $1.75, but it was superseded by The Close Chaplet. Anthologies Against Poetry is also listed prematurely on p. [256]; it became A Pamphlet Against Anthologies five months later.
b. First American edition

Paper: Cream wove paper, including endpapers.

Notes: Published at $2.00. Both editions were printed in Great Britain.
A reprint was issued by Scholarly Press (St. Clair Shores, Mich.) in 1971.

A6 ANARCHISM IS NOT ENOUGH 1928
a. First British edition

Paper: Cream wove paper, including endpapers.

Contents:
9 The Myth
13 Language and Laziness
15 This Philosophy
16 What Is a Poem?
19 A Complicated Problem
20 All Literature
22 Mr. Doodle-Doodle-Doo
25 An Important Distinction
27 The Corpus
32 Poetry and Music
37 Poetry and Painting
39 Poetry and Dreams
41 Jocasta
133 How Came It About?
136 Hungry to Hear
138 In a Café
142 Fragment of an Unfinished Novel
150 William and Daisy: Fragment of a Finished Novel
152 An Anonymous Book
187 The Damned Thing
209 Letter of Abdication

Note: Published in May, 1928, at 7s. 6d.

b. First American edition

Collation: 7 3/4 x 5 3/8 in. Identical to British edition ex¬cept for publisher's name on title page and omission of the date of first publication on p. [4].

Paper: Identical to British edition.

Contents: Identical to British edition.

Note: Priced at $2.50.

c. Second American edition (2001)

Collation: 8 ¼ x 5 ¼ in. unsigned. pp. [i-viii] ix [x] xi-lxxvii 1-5 [6-8] 9-251 [252] 253-274. [i]: ‘ANARCHISM IS NOT ENOUGH’. [ii]: blank. [iii] title page. [iv] copyright page. [v-vi]: contents. vii: acknowledgments. [viii]: blank. ix: A Note on the Text. [x]: blank. xi-lxxxviii: introduction. 1-5: Chronology of Laura (Riding) Jackson’s life. [6]: blank. [7]: ‘ANARCHISM IS NOT ENOUGH’. [8]: blank. 9-224: text, facsimile of first edition. 225-251: notes on the text. 253-267: appendixes I and II. 268-274: selected bibliography.

Binding: Paper covers, all purple background. Front panel reproduces John Aldridge portrait of Laura Riding (1933) in full color, overlaid, at lower right, with orange lettering: ‘LAURA RIDING’. White letters [at top] ‘ANARCHISM’ [vertically along left side] ‘Is Not Enough’. Editor’s name at foot in light blue. Spine purple with ‘RIDING’ printed in orange across top and title printed in white down spine and ‘California’ in light blue at foot. Back panel purple printed in yellow, white and red. Back panel copy: ‘Anarchism Is Not Enough is a manifesto against systematic thinking, a difficult book by a famously difficult writer. For the scope of its critical imagination, it is the most radical work of Laura Riding’s early period. Published in 1928, when Riding was twenty-seven, Anarchism is a kind of early autobiographia literaria. Long out of print and now available for the first time in paperback, this is one of the most imaginative and daring works of literary theory ever written by a modernist figure. “The originality of Anarchism’s thought seems hardly less arresting today than it was when first published 70 years ago. We owe Samuels a great debt for restoring this book to our attention.” Jerome McGann, author of Dante Gabriel Rossetti and the Game That Must Be Lost
“Anarchism Is Not Enough is Laura Riding’s most exuberant work. Written when she was in her late 20s, this work touches on all the themes that would preoccupy the poet for the rest of her life. Lisa Samuel’s introduction is an ideal companion to this work by one of the most original and surprising of the American modernist poets.” Charles Bernstein, author of My Way: Speeches and Poems.’

Paper: Cream alkaline paper, no endpapers.

Contents:

vii Acknowledgments
ix A Note on the Text
xi Creating Criticism: An Introduction to Anarchism Is Not Enough
1 Laura Riding: A Chronology
9-224 Same as first edition
225 Notes on the Text
253 Appendix I. Three Commentaries on Anarchism Is Not Enough
261 Appendix II. Author to Critic: Laura (Riding) Jackson on “Anarchism Is Not Enough”
268 Selected Bibliography of Works by Laura Riding
272 Selected Critical Bibliography

Notes: Published May 2001. Priced at $18.95. Cover design by Steve Renick. ISBN 0-520-21394-7.

A7 A PAMPHLET AGAINST ANTHOLOGIES 1928
a. First British edition

Collation: 7 1/2 x 5 in., [A]8 B-M8, pp. [1-4] 5 [6] 7-8 [9-10] 11-192. [1]: 'A PAMPHLET AGAINST ANTHOLOGIES'. [2]: blank. [3]: title page. [4]: 'FIRST PUBLISHED MCMXXVIII | PRINTED IN GREAT BRITAIN BY | BUTLER & TANNER LTD | FRONT,'. 5: Contents. [6]: blank. 7-8: Foreword. [9]: 'A PAMPHLET AGAINST ANTHOLOGIES'. [10]: blank. 11-192: text.

Binding and dust jacket: Orange cloth over boards. Front blank. Back blind-stamped with publisher's device. Spine printed in gold: 'PAMPHLET | AGAINST | ANTHOLOGIES | [ornament] | RIDING | & GRAVES | JONATHAN CAPE'. Top and fore-edges trimmed.
Buff dust jacket displays title, authors' and publisher's names printed in black inside a red decorative rectangle. Publisher's device also in red. Back advertises Contemporaries and Snobs and quotes favorable reviews it received from Arnold Bennett in The Evening Standard, the Times Literary Supplement, The Observer, and The Yorkshire Post.

Paper: Cream wove paper, including endpapers.

Contents:
7 Foreword
11 I The True Anthology and the Trade Anthology
26 II Anthologies and the Book Market
50 III The Anthologist in Our Midst
67 IV The Popular Poem and the Popular Reader
88 V The Perfect Modern Lyric
123 VI ‘Best Poems’
140 VII Poetry and Anthology Labels
159 VIII Anthologies and the Living Poet
177 IX Conclusion

Notes: Published in July, 1928, at 7s. 6d., this book was provisionally titled "Anthologies Against Poetry" and announced at the end of Contemporaries and Snobs. Dust jacket descrip¬tion reads, in part: "A distinction is drawn between the legitimate anthology (of rare occurrence), which is a port¬folio of fugitive verses, and the ever multiplying 'popular anthology,' a display of stock poetical 'beauties' and conceits by critical bagmen for a simple-minded public. An analysis is made of numerous anthologies, ancient and modern, and of favourite anthology lyrics. Since so much modern poetry is written in the shadow of the popular anthology, this book covers a wider ground than its title at first suggests."
The Foreword emphasizes that this book, like A Survey of Modernist Poetry, is a word-by-word collaboration and rebukes seven reviewers who ignored this note in the earlier book.
b. First American edition

Collation: Identical to British edition except p. [4] omits the date of first publication.

Paper: Cream wove paper, including endpapers.

Notes: Published at $2.00 and printed in Great Britain. A reprint was issued by the AMS Press (New York) in 1970.

A8 LOVE AS LOVE, DEATH AS DEATH 1928

Collation: 8 x 5 1/2 in., unsigned, pp. [i-viii] 1-64. [i]: 'LOVE AS LOVE, DEATH AS DEATH'. [ii]: 'SEIZIN ONE |175 numbered copies of this edition have been | printed, and this is no. [written] 141 | [signed] Laura Riding | SEIZIN TWO: AN ACQUAINTANCE WITH DESCRIPTION | BY GERTRUDE STEIN. | SEIZIN THREE: POEMS 1929 BY ROBERT GRAVES. | SEIZIN FOUR: NO TROUBLE BY LEN LYE. | (to follow)'. [iii]: title page. [iv]: blank. [v-vi]: Contents. [vii-viii]: blank. 1-64: text.

Binding: Beige cloth over boards. Front and back blank. Spine printed in gold lengthwise: 'LOVE AS LOVE, DEATH AS DEATH'. All edges trimmed.

Paper: Cream laid paper watermarked with a hammer and anvil, a monogram superimposing B and S, and a crest including the words 'BRITISH HAND MADE'. Same endpapers.

Contents:
1 The Map of Places
2 Death as Death
3 How Blind and Bright
5 Footfalling
6 Though in One Time
7 Ding-Donging
8 If This Reminds
9 The Tiger
16 The Rugged Black of Anger
18 The Number
19 All Nothing, Nothing
22 The Troubles of a Book
24 And This Is Loveliness
25 That Ancient Line
27 Fine Fellow Son of a Poor Fellow
29 Address from Pride in Person
31 Dear Growth
33 Originally
35 Loss of Reason
36 World's End
37 Sea, False Philosophy
39 Helen's Faces
40 Sea Ghost
41 0 Vocables of Love
42 Happy Possessor and Industrious Spirit
44 Ode to the Triumph of Bodily Intelligence
46 Sleep Contravened
48 By Crude Rotation
50 Then Wherefore
51 Second-Death
52 Carnival of Numbers
54 Love as Love
59 In Nineteen Twenty-Seven

Notes: Published in December, 1928, at 10s. 6d. according to the English Catalogue of Books, but Hugh Ford (H131) reports it was sold by a London bookseller named Bain at lls. 6d. Ford also writes that the Seizin Press hand-set books used Caslon type and Batchelor hand-made paper. The title page device, Riding told him, was an "illustration of certain re¬lation-principles" she designed. In an unpublished manuscript, “Comments on a study of my work” (1974), Laura (Riding) Jackson wrote: “The title is taken from a poem in which the poety’s insistence upon dealing with essentialities of experience in words used with strict regard for the essentialities of their meanings is as clear as a blackboard lesson.”

A9 POEMS: A JOKING WORD 1930

Poems A Joking Word | by | Laura Riding | [publisher's device] London • Jonathan Cape • Toronto |1930

Collation: 8 1/4 x 5 3/4 in., [A]8 B-K8 L7, pp. [1-4] 5-7 [8] 9-22 [23-24] 25-171 [172]. [1]: 'Poems A Joking Word'. [2]:blank. [3]: title page. [4]: blank. 5-7: Contents. [8]: blank. 9-22: Preface. [23]: 'Poems A Joking Word'. [24]: blank. 25-171: text. [172]: 'Acknowledgements to | The Hogarth Press and The Seizin Press | for certain poems here reprinted | Printed in Great Britain, in the City of Oxford, at THE ALDEN PRESS'.

Binding and dust jacket: Beige cloth over boards. Front blank. Back blind-stamped with publisher's device. Spine printed in gold: 'POEMS | A | JOKING | WORD | [ornament] | LAURA | RIDING | JONATHAN | CAPE'. Only top edge trimmed.
Cream dust jacket with black printing on front: 'LAURA RIDING | POEMS | A JOKING WORD'. Back cover advertises Con¬temporaries and Snobs, Anarchism Is Not Enough, and A Pamphlet Against Anthologies. Inside flap copy: "This is the first comprehensive collection (1919-1929) of Laura Riding's poems. It includes the substance not only of The Close Chaplet pub¬lished in 1926 and of Love as Love, Death as Death, published in 1928, but also the deferred First Poems announced some seasons ago; and certain later poems."

Paper: Cream wove paper, including endpapers.

Contents:
9 Preface
25 Lida
32 Home
33 Incarnations
34 Because I Sit Here So
36 The Mask
37 The Signature
38 Hospitality to Words
39 Room
40 Chloe or....
41 So Slight
42 Take Hands
43 Fragments
47 Chrysalis
48 Yes and No
49 The Tillaquils
51 Fragments from Alastor
54 As Well as Any Other
55 The Quids
57 Mortal
58 The Nightmare
59 Lucrece and Nara
61 Enough
62 Virgin of the Hills
63 Virgin of the City
65 One Sense
66 Goat Alone
67 Goat and Amalthea
69 The Simple Verse
71 An Ageless Brow
72 The Poets' Corner
73 No More Are Lovely Palaces
74 There Is Much at Work
75 The Definition of Love
76 Druida
78 The Lady of the Apple
81 Many Gentlemen
82 John and I
85 Lying Spying
87 Postponement of Immortality
88 Sunday
89 Fragments
90 A Previous Night
91 To the Devil, Recently Dead
92 Fragments
94 Helen's Burning
95 Life-Size Is Too Large
96 The Map of Places
97 Death as Death
98 Footfalling
99 Though in One Time
100 Ding-Donging
101 The Tiger
106 The Rugged Black of Anger
108 All Nothing, Nothing
111 That Ancient Line
112 Fine Fellow Son of a Poor Fellow
114 What to Say When the Spider
119 The Wind Suffers
120 Growth
121 Originally
122 World's End
123 Fragments
126 Sea, False Philosophy
127 This
128 Helen's Faces
129 You or You
130 Advertisement
132 0 Vocables of Love
133 Earth Ghost
134 Sea Ghost
135 The Death of Ghostliness
136 In Nineteen Twenty-Seven
141 It Has Been Read by All
142 By Crude Rotation
144 Grace
145 In Due Form
146 Fellows
147 Love as Love
151 Speak Plain
152 Second-Death
153 Rejoice, Simple
154 Sleep Contravened
156 Finally
157 Poem
158 Fragments
161 Let
162 Dear Possible
163 Forever Morning
164 Nearly Which?
165 Appeared the Time
166 Here Beyond
167 And This Hard Jealousy
168 No Less a Name
169 Jewels and After
170 It Is or Will Be or Was

Note: Published in July, 1930, at 6s.

Al0 FOUR UNPOSTED LETTERS TO CATHERINE 1930

First British edition

Collation: 7 1/2 x 5 1/2 in., unsigned, pp. [i-vi] 1-50 [51¬-52]. [i]: 'FOUR UNPOSTED LETTERS | TO CATHERINE | COVERS BY LEN LYE'. [ii]: blank. [iii]: title page. [iv]: blank. [v]: 'Dear Gertrude. | The function of Opinion is to be that which | does not get posted. Hating opinion and lov- | ing All That Gets Posted as you do, you must | applaud my not posting these letters, however | you deplore my writing them. | Love, | Laura.' [vi]: blank. 1-[51]: text, printed in italic. [52]: blank. Recto of endpaper: '200 copies of this book | have been hand-set and | printed by Frazier-Soye | for THE HOURS PRESS | Each copy signed by the author | This is No [written] 177 | [signed] Laura Riding'.
Note: My copy does not have the GS letter; therefore the collation is [i-iv]. Also, in my copy there is no page number on page 9; 1-8 [9] 10-50 [51].

Binding: Cream paper over boards. Design printed in gray tints on front resembles an amoeba; drawing on back suggests two protozoan shapes. Brown leather on spine extends 1/2 in. onto front and back. Spine printed lengthwise in gold: 'LAURA RIDING 1930 FOUR UNPOSTED LETTERS TO CATHERINE'. All edges untrimmed.

Paper: Cream wove paper watermarked 'Vidalon' with an insignia including initials 'IHS'. Same endpapers. Note: no such watermark detectible in my copy. However on [1-2] there is a blind-print coat-of-arms (?).

Contents:
1 The First Letter: To Begin With
10 The Second Letter: To Continue to Begin With
23 The Third Letter: To Discuss Learning
35 The Fourth Letter: To Tell About the Muddle

Notes: Published in July, 1930, at 40s. Nancy Cunard describes the production of this volume in H116. The Hours Press used Caslon type and Rives paper. Cunard quotes several reviews which praised the new directness of Riding's style. The let¬ters were addressed to Robert Graves's daughter to encourage her to resist all the influences that would prevent her from being herself. The prefatory letter beginning "Dear Gertrude" alludes to a quarrel between Gertrude Stein and Laura Riding that estranged them from each other. Riding's letters to Stein are in the Beinecke Library at Yale.
First American edition (1993)

Collation: 7 1/4 x 5 in., unsigned, pp. [1-6] 7 [8¬-10] 11-19[20-22] 23-35 [36-38] 39-50 [51-52] 53-70 [71-72] 73-79 [80]. [1]: 'FOUR | UNPOSTED | LETTERS | TO |CATHERINE'. [2]: List of titles by the same author. [3]: title page. [4]: copyright page. [5]: contents. [6]: blank. 7: 'Dear Gertrude. | The function of Opinion is to be that which | does not get posted. Hating opinion and | loving All That Gets Posted as you do, you | must applaud my not posting these letters, | however you deplore my writing them. | Love, | Laura.' [8]: blank. [9]: ‘THE | FIRST | LETTER |[rule] | TO | BEGIN | WITH’. [10]: blank. 11-19: text, printed in italic. [20]: blank. [21] ‘THE | SECOND | LETTER |[rule]| TO CONTINUE | TO BEGIN | WITH’. [22]: blank. 23-35: text. [36]: blank. [37]: ‘THE| THIRD | LETTER | [rule] | TO | DISCUSS | LEARNING’. [38]: blank. 39-50: text. [51]: ‘THE | FOURTH | LETTER |[rule]| TO | TELL ABOUT | THE MUDDLE’. [52]: blank. 53-70: text. [71-72]: blank. 73-79: text. [80]: blank.
Binding and Dust Jacket: Black cloth over boards. Front and back blank. Spine printed lengthwise in gold with title, author and publisher. All edges trimmed.
Dust jacket cream shaded in grey with suggestion of blank sheets of paper. Front panel has white square, framed in narrow red lines enclosing title, printed in black. ‘LAURA RIDING’ printed in red on angle underneath. Back panel blank, but with same background as front and spine. Spine has author’s name in red, title and publisher in black. Front flap copy has quotation from the fourth letter and book description. Back flap copy has quotations from Michael Roberts, David Shapiro, David Lehman, and Rosellen Brown and brief biography of Laura (Riding) Jackson.

Paper: Cream acid-free, recycled paper. Endpapers heavier stock in beige with brown flecks.

Contents:
7 Letter to Gertrude Stein
9 The First Letter: To Begin With
21 The Second Letter: To Continue to Begin With
37 The Third Letter: To Discuss Learning
51 The Fourth Letter: To Tell About the Muddle
73 Postscript by Laura (Riding) Jackson
77 Afterword by Elizabeth Friedmann and Alan J. Clark

Notes: Published in October 1993, at $15.00. Jacket design by Carin Goldberg. Set in Cheltenham Light by ComCom, Allentown, Pennsylvania. Printed by The Haddon Craftsmen, Scranton, Pennsylvania. Jacket printed by Lynn Art, New York, New York. ISBN 0-89255-192-5.

Al0 FOUR UNPOSTED LETTERS TO CATHERINE 1930

Contents:
1 The First Letter: To Begin With
10 The Second Letter: To Continue to Begin With
23 The Third Letter: To Discuss Learning
35 The Fourth Letter: To Tell About the Muddle

All EXPERTS ARE PUZZLED 1930

[printed in a circle] EXPERTS ARE PUZZLED | LAURA RIDING | London • JONATHAN CAPE • Toronto

Collation: 8 x 5 1/4 in. [A]8 B-K8, pp. [1-4] 5 [6] 7 [8-12] 13-110 [111-112] 113-160. [1]: 'EXPERTS | ARE PUZZLED'. [2]: 'By the Same Author | CONTEMPORARIES AND SNOBS | ANARCHISM IS
NOT ENOUGH | POEMS A JOKING WORD'. [3]: title page. [4]: 'FIRST PUBLISHED 1930 | JONATHAN CAPE LTD., 30 BEDFORD SQUARE, LONDON | AND 91 WELLINGTON STREET WEST, TORONTO | JONATHAN CAPE & HARRISON SMITH INC. | 139 EAST 46TH STREET, NEW YORK | PRINTED IN GREAT BRITAIN BY J. AND J. GRAY, EDINBURGH | PAPER SUPPLIED BY JOHN DICKINSON AND CO. LTD. | BOUND BY NEVETT LTD.' 5-[6]: Contents. 7: '[7 lines of verse] | [in square brackets] From Automancy by Lilith Outcome.'. [8]: blank. [9]: 'EXPERTS | ARE PUZZLED'. [10]: blank. [11]: 'PART I'. [12]: blank. 13-110: text. [111]: 'PART II'. [112]: blank. 113-160: text.

Binding and dust jacket: Beige cloth over boards. Front blank. Back blind-stamped with publisher's device. Spine printed in red: 'EXPERTS | ARE PUZZLED | [ornament] | LAURA | RIDING | JONATHAN CAPE'. Top and fore-edges trimmed.
Cream dust jacket printed in black. Front flap reads: "The title of this book is that of the first of the prose pieces of which it is composed. But it is a title in more than this merely formal sense. It is a conclusion concerning the funda¬mental limitations of human intelligence, and this is a book about intelligence. And yet it is not a dogmatic conclusion. Indeed, the purpose of the book, in so far as so moderate a book may be said to have a purpose--is to see how far an un¬puzzled intelligence may go without disrespect to experts, and how far it can keep within the agreed limitations without violence to its obsessions. Miss Banquett, or the Populating of Cosmania, is the most elaborate experiment in gentleness in the book."

Paper: Cream wove paper, including endpapers.

Contents:
Part I
13 Experts Are Puzzled
15 Mademoiselle Comet
18 The Fortunate Liar
21 Molly Barleywater
24 Sex, Too
26 Buttercup
29 The Fable of the Dice
32 Dora
35 An Account of the Matter
41 Perhaps an Indiscretion
45 Arista Manuscript
49 Miss Banquett
95 Obsession
Part II
113 Introduction to a Book on Money
127 Another Subject
131 At This Point
135 An Address to America
153 That Workshop
154 Commas and Others
156 A Parting in the Hair
158 Their Last Interview

Notes: Published in November, 1930, at 6s. Epigraph attributed to Lilith Outcome introduces pseudonym Riding also used in Everybody's Letters. Dust jacket copy illustrates prose style of most of the stories. Using riddles, paradoxes, and parables to "puzzle" the experts, Riding expostulated on a range of sub¬jects, including veiled references to her recent suicide at¬tempt (Easter, 1929).

A12 THOUGH GENTLY 1930

Collation: 11 1/8 x 8 1/4 in., unsigned, pp. [i-iv] 1-29 [30¬32]. [i]: 'A SEIZIN'. [ii]: blank. [iii]: title page. [iv]: blank. 1-29: text. [30]: 'There are 200 numbered and signed copies of | Seizin 5 hand-set and hand-printed by ourselves on hand-made paper--the cover by Len Lye. | NUMBER [written] 130 | [signed] Laura Riding'. [31-32]: blank.

Binding: Cream paper over boards. Design printed in brown tints on both covers is abstract drawing suggesting protozoan forms, or a phytoplankton releasing spores. Brown cloth on spine extends 2 in. onto front and back. Spine printed in gold lengthwise: 'SEIZIN 5 THOUGH GENTLY LAURA RIDING'. All edges trimmed.

Paper: Cream laid paper watermarked with a hammer and anvil, a monogram superimposing B and S, and a crest including the words 'BRITISH HAND MADE'. Same endpapers.

Contents:
1 What Is There to Believe In
2 Let
3 Numbers
4 The Sphinx?, Fancy
5 The Problem of Evil, Right and Wrong
6 Ideas and Idea
7 England and America
8 The Crowd
10 If a Poem Lasts Twenty-Four Hours
14 You and I
15 The Characters
16 A. Story
17 Polly, The Lesson
18 Meanwhile, I Grant You
19 And a Day
20 Amiss
21 Any Answer
22 A Novel
23 Time at Last for Prayer
24 The World and I
25 A Photograph
26 Short of Strange
28 All Things
29 T, 

Notes: Published in January, 1931, at 25s., this was the first Seizin Press book published in Majorca. In addition to the titled poems and paragraphs, other passages are untitled, separated only by an asterisk. A Seizin advertisement described the book: it "consists of statements in prose and poetry all leading as gently as possible to annihilation and the rest."

A13 TWENTY POEMS LESS 1930

Binding: Cream paper over boards printed with photograph of an abstract collage. Front cover includes stones, wood, net, and string arranged to suggest primitive figures. Back cover sug¬gests same arrangement photographed from rear. Brown leather on spine extends 1/2 in. onto front and back. Printed in gold down spine: 'LAURA RIDING 1930 TWENTY POEMS LESS'. Only top edge trimmed.

Paper: White Rives wove paper watermarked 'DALON HAUT' with an insignia including letters 'IHS', a cross, and three spears emerging from a heart. Same endpapers.

Contents:
1 As to a Frontispiece
2 Egypt
3 Earth
4 Arithmetic
5 An Opinion
6 There Are as Many Questions as Answers
8 The Fact
9 The Judgement
10 The Way It Is
11 Whose
12 And I
13 We the
15 Now
16 Further Details
18 Or Hello
20 In Memory of Friends
21 An International Hymn
22 Gentle Truth
23 Meaning
25 Then Follows
33 Zero

Notes: Offered in England by Simpkin at 30s. in May, 1931, this volume was planned as the companion to Robert Graves's Ten Poems More. Nancy Cunard reminisces about her association with Riding and Graves in H116. The first poem, "As to a Frontis¬piece," is excluded from the sum of poems because it stands in place of a picture of the author.

A14 LAURA AND FRANCISCA 1931

Collation: 11 x 8 in. [10 ¾ x 7 ¾?], unsigned, pp. [i-vi] 1-22 [23-26]. [i]: 'A SEIZIN'. [ii]: blank. [iii]: title page. [iv]: blank. [v]: 'LAURA AND FRANCISCA'. [vi]: blank. 1-22: text. [23]: blank. [24]: 'NOTE | On page 9 the line | 'The moment for us to be:' | should read | 'The moment for us to be two:''. [25]: 'There are 200 numbered and signed copies of | Seizin 7 hand¬set and hand-printed by ourselves | on hand-made paper. The cover is by Len Lye. | [written] 161 | [signed] Laura Riding'. [26]: blank.

Binding: Blue paper over boards. Front and back have similar white line drawings suggesting fantastic creatures. Gray cloth on spine extends 3/4 in. onto both covers. Spine printed lengthwise in silver: 'SEIZIN 7 LAURA AND FRANCISCA LAURA RIDING'. All edges trimmed.

Paper: Cream laid paper watermarked 'GUARRO', with crest be¬tween 'A' and 'R'. Same endpapers.

Notes: Published in November, 1931, at 25s. The poem is divided into 3 parts: I. "The Island, And Here," II. "Francisca, And Scarcely More," III. "How The Poem Ends." The poem con¬trasts "Laura" with "Robert": his sensuous pleasures prevent him from achieving her spiritual unity. She identifies herself with "Francisca," a village child who teaches her the wisdom of silence and indifference. Laura's isolation is considered parallel to that of an island or a poem. A Seizin advertise¬ment called the book "a poem-miniature." Riding described the cover designs in a letter to Hugh Ford (H131): "a mapping of interconnected forms and movement-paths that could be thought of as a microscopic field of natural energy, and on the back cover, of the play of released forces in spacial extension."

A15 NO DECENCY LEFT 1932

Collation: 7 5/8 x 5 in., [A]8 B-S8, pp. [1-8] 9-287 [288]. [1]: 'NO DECENCY LEFT'. [2]: blank. [3]: title page. [4]: 'FIRST PUBLISHED 1932 | JONATHAN CAPE LTD., 30 BEDFORD SQUARE, LONDON | AND 91 WELLINGTON STREET WEST, TORONTO | JONATHAN CAPE & HARRISON SMITH, INC. | 139 EAST 46TH STREET, NEW YORK | PRINTED IN GREAT BRITAIN BY J. AND J. GRAY, EDINBURGH | PAPER SUPPLIED BY JOHN DICKINSON AND CO. LTD. | BOUND BY A.W. BAIN AND CO. LTD.' [5]: 'TO | MY PUBLISHER'.
[6]: blank. [7]: 'NO DECENCY LEFT'. [8]: blank. 9-[288]: text.

Paper: Cream wove paper, including endpapers.

Notes: Novel by Robert Graves (for title provided by Jonathan Cape), revised by Laura Riding. Published in February, 1932, at 7s. 6d. and in a cheap edition (Half-crown fiction) in March, 1935, at 2s. 6d. In "Some Autobiographical Corrections of Literary History" (C52), Riding objects to Graves's identification of "Barbara Rich" as the pseudonym of the two of them. The terms of her objection, however, imply that his real offense was in claiming to have collaborated with her: "Mr. Graves and I knew the authorship of this book. If he wished to claim collaborative share in it, that was his business. He had no authority from me for association of my name with himself as collaborator in that book: my say as to my relation to that book is my business." She still does not acknowledge authorship of this novel. "Barbara Rich" is the name of the heroine. She decides to make her twenty-first birthday a "really perfect day" only to discover that the price of pursuing her goal is that she has "no decency left," but success is what matters for her own happiness.

A16 THE FIRST LEAF 1933
BY | LAURA RIDING | The Seizin Press | Deyá, Majorca |1933

Collation: 8 3/4 x 11 in. A single sheet folded twice. Uncut. Unsigned, unpaged. [1]: title page. [2]: blank. [3]: 'THE FIRST LEAF'. [3-6]: text. [7-8]: blank.

Binding: Unbound. Tied sheaf.

Paper: Cream laid paper watermarked 'MOLIVELL' and 'GUARRO', with an upraised left hand between 'A' and 'R', and '1698' under the hand.

Notes: This poem became Part I of "Disclaimer of the Person," which appeared in Riding's Collected Poems. "The Second Leaf" became Part II of the same poem. In spite of the similar format of the two leaves, the differences in their poetic con¬tent are profound.
The copy at the State University of New York at Buffalo is in its original presentation envelope and has a strand of red yarn drawn through the center fold and tied in a bow mid-point on outer edge.

A17 EVERYBODY'S LETTERS 1933

Collation: 8 1/2 x 5 1/2 in., [A]8 B-Q8, pp. [1-4] 5-7 [8] 9 [10] 11-93 [94] 95-175 [176] 177 [178] 179-227 [228] 229 [230] 231-¬253 [254-256]. [1]: 'EVERYBODY'S LETTERS'. [2]: blank. [3]: title page. [4]: 'FIRST PUBLISHED IN 1933 | Copyright Reserved | Made and Printed in Great Britain by | Hazell, Watson & Viney, Ltd., London and Aylesbury'. 5-6: Foreword. 7: Contents. [8]: 'Every letter is printed exactly as found'. 9: 'PART I | THE BRITISH SPIRIT'. [10]: blank. 11-92: text. 93: 'PART II | THE UNIVERSAL SPIRIT'. [94]: blank. 95-175: text. [176]: blank. 177: 'PART III | THE AMERICAN SPIRIT'. [178]: blank. 179-227: text. [228]: blank. 229: 'EDITORIAL POSTSCRIPT'. [230]: blank. 231-253: text. [254-256]: blank.

Binding and dust jacket: Black cloth over boards. Front has white paper label (2 1/4 x 3 1/2 in.) printed in blue. A single rule border encloses: 'EVERYBODY'S LETTERS | Collected and Arranged by | LAURA RIDING | [rule] | ARTHUR BARKER LTD., LONDON'. White label (2 1/4 x 1 1/4 in.) on spine also printed in blue with single rule border: 'EVERY- | BODY'S | LETTERS | LAURA RIDING'. Back blank. Top edge colored deep blue. [Can’t detect this on my copy] Top and fore-edges trimmed.
Dust jacket black with light blue lettering. Copy on front flap reads: "These letters have not been chosen as examples of good writing or of bad writing or of foolish writing. They have not, indeed, been 'chosen' at all, but rather gathered in accidentally from the world's exchange of affectionately's and very sincerely's--a bundle of letters from Harry in Sydney to Cecil in Iraq, and from Paul Cousins at Wallingford to his dear Chesney friends (American Express Co., Paris), and from Mummy to Morgan, and from Monty to Darling.... And so here are as many 'real' letters as the editor could decently avail herself of, printed without considerations of style, authorial impor¬tance, or the importance of the places, persons or situations to which they refer."

Paper: Cream wove paper, including endpapers.

Contents:
Part I
9 The British Spirit
Part II
93 The Universal Spirit
Part III
177 The American Spirit
229 Editorial Postscript

Notes: Published at 10s. 6d. in February, 1933, this book pur¬ports to be a collection rather than a creation by the author. But the British Museum Catalogue appends "[or rather, written] by" Laura Riding to its entry. Textual evidence also suggests Riding was more than an editor. The letters are linked to form an epistolary portrait of a group of friends, not unlike the circle surrounding Riding and Graves in Majorca. For example, "Lilith Outcome" and "Hubey Pitt" wrote a book called Modern Literary Conventions. "Lilith Outcome" was also the author of the epigraph from Automancy used in Experts Are Puzzled. In "Some Autobiographical Corrections of Literary History" (C52), Riding identifies "Lilith" as herself and "Cyril" as Norman Cameron. Further, she comments on the reproduction of these letters in The Collected Poems of Norman Cameron (1905-1953), intro by Robert Graves (London: The Hogarth Press, 1957). She writes: "In the Introduction there are ten pages of transcription of letters described by Mr. Graves as written to myself and him by Norman Cameron when he was in Nigeria as an Education Officer. These letters are taken from a collection of actual letters, by many, edited and published by me with an 'Editorial Postscript' in 1933 under the title Everybody's Letters; the letters were not textually tampered with by me, but names of persons and places I took care to change."

A18 THE LIFE OF THE DEAD 1933

Collation: 12 1/2 x 9 3/4 in., unsigned, pp. [1-4] 5 [6] 7-8 [9-10] 11-14 [15-16] 17-18 [19-20] 21-22 [23-24] 25-26 [27-28] 29-30 [31-32] 33-34 [35-361 37-38 [39-40] 41-44 [45-46] 47-48 [49-52]. [1]: 'THE | LIFE OF THE DEAD'. [2]: blank. [3]: title page. [4]: blank. 5: 'EXPLANATION'. [6]: blank. 7--8: text. [9]: plate. [10]: blank. 11-14: text. [15]: plate. [16]: blank. 17-18: text. [19]: plate. [20]: blank. 21-22:
text. [23]: plate. [24]: blank. 25-26: text. [27]: plate. [28]: blank. 29-30: text. [31]: plate. [32]: blank. 33-34: text. [35]: plate. [36]: blank. 37-38: text. [39]: plate.
[40]: blank. 41-44: text. [45]: plate. [46]: blank. 47¬-48: text. [49]: plate. [50]: blank. [51]: 'Two hundred numbered copies of "The | Life of the Dead" have been printed on | Basingwerk Parchment in 14-point Pastonchi | by Messrs. Hazell, Watson & Viney, Ltd. | Each copy is signed by the Author and the | Illustrator. | [written] 57 | [signed] Laura Riding | [signed] John Aldridge'. [52]: blank.

Paper: White wove paper watermarked 'BASINGWERK PARCHMENT'. Brown wove endpapers similar to covers.

Notes: Although no date appears in the volume, the book was published in September, 1933, at 35s. The author's "Explana¬tion" accounts for its unusual format: a French poem, an English translation, and an illustration for each of 10 con¬ceptions. She chose to write in French because she was reluctant to use English, a language which "makes things so real," for her "outrageous subject."

A19 POET: A LYING WORD 1933

Collation: 8 1/2 x 5 1/2 in., [A]8 B-K8, pp. [i-iv] v-vii [viii] [1-2] 3-31 [32-34] 35-64 [65-66] 67-89 [90-92] 93-119 [120-122] 123-149 [150-152]. [i]: 'POET: A LYING WORD'. [ii]: blank. [iii]: title page. [iv]: 'First published 1933 | Printed in Great Britain by Sherratt & Hughes, at the | St Ann's Press, Manchester'. v-vii: Contents. [viii]: blank. [1]: 'PART I | SHREWD WINTER, AND THE LAST: | THE NEXT YEAR STANDS STILL'. [2]: blank. 3-31: text. [32]: blank. [33]: 'PART II | SPRING HOLDS THE PRESENT BACK'. [34]: blank. 35-64: text. [65]: 'PART III | SUMMER NEVER SO EXTREME, NOR AGAIN'. [66]: blank. 67-89: text. [90]: blank. [91]: 'PART IV | AUTUMN'S LAST WORD: GRIEF, SPITE AND | THE INVOLUNTARY SMILE OF DEATH'. [92]: blank. 93-119: text. [120]: blank. [121]: 'PART V | FAILURE OF SEASON'. [122]: blank. 123-[150]: text. [151-152]: blank.

Binding and dust jacket: Black cloth over boards. Front printed in gold: 'POET: A LYING WORD | LAURA RIDING'. Spine printed in gold: 'POET: | A | LYING | WORD | LAURA | RIDING | BARKER'. All edges trimmed. Back blank. Top edge colored steel blue.
Dust jacket cream with red lettering. Front: ‘POET: | A LYING WORD | LAURA RIDING’. Spine printed same as binding. Copy on front flap reades: “Poet: A Lying Word is Laura Riding’s first collected volume since Poems: A Joking Word, published over three years ago. In her previous work, Miss Riding has been bringing the language of poetic thought closer to its final energy and purity; and the influence of her work is apparent in the increasing precision with which contemporary poets express themselves. In this book one not only learns how to think poetically; one is in the country where poetry is the language spoken.” Back flap advertises ‘Poems: 1930-1933 |Robert Graves | 6/- net’ and quotes blurbs from Week-End Review,The Listener, The Bookman, and Fortnightly Review, [rule] ARTHUR BARKER LTD. | 21 GARRICK STREET, W.C.2’

Paper: Cream laid paper. Cream wove endpapers.

Contents:
Part I, Shrewd Winter, and the Last: The Next Year
Stands Still
3 As to a Frontispiece
4 There Are as Many Questions as Answers
6 The Fact
7 And I
9 Earth
11 Unless Infinity is Only Time
12 The Judgement
14 Egypt
15 The Way It Is
16 Who?
17 We
19 Further Details
21 War Ways
22 The Courtesies of Authorship
24 Then Follows
Part II, Spring Holds the Present Back
35 All Things
37 Lines in Short Despite of Time
38 If a Poem Lasts Twenty-Four Hours
43 Meanwhile
44 Intelligent Prayer
46 The World and I
47 Short of Strange
50 And a Day
51 Cure of Ignorance
52 Letter to Man's Reasonable Soul
54 With the Face
55 The Biography of a Myth
58 From Later to Earlier
59 The Wind, the Clock, the We
61 The Talking World
Part III, Summer Never So Extreme, Nor Again
67 Tree-Sense
70 There is No Land Yet
72 After Smiling
75 It is not Sad
79 Unread Pages
81 1 Am
85 Respect for the Dead
87 As to Food
Part IV, Autumn's Last Word: Grief, Spite, and the
Involuntary Smile of Death
93 Bishop Modernity
96 Two Loves, One Madness
101 The Unthronged Oracle
104 Come, Words, Away
108 Memory of the World
111 The Flowering Urn
112 From Laura and Francisca
Part V, Failure of Season
123 The Signs of Knowledge
129 Poet: A Lying Word
135 Benedictory Close
147 Apocryphal Numbers
Notes: Published in December, 1933, at 6s. The question mark after "Who," the poem listed on p. 16, appears only in the Contents.

A20 PICTURES 1933
PICTURES |[rule] | LAURA RIDING
Collation: 7 1/2 x 5 in., unsigned, unpaged. [1-8]: text.
Binding: Paper cover serves as title page and endpaper. Back blank. Top and bottom edges trimmed, fore-edge untrimmed. 6d. stamp seals front and back covers at mid-point of fore-¬edge.
Paper: Cream laid paper.
Notes: Alan Clark describes this pamphlet in his checklist (A43). He says it was unofficially issued by the Seizin Press in London in 1933. Hugh Ford, quoting a letter from the author (H131), notes that the pamphlet was similar to her article "Picture-Making" in Epilogue I (A27).

A21 14A 1934

Notes: Published in February, 1934, at 7s. 6d., this novel in dialogue form recounts intrigues involving a group of people in an apartment numbered 14A. The characters resemble the circle including Riding, Graves, and Nancy Nicholson in St. Peter's Square, Hammersmith, in the late 1920's. In his autobiography, Frank O'Connor identifies one of the charac¬ters, "Handy Andy," as himself (H113). Other characters are very similar to Riding, Graves, Nicholson, Gertrude Stein. Riding attempted to suppress the novel by omitting it from every bibliographical or biographical account she authorized until 1976.

A21 14A 1934

LAURA RIDING & GEORGE ELLIDGE |14A | [double rule] | ARTHUR BARKER
| 21 GARRICK STREET | LONDON W.C. 2
Collation: 7 3/8 x 4 3/4 in., [A]8 B-T8, pp. [1-7] 8-302 [303-304]. [1]: '14A'. [2]: blank. [3]: title page. [4]: 'FIRST PUBLISHED IN 1934 | PRINTED IN GUERNSEY, C.I., BRITISH ISLES, | BY THE STAR AND GAZETTE COMPANY LTD.' [5]: 'No character in this story has any | existence in fact'. [6]: blank. [7]-302: text. [303-304]: blank.
Binding: Blue cloth over boards. Front and back blank. Spine printed in gold: '14A | LAURA RIDING | & | GEORGE | ELLIDGE | BARKER'. Top and fore-edges trimmed.
Dust jacket: front cover has drawing of the entrance to a house with ‘14A’ (sc. St. Peter’s Square Chiswick) on hemispherical window above door, flanked by a pair of columns and a pair of eagle statues. Spine: ‘14A | LAURA RIDING | & | GEORGE ELLIDGE | 7/6 | NET | BARKER.’ Back has circular publisher’s device. Copy on inside front flap reads: ‘A novel told in dramtic form – a cinematographic unrolling of an intimate story of modern life. And it is not merely one story but many interretated stories. In the top flat are the strange, beautiful, somewhat forbidding Catherine, and the kind Molly, and the restless Hugh; in the flat below, the family with whom their lives are closely bound up; and the pathetic, psychic Dorothy on the ground floor, with her Indian scribe; and in the basement, Rose and her inscrutable lodger, Joho – the cynical but not altogether heartless Mercury of the story. Beyond these there are the neighbours and the friends, and the friends of friends – painters, actors, writers, business people, waiters, at least one policeman, at least one negro, children, and even Americans. Most of the action takes place in London – Holland Park, Chelsea, Soho, Piccadilly; but there are train scenes, boat scenes, scenes in France, and in New York.
There is no authorial bias: each character speaks for himself. It is all like a very long detailed dream about people one has never met, but whose movements seem of intense importance to one. When one has laid “14A” down, the voices of Joho, Edith, Hugh, Eric and Catherine keep ringing in one’s ears. One knows that it is no good consulting a London directory, but the legendary significance of the characters continues to haunt one.’
Back flap advertises POET: | A LYING WORD | LAURA RIDING | 6/- net | This is Laura Riding’s first collected volume since Poems: A Joking Word, published over three years ago. In her previous work, Miss Riding has been bringing the language of poetic thought closer to its final energy and purity; and the influence of her work is apparent in the increasing precision with which contemporary poets express themselves. In this book one not only learns how to think poetically; one is in the country where poetry is the language spoken. | ___ | “It is a book for everyone with a sustained interest in poetry.” | The Listener. | ARTHUR BARKER LTD. | 21 GARRICK STREET, W.C.2
Paper: Cream wove paper, including endpapers.

A22 AMERICANS 1934

AMERICANS | [rule] | [red design of American eagle bending a bar in its claws] | [rule] | BY LAURA RIDING | PRIMAVERA | 1934
Collation: 9 3/8 x 6 1/4 in., unsigned, pp. [1-7] 8-28 [printed in red in upper fore-edge]. [1]: 'AMERICANS'. [2]: blank. [3]: title page. [4]: 'Two hundred numbered copies printed by Ward | Ritchie, August 1934, in the U.S.A. The title-page | device is an adaptation of a heraldic eagle for | the United States invented by Szu kal ski. Copy- | right 1934 by Laura Riding. [written in red pencil] 37'. [5]: Foreword. [6]: blank. [7]-28: text.
Binding: Buff paper over boards printed with all-over pattern of blue stars at 1 in. intervals. Red cloth on spine extends 1/4 in. onto covers. Narrow buff label (2 1/4 in. long) on spine printed in blue lengthwise: 'AMERICANS [ornament] Riding'. Only top edge trimmed.

Paper: Cream laid paper watermarked 'JCA [script] France'. Same endpapers.

'Notes: Priced at $2.50, this volume was so beautifully pro¬duced that Riding expressed regret in Focus III, p. 8, that she had sent Ward Ritchie such an "ill-tempered deliberately shabby" poem.

A23 FOCUS I 1935
FOCUS | I.

Collation: 8 1/2 x 6 1/2 in., unsigned, pp. 1-12. 1: 'JANUARY'. 1-12: text.

Binding: Paper cover also serves as title page and endpaper. Back blank. Sheets folded in half and center-stapled once. All edges trimmed.

Paper: Cream wove paper.

Contents:
1 Letter from Honor Wyatt
2 Letter from Gordon Glover
3 Letter from James Reeves
4 Letter from Robert Graves
5 Letter from Karl Goldschmidt
7 Letter from Laura Riding
11 Letter from John Aldridge

Notes: No publication or printing notice. No price. Focus was planned as a periodical which would publish personal statements from contributors who, for the most part, knew each other. It was distributed privately among friends. Riding's letter discusses her current reading, a book about women as people she wanted to write, her progress on a Dic¬tionary of Related Meanings she had begun the year before, and her hopes for Focus.

A24 FOCUS II 1935

FOCUS | II. 1935

Collation: 8 1/2 x 6 1/2 in., unsigned, pp. 1-24. 1: 'FEBRUARY-¬MARCH'. 1-23: text. [24]: blank.

Binding: Paper cover also serves as title page and endpaper. Back blank. Sheets folded in half and center-stapled once. All edges trimmed.

Paper: Cream wove paper.

Contents:
1 Letter from Honor Wyatt
2 Letter from Gordon Glover
4 Letter from James Reeves
5 Letter from Thomas Matthews
7 Letter from Julie Matthews
8 Letter from John Aldridge
11 Letter from Harold Edwards
12 Letter from Robert Graves
16 Letter from Karl Goldschmidt
18 Letter from Laura Riding
22 "A Portrait," by John Cullen

Notes: Riding writes about Thalia-Thalius, an androgynous character she based on the muse of comedy; cats; the prepara¬tion of Focus and Epilogue; and current work including poems, a story, a "Letter to Myself," and "a strange big-money emprise."

A focus ‘is a point from which any activity (such as disease or an earthquake wave) originates. At any rate, a point at which forces meet. You know how we speak of things being “in focus”. My idea is, then, that we should put ourselves in FOCUS….’ (John Aldridge’s handwritten blurb for Focus, signed by LR, Berg).

A25 THE SECOND LEAF 1935
BY | LAURA RIDING | The Seizin Press | Deyá, Majorca |1935

Collation: 11 x 8 3/4 in. A single sheet folded twice. Uncut. Unsigned, unpaged. [1]: title page. [2]: blank. [3]: 'THE SECOND LEAF'. [3-6]: text. [7-8]: blank.

Binding: Unbound. Tied sheaf.

Paper: Cream laid paper watermarked 'MOLIVELL' and 'GUARRO', with an upraised left hand between 'A' and 'R', and '1698' under the hand.
Notes: This poem became Part II of "Disclaimer of the Person," which appeared in Riding's Collected Poems. "The First Leaf" became Part I of the same poem.

A26 FOCUS III 1935
FOCUS | III. 1935
Collation: 8 1/2 x 6 1/2 in., unsigned, pp. 1-40. 1: 'APRIL-¬MAY'. 1-40: text.
Binding: Paper cover also serves as title page and endpaper. Back blank. Sheets folded in half and center-stapled once. All edges trimmed.
Paper: Cream wove paper.
Contents:
1 Letter from James Reeves
7 Letter from Laura Riding
15 Letter from John Aldridge
17 Letter from Honor Wyatt
20 Letter from Karl Goldschmidt
23 Letter from Robert Graves
28 Letter from Gordon Glover
31 Letter from Mary Phillips
32 Letter from Laura Riding
Notes: Riding's first letter discusses other contributors; Americans; current work including the translation of Almost Forgotten Germany (A30); Epilogue; her "storybook"; plans for "little books of moral purport, called 'Seizin Homilies' and now and again a Leaf"; and the death of T.E. Lawrence. Her second letter discusses letters from other contributors; quotes Graves's parody of "The boy stood on the burning deck"; and discusses a letter from Michael Roberts concerning her par¬ticipation in his anthology.
Holograph corrections seemingly by LR, made in black ink in copy inscribed (on outer front cover) ‘Beryl Graves | Deyá – May 14, 1993’:
p. 9, line 10: ‘my hand’ has been altered to ‘by hand’
p. 11, line 15: ‘irrigating’ has been altered to ‘irritating’
p. 27, line 3 of poem: ‘soulless’
p. 32, line 8: ‘is’ has been inserted after ‘it’
p. 36, 12 lines from foot: ‘light’ altered to ‘lights’
p. 38, line 17: insertion mark in ‘or ridiculousness’, but nothing inserted

A27 EPILOGUE I 1935

Binding: Beige paper over boards. [Buff boards.?] Front cover printed in black: 'Twice a Year' in upper left corner, 'Volume I' in upper right. Center: 'EPILOGUE | A CRITICAL SUMMARY | [Design resembling the etchings by John Aldridge for The Life of the Dead depicts a blank scroll unwinding from middle of a curtained classical proscenium arch. Left of the arch is a stage backdrop simulating a brick wall. To the right is a spear leaning against a fortified building. Clouds float above.] | AUTUMN 1935 | Laura Riding [swung dash] Editor | Robert Graves [swung dash] Associate Editor | THE SEIZIN PRESS . DEYA MAJORCA | AND | CONSTABLE & CO. LTD. | LONDON | Seven Shillings and Sixpence net'. Back blank. Spine has beige label 1 in. by 2 in. printed in black: 'EPILOGUE | A | CRITICAL | SUMMARY | I | AUTUMN | 1935'. Gray cloth on spine extends 5/8 in. on cover. All edges trimmed.

Paper: Cream [White?] laid paper, including endpapers.

Contents:
1 Preliminaries: Laura Riding
6 The Idea of God: Thomas Matthews and Laura Riding
55 Poems: Thomas Matthews
60 The Cult of Failure: Laura Riding and Madeleine Vara
87 A Poem-Sequence: Robert Graves
93 Germany: Laura Riding, John Cullen, Madeleine Vara
130 Poems: John Cullen
134 An Address to an International Audience: Madeleine Vara
144 Poems and Poets: Laura Riding
157 Coleridge and Wordsworth
Keats and Shelley
175 The Romantic Habit in English Poets: James Reeves
200 A Note on the Pastoral: Robert Graves
208 Poems: James Reeves
213 Picture-Making: Laura Riding
Pictures: John Aldridge
220 Poems: Laura Riding
228 Poems: Honor Wyatt
231 Film-Making: Len Lye and Laura Riding
A Photograph: Ward Hutchinson
236 Photography: Ward Hutchinson
Notes: Epilogue was issued in book format though it appeared periodically. The intention was to publish regularly yet assure the permanence of a bound book. Epilogue was not to be discarded when finished but was to become a permanent possession because its purpose was "truth-telling," to examine important subjects and articulate what was "final" about them. Only three issues appeared. The World and Our¬selves was called Epilogue IV, but its format was entirely different from the preceding issues.

Riding's poems are "A Letter to Any Friend," "Be Grave, Woman," "The Need to Confide," "The Reasons of Each," "Divestment of Beauty."

A28 FOCUS IV 1935

FOCUS| IV. 1935
Collation: 8 1/2 x 6 1/2 in., unsigned, pp. 1-64. 1: 'DECEMBER 1935'. 1-64: text.
Binding: Paper cover also serves as title page and endpaper. Back blank. Sheets folded in half and center-stapled once. All edges trimmed.
Paper: Cream wove paper.
Contents:

1 Laura and Robert: Majorcan Letter, 1935
10 James
15 Gordon
18 Robert: Christmas
19 Tom
23 Honor
26 Laura: Christmas
26 John
29 Robert
33 James: Christmas
34 Laura
39 Tom's ‘Likes’
40 Robert's ‘Likes’
43 James' ‘Likes’
45 Gordon's ‘Like’
46 Lucie's ‘Likes’
47 John's ‘Like’
47 Honor's ‘Likes’
48 Karl
51 Laura

Notes: "Majorcan Letter, 1935" is a topical, satirical poem which was offered to Denys Kilham Roberts and John Lehmann for The Year's Poetry 1935[?], but they refused it because it was too long and the authors would not shorten it, Riding explains in her last entry. The Year’s Poetry 1934 had included "Midsummer Duet, 1934" by Riding and Graves [See B?]. Focus IV also included Christmas poems by Graves, Riding, and James Reeves. Riding introduces her plan for "Likes" with personal examples, and in the last letter she reflects on the past year.

A29 PROGRESS OF STORIES 1935

Collation: 7 1/4 x 5 3/4 in., [A]8 B-U8 X10, pp. [1-4] 5 [6] 7-17 [18-20] 21-105 [106-108] 109-194 [195-196] 197-288 [289-¬290] 291-318 [319-320] 321-339 [340]. [1]: 'PROGRESS OF STORIES'. [2]: blank. [3]: title page. [4]: 'PUBLISHED BY | The Seizin Press • Deya Majorca | and | Constable and Company Ltd | LONDON ||The Macmillan Company | of Canada, Limited | TORONTO | First published 1935 | Made in Great Britain. Printed by Sherratt & Hughes, | at the St. Ann's Press, Manchester'. 5: Contents. [6]: blank. 7-17: Preface.[18]: blank. [19]: 'I | STORIES OF LIVES'. [20]: blank. 21-105: text. [106]: blank. [107]: 'II | STORIES OF IDEAS'. [108]: blank. 109-194: text. [195]: 'III | NEARLY TRUE STORIES'. [196]: blank. 197-288: text. [289]: 'IV | A CROWN FOR HANS ANDERSEN'. [290]: blank. 291-318: text. [319]: 'V | MORE STORIES'. [320]: blank. 321-[340]: text.

Binding and dust jacket: Green cloth over boards. Front and back blank. Spine printed in black: 'PROGRESS | OF | STORIES | [ornament] | LAURA I RIDING | [publisher's device] | SEIZIN PRESS | AND CONSTABLE'. All edges trimmed.
Buff dust jacket printed in red (see illustration).
Front flap text: "This collection of stories, beginning in a matter-of-fact narrative vein, takes us in rising degrees of mysteriousness to unaccustomed levels of narrative. The reader would have difficulty in describing ‘in his own words’ exactly what happens in A LAST LESSON IN GEOGRAPHY or exactly who Lady Port-Huntlady is, or Frances Cat – although he has been given a strong story-feeling about the indescribable events and people involved. It is the communication of such a story-feeling that has been the author's object, rather than, merely, to ring fictional changes on ordinary events and people. Stories are sometimes more than the strange incidents and characters that compose them: they represent, more essentially, a feeling of curiosity and expectation which we must suppress in our daily prearranged lives, and which the conventional material of stories satisfies only temporarily. The concern here has been to clarify this feeling progressively, as having an importance on its own account – besides being a means of distraction; to show it as a kind of emotional experience of ideas and phenomena beyond common intellectual grasp.”

Back lists four other Seizin-Constable books: Epilogue I... “The first in a series of twice-yearly volumes of criticism. The object is to unify modern critical attitudes into a coherent view of life and thought. A number of collaborators deal with religion, international politics, poetry, painting, film-making, photography etc.”; The Natural Need, poems by James Reeves… “a poet who writes with a natural pleasure and conviction not usually found in modern poets. While he does not belong to ‘the tradition’ there is a charm in his poems which distinguishes them from the uneasy modernism of many of his contemporaries.”; The Moon's No Fool by Thomas Matthews – “Ben is lifted from his early clerical surroundings into a life of sprightly aristocratic worldliness where he ineffectually tries to combine Christian ideals with social and romantic triumphs. The resulting conflict, fantastically presented, is solved in a way that leaves Ben a modest but a more appealing character.”; and A Mistake Somewhere, Anonymous – “Two young free-lance journalists, not long married, and an older fascinating woman with whom the husband has fallen in love, try to be honest with one another. They decide to put down separate accounts of their story, as the basis for an understanding. The three documents are printed side by side.”

Paper: Cream laid paper. Cream wove endpapers.

Contents:
7 Preface
I. Stories of Lives
21 Socialist Pleasures
28 The Friendly One
36 Schoolgirls
44 The Secret
60 The Incurable Virtue
72 Daisy and Venison
87 Three Times Round
II. Stories of Ideas
109 Reality as Port Huntlady
161 Miss Banquett, or The Populating of Cosmania
III. Nearly True Stories
197 The Story Pig
216 The Playground
227 A Fairy Tale for Older People
269 A Last Lesson in Geography
291 IV. A Crown for Hans Andersen
V. More Stories
321 In the Beginning
322 Eve's Side of It
330 Privateness
332 In the End

Notes: Priced at 7s. 6d., this book's publication date listed in the English Catalogue of Books is January, 1936. Although the Cumulative Book index, 1933-37 lists a Random House edition at $2.50, Random House verifies that a separate edition was never published. Random House and the Seizin Press did, however, reach an agreement for the distribution of Seizin books in the United States.
A reprint edition was published by Books for Libraries Press (Freeport, N.Y.) in 1971.

A30 ALMOST FORGOTTEN GERMANY 1936

Collation: 7 3/8 x 4 3/4 in., [A]16 B-I16, pp. [i-iv] v [vi] vii-viii 1-278 [279-280]. Frontispiece: informal photograph printed on verso of coated stock facing title page, between p. [ii] and p. [iii]. [i]: 'ALMOST FORGOTTEN GERMANY'. [ii]:
SEIZIN-CONSTABLE BOOKS [advertisement for five titles (see Notes)]. [iii]: title page. [iv]: 'PUBLISHED BY | The Seizin Press • Deyá Majorca and Constable and Company Ltd. | LONDON | • | The Macmillan Company | of Canada Limited | TORONTO | First published 1936 | Printed in Great Britain by Western Printing Services | Ltd., Bristol'. v: Contents. [vi]: blank. [vii-viii]: Foreword. 1-278: text. [279-280]: blank.

Paper: Cream wove paper, including endpapers.

Dust jacket: Cream dust jacket printed in black, white, and red. Spine printed, black on cream, ‘Almost | Forgotten | Germany | Georg | Schwarz | Translated by | Laura Riding | and | Robert Graves | [publisher’s device] | Seizin Press | and | Constable’.
Front panel: Gothic-lettered centrally above design (words successively in black, white, red) ‘Almost | Forgotten | Germany ’; below design, to R., in black, ‘by | Georg | Schwarz’. .Design shows a front-facing upright figure, red-sandalled, in red robe with pointed hood, superimposed on an outline map of Germany in black. Robe bears, from collar to hem, full-length black cross with cross-piece placed almost at top. Figure’s R. arm supports large painter’s palette; L. arm fully extended to side, L. hand holding a foaming beer-stein lettered, below a crown, with fused ‘HB’ (emblem of the Hofbräuhaus, Munich). Foam extends into a vapour-ring encircling title and West-Prussia portion of map (showing Dantzig). Placing of figure on map brings Munich exactly between its feet; Hamburg and Berlin, the other cities named, appear over its right and left shoulders respectively.
Back panel: SEIZIN-CONSTABLE BOOKS | [swelled rule] | [Advertisement for five titles (see Notes)]
Front flap copy: "A retired art-dealer, now expatriated, tells the story of his varied early life in what has come to be thought of as ‘Old Germany.’ At one time he was in the anomalous position of being the only Jewish estate-owner in East Prussia. Later he was a portrait-painter in Munich when Impressionism was just beginning to turn German culture upside-down. | The book is richly anecdotal: turns of agricultural fortune, chamber-music episodes, playing cards with von Hindenburg and Bach to von Mackensen, Kaiser Wilhelm as a tourist prince in Norway, ‘my uncle Pächter’ who introduced Oriental art to Berlin, various comedies of art-dealing.” Rear flap blank.
Notes: Published in April, 1936, at 7s. 6d. Distributed in USA by Random House, New York, at $2.50
Seizin-Constable titles listed on p.[ii]: EPILOGUE: | A Critical Summary (twice-yearly) | Editor: LAURA RIDING | Associate Editor: ROBERT GRAVES |
EDWIN MUIR (London Mercury): “This periodical is run by a talented group of writers, and all the contributions show independence and originality of thought.”
PROGRESS OF STORIES | by LAURA RIDING |
REBECCA WEST (Sunday Times): “Miss Riding is unique and, to a certain number among us, uniquely delightful… This book of excellent stories is a lucky-bag of a book for the right sort of reader.”
THE NATURAL NEED | Poems by James Reeves |
MICHAEL ROBERTS (Spectator): “The mood is inherent in the poem, and the poem is memorable and final.”
A MISTAKE SOMEWHERE | ANONYMOUS |
Time and Tide: “An unusual and interesting book on the old problem of two women and one man; each writes an independent account in the hope of finding a solution.”
THE MOON’S NO FOOL | by THOMAS MATTHEWS |
London Mercury: “The dream-like puppet-show atmosphere, and the humour of the characters and situations, makes this book a delight of a light and delicate kind.”

Four of the five Seizin-Constable titles listed on dust-wrapper rear panel are different from those on p.[ii]. For EPILOGUE, Vol. II is featured: “Containing collaborative studies on Crime, the English Language, Philosophy and Poetry, and other subjects, and various individual contributions.”
CONVALESCENT CONVERSATIONS | by MADELEINE VARA |
“A book of informal dialogue between two intelligent invalids bent on not falling in love.”
ANTIGUA, PENNY, PUCE | a Novel by ROBERT GRAVES |
“This postage-stamp of curious history and doubtful ownership is the occasion of a bitterly fought feud between a successful actress and her brother, an unsuccessful novelist. After a tragic-comic parade of the viler human passions, the stamp and the quarrel are eventually bequeathed to the next generation.”
A TROJAN ENDING | a Novel by LAURA RIDING |
“There was something mysterious about the story of the siege and fall of Troy that has made it excite the imagination of all succeeding times. This novel explores the mystery and finds a clue in the opposition of Trojan and Greek temperaments. The author has reconstructed the story with sympathy and eloquence.”
SUBJECTS OF KNOWLEDGE
“A series of simply written books, suitable for schoolroom or general reading, in which the subjects are treated both historically and critically by a committee of Seizin authors. | SCHOOLS: A summary of the history of schools and educational ideas throughout the world. | POETS: How there came to be professional poets, the development of various types of poems, the attitude to poets and poetry during different periods of history.”

A31 CONVALESCENT CONVERSATIONS 1936

Paper: Cream wove paper, including endpapers.

Notes: Published in July, 1936, at 5s., this novel in dialogue form is set in a nursing home where Eleanor and Adam are con¬valescing under the care of Miss Kenwood, the matron. It is described in a Seizin-Constable advertisement at the State University of New York at Buffalo: "A book of informal dia¬logue between two intelligent invalids bent on not falling in love. On the nursing home veranda each morning they discuss air-mindedness, virginity, the uses of old people, how fashions start, mental pictures of God, feminism. And sometimes Nurse Davies joins in, and the austere Matron unbends; and Mrs. Lyley, a fellow-patient, will probably succeed in her plot for a conventional ending."
Riding acknowledges the pseudonym in "Some Autobiographical Corrections of Literary History" (C52).

A31 CONVALESCENT CONVERSATIONS 1936

Collation: 7 1/4 x 5 in., [A]8 B-I8, pp. [i-iv] 1-139 [140]. [i]: 'CONVALESCENT CONVERSATIONS'. [ii]: Advertisement for Seizin-Constable Books including Epilogue, Progress of Stories, The Natural Need (James Reeves), A Mistake Somewhere (Anonymous), The Moon's No Fool (Thomas Matthews).
EPILOGUE:
A Critical Summary (twice-yearly)
Editor: LAURA RIIDING
Associate Editor: ROBERT GRAVES
EDWIN MUIR (London Mercury): “This periodical is run by a talented group of writers, and all the contributions show independence and originality of thought.”
PROGRESS OF STORIES
By LAURA RIDING
REBECCA WEST (Sunday Times): “Miss Riding is unique and, to a certain number among us, uniquely delightful…. This book of excellent stories is a lucky-bag of a book for the right sort of reader.”
THE NATURAL NEED
Poems by JAMES REEVES
MICHAEL ROBERTS (Spectator): “The mood is inherent in the poem, and the poem is memorable and final.”
A MISTAKE SOMEWHERE
ANONYMOUS
Time and Tide: “An unusual and interesting book on the old problem of two women and one man; each writes an independent account in the hope of finding a solution.”
THE MOON’S NO FOOL
By THOMAS MATTHEWS
London Mercury: “The dream-like puppet-show atmosphere, and the humour of the characters and the situations, make this book a delight of a light and delicate kind.”

[iii]: title page. [iv]: 'PUBLISHED BY | The Seizin Press . Deyâ Majorca | and | Constable and Company Ltd. | LONDON |  | The Macmillan Company | of Canada Limited | TORONTO | First published 1936 | PRINTED IN GREAT BRITAIN BY | MACKAYS LIMITED, CHATHAM'. 1-[140]: text.

Binding: Gray cloth over boards. Front and back blank. Spine printed in black: 'CONVA- | LESCENT |CONVER- | SATIONS | MADELEINE | VARA | [publisher's device] | SEIZIN | AND CONSTABLE'. All edges trimmed.
Dust jacket: front cover has painting of a nursing home room with bed, bedside table laden with vase of flowers, food, books, and open French window leading onto veranda. CONVALESCENT | CONVERSATIONS | MADELEINE VARA. Spine: CONVA- | LESCENT | CONVER- | SATIONS | MADELEINE | VARA | Publisher’s device | SEIZIN | AND | CONSTABLE. Rear cover advertises Seizin-Constable Books:
EPILOGUE
A Critical Summary (twice-yearly)
Editor Laura Riding VOL. II Associate Editor Robert Graves
‘Containing collaborative studies on Crime, Fame, the English Language, Philosophy and Poetry and other subjects, and various individual contributions.’
ALMOST FORGOTTEN GERMANY
by GEORGE SCHWARTZ
Translated by Laura Riding and Robert Graves
‘A retired art-dealer, now expatriated, tells the story of his varied early life in what has come to be thought of as “Old Germany”. A frank, odd book.’
ANTIGUA, PENNY, PUCE
a novel by Robert Graves
‘This postage stamp of curious history and doubtful ownership is the occasion of a bitterly-fought feud between a successful actress and her brother, an unsuccessful novelist. After a tragic-comic parade of the viler human passions, the stamp and the quarrel are eventually bequeathed to the next generation.’
A TROJAN ENDING
A novel by LAURA RIDING
‘There was something mysterious about the story of the siege and fall of Troy that has made it excite the imagination of all succeeding times. This novel explores the mystery and finds a clue in the opposition of Trojan and Greek temeraments. The author has reconstructed the story with sympathy and eloquence.
SUBJECTS OF KNOWLEDGE
A series of simply-written books, suitable for schoolroom or general reading, in which the subjects are treated both historically and critically by a committee of Seizin authors.
SCHOOLS: A summary of the history of schools and educational ideas throughout the world.
POETS: How there came to be professional poets, the development of various types of poems, the attitude to poets and poetry during different periods of history.

Inside front flap reads: ‘A book of informal dialogue between two intelligent invalids bent on not falling in love. On the nursing-home veranda each morning they discuss air-mindedness, virginity, the uses of old people, how fashions start, mental pictures of God, feminism. And sometimes Nurse Davies joins in, and the austere Matron unbends; and Mrs. Lyley, a fellow-patient, will probably succeed in her plot for a conventional ending.’

Paper: Cream wove paper, including endpapers.

Notes: Published in July, 1936, at 5s., this novel in dialogue form is set in a nursing home where Eleanor and Adam are con¬valescing under the care of Miss Kenwood, the matron. It is described in a Seizin-Constable advertisement at the State University of New York at Buffalo: "A book of informal dia¬logue between two intelligent invalids bent on not falling in love. On the nursinghome veranda each morning they discuss air-mindedness, virginity, the uses of old people, how fashions start, mental pictures of God, feminism. And sometimes Nurse Davies joins in, and the austere Matron unbends; and Mrs. Lyley, a fellow-patient, will probably succeed in her plot for a conventional ending."
Riding acknowledges the pseudonym in "Some Autobiographical Corrections of Literary History" (C52).

A32 EPILOGUE II 1936

Collation: 8 1/2 x 5 1/2 in., [A]8 B-Q8 R1, pp. [i-iv] v [vi] 1-251 [252]. [i]: 'EPILOGUE'. [ii]: Advertisement: 'SEIZIN-¬CONSTABLE BOOKS | [rule] | ALMOST FORGOTTEN GERMANY | by GEORG SCHWARZ | Translated by Laura Riding and Robert Graves | A retired art-dealer, now expatriated, tells the story of his varied | early life in what has come to be thought of as "Old Germany." |A frank, odd book. | CONVALESCENT CONVERSATIONS | by MADELEINE VARA | A book of informal dialogue between two intelligent invalids bent | on not falling in love. | ANTIGUA, PENNY, PUCE | a Novel by ROBERT GRAVES | This postage-stamp of curious history and doubtful ownership is the | occasion of a bitterly fought feud between a successful actress and her | brother, an unsuccessful novelist. After a tragi-comic parade of the | viler human passions, the stamp and the quarrel are eventually be- | queathed to the next generation. | A TROJAN ENDING | a Novel by LAURA RIDING | There was something mysterious about the story of the siege and fall | of Troy that has made it excite the imagination of all succeeding times. | This novel explores the mystery and finds a clue in the opposition of | Trojan and Greek temperaments. The author has reconstructed | the story with sympathy and eloquence. | SUBJECTS OF KNOWLEDGE | A series of simply written books, suitable for schoolroom or general | reading, in which the subjects are treated both historically and critically | by a committee of Seizin authors. | SCHOOLS: A summary of the history of schools and educational | ideas throughout the world. | POETS: How there came to be professional poets, the develop- |ment of various types of poems, the attitude to poets and poetry | during different periods of history.' [iii]: title page. [iv]: 'PUBLISHED BY | The Seizin Press . Deyá Majorca | and | Constable and Company Ltd. | LONDON |  | The Macmillan Company | of Canada Limited | TORONTO | First published 1936 | MADE AND PRINTED IN GREAT BRITAIN | BY THE WHITEFRIARS PRESS LTD. | LONDON AND TONBRIDGE'. v: Contents. [vi]: Epigraph of three lines of verse, unsigned and untitled. 1-[252]: text. [252]: colophon.

Paper: Cream laid paper, including endpapers.

Contents:
1 In Apology: Laura Riding
8 Crime: Laura Riding
57 Official and Unofficial Literature: Robert Graves
62 A Poem: Kenneth Allott
63 Homiletic Studies
65 Stealing: Robert Graves
76 Laziness: Ward Hutchinson
84 Enthusiasm: Gordon Glover
90 Anger: Laura Riding
108 Poems: James Reeves
110 The Exercise of English: Laura Riding and Robert Graves
137 Poems: Honor Wyatt
139 A Story: Katherine Burdekin
145 Poems: Robert Graves
148 Philosophy and Poetry: Alan Hodge and Laura Riding
161 A Poem: Ward Hutchinson
162 A Film Scenario: Laura Riding
190 Poems: Alan Hodge
Marginal Themes
193 The Bull Fight: Laura Riding
208 Lucretius and Jeans: Robert Graves
221 The Literary Intelligence: Laura Riding
231 Neo-Georgian Eternity: Robert Graves
241 George Sand: Madeleine Vara
250 Poems Laura Riding

Note: Riding's poems are "On a New Generation," "Because of Clothes," and "The Wages of Eloquence."

A33 EPILOGUE III 1937

Collation: 8 1/2 x 5 1/2 in., [A]8 B-L8 M-N10 O-Q8, pp. [i-iv] v [vi] 1-257 [258]. 4 leaves of plates on coated stock bear photographs of paintings on recto, inserted before p. 191. [i]: 'EPILOGUE'. [ii]: 'IN APOLOGY | EPILOGUE III would normally have appeared in the | autumn of 1936. Events in Spain delayed its publication. | Apologies are offered to booksellers and readers for this | apparent breach of editorial good faith. The same causes | are responsible for the delay of other scheduled Seizin Press | works: see announcement at the end of this volume.' [iii]: title page. [iv]: PUBLISHED BY | The Seizin Press  Deyá Majorca | and | Constable and Company Ltd. | LONDON |  | The Macmillan Company | of Canada Limited | TORONTO | First published 1937 | MADE AND PRINTED IN GREAT BRITAIN | BY THE WHITEFRIARS PRESS LTD. | LONDON AND TONBRIDGE'. v: Contents. [vi]: Epigraph of three lines of verse, untitled and unsigned. 1-[258]: text. [258]: colophon.

Paper: Cream laid paper. Cream wove endpapers.

Contents:
1 The End of the World, and After: Laura Riding
6 Politics and Poetry: Laura Riding, Robert Graves, Harry
Kemp, Alan Hodge, Madeleine Vara
54 Homiletic Studies: Thomas Matthews, Norman Cameron, Alan
Hodge
75 The Theme of Fame: Madeleine Vara
100 A.Story: Honor Wyatt
107 From a Private Correspondence on Reality: Laura Riding and Robert Graves
138 Poems: Harry Kemp, Norman Cameron, Laura Riding,
James Reeves, Sally Graves, Alan Hodge, Ward Hutchinson, Robin Hale, Robert Graves, William Archer
173 Humour and Poetry as Related Themes: James Reeves and Laura Riding
Between 190 and 191: Paintings: Basil Taylor
191 The Memory of Basil Taylor: Lucie Brown and John Aldridge
193 Drama: Laura Riding, Alan Hodge, Robert Graves
227 A Letter from England to Majorca: Laura Riding
230 Advertising: Karl Goldschmidt, Robert Graves, Laura
Riding, Norman Cameron

Notes: Riding's poems include "I Remember," "The Forgiven Past," "The Cycle of Industry," "When Love Becomes Words." The article on "Politics and Poetry" was expanded by Harry Kemp for The Left Heresy in Literature and Life (A38). The announcement promised in the Apology does not appear.

A34 A TROJAN ENDING 1937
a. First British edition

A TROJAN ENDING | By | LAURA RIDING | [publisher's device] | THE SEIZIN PRESS--DEYÁ MAJORCA | AND | CONSTABLE & COMPANY LTD | LONDON
Collation: 7 7/8 x 5 in., [a]4 b-c8 B-Z8 AA-DD8 EE6, pp. [extra sheet] [i-viii] ix-xxix [xxx] [1-2] 3-58 [59-60] 61-132 [133-¬134] 135-201 [202-204] 205-275 [276-278] 279-357 [358-3601 361-436 [437-oversize sheet]. Recto of extra sheet: 'A TROJAN ENDING'. Verso: blank. [i]: title page. [ii]: 'PUBLISHED BY | Constable and Company Ltd. | LONDON | • | The Macmillan Company | of Canada, Limited | TORONTO |  | First Published in 1937 | PRINTED IN GREAT BRITAIN BY THE WHITEFRIARS PRESS LTD. | LONDON AND TONBRIDGE'. [iii]: 'TO KATHARINE WEST'. [iv]: blank. [v]: Contents. [vi]: blank. [vii]: '[epigraph of 3 lines] | CHAUCER, Troilus and Criseyde.' [viii]: blank. ix-xxviii: Preface. xxix: Contents. [xxx]: blank. [1]: 'BOOK ONE | FROM THE SCAEAN TOWER'. [2]: blank. 3-58: text. [59]: 'BOOK TWO | IN HELEN'S CHAMBER'. [60]: blank. 61-132: text. [133]: 'BOOK THREE | THE TRUCE'. [134]: blank. 135-201: text. [202]: blank. [203]: 'BOOK FOUR | WINTER'. [204]: blank. 205-275: text. [276]: blank. [277]: 'BOOK FIVE | WITH THE SPEED OF SPRING'. [278]: blank. 279¬-357: text. [358]: blank. [359]: 'BOOK SIX | PEACE'. [360]: blank. 361-432: text. 433-436: 'INDEX OF PRINCIPAL CHARACTERS'. [437]: fold out map on 16 1/2 in. sheet: 'THE TROJAN WAR: GREECE AND ASIA MINOR IN THE EARLY TWELFTH CENTURY B. C.’

Paper: Cream wove paper, including endpapers and map.

Contents:
ix Author's Preface
1 Book I: From the Scaean Tower
59 Book II: In Helen's Chamber
133 Book III: The Truce
203 Book IV: Winter
277 Book V: With the Speed of Spring
359 Book VI: Peace
433 Index of Principal Characters
Dust jacket: White dust jacket printed in black, orange-brick, and gray-green.
Front panel: Lettered on illustration: A TROJAN | ENDING | LAURA RIDING ; design is corner-angle of broken brick walls (top left corner sunlit), with profile outline of Greek helmet superimposed, standing on bare orange soil, sky with dappled sunset clouds. Spine, lettered A | TROJAN | ENDING ! LAURA RIDING | [concentric-circular design] | SEIZIN | CONSTABLE, continues front-panel colours; the central circular design in black, gray-green, and white, its heavy outermost circle resembling a smooth-toothed gearwheel or fortification plan.
Front flap copy: A | TROJAN ENDING | is Miss Laura Riding’s first novel, and first book of wide popular appeal. She is the Editor of Epilogue* and has written nine volumes of poems (including Poems: A Joking Word and Poet: A Lying Word); seven volumes of prose (including Progress of Stories*); and has collaborated in several other books. | [swelled rule] | *for some appreciations of Epilogue and of Progress of Stories, see the back flap of this wrapper.
Back panel copy: A TROJAN ENDING by LAURA RIDING | The solitary hill within sight of the Hellespont, where great Troy once stood, is now a lifeless contour on the archaeological map of the world; and poor Turkish villages populate the land that was once Priam’s Troad. Yet there was something mysterious about the story of the siege and fall of Troy that has made it excite the imagination of all succeeding times. This novel explores the mystery and finds a leading clue in the opposition of Trojan and Greek temperaments: the serene, thoughtful Trojans as the antithesis of the ambitious, nervous Greeks. | The legend of Cressida and Troilus and many other non-Homeric legends are used to modify and fill out the traditional Homeric pattern – Cressida herself becoming a central figure. All this happened so long ago that conventional history can scarcely report upon it. But we know instinctively that Troy was the scene of an intense and wildly ominous drama; and something of what went on, and its enduring significance, can be pieced out from the fragmentary tokens preserved in epic literature or yielded to modern archaeological investigation. The author’s interest in ancient Troy has been rather to discover some consistent story-scheme for the legendary (the personal, the verbal) remains than to ponder over the physical remains – the sherds, the stones, the varied yield
of the Hissarlik débris. But her respect for the archaeological workers is a warm and grateful one. Without them any modern story of Troy would be a mere literary romance. | A Trojan Ending is an elaborate, credible and eloquent suggestion of how the story may well have gone – a story that has been told over and over again, but never before, we believe, with any effect of wholeness or with geographical explicitness. Helen, Paris, Priam, Cassandra, Ulysses, Achilles, Hector and the rest are here alive again, no longer mere classical ghosts. | Those were dark times, and yet a solemn light still radiates from the name of Troy. Miss Riding has caught this light and concentrated it upon her pages, in the belief that her story has peculiar applicability to these difficult times of our own. | published by | Constable in conjunction with | [SZP logo] THE SEIZIN PRESS
Back flap copy: LAURA RIDING| [swelled rule] | EPILOGUE: A Critical Summary |
Editor: LAURA RIDING. | Associate Editor: ROBERT GRAVES. | Published | twice yearly | “Edited and written with keen intelligence.” The Observer | “Laura Riding on criticism, on crime, on anger, on literary intelligence, is at her best: a best which nobody can beat… All the essays are very well worth reading.” The New English Weekly | PROGRESS OF STORIES | “This is a very remarkable piece of fiction. Miss Riding has enough invention for half-a-dozen novelists, and enough intellectual power for a score. She is witty, she is a delightful story-teller, and her style at its best has the perfect ease which comes from being able to say in the simplest words exactly what one wants to say. It is difficult to give an idea of the beauty and abundance of Miss Riding’s invention. Progress of Stories is so purely original, so completely devoid of the second-rate, that all one can do is to praise it.” EDWIN MUIR (Listener) | SEIZIN CONSTABLE

Errata: p.xxvii, line 1, sp: ‘archaeological’
p.49, line 26: line-end reading should be ‘Aga-‘ (Agamemnon)
p.84, line 23: delete 3rd word (‘to’) (to make me get)
p.122, line 7: replace question-mark by full point
p.188, line 17: insert ‘to’ after ‘mean you’ (Agamemnon didn’t mean you to)
p.267, line 15: delete 2nd word (‘the’)
p.307, line 30: ‘beside’ (not ‘besides’)
p.316, line 6: sp. ‘understand’
p.374, line 10: sp. ‘Alcinous’
p.399, line 2: sp. ‘impostor’
p.407, line 9: sp. ‘Boccaccio’
p.426, line 1: ‘laid’ (not ‘lay’)
p.435, under GREEKS, line 11: sp. ‘Eteoneus’

Notes: Published in March, 1937, at 8s. 6d. and issued by Macmillan in Toronto at $2.75. The Contents on p. xxix relists titles and pages of sections. Dust jacket designed by John Aldridge. While the concentric-circular design on jacket-spine does not appear within the British book, it is employed on title-page, primary binding and jacket front panel of the American edition. {Check whether the stylised SZP logo had been used previously}

b. First American edition

A TROJAN ENDING | [aubergine-color concentric-circular design] | BY LAURA RIDING

Collation: 8 1/4 x 5 1/2 in., unsigned, pp. [i-ix] x-xxviii [xxix-xxx] [1] 2-56 [57] 58-128 [129] 130-195 [196-197] 198¬267 [268-269] 270-347 [348-349] 350-421 [422] 423-426 [427¬428]. [i]: blank. [ii]: in aubergine: '[publisher's device] | RANDOM HOUSE | NEW YORK'. [iii]: title page. [iv]: 'COPYRIGHT, 1937, BY RANDOM HOUSE, INC. | A Seizin Press Book. First Printing. Designer: | Ernst Reichl. Manufactured in the United | States of America by H. Wolff, New York.' [v]: 'TO KATHARINE WEST'. [vi]: blank. [vii]: '[epigraph of 3 lines] I CHAUCER, TROILUS AND CRISEYDE'. [viii]: blank. [ix]¬xxviii: Preface. [xxix]: Contents. [xxx]: blank. [1]: 'BOOK I • FROM THE SCAEAN TOWER'. 2-56: text. [57]: 'BOOK II IN HELEN'S CHAMBER'. 58-128: text. [129]: 'BOOK III THE TRUCE'. 130-195: text. [196]: blank. [197]: 'BOOK IV WINTER'. 198¬267: text. [268]: blank. [269]: 'BOOK V • WITH THE SPEED OF SPRING'. 270-347: text. [348]: blank. [349]: 'BOOK VI PEACE'. 350-421: text. [422]: blank. 423-426: 'INDEX OF PRINCIPAL CHARACTERS'. [427-428]: blank.

Paper: Cream wove paper, including endpapers.

Primary binding: Gray cloth over boards. Front repeats, in black and white, title page concentric-circular design. Back blank. Spine repeats title page circular design, in black and white, on white panels above and below, centered, 'A TROJAN | ENDING | LAURA RIDING | RANDOM HOUSE', printed in black. Top edge aubergine-colored. All edges trimmed.
Secondary binding: Red cloth over boards. Front reproduces a simplified version, in black on the red, of design from title page (without outermost ‘gear-wheel’ circle). Back blank. Spine lettering, in black, as primary binding, but title and author are at head, publisher name at foot; spine otherwise plain. Top edge color?

Contents:
ix Preface
1 Book I; From the Scaean Tower
57 Book II; In Helen's Chamber
129 Book III; The Truce
197 Book IV; Winter
269 Book V; With the Speed of Spring
349 Book VI; Peace
423 Index of Principal Characters

Dust jacket: White dust jacket printed in black, orange, and gray
Front panel: Lettered at top, in red on gray, A TROJAN | ENDING; at foot, gray on black, LAURA RIDING | A RANDOM HOUSE BOOK. Concentric-circular design, black & white on gray, occupies center of panel. Lower third of panel, black, defined by undulating line (continued on spine), with two stylized plants toward right, suggesting sand-dunes or heaped soil; two ‘buried’ items in orange, gray & white, possibly a buskin and part of a helmet.
Spine: Lettered at top, red on gray A TROJAN | ENDING | LAURA RIDING; at foot, gray on black | [publisher’s device] | RANDOM HOUSE
Front flap copy: (condensed & adapted from British back-panel copy) There was something mysterious about the story of the siege and fall of Troy that has made it excite the imagination of all succeeding times. This novel explores the mystery and finds a clue in the opposition of Trojan and Greek temperaments: the serene Trojans as the antithesis of the ambitious, neurotic Greeks. | The legend of Cressida and Troilus and many other non-Homeric legends are used to modify and fill out the traditional Homeric pattern – Cressida herself becoming a central figure. All this happened so long ago that conventional history can scarcely report upon it. But we know instinctively that Troy was the scene of an intense and wildly ominous drama; and something of what went on, and its enduring significance, can be pieced out from the fragmentary tokens preserved in epic literature or yielded to modern archaeological investigation. A Trojan Ending is an elaborate and poetically credible suggestion of how the story may well have gone.
Back panel: Random House is the exclusive distributor in the | United States of the publications of The Seizin | Press, directed by Laura Riding and Robert Graves. | Available titles include the following: |THE MOON’S NO FOOL, by T.S.MATTHEWS $2.50 | A novel about the tranquilization of an excitable idealist. | THE ANTIGUA STAMP, by ROBERT GRAVES $2.50 | A witty and ironical novel about a brother’s and sister’s struggle | for a famous stamp. | ALMOST FORGOTTEN GERMANY, | by George Schwarz $2.50 | Translated by Laura Riding and Robert Graves. A retired art | dealer’s story of his early life in “Old Germany.” | PROGRESS OF STORIES, by LAURA RIDING $2.50 | A study, by means of stories, of the nature of stories. | CONVALESCENT CONVERSATIONS, | by MADELEINE VARA $2.00 | Informal dialogues between two patients bent on not falling in love. | THE HEATHEN, by HONOR WYATT $2.50 | About a girl who at last learns that people are more important | than things. | EPILOGUE, A Critical Summary PRICE PER VOLUME $2.50 | Volume I (Autumn, 1935) | Volume II (Summer, 1936) | Volume III (Winter, 1936) | [swelled rule] | [publisher’s device] |RANDOM HOUSE [centre dot] 20 East 57th Street [centre dot] NEW YORK
Back flap copy: LAURA RIDING | was born and educated in the United States. For the last twelve years, however, she has lived in England and in Spain. There, in 1929, in association with Robert Graves, English poet and author of I, Claudius and Claudius the God, she founded the Seizin Press, which has originated a number of distinguished books as well as the semi-annual critical summary, Epilogue. Miss Riding has had published nine volumes of her poems and seven volumes of prose, but A Trojan Ending is her first novel. As editor of Epilogue she is responsible for a new critical orientation. | [swelled rule] | [advertisement for The Modern Library] | RANDOM HOUSE [centre dot] NEW YORK

Errata:
p.81, line 6: delete 5th word (‘to’) (to make me get)
p.182, line 22: insert ‘to’ after ‘mean you’ (Agamemnon didn’t mean you to)
p.259, line 14: delete 2nd word (‘the’)
p.363, first word: sp. ‘Alcinous’
p.396, line 10: sp. ‘Boccaccio’
p.415, line 3: ‘laid’ (not ‘lay’)
p.425, under GREEKS, line 11: sp. ‘Eteoneus’

Notes: Published in August, 1937, at $2.50. Text reset and pages re-designed; no map. Text of Preface and of each Book begins three lines from foot of page, with three-line-high initial. The concentric-circular design used on USA title-page and bindings appears first to have been used on the John Aldridge dustjacket spine of the British edition. It has not been established whether it originated with Reichl or with Aldridge.
Dustjacket identical on primary and secondary bindings examined. CHECK

A35 COLLECTED POEMS 1938

a. First British edition

Collation: 8 1/2 x 5 1/2 in., [a]8 b6 A-Z8 2A-2G8, pp. [i-iv] v [vi] vii-xiii [xiv] xv-xxviii [1-2] 3-60 [61-62] 63-149 [150-¬152] 153-260 [261-262] 263-367 [368-370] 371-418 [419-420] 421-422 [423-424] 425-432 [433-434] 435-438 [439-440] 441-442 [443-444] 445-448 [449-450] 451-456 [457-458] 459-462 [463-¬464] 465-466 [467-468] 469-472 [473-474] 475-477 [478-480]. [i]: 'COLLECTED POEMS'. [ii]: blank. [iii]: title page. [iv]: 'Collected Poems is published by | arrangement with the SEIZIN PRESS | First published . . 1938 | Printed in Great Britain by T. and A. CONSTABLE LTD. | at the University Press, Edinburgh | F.438'. v: 'The Poems in this edition are collected
from the | following books:-- | THE CLOSE CHAPLET (HogarthPress). | LOVE AS LOVE, DEATH AS DEATH (Seizin Press). | POEMS: A JOKING WORD (Jonathan Cape Ltd.). | THOUGH GENTLY (Seizin Press). | TWENTY POEMS LESS (Hours Press). | POET: A LYING WORD (Arthur Barker Ltd.). | [rule] | VOLTAIRE (Hogarth Press). | LAURA AND FRANCISCA (Seizin Press). | THE LIFE OF THE DEAD (Arthur Barker Ltd.). | [rule] | EPILOGUE, Volumes I, II and III (Seizin Press and | Constable & Co.) | and from hitherto unpublished work. | Thanks are given to the Publishers mentioned | above for their kind permission to reprint | poems first published by them.' [vi]: blank. vii-xiii: Contents. [xiv]: blank. xv-xxviii: 'To the Reader'. [1]: 'POEMS OF MYTHICAL OCCASION'. [2]: blank. 3-60: text. [61]: 'POEMS OF IMMEDIATE OCCASION'. [62]: blank. 63-149: text. [150]: blank. [151]: 'POEMS OF FINAL OCCASION'. [152]: blank. 153-260: text. [261]: 'POEMS CONTINUAL'. [262]: blank. 263-367: text. [368]: blank. [369]: 'HISTORIES'. [370]: blank. 371-418: text. [419]: blank. [420]: illustration ["Le Coeur sec"]. 421-422: text. [423]: blank. [424]: illustration ["Les Trois Ames des Morts"]. 425-432: text. [433]: illustration ["Le Théâtre de Mortjoy"]. [434]: blank. 435-438: text. [439]: illustration ["La Transformation de Romanzel"]. [440]: blank. 441-442: text. [443]: blank. [444]: illustration ["La Naissance des Bébés Morts"]. 445-448: text. [449]: blank. [450]: il¬lustration ["A l'intérieur de la ville: de jour"]. 451-456: text. [457]: illustration ["A l'Intérieur de la Ville: de Nuit"]. [458]: blank. 459-462: text.[463]: illustration ["Le Banquet des Morts"]. [464]: blank. 465-466: text. [467]: blank. [468]: illustration ["La Musée de l'Aube"]. 469-472: text. [473]: blank. [474]: illustration ["La Déesse qui Plaisante"]. 475-477: text. [478-480]: blank.

Binding: Green cloth over boards. Front and back blank. Spine printed in gold. A wreath encloses: 'COLLECTED POEMS |  | Laura | Riding | CASSELL'. Top edge colored yellow. All edges trimmed.

Contents:
xv To the Reader
Poems of Mythical Occasion
3 Forgotten Girlhood
9 Incarnations
10 Pride of Head
11 How Blind and Bright
12 Because I Sit Here So
14 Several Love-Stories
15 The Mask
16 The Signature
17 Chloe Or
18 Yes and No
19 The Number
20 Chrysalis
21 So Slight
22 The Tillaquils
23 Take Hands
24 Lucrece and Nara
26 The Nightmare
27 The Sad Boy
29 Mortal
30 The Quids
32 Enough
33 Room
34 Afternoon
35 No More Are Lovely Palaces
36 Goat and Amalthea
37 The Virgin
38 To a Loveless Lover
40 Druida
42 Back to the Mother Breast
43 As Well as Any Other
44 John and I
47 Lying Spying
48 Prisms
49 Postponement of Self
50 The Lullaby
52 Helen's Burning
53 Helen's Faces
54 The Tiger
59 The Rugged Black of Anger
Poems of Immediate Occasion
63 Echoes
70 Hospitality to Words
71 One Self
72 An Ageless Brow
73 There Is Much at Work
74 The Definition of Love
75 Many Gentlemen
76 The Poets' Corner
77 Sunday
78 A Previous Night
79 The Devil as Friend
80 Life-Size Is Too Large
81 The Map of Places
82 Footfalling
83 Death as Death
84 The Troubles of a Book
86 Elegy in a Spider's Web
90 That Ancient Line
91 Opening of Eyes
93 Though in One Time
94 Originally
95 The Wind Suffers
96 Ding-Donging
97 You or You
98 Growth
99 Grace
100 All Nothing, Nothing
103 Last Fellows
105 Sea, False Philosophy
106 By Crude Rotation
108 It Has Been Read by All
109 Sleep Contravened
110 Finally
111 World's End
112 Poem Only
113 Rhythms of Love
116 Nearly
117 Faith upon the Waters
118 Advertisement
120 Dear Possible
121 O Vocables of Love
122 Throe of Apocalypse
123 In Nineteen Twenty-Seven
128 Second-Death
129 For-ever Morning
130 Rejoice, Liars
131 Beyond
132 And This Hard Jealousy
133 In Due Form
134 All the Time
135 Celebration of Failure
136 Then Wherefore Death
137 Come, Words, Away
140 As to a Frontispiece
141 Jewels and After
142 Tale of Modernity
145 Midsummer Duet
Poems of Final Occasion
153 As Many Questions as Answers
155 The Judgement
156 And I
157 Earth
158 Regret of War Ways
159 All Things
161 Further Details
163 The Way It Is
164 And a Day
165 The Fates and the Mothers
167 Who
168 Cycles of Strangeness
170 The Time Beneath
171 The Fact
172 Scornful or Fond Infinity
173 The Courtesies of Authorship
174 Then Follows
181 Meanwhile
182 Autobiography of the Present
184 Care in Calling
185 Intelligent Prayer
186 Cure of Ignorance
187 With the Face
188 The Biography of a Myth
191 The Wind, the Clock, the We
193 From Later to Earlier
194 Respect for the Dead
196 After Smiling
198 The World and I
199 There Is No Land Yet
201 Letter to Man's Reasonable Soul
203 The Talking World
207 Unread Pages
209 I Am
212 Concerning Food
215 Tree-Sense
218 The Dilemmist
222 The Unthronged Oracle
224 The Flowering Urn
225 It Is Not Sad
229 The Signs of Knowledge
234 Poet: A Lying Word
239 Three Sermons to the Dead
243 Benedictory
251 Disclaimer of the Person
Poems Continual
263 The Last Covenant
277 Auspice of Jewels
280 Memories of Mortalities
296 Be Grave, Woman
297 The Need to Confide
300 Divestment of Beauty
302 No More Than Is
305 Friendship on Visit
308 Christmas
309 Wishing More Dear
310 The Reasons of Each
312 Plighted to Shame
313 We Are the Resurrection
315 The Wages of Eloquence
316 On a New Generation
317 How Now We Talk
320 Modern Superstition
321 Because of Clothes
323 A Letter to Any Friend
325 After So Much Loss
327 Eventual Love
329 The Why of the Wind
331 The Readers
334 The Cycle of Industry
336 Of All the World
338 I Remember
340 A Need for Hell
341 Decline of Prophecy
344 The Forgiven Past
346 When Love Becomes Words
353 March, 1937
355 The Victory
357 In the Beginning
360 Doom in Bloom
362 Seizure of the World
363 Nothing So Far
365 Christmas, 1937
Histories
371 The Vain Life of Voltaire
398 Laura and Francisca
417 The Life of the Dead--With Illustrations by John Aldridge

Paper: Cream wove paper, including endpapers.

Dust jacket: Buff dust jacket printed in black and orange.
Front flap copy: Laura Riding’s New Book | LIVES OF | WIVES | The author of A Trojan Ending, which was regarded as an important literary event for the lucid beauty of its prose and its magnificent resurrection of Homeric scenes, turns in this book to consider what history looks like to the wives of its notable men. The book begins with the story of Amytis, wife of Cyrus of Persia, and includes, in its review of 2,500 years of wifedom, the wives of Aristotle, Herod the Great, Cicero, Mohammed, Charlemagne, Canute, Baldwin of Bourg, James I of Aragon, Frans Hals, Moliere, Fox, Emerson, Karl Marx, Garibaldi. |
Back panel copy: COLLECTED POEMS | This impressive compilation of Laura Riding’s Poems, drawn from nine previous volumes and containing much hitherto unpublished material, reveals at full length a poet for whom it has long been difficult to find a label. We can now understand why her poems have defied conventional classification. We must read them in relation to one another to appreciate the large coherence of thought behind them. Then, instead of assuming a mysterious personality at work in intellectual isolation, we recognize that here is a complete range of poetic experience controlled with sensitive wisdom. | We cannot, in fact, describe Laura Riding’s poems as of such and such a type or tendency: rather, they set a new standard of poetic originality. They are undiluted: no politics or psychology, no religion or philosophical sentiment, no scholastic irrelevancies, no mystical or musical wantonness. This does not mean that they lack any of the graces that it is proper to expect in poetry: they have memorable beauty of phrase, serene humour, and a rich intricacy of movement that redeems the notion of ‘pure poetry’ from the curse put upon it by the aestheticians. They are, moreover, very consciously the work of a woman, introducing into poetry energies without ¬which it is no more than ‘a tradition of male monologue’, not ¬a living communication." | LAURA RIDING | Back flap copy:
COLLECTED | POEMS | by | ROBERT GRAVES | In this definitive edition of his poems Robert Graves has brought together his poetic work of twenty-three years, in such a way that the course he has taken as a poet can be clearly seen. Particularly the relation of his later to his earlier work is brought out; some of his early poems have been suppressed, but in compensation there are many recent unpublished poems. This book should be of great interest to all who have not been able to follow easily towards what position in poetry this poet has been moving; and to those who think of him as primarily a prose-writer.

Misprints: {list to be supplied}

Notes: Published in September, 1938, at 15s.

b. First American edition

Collation: Identical to British edition.

Binding: Royal blue cloth over boards. Front and back blank. Spine displays title in box (2 1/8 x 1 3/8 in.) defined by deeper blue background and gold border. Publisher’s device--a house--rests on top of the box. Gold printing in box: 'COLLECTED | POEMS | [ornament] | LAURA | RIDING | RANDOM HOUSE'. Top edge colored gray. All edges trimmed

Paper: Cream wove paper, including endpapers.

Dust jacket: Buff dust jacket printed in dark blue and black.
Front panel: The Collected Poems of | Laura Riding | WITH TEN FULL-PAGE ILLUSTRATIONS | BY JOHN ALDRIDGE | This impressive compilation of Laura Riding’s | poems, drawn from nine previous volumes and | containing much hitherto unpublished material, | reveals at full length a writer for whom it has long | been difficult to find a label, but who is considered | by many critics to be the greatest living woman poet | in England today. | RANDOM HOUSE . NEW YORK
Front flap copy begins: THE COLLECTED | POEMS OF | LAURA RIDING | WITH TEN FULL-PAGE ILLUSTRATIONS | BY JOHN ALDRIDGE | Drawn from nine previous volumes, con- | taining much hitherto unpublished material | This impressive compilation of Laura Riding’s poems reveals at full length a poet… [continues, on front & back flaps, exactly as back-panel copy of British edition, except that religion changes to religious and redeems to redeem]
Back panel, headed RANDOM HOUSE POETRY, lists ten volumes.
Misprints: as British edition.
Note: Priced at $4.00.

A36 THE WORLD AND OURSELVES 1938

Collation: 8 1/2 x 5 1/2 in., [A]6 B-Z8 AA-KK8 LL10, pp. [i-iv] v-xi [xii] [1-2] 3-44 [45-46] 47-129 [130-132] 133-220 [221-¬222] 223-367 [368-370] 371-529 [530-532]. [i]: 'THE WORLD AND OURSELVES'. [ii]: 'This represents the fourth volume of the literary | series Epilogue. I have thought it important at this | time to suspend the work of general criticism begun in | the first three volumes, and to make a special inquiry | into the state of the world to-day in relation to our- | selves. I hope soon to be able to renew the original | programme with Epilogue V. | L.R.' [iii]: title page. [iv]: 'PUBLISHED BY | Chatto & Windus | LONDON | [ornament] | The Macmillan Company | of Canada, Limited | TORONTO | PRINTED IN GREAT BRITAIN | ALL RIGHTS RESERVED'. v-viii: Contents. ix-xi: Foreword. [xii]: blank. [1]: 'PART I. INTRODUCTION'. [2]: blank. 3-44: text. [45]: 'PART II. THE ANSWERS | MALENESS AND FEMALENESS'. [46]: blank. 47-129: text. [130]: blank. [131]: 'PART III. THE ANSWERS | THE REALISTIC APPROACH'. [132]: blank. 133-220: text. [221]: 'PART IV. THE ANSWERS | BEGINNING FROM THE INSIDE'. [222]: blank. 223-367: text. [368]: blank. [369]: 'PART V. CONCLUSION | Recommendations and Resolutions'. [370]: blank. 371-529: text. [530]: blank. [531]: colophon. [532]: blank.

Binding and dust jacket: Maroon cloth over boards. Front and back blank. Spine printed in gold: 'THE | WORLD AND | OURSELVES | [decorative swung dash] | Laura Riding | CHATTO | AND WINDUS'. Top edge colored maroon. Top and fore-edges trimmed.
Dust jacket brown with beige letters, but colors reversed on front: title and author printed in brown inside a beige circle. Copy on inside front flap: "The sub-titles of this new and important work by Miss Laura Riding explain its scope exactly. Letters About the World Situation from 65 People of Various Professions and Pursuits; A Comprehensive Examination of the Present World Disorder from a Personal Point of View ‘ Recommendations for its Cure by Personal not Political Methods; Resolutions toward a Greater Confidence in our Personal Power to Relieve World Unhappiness. The author addressed a carefully worded letter to some four hundred people, and she quotes, classifies and comments upon a selec¬tion of the answers she received. These include letters from people of widely different ages, occupations and temperaments --¬some famous, some not--and together present an extremely in¬teresting cross-section of intelligent opinion on a subject of immense importance: namely, the position of sensible men and women to-day, wanting to live a peaceful, civilised existence, in a world which has become steadily more and more disordered and less and less peaceful. What, if anything, can such people do? Can they achieve success where the politicians, economists and sociologists have failed? And if so, how? Miss Laura Riding’s solution is different from Mr. Aldous Huxley’s in Ends and Means, but just as interesting. Her constant insistence in thismoving and mind-clarifying book is that we must begin with ourselves: that communications must be established between all persons who contribute sincerely to the good sense of existence, in the belief that truth must be a co-operative experience. This is a remarkable book, timely and clearly important for anyone who pretends to be concerned for the present state of World affairs." Inside back flap blank.

Paper: Cream laid paper. Cream wove endpapers.

Contents:
ix Foreword
Part I: Introduction
3 I. Description of the World Mood
15 II. A Personal Letter, with a Request for a Reply
20 III. Reactions to the Letter
34 IV. Nineteenth-Century Attitudes to the World
Part II: The Answers--Maleness and Femaleness
47 from Sally Graves
50 Donald Boyd
54 Dorothea Dooling
55 Helen Campbell
57 Ruth Magaw
58 Mrs. George Chitty
62 Ward Hutchinson
68 Christina Stead
73 Naomi Mitchison } Commentary
80 Margery Cuyler on Letters
84 Francis I. Clark
97 Eira Dixon
100 Moë A.L. Harper
102 L.A.G. Strong
106 Catherine de la Roche
111 Anonymous
114 Willa Muir
120 Robert Graves
Part III: The Answers--The Realistic Approach
133 from Frank Richards, D.C.M.
137 Anonymous
138 Beatrice Forbes-Robertson Hale
138 Katherine Swaine
152 William Fuller
161 Margaret Bottrall
162 Celia Fremlin
169 Anonymous
175 Eithne U.L. Wilkins
178 Herbert Howarth
185 Capt. Samuel Summerson
190 Jens Jensen
191 Stella J. Underhill
194 J.C. Sloane, Junr.
201 Gerald Claypole
207 Sir Edward Marsh, K.C.V.O.
213 George McLean Harper
216 B.H.B.
Part IV: The Answers--Beginning from the Inside
225 from Karel Honzik
229 Montague Simmons
239 Michael Roberts
240 James Reeves
243 Gerald Bullett
248 C.F. Nora Mackay
249 Dorothy Thompson
251 Juliana Matthews
253 George Buchanan
255 Anonymous
256 Anonymous
258 Eric S. Tattersall
261 T.S. Matthews
263 Katherine Jackson
267 Robin Hale
269 Len Lye
274 Honor Wyatt
280 Alan Hodge
290 Mary Phillips
294 Anthony Brown
303 Harry Kemp
307 Joyce Reeves
311 Norman Cameron
320 Marie Adami
328 David Reeves
342 M. Annan
348 John Aldridge and Lucie Brown
359 Lord Gorell, C.B.E., M.C.
Part V: Conclusion
I. Recommendations
371 (1) Private Comment on Public Sources of Irritation
372 (2) A Canon of Good Things; the Principle That Private
Possession Is Necessary to Economic Integrity
389 (3) Women as Hostesses in the Outside World, Rather
Than Job-Holders
394 (4) The Impossibility of Changing the Moral Behaviour
of Nations by Diplomatic Means; to Cultivate
Communication with People by Private Means, and
Only as They Can Behave as Moral Equals
405 (5) A Civilized Private Ethic
415 (6) The Responsibilities of Writers
420 (7) A Form of Religion Suitable to the Present
433 (8) How to Distribute Our Attention; How to Read
Newspapers
450 (9) Companies of Friends as the Basis of Self-¬Government
467 (10) Not to Apply Past Solutions to Present Problems
476 (11) Indications for a New Moral Law
484 (12) Redeeming Intelligent People from Vulgarity of
Behaviour and Thought
497 (13) The Proper Attitude and Approach to the Multi¬tudes and Their Problems
509 (14) How to Speak Purely, in a Way to Avoid Fallacies of Language and
Mediocrity of Thought
519 II. Resolutions 1-27

Notes: Published in November, 1938, at 15s. In 1969 Riding wrote a new preface, "For Later Readers," for the University Microfilms edition, and Northwestern University holds the corrected typescript (F10). Cornell University also lists aa manuscript copy of the 1969 Preface (F5).

*A37 THE COVENANT OF LITERAL MORALITY 1938

THE COVENANT OF | LITERAL MORALITY | Protocol I | THE SEIZIN PRESS |1938

Binding: Faded blue gray paper covers. Front printed in black: 'THE COVENANT OF | LITERAL MORALITY | Protocol I | THE SEIZIN PRESS |1938'. Loose sheet inserted: 'PRELIMINARY QUESTIONS | To be addressed to prospective endorsers. If the answer to each | question is not 'Yes', the Protocol itself should not be shown to | them, and the matter dropped. | DO YOU AGREE: | [5 questions follow]'. Back blank. All edges trimmed.
Paper: Cream wove paper.

Contents:
2 The Judgment of Evil
13 Explanation
14 Prescriptions

Notes: Privately printed, this pamphlet was intended to be circulated privately among people likely to agree with its principles. The "Prescriptions" include the provision that no endorser may make a copy of the Protocol and new endorsers must apply for copies directly to the Honorary Secretary, Norman Cameron. This Protocol preceded the one T.S. Matthews describes in his autobiographies (H104, H152).

A38 THE LEFT HERESY IN LITERATURE AND LIFE 1939

Collation: 7 1/4 x 4 3/4 in., 4 [1]8 2-178, pp. [i-iv] v [vi] vii-viii [1-2] 3-62 [63-65] 66-120 [121-122] 123-176 [177-178] 179-212 [213-214] 215-254 [255-257] 258-270 [271-272]. [i]: 'THE LEFT HERESY IN | LITERATURE AND LIFE'. [ii]: blank. [iii]: title page. [iv]: 'First published in 1939 | PRINTED IN GREAT BRITAIN'. v: Foreword. [vi]: blank. vii-viii: Contents. [1]: 'SECTION ONE | ANALYSIS OF THE LEFT EMOTIONAL | BACKGROUND'. [2]: blank. 3-62: text. [63]: 'SECTION TWO | ANALYSIS OF THE LEFT INTELLECTUAL | BACKGROUND'. [64]: blank. [65]-120: text. [121]: 'SECTION THREE | ANALYSIS OF THE LEFT HUMAN BEING'. [122]: blank. 123-176: text. [177]: 'SECTION FOUR | THE WITHERING AWAY'. [178]: blank. 179-212: text. [213]: 'SECTION FIVE | THE REAL ISSUES'. [214]: blank. 215-¬254: text. [255]: 'SECTION SIX | THE POLITICAL PAST'. [256]:
blank. [257]-270: text. [271]: blank. [272]: colophon.

Binding and dust jacket: Orange cloth over boards. Front and back blank. Spine printed in red: 'THE LEFT | HERESY | In Literature | and Life | [ornament] |HARRY KEMP, | LAURA RIDING | and others | METHUEN'. All edges trimmed.
Dust jacket has black lettering over red and white design depicting hammer and sickle emblem. Description of book on front flap, continued on back of wrapper: "It is one of the sad paradoxes of our time that many serious-minded people, anxious to do their part in bringing the conditions of life up-to-date, seize upon what seems to them the simplest solution -- that of being “Left.” What is wrong with the Left Solution as an answer to the problems of to-day? Why are so many people of apparent intelligence and good will tempted to sink their originality and constructive ability in Left sectarianism? It is the peculiar value of this book that its authors face such questions not as political reactionaries but as writers who are aware of all challenges to partisanship which now beset the morally animated person. Mr. Harry Kemp is a poet, and was once a Communist. His part in the collaboration is based on the experience of having been a Left, obliged to identify himself with theories that denied the values he subscribed to as a poet--and with people whose behaviour and 'ideals' were untidy and ambiguous. Miss Laura Riding has brought to the book not only a poet's breadth of view, but that power of clarifying fundamentals which has come to be increasingly associated with her name. The book closes with a general survey of the intrusion of politics into literature in the past, in which Mr. Robert Graves and Mr. Alan Hodge have also collaborated. Among the writers here examined who have experimented in one way or another with Left ideology are: Mr. W. H. Auden, Mr. Cecil Day Lewis, Mr. Stephen Spender, Mrs. Virginia Woolf, Mrs. Naomi Mitchison, Mr. Herbert Read and Mr. E. M. Forster."

Paper: Cream wove paper. White wove endpapers.

Contents:
1 I. Analysis of the Left Emotional Background
3 1. The Appeal of Argument
10 2. The Psychological Appeal
21 3. Political Argument as Literary Criticism
21 a. Gorki and Bukharin
30 b. Stephen Spender
37 c. C. Day Lewis
49 d. Mrs. Virginia Woolf
54 4. Politics and Literary Romanticism
63 II. Analysis of the Left Intellectual Background
65 1. Standards of Truth
76 2. Standards of Literary Judgement
87 3. Standards of Poetry
100 4. Standards of Art
109 5. Standards of Political Writing
121 III. Analysis of the Left Human Being
123 1. Left Life
129 2. Left Morals
138 3. Left Pleasure
144 4. Left Humour
152 5. Left Taste
158 6. Left Theatre
168 7. Left Education
177 IV. The Withering Away
179 1. Compensations and Virtues
188 2. Arise, Ye Starvelings
205 3. How Not to Be a Left
213 V. The Real Issues
215 1. The Question of "Importance"
223 2. Poetic Common Sense
231 3. Life, Beauty and Truth
238 4. Poets and the Masses
245 5. Who Are the Workers?
255 VI. The Political Past

Notes: Published in May, 1939, at 7s. 6d. but raised to 8s. 6d. The Foreword indicates the first four sections "were written in close consultation with Laura Riding; and many passages in the book are directly by her." The last two sections appeared in Epilogue III as "Politics and Poetry" by Laura Riding, Robert Graves, Alan Hodge, and Harry Kemp.
Reprints were issued by Folcroft Library Editions (Folcroft, Pa.) in 1974; and Norwood Editions (Norwood, Pa.) in 1977.
A39 LIVES OF WIVES 1939
a. First British edition

Collation: 8 1/2 x 5 1/2 in., A-U8 X2, pp. [1-4] 5 [6] 7-8 [9-10] 11-73 [74-76] 77-204 [205-206] 207-323 [324]. [1]: 'LIVES OF WIVES'. [2]: By the same Author | COLLECTED POEMS | THE WORLD AND OURSELVES | A TROJAN ENDING | PROGRESS OF STORIES'. [3]: title page. [4]: 'First published . 1939 | Printed in Great Britain by T. and A. CONSTABLE LTD. | at the University Press, Edinburgh | F. 539'. 5: Foreword. [6]: blank. 7-8: Contents. [9]: 'I | A PERSIAN LADY | AND HER CONTEMPORARIES | [ornament]'. [10]: blank. 11-73: text. [74]: blank. [75]: 'II | MACEDONIAN TIMES | [ornament]'.
[76]: blank. 77-204: text. [205]: 'III | NEW WAYS IN JERUSALEM | [ornament]'. [206]: blank. 207-323: text. [324]: blank.

Paper: Cream wove paper, including endpapers.

Contents:
I A Persian Lady, and Her Contemporaries
11 1 The Medes and the Persians
15 2 The Rise of Cyrus, Husband of Amytis
33 3 The Defeat of Croesus
48 4 The Capture of Babylon
62 5 The Death of Cyrus
II Macedonian Times
77 1 Persia in Decline
79 2 Philip the Great and His Wife Olympias
92 3 The Last Years of Philip
105 4 Modernity at Athens
118 5 The Rise of Aristotle
130 6 The Marriage of Aristotle
144 7 Aristotle's Royal Pupil
155 8 The Philosopher at Home
168 9 Alexander's Friends and Wives
181 10 The Deaths of Alexander and Aristotle
195 11 After Alexander

III New Ways in Jerusalem

207 1 The Ancestors of Mariamne
218 2 Cleopatra and Caesar
228 3 The Young Herod
242 4 King Herod and Queen Mariamne
254 5 Cleopatra in Jerusalem
268 6 The Last Scion of the Asmoneans
280 7 Uncle Joseph
287 8 Cleopatra and Antony
300 9 The Silence of Mariamne
307 10 Herod in All His Glory
316 11 The New Era

Dust jacket: Buff dust jacket printed in black and sienna. Front panel has ornaments at each corner (each of ten identical flowers with swelled rules above and below), diagonally arranged in diamond/lozenge formation. At centre: LIVES | OF WIVES | LAURA | RIDING. Spine has ornaments at head and foot (of six identical flowers with swelled rules above and below); below head: LIVES | OF | WIVES | BY LAURA | RIDING; above foot: CASSELL. Front flap copy: The Collected Poems of Laura Riding | This impressive compilation of Laura Riding’s Poems, drawn from nine previous volumes and containing much hitherto unpublished material, reveals at full length a poet for whom it has long been difficult to find a label. We recognize that here is a complete range of poetic experience controlled with sensitive wisdom.| ‘We can offer no more sincere tribute than to invite lovers of verse to study her work.’ | --Humbert Woolfe[sic], Observer | Demy 8vo, xxviii and 478 pages. |15/- net. | With illustrations by | John Aldridge.

Rear panel copy: LIVES OF WIVES | In the three stories that compose this book, each forming in itself a complete historical novel, an intimate narrative method is used which, we are confident, sets a new standard of historical interpretation. They cover the three most interesting crisis periods of the first millennium B.C.: the times of Cyrus and Croesus; of Philip, Alexander the Great and Aristotle; and of Caesar, Antony and Herod the Great. The author’s handling of tangled incident and obscure event is so sturdily familiar in touch that readers will scarcely be aware of the enormous labour of clarification that has here been done for them. | At the beginning of each story one immediately feels inside the life-circle of its characters. The effect is uncannily real: the crowded succession of outside events cutting nervously into the everyday atmosphere – just as it happens with us now. | Classically written history has no living quality of narrative: its concern is with events, and with people only as they bring events about. And the usual modern historical novel or biography is a patchwork of events and psychological notes. What is the secret of Laura Riding’s altogether different method, that makes us see the whole character of the charming Cyrus, or the wretched Alexander, or the circumspect Aristotle, or the tragic Herod? It is that the stories are firmly centred at the domestic hearth of life: in the minds of the women who lived along with these men either in love or hate. A tense personal accent and significance is thus achieved, which history lacks when written from the all-male classical point of view – or with the artificial liveliness of modern ‘impersonality’. | There is a refreshing splendour of actuality in these portraits of men and women out of epochs that have been allowed to turn dim or shabby or incredible. | LAURA RIDING
Back flap advertises ‘Daughters of Queen Victoria’ by E.F.Benson.

Errata: p.37, 6 lines from foot: for ‘he’ read ‘Croesus’; for ‘Croesus’ read ‘Cyrus’ (Croesus wished to lure Cyrus westward…)
p.209, line 15: omit comma after policy.
p.287, 2 lines from foot: sp. ‘Octavian’ (not ‘Octavia’)
nb. (i) The misprints on p. 37 and on p. 287 were corrected in the 1988 and 1995 editions. The misprint on p. 209 was not.
nb. (ii) p.21, line 12 from foot. In her own copy, the author struck out ‘entered into’ and wrote ‘took over’ in the margin. This change appears in no published edition of the book; however, it does appear in the excerpts selected by the author for Chelsea 35, 1976 (p.126).

Notes: Published in October, 1939, at 12s. 6d. Foreword ex¬plains that the title was chosen ‘because the principal male characters are here written of as husbands rather than as heroes.’ A 1938 announcement of Lives Of Wives, on the dustjacket of A35 (qv), indicates that at that time the book was envisaged as a ‘review… of 2,500 years of wifedom’, to contain some fifteen sections in all, concluding with the wives of Emerson, Karl Marx, and Garibaldi.
b. First American edition

Collation: Identical to British edition.

Paper: Identical to British edition.
Dust jacket: Buff dust jacket printed in black and yellow. Front panel: (title buff on black): ‘LAURA RIDING | LIVES | OF | WIVES | RANDOM HOUSE [centre dot] NEW YORK [publisher’s device]’. Spine: (title buff on black): ‘LAURA | RIDING | LIVES | OF | WIVES| [publisher’s device] | RANDOM | HOUSE’. Rear panel: ‘RANDOM HOUSE POETRY’ [ten titles listed, beginning with] ‘THE COLLECTED POEMS OF LAURA RIDING $4.00 | COLLECTED POEMS OF ROBERT GRAVES $2.50’.
Front flap copy: ‘Three complete short historical novels compose this book. They cover the three most interesting crisis periods of the first millennium B.C.: the times of Cyrus and Croesus; of Philip, Alexander the Great, Aristotle; and of Caesar, Antony and Herod the Great. | Miss Riding has re-created those exciting times with an effect of uncanny reality. The stories are firmly centered at the domestic hearth of life: in the minds of the women who lived along with these men in either love or hate. Successions of outside events crowd nervously into the everyday atmosphere, just as they do today. A tense personal accent and significance are thus achieved, which most history, written from the all-male classical viewpoint, or with the artificial liveliness of modern “impersonality,” completely lacks.’ Rear flap: advertises The Modern Library, with Robert Graves heading a list of nine named authors.
Note: Priced at $2.50.

-----------------------

A40 SELECTED POEMS: IN FIVE SETS 1970
a. First British edition

LAURA RIDING | SELECTED POEMS: | IN FIVE SETS | FABER AND FABER | London

Collation: 7 1/4 x 4 7/8 in., [A]8 B-F8, pp. [1-6] 7-9 [10] 11-¬17 [18] 19-94 [95-96]. [1]: 'LAURA RIDING | Selected Poems:| In Five Sets'. [2]: blank. [3]: title page. [4]: 'First published in 1970 | by Faber and Faber Limited | 24 Russell Square London WC 1 | Printed in Great Britain by | Robert MacLehose and Co Ltd |The University Press Glasgow | All rights reserved | SBN 571 09128 8 | Copyright 1938 Laura Riding | This edition © by Laura (Riding) Jackson 1970 | CONDITIONS OF SALE | This book is sold subject to the condition that it shall not, by way of | trade or otherwise, be lent, re-sold, hired out or otherwise circulated | without the publisher's prior consent in any form of binding or cover | other than that in which it is published and without a similar condition | including this condition being imposed on the subsequent purchaser'. [5]: 'To Patricia Butler, | sure friend to the end, and beyond, | who forwarded this book with | glad feeling as she put her desk | in final order.' [6]: blank. 7-9: Contents. [10]: blank. 11-17: Preface. [18]: blank. 19-94: text. [95-96]: blank.

Binding: Paper covers. Front printed in black on bands of light blue and orange separated by a white strip: 'LAURA | RIDING | Selected | POEMS: | in Five Sets'. White printing on black strip along fore-edge: 'FABER paper covered EDITIONS'. Back advertises other Faber paper-covered editions. Spine extends colored bands of front cover and has black printing on blue and orange, white letters on black lengthwise: 'LAURA RIDING | SELECTED POEMS | FABER'. Copy inside front cover describes the occasion of this book: "Laura Riding's poems have been unavail¬able for many years since she has been unwilling to allow them to appear in anthologies. She has made this selection herself and has written an important preface in which she explains her attitude to her work." All edges trimmed.

Paper: Cream wove paper. No endpapers.

Contents:
11 Preface
Set I
19 The Troubles of a Book
20 Postponement of Self
21 The Rugged Black of Anger
22 Incarnations
22 The Why of the Wind
24 From Memories of Mortalities (My Father and My Childhood)
28 There Is No Land Yet
29 From Echoes Set II
31 The Nightmare
32 The Mask
33 Dear Possible
33 An Ageless Brow
34 As Many Questions as Answers
35 Lucrece and Nara
36 One Self
36 From In Nineteen Twenty-Seven
39 Afternoon
40 From The Talking World
41 By Crude Rotation
42 Mortal
43 The Wind Suffers
44 Earth
45 Sleep Contravened
46 The Quids
Set III
47 Ding-Donging
48 Because I Sit Here So
49 Faith Upon the Waters
49 Beyond
50 O Vocables of Love
50 Death as Death
51 And I
52 Opening of Eyes
53 All Nothing, Nothing
55 Grace
56 The World and I
56 Jewels and After
57 Footfalling
57 Autobiography of the Present
59 From Come, Words, Away
Set IV
60 World's End
61 The Flowering Urn
62 Cure of Ignorance
63 The Reasons of Each
64 That Ancient Line
65 The Wind, the Clock, the We
66 Poet: A Lying Word
70 With the Face
71 The Time Beneath
71 I Am
74 Divestment of Beauty
75 From Three Sermons to the Dead (The Way of the Air)
76 Auspice of Jewels
Set V
78 On a New Generation
78 Tree-Sense
80 From Disclaimer of Person
83 Doom in Bloom
84 From Benedictory
86 After So Much Loss
87 From The Last Covenant
91 The Forgiven Past
93 Nothing So Far

Notes: Published in June, 1970, at 9s. Although the preface states the text is that of Riding's Collected Poems except for the correction of misprints and a few verbal changes, the revisions are extensive. Riding offers an explanation for her renunciation of poetry as the result of her belief that she had reached its limit and judges her own poems to be "of the first water as poetry."
b. First American edition

Collation: 7 3/4 x 5 in., unsigned, pp. [1-6] 7-9 [10] 11-17 [18] 19-94. [1]: 'LAURA RIDING | Selected Poems: | In Five Sets'. [2]: blank. [3]: title page. [4]: 'COPYRIGHT 1938 LAURA RIDING | This edition copyright 1970 by Laura (Riding) Jackson | First published in 1970 by Faber & Faber Limited | First American edition published 1973'. Advertisement for Norton books, ISBN for cloth and paper editions, printed in U.S.A. [5]: 'To Patricia Butler (my English agent) who, sure friend to the | end, and beyond, forwarded this book with glad feeling | as she put her desk in final order. And, Charles Monteith | friend to the book in its English publication |(with others of Faber & Faber). | And to Sonia Raiziss (American writer, editor), who, | long devoted to my poems, was the first in later time to write | feelingly on them. And, Michael Kirkham (English critic), | who, after her, wrote courageously, on them.' [6]: blank. 7-9: Contents. [10]: blank. 11-17: Preface. [18]: blank. 19-94: text.

Binding and dust jacket: Brown cloth over boards. Front and back blank. Spine printed in silver lengthwise: 'RIDING [ornament] SELECTED POEMS: IN FIVE SETS NORTON'. All edges trimmed.
Dust jacket design by Nancy Earle: white printing on brown and light blue abstract pattern. Front and back flap copy: "About Laura Riding’s work Robert Fitzgerald has said, “Of all the contemporary poems I know, these seem to me the furthest advanced, the most personal and the purest. I hope . . . that they will be assimilated soon in the general consciousness of literature.” Born in New York in 1901, Laura Riding spent her first twenty-four years in this country. She reached early maturity as a poet; in 1924 the important magazine The Fugitive pronounced her “the discovery of the year, a new figure in American poetry.” After the early American phase of her poetic career, Laura Riding’s poetic work was written abroad, but it followed no particular trend of poetic modernism. From the first it was formed to a mode born not of literary conceptions of what a poem should be, but, as she says, “of the primal instinct of linguistic search for fulfillment of being in words perfectly faithful to it.” To the career of poet she joined that of critic. In the thirteen years spent abroad, her criticism reflected the enlarging human scope of her concerns as a poet. Her aim, which drew associates, was “to clarify a norm of generally applicable values, by which a moral identity could be established between the poetic and the more casual areas of articulate expression. From her probings (carried on also in fictional forms), she gained, she writes, “a new understanding of the speakable, as going beyond not only professional stylistic proficiency but, also, poetry’s verbally extraordinary patterns of perfection. The real realm of the speakable is the realm of language known by no other name than that of truth. I ventured there unaccompanied, others seeing my probings as mere metaphors of literary philosophy.” Not long after the publication of her Collected Poems, in 1938, Laura Riding renounced poetry; she prohibited publication of her poems until she felt capable of reporting adequately on her findings about it. From the 1940’s, as Laura (Riding) Jackson, she has pursued language-studies aimed at presenting truth as a practical literateness in the use of words. Her husband, Schuyler B. Jackson, poet and critic, collaborated in this work, still unfinished, until he died. In later time she has published articles, but no books before 1970, when Selected Poems: In Five Sets appeared in England. The Telling, exemplifying her new commitments, has recently been published both in England and here. Ever since the 1920’s, Laura Riding’s poems have been a crucial, if seldom acknowledged, resource for many other poets. The publication of a representative portion of them selected and introduced by their author is an event of the first importance.”

Paper: Cream wove paper. White wove endpapers.
Contents: Identical to British edition.
Note: Published in 1973 at $6.95.
c. American paper edition

Identical to cloth edition, except binding is paper. Front repeats design of dust jacket. Back summarizes Riding's career and quotes Robert Fitzgerald's praise. Extra sheet at end of book. Priced at $1.95.

A41 THE TELLING 1972
a. First British edition

Laura (Riding) Jackson | THE TELLING | UNIVERSITY OF LONDON | THE ATHLONE PRESS |1972

Collation: 8 1/2 x 5 1/2 in., unsigned, pp. [i-vi] 1-4 [5] 6 [7-8] 9-56 [57-58] 59-80 [81-82] 83-185 [186]. [i]: 'THE TELLING'. [ii]: 'To Schuyler, my husband, my partner in | the endeavor to take words, and oneself, | further--and, now, to outlive death's long | moment... | and to my mother and my father, who | imparted to me a durable sense of the | further'. [iii]: title page. [iv]: Published by | THE ATHLONE PRESS | UNIVERSITY OF LONDON | at 4 Gower Street London wcl | Distributed by | Tiptree Book Services Ltd, Tiptree, Essex | U.S.A. and Canada | Humanities Press Inc | New York |  Laura (Riding) Jackson 1972 | 0 485 11137 3 | Printed in Great Britain by| WILLIAM CLOWES & SONS, LIMITED | London, Beccles and Colchester'. [v]: Contents. [vi]: blank. 1-4: 'Nonce Preface'. [5]: blank. 6: 'OUTLINE'. [7]: 'THE TELLING'. [8]: blank. 9-56: text. [57]: 'PREFACE FOR A SECOND | READING'. [58]: blank. 59-80: text. [81]: 'SOME AFTER-SPEAKING: | PRIVATE WORDS'. [82]: blank. 83-185: text. [186]: blank.

Binding and dust jacket: Blue cloth over boards. Front and back blank. Spine printed in gold lengthwise: '(RIDING) | JACKSON THE TELLING | [publisher's device] |ATHLONE PRESS'. All edges trimmed.
White dust jacket printed in gray and purple. Front repeats the title in gray 11 times, in purple once. Author's name also appears in purple. Front flap copy, printed in purple: “Soon after the appearance of her Collected Poems in 1938 the American writer Laura Riding came to feel that she had ‘reached poetry’s limit’. In the following years, devoted largely to the preparation with her husband of a work on language, she did some incidental writing dealing chiefly with her renunciation of poetry, but her long public silence was not substantially broken until, in 1967, The Telling appeared in a New York magazine. This short work outlines with great clarity and beauty the view that the significance of life lies in consciousness of existence as shared by all living beings, past and present. In a complementary sense it is concerned with the general function of language as the articulation of our humanness and the truth-function of that. The republication of the Telling in book form is marked by the includion of two specially written sections, ‘Preface for a Second Reading’ and ‘Private Words’. Here Laura (Riding) Jackson invites the reader to a less formal reflection upon the themes of The Telling proper, relating them more directly to some of the intellectual preoccupations and dilemmas of our age. This is not a book that will yield its message to all, or to anyone on perfunctory acquaintance, but few who read it with the attention it deserves will fail to be moved by the compelling dignity of its purpose and utterance." Back flap lists Athlone Press distributors and overseas agents.

Paper: White wove paper, including endpapers.

Contents:
I Nonce Preface
6 Outline
7 The Telling
57 Preface for a Second Reading
81 Some After-Speaking: Private Words
83 1 An Invitation
85 2 The Idea of Rebeginnings
108 3 Extracts from Communications
147 4 Some Notes, Enlarging on Some Features of the Text

Note: Published in October, 1972, at £3.00.

b. First American edition

Laura (Riding) Jackson | THE TELLING | Harper & Row, Publishers | New York Evanston San Francisco London

Collation: 8 x 5 1/2 in., unsigned, pp. [i-vi] [1] 2-4 [5] 6 [7-8] 9-56 [57-58] 59-80 [81-82] 83-185 [186]. [i]: 'THE TELLING'. [ii]: 'Also by Laura (Riding) Jackson: | Poetic Work (Collections) | POEMS: A JOKING WORD | POET: A LYING WORD | COLLECTED POEMS | SELECTED POEMS | Criticism and Commentary | CONTEMPORARIES AND SNOBS | ANARCHISM IS NOT ENOUGH | FOUR UNPOSTED LETTERS TO CATHERINE | EPILOGUE (Editor, Commentator) | THE WORLD AND OURSELVES (Editor, Commentator) | Fiction | PROGRESS OF STORIES | A TROJAN ENDING | LIVES OF WIVES'. [iii]: title page. [iv]: 'The main essay of The Telling was first published in Chelsea, 1967. The | book was originally printed in Great Britain by the Athlone Press of the | University of London.' Copyright notice. 'Published simultaneously in Canada by Fitzhenry & Whiteside | Limited, Toronto.' [v]: Contents. [vi]: 'To Schuyler, my husband, my partner in | the endeavor to take words, and oneself, | further--¬and, now, to outlive death's long | moment... | and to my mother and my father, who | imparted to me a durable sense of the | further'. [1]-4: 'Nonce Preface'. [5]: blank. 6: 'OUTLINE'. [7]: 'THE TELLING'. [8]: blank. 9-56: text. [57]: 'PREFACE FOR A SECOND | READING'. [58]: blank. 59-80: text. [81]: 'SOME AFTER-SPEAKING: | PRIVATE WORDS'. [82]: blank. 83-185: text. [186]: printer's numerals.

Binding and dust jacket: Yellow cloth over boards. Front lower fore-edge stamped in gold with publisher's device. Back blank. Brown cloth on spine extends 1 3/4 in. onto front and back. Spine printed in gold lengthwise: 'Laura (Riding) Jackson THE TELLING Harper & Row'. Only top edge trimmed.
Yellow dust jacket printed in black and blue over design of flowers in brown. Front and back flaps describe book and author's career. Front flap copy, continued on back flap: "More than any other writer in this century, Laura (Riding) Jackson has devoted herself to the possibilities of language itself, not simply in the sense of poetic artistry or prose style, but an understanding of words in the optimum explicitness and fullness -- the articulation of our humanness. In The Telling, she brings a splendid language into use to speak her view that the significance of life lies in the capability of knowledge of ourselves for a common work of clarifying existence. Both in what she calls the 'core-part' of the book and the supplements, there is much that has a profound importance in our situation: a view of the nature of women that is different from the traditional, the 'liberal,' and the 'liberated' stance; a unique view of poetry and its limitations; a treatment of the appeal of myth in modern literature; a new position on the subject of the spiri¬tual nature of existence. The Telling first appeared in 1967 in the New York magazine Chelsea. The supplementary parts were added several years later, for book publication in England. They consist of specific commentaries, explanations, pertinent namings of things, which would have interrupted the unbroken speaking of the essential text. The Telling is a book of great depth and wisdom and truth, going far beyond its obvious beauties to yield richer meanings on each successive read." Author’s biographical sketch on back flap. Dust jacket back copy reproduces “some peculiarly memorable things [that] are said in The Telling -- they are not scattered gems, rather live shoots from one growth.”

Paper: White wove paper. Brown wove endpapers. Contents: Identical
to British edition.
Notes: Published in September, 1973, at $6.95. Riding hand¬corrected p. [iv] of the numbered series of 100 to read main "portion" instead of main "essay."

c. Second British edition (2005)

Collation: 8 1/2 x 5 1/4 in., unsigned, pp. [i-vi] v [vi] vii-xiv [xv-xvi] 1-4 [5] 6 [7-8] 9-56 [57-58] 59-80 [81-82] 83-185 [186-188]. [i]: biographical sketches of Laura (Riding) Jackson and Michael Schmidt [ii]: note about Fyfield Books. [iii]: title page. [iv]: copyright page. [v]: Contents. [vi]: blank. vii-xiii: introduction. xiv: Revisions made by Laura (Riding) Jackson. [xv]: 'To Schuyler, my husband, my partner in the endeavor | to take words, and oneself, further--¬and, now, to outlive | death's long moment... | and to my mother and my father, who imparted to me a durable | sense of the further'. [xvi]: blank. 1-185 text, facsimile of first British edition. [186]: blank. [187-188]: Fyfield Books list.

Binding: Paper covers. Front panel has ¼ in. teale band across top and extending to spine and back. 1 ¾ in yellow band below has author’s name printed in black, title in teale, ‘WITH AN INTRODUCTION BY MICHAEL SCHMIDT’ in black. Remainder of front panel is full-color reproduction of Albrecht Dürer’s “Greater Celandine,” dated 1526. Back panel copy: [quotation from the text] ‘For Laura (Riding) Jackson, two decades of intense poetic dedication finally revealed poetry itself to be a ‘usurping occupant’. It was a long time before she felt ready to publish this post-poetic testament, the book she called a ‘personal evangel’. The work of a poet who renounced poetry in mid-life because it hampered the way to something further in language, The Telling stands central to her work and unique in the intellectual history of the twentieth century. The language-quality of the Telling is distinctive; so too is the suthor’s vision of human fulfilment as attainable through truthh-speaking. The core-part of the book, in 62 numbered sections, is followed by a ‘Preface for a Second Reading’, and in turn by the confiding ‘Some After-Speaking: Private Words’. This concentric series of extending considerations -- linguistic, literary, social, spiritual -- completes the book, while leaving its thought open to further exploration. Michael Schmidt considers this rich and rewarding work in his introduction.’ Spine yellow printed lengthwise in black and teale: '[Fyfield Books emblem] LAURA (RIDING) JACKSON The Telling Fyfield Books’. All edges trimmed.

Paper: Cream wove paper. No endpapers.
Contents:
vii Introduction
xiv Revisions made by Laura (Riding) Jackson
1 Nonce Preface
6 Outline
7 The Telling
57 Preface for a Second Reading
81 Some After-Speaking: Private Words
83 1 An Invitation
85 2 The Idea of Rebeginnings
108 3 Extracts from Communications
147 4 Some Notes, enlarging on some Features of the Text

Notes: Published in June 2005 at £9.95. Dürer cover image is a reproduction of a print by owned by Laura (Riding) Jackson. Photograph by Bruce Andrews, cover design by Stephen Raw. Printed and bound in England by SRP Ltd, Exeter. ISBN 1-85754-774-8.

*A42 FROM THE CHAPTER 'TRUTH' IN RATIONAL MEANING: 1975
A NEW FOUNDATION FOR THE DEFINITION OF WORDS

Collation: 8 1/2 x 5 3/4 in., unsigned, unpaged. [1]: title page. [2]: blank. [3]: paragraph defining language, signed 'L.J.'. [4]: blank.

Binding: Glossy white paper covers. Front repeats printing and colors of title page. Back blank. Inside back cover printed in purple: 'Copyright Laura (Riding) Jackson | and Schuyler B. Jackson 1975 | EDITED, HAND-SET AND PRINTED BY JOHN COTTON | 45 Copies For Friends Of | THE PRIAPUS PRESS | 37, Lombardy Drive, Berkhamsted, Herts., England. | Press device by Rigby Graham'. All edges trimmed.

Paper: White wove paper.

Note: The British Library holds a copy of this pamphlet.
A43 IT HAS TAKEN LONG-- 1976

CHELSEA 35| It Has Taken Long-- | [slanted to upper fore-edge] FROM THE WRITINGS OF | [facsimile signature] Laura (Riding) Jackson | [rule]

Collation: 8 1/2 x 5 1/2 in., unsigned, pp. [1-9] 10-20 [21] 22-79 [80-81] 82-159 [160-161] 162-189 [190-191] 192-226 [227] 228-239 [240-244]. [1-2]: blank. [3]: 'SELECTIONS | LAURA (RIDING) JACKSON'. [4]: 'Author's Note on Copyright | All rights reserved, for both unpublished and | published material presented in this issue. A por- | tion of the published material has suffered the | indignity of capture and subjection to the form of | literary piracy known as reprinting. But all the | components of my selection for this issue are | integrally part of it. The reproduction in any | manner of any of these without my approval will | be regarded as a serious infringement. | L.(R.)J.' [5]: 'This collection is dedicated to Susan Morris, a | perfect friend, who has helped me prepare it, and | much else, for publication, benignly treating my |work and myself as one. | L.(R.)J.' [6]: 'Publication of this issue | has been made possible by a grant from the | Coordinating Council of Literary Magazines | made through funds received from the | National Endowment for the Arts and the | New York State Council on the Arts'. [7]: 'CHELSEA | EDITOR | sonia RAIZISS |ASSOCIATE EDITORS | helene DWORZAN | rose GRAUBART | brian SWANN | ASSISTANTS TO THE EDITOR | david HIRSH | barbara PENTRE | CHELSEA is published by Chelsea Associates, Inc. | [subscription rates, editorial address, copyright notice, terms for submissions, disclaimer of opinions expressed by contributors] 1976'. [8-9]: Contents. 10-11: 'A Word from the Guest Editor'. 12: 'FOREWORD'. 13-14: 'INTRODUCTORY'. 15-20: text. [21]: 'PART ONE | LANGUAGE AND LITERATURE'. 22-79: text. [80]: blank. [81]: 'PART TWO | STORY'. 82-159: text. [160]: blank. [161]: 'PART THREE | THE AUTHORIAL EXPERIENCE'. 162-189: text. [190]: blank. [191]: 'PART FOUR | THE PERSONAL EXPERIENCE'. 192-226: text. [227]: recent photograph of author. 228-239: 'LAURA (RIDING) JACKSON: A CHECK-LIST'. [240]: blank. [241]: Advertisements for Selected Poems: In Five Sets and The Telling. [242]: Ad¬vertisement for Chelsea. [243]: Advertisement for distributor of Chelsea. [244]: blank.

Binding: Paper covers. Front serves as title page. Black printing on white band for name of magazine and light green background for title and author. Back repeats facsimile of author's signature, a rule, and 'author's selections'. Spine printed lengthwise in green on white band: 'CHELSEA 35'.

Paper: White wove paper. No endpapers.

Contents:
10 Word from the Guest Editor, Alfredo de Palchi
12 Foreword, L.(R.)J.
Introductory
13 It Has Taken Long-¬
15 Positions
Part One. Language and Literature
22 I Habits of Linguistic Curtailment
43 II Towards the Creation of a Consciousness of the
Linguistic Ineptitude of Certain Uses of "Create"
etc. Currently Widely Favored as Unexceptionable
Usage
48 III Twentieth-Century Literary Individualism
60 IV The Matter of Metaphor
V Poetry Log: Random Choices
64 As to Certain Conditions Governing Poem-Making
65 On Thought, in a Poe
67 Not Mere Vulgarity
68 The Road to, in, and away from, Poetry
72 Poetry as the Redemption of Language
74 On D.H. Lawrence as Poet
74 To a Friend--On Myth
76 On Women
77 To a Young Scholastic
78 A Comment On a Book of Poems
79 To Someone as to the Poet Ted Hughes
Part Two. Story
82 I About Story
II Four Stories from "Progress of Stories"
87 In the Beginning
88 Eve's Side of It
94 Privateness
95 In the End
101 For Later Readers of the Presented Four Stories
III An Excerpt from "A Trojan Ending"
108 Book III--The Truce
117 The Writing of "A Trojan Ending" Compared with That of
"Progress of Stories"
IV Excerpts from "Lives of Wives"
118 Part I--A Persian Lady, and Her Contemporaries
119 1. The Medes and the Persians
121 2. The Rise of Cyrus, Husband of Amytis
131 3. The Defeat of Croesus
136 Story and Story-Style: Critical Miniatures
Part Three. The Authorial Experience
Extracts from "Praeterita"
162 I From the Introduction
167 II Hart Crane: The Pity of It
177 III As to "Published in Paris"
182 IV The Robert Graves Mystique
Part Four. The Personal Experience
Open Confidences
192 I Of 1962
208 II Of 1966
218 III The Late 60's
223 As There Was Less and Less of Self-Separating, Incidental,
Thought, in My Thought
225 Conclusory
227 Photograph, Lowber Tiers
228 Check-List, Alan Clark

Notes: Published as a special issue of Chelsea, this volume gathers much of Riding's miscellaneous writing of the 1970's. The price of the magazine was $2.50.

A44 HOW A POEM COMES TO BE 1980
[blue swash letters] A POEM [blue leaf ornament] | [left column: two-paragraph explanation] | This is number [written] 123 [prin¬ted] of 150. | COPYRIGHT  1980 Laura (Riding) Jackson | [right column:] Foreword to the Poem | [paragraph] | [blue] How A Poem Comes To Be | For JAMES F. MATHIAS | [poem of 45 lines, first three words of first line in blue, rest in black] | LAURA (RIDING) JACKSON | [signed] Laura (Riding) Jackson
Collation: 22 x 15 in., broadsheet.
Binding: None.
Paper: White Arches wove paper, top and bottom edges untrimmed.
Notes: 150 copies signed by the author were offered by Lord John Press through Euclid Books at $40.00. The poet's ex¬planation describes this as her first new poem since 1938.

A45 DESCRIPTION OF LIFE 1980
Laura Riding | [red rule] | Description of | Life | Targ Editions | [red rule] |1980
Collation: 9 1/4 x 5 3/4 in., unsigned, pp. [i-ii] iii-v [vi] [1-4] 5-24 [25-26] 27-57 [58-60] 61-75 [76]. [i]: title page. [ii]: 'Copyright © 1980 Laura (Riding) Jackson | Printed in the United States of America | All rights reserved'. iii-v: Preface. [vi]: blank. [1]: 'Description of Life | [rule] | (from a manuscript of the early 'thirties, | picturing, in three portraits, the inconclusiveness | of human life | on its journey to its journey | to its conclusive condition, and shape)'. [2]: blank. [3]: 'ONE'. [4]: blank. 5-24: text.
[25]: 'TWO'. [26]: blank. 27-57: text. [58]: blank. [59]:'THREE'. [60]: blank. 61-75: text. [76]: blank. [recto of back endpaper]: 'Description of Life by Laura Riding is Number Eight | of the TARG EDITIONS published in New York City, on | June 27, 1980. The book was designed by Ronald | Gordon at The Oliphant Press, New York, and | was printed by Westbrook. The type is | Baskerville and the paper, Artlaid. | This first edition is limited | to 350 copies, signed by | the author. | [signed] Laura (Riding) Jackson'. [verso of endpaper]: blank.

Binding: Light blue paper over boards. Front and back blank. Beige cloth on spine extends 3/4 in. onto front and back. Spine printed in gold: 'Description of Life Laura Riding'. All edges trimmed.

Paper: White Artlaid paper. Same endpapers.

Note: Offered for sale by the publisher at $60.00 before pub¬lication and $75.00 thereafter

A46 THE POEMS OF LAURA RIDING 1980

a. First American edition

Collation: 8 1/2 x 5 1/2 in., unsigned, pp. [i-viii] ix-xiv, 1-13 [14-16] 17-68 [69-70] 71-144 [145-146] 147-236 [237-238] 239-320 [321-¬322] 323-361 [362] 363 [364] 365-369 [370] 371-373 [374] 375-377 [378] 379-381 [382] 383-385 [386] 387-389 [390] 391-392 [393-394] 395-397 [398] 399-400 [401-402] 403-419. [i]: 'THE POEMS OF LAURA RIDING'. [ii]: blank. [iii]: title page. [iv]: 'Copyright  Laura (Riding) Jackson 1938, 1980| All rights in the book are reserved | For information, address the publisher: | Persea Books, Inc. | Box 804 Madison Square Station, New York, N.Y. 10010 | International Standard Book Number: 0-89255-044-9 | Library of Congress Catalog Card Number: 79-91169 | First American edition | Printed in Great Britain’ [v] [rule] ‘To | Schuyler Brinckerhoff Jackson | who knew, and exerted himself to his | extreme to serve, the beneficent duty | that words lay upon us, and help us | to exert ourselves to serve [rule]. [vi]: blank. [vii] [rule] ‘The poems in this edition are collected from the following | books: -- | The Close Chaplet (Hogarth Press). | Love as Love, Death as Death (Seizin Press) | Poems: A Joking Word (Jonathan Cape Ltd.). | Though Gently (Seizin Press). | Twenty Poems Less (Hours Press). | Poet: A Lying Word (Arthur Barker Ltd.) | [rule] | Voltaire (Hogarth Press). | Laura and Francisca (Seizin Press). | The Life of the Dead (Arthur Barker Ltd.). | [rule] | Epilogue, Volumes I, II, and III (Seizin Press and | Constable & Co.) |and from work not published previously | to the 1938 edition.’ [viii]: blank. ix-xiv: Contents. 1-13: Introduction. [14]: blank. [15]: [double rule | 'POEMS OF MYTHICAL OCCASION' [double rule]. [16]: blank. 17-68: text. [69]: [double rule] |'POEMS OF IMMEDIATE OCCASION’| [double rule]. [70]: blank. 71-144: text. [145]: [double rule] | 'POEMS OF FINAL OCCASION' | [double rule]. [146]: blank. 147-236: text. [237]: [double rule] |'POEMS CONTINUAL' | [double rule]. [238]: blank. 239-320: text. [321]: [double rule] | 'HISTORIES' | [double rule]. [322]: blank. 323-361: text. [362]: illustration ["Le Coeur sec"]. 363: text. [364]: illustration ["Les Trois Ames des Morts"]. 365-369: text. [370]: illustration ["Le Théâtre de Mortjoy"]. 371-373: text. [374]: illustration ["La Transformation de Romanzel"]. 375-377: text. [378]: illustration ["La Naissance des Bébés Morts"]. 379-381: text. [382]: il¬lustration ["A l'intérieur de la ville: de jour"]. 383-385: text. [386]: illustration ["A l'Intérieur de la Ville: de Nuit"]. 387-389: text.[390]: illustration ["Le Banquet des Morts"]. 391-392: text. [393]: blank. [394]: illustration ["La Musée de l'Aube"]. 395-397: text. [398]: illustration ["La Déesse qui Plaisante"]. 399-400: text. [401]: [double rule] | ‘APPENDIX’ | [double rule]. [402]: blank. 403-419: text.

Binding: Dark green cloth over boards. Front and back blank. Spine printed in gold: 'The poems of Laura Riding | LAURA (RIDING) JACKSON | Persea. All edges trimmed.

Paper: Cream wove paper, including endpapers.

Contents:
1 Introduction
Poems of Mythical Occasion
17 Forgotten Girlhood
22 Incarnations
23 Pride of Head
24 How Blind and Bright
25 Because I Sit Here So
26 Several Love-Stories
27 The Mask
28 The Signature
29 Chloe Or
30 Yes and No
31 The Number
32 Chrysalis
33 So Slight
34 The Tillaquils
35 Take Hands
36 Lucrece and Nara
37 The Nightmare
38 The Sad Boy
40 Mortal
41 The Quids
43 Enough
44 Room
45 Afternoon
46 No More Are Lovely Palaces
47 Goat and Amalthea
48 The Virgin
49 To a Loveless Lover
51 Druida
53 Back to the Mother Breast
54 As Well as Any Other
55 John and I
57 Lying Spying
58 Prisms
59 Postponement of Self
60 The Lullaby
62 Helen's Burning
63 Helen's Faces
64 The Tiger
68 The Rugged Black of Anger
Poems of Immediate Occasion
71 Echoes
76 Hospitality to Words
77 One Self
78 An Ageless Brow
79 There Is Much at Work
80 The Definition of Love
81 Many Gentlemen
82 The Poets' Corner
83 Sunday
84 A Previous Night
85 The Devil as Friend
86 Life-Size Is Too Large
87 The Map of Places
88 Footfalling
89 Death as Death
90 The Troubles of a Book
91 Elegy in a Spider's Web
94 That Ancient Line
95 Opening of Eyes
96 Though in One Time
97 Originally
98 The Wind Suffers
99 Ding-Donging
100 You or You
101 Growth
102 Grace
103 All Nothing, Nothing
105 Last Fellows
106 Sea, False Philosophy
107 By Crude Rotation
108 It Has Been Read by All
109 Sleep Contravened
110 Finally
111 World's End
112 Poem Only
113 Rhythms of Love
115 Nearly
116 Faith upon the Waters
117 Advertisement
118 Dear Possible
119 O Vocables of Love
120 Throe of Apocalypse
121 In Nineteen Twenty-Seven
125 Second-Death
126 For-ever Morning
127 Rejoice, Liars
128 Beyond
129 And This Hard Jealousy
130 In Due Form
131 All the Time
132 Celebration of Failure
133 Then Wherefore Death
134 Come, Words, Away
137 As to a Frontispiece
138 Jewels and After
139 Tale of Modernity
141 Midsummer Duet
Poems of Final Occasion
147 As Many Questions as Answers
148 The Judgement
149 And I
150 Earth
151 Regret of War Ways
152 All Things
154 Further Details
156 The Way It Is
157 And a Day
158 The Fates and the Mothers
159 Who
160 Cycles of Strangeness
162 The Time Beneath
163 The Fact
164 Scornful or Fond Infinity
165 The Courtesies of Authorship
166 Then Follows
172 Meanwhile
173 Autobiography of the Present
175 Care in Calling
176 Intelligent Prayer
177 Cure of Ignorance
178 With the Face
179 The Biography of a Myth
181 The Wind, the Clock, the We
183 From Later to Earlier
184 Respect for the Dead
185 After Smiling
187 The World and I
188 There Is No Land Yet
189 Letter to Man's Reasonable Soul
191 The Talking World
194 Unread Pages
196 I Am
199 Concerning Food
201 Tree-Sense
203 The Dilemmist
206 The Unthronged Oracle
208 The Flowering Urn
209 It Is Not Sad
212 The Signs of Knowledge
216 Poet: A Lying Word
219 Three Sermons to the Dead
222 Benedictory
229 Disclaimer of the Person
Poems Continual
239 The Last Covenant
250 Auspice of Jewels
252 Memories of Mortalities
264 Be Grave, Woman
265 The Need to Confide
267 Divestment of Beauty
268 No More Than Is
271 Friendship on Visit
273 Christmas
274 Wishing More Dear
275 The Reasons of Each
277 Plighted to Shame
278 We Are the Resurrection
280 The Wages of Eloquence
281 On a New Generation
282 How Now We Talk
284 Modern Superstition
285 Because of Clothes
286 A Letter to Any Friend
288 After So Much Loss
290 Eventual Love
292 The Why of the Wind
294 The Readers
296 The Cycle of Industry
297 Of All the World
299 I Remember
301 A Need for Hell
302 Decline of Prophecy
304 The Forgiven Past
306 When Love Becomes Words
311 March, 1937
313 The Victory
314 In the Beginning
316 Doom in Bloom
317 Seizure of the World
318 Nothing So Far
319 Christmas, 1937
Histories
323 The Vain Life of Voltaire
345 Laura and Francisca
360 The Life of the Dead--With Illustrations by John Aldridge
Appendix
403 I. Note On ‘Midsummer Duet’, p. 141
II. An Early Poem, ‘Saturday Night’
406 III. Original 1938 Preface
414 IV. Excerpts from the Preface to Selected Poems (1970)
417 V. Excerpts from A Recording (1972), Explaining The Poems

Dust jacket:
Light green dust jacket printed in darker green. Copy on front flap: “This volume reproduces unaltered the entire poetic substance of the first (1938) edition, with new prefatory material and some supplementary notes. The poetry and prose of Laura Riding are central to the literature of the twentieth century. Her poetic work has left impressions on the writings of both American and British poets. But its fundamental value, the lessons it contains on the inseparability of the problems of poetic expression from the problems of fidelity to the conscience that informs language as the motivating force of human expression, has been obscured in the age’s diversity of competing preoccupations, in literary and other particular fields of interest, and in the age’s general chaotic social sum of things. We make this happily full volume available with the conviction that all it holds of challenge and pleasure for the literately faithful of the existing generations must no longer be left as belonging to the past, by reason of inaccessibility.”

Paper: Cream wove paper, including endpapers.
Note: Cover design by Sue Richards. Priced at $20.00. Page 419 printed on recto of back endpaper.
Errata for A46 The Poems of Laura Riding
(from a sheet provided to me by L(R)J)

p. 104 l. 5 ghastliness (not ghastilness)

p. 117 l. 4 the reading should be ‘For twenty-six years . . .”
not seventy-six years . . .

p. 125 l. 11 life-likeness’ (hyphen is omitted)

p. 134 l.16 You (not Tou)

p. 228 l. 3 made me a like thing (like was omitted)

p. 241 l. 16 3rd section, l. 1 There should be a comma after ‘power’
(From where the power,)

p. 255 l. 6 from foot: ‘On clumsy fingers told’ (not ‘Of clumsy fingers . . .’)

p. 303 l. 9 eyes (not ‘eye’)

p. 354 l. 23 the reading should be
‘I’d teach them no’ (not ‘then’)

p. 419 l. 11.9/10 3rd & 4th lines of quotation have been reversed
Reading should be
‘But I know what a quid’s disguise is like,
‘Being one myself,
‘The gymnastic device’ (no comma after device)

Introduction

p. 11 8 lines from foot
The reading should be
‘Americana item.’

A47 PROGRESS OF STORIES 1982
First American edition

Collation: 8 1/4 x 5 1/2 in., unsigned, pp. [i-vi] vii-ix [x] xi-xxxiii [xxxiv] [1-2] 3-165 [166] 167-281 [282] 283-302 [303-304] 305-357 [358-360] 361 [362] 363-380 [381-382]. [i]: 'PROGRESS OF STORIES | A NEW, ENLARGED EDITION'. [ii]: blank. [iii]: title page. [iv]: 'PUBLISHED BY | THE DIAL PRESS| 1 DAG HAMMARSKJOLD PLAZA | NEW YORK, NEW YORK 10017 |SOURCES | ANARCHISM IS NOT ENOUGH first published 1928 | by Jonathan Cape, London | EXPERTS ARE PUZZLED first published 1930 | by Jonathan Cape, London | PROGRESS OF STORIES first published 1935 |by The Seizin Press, Deya Majorca and | Constable & Co. Ltd, London | The story, “Christmastime,” first appeared | in the Winter 1982 issue of Grandstreet. | COPYRIGHT  1982 BY LAURA (RIDING) JACKSON | ALL RIGHTS RESERVED. | MANUFACTURED IN THE UNITED STATES OF AMERICA | FIRST PRINTING | DESIGN BY FRANCESCA BELANGER | LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA | JACKSON, LAURA (RIDING), 1901- | PROGRESS OF STORIES. | I. TITLE. | PS3519.A364P7 1981 813’.52 81-12571 | ISBN 0-385-27212-X AACR2’ [v] ‘To My Friends | BARBARA AND JAMES MATHIAS | Who know how to read | this book Right -- | Forwards from its early time, | Backwards from Now’ [vi] : blank. vii-ix: Contents. [x]: blank. xi-xx: Preface to the First Edition (1935). xxi-xxxiii: Preface to the Second Edition (1982). [xxiv]: blank. [1]: ‘THE STORIES | OF THE | FIRST EDITION’. [2]: blank. 3-165: text. [166]: blank. 167-281: text. [282]: blank. 283-302: text. [303]: ‘OTHER | EARLY STORIES’. [304]: blank. 305-357: text. [358]: blank. [359]: ‘FINALE’.[360]: blank. 361: text. [362]: blank. 363-380: text. [381-382]: blank.

Front flap text, continued on back flap: "In its first life, which began on publication in 1935, Laura Riding’s Progress of Stories was received with wonder and delight. Edwin Muir said: “It is so purely original, so completely devoid of the second-rate, that all one can do is praise it.” Rebecca West said: “Uniquely delightful . . . . Here is something lovely, a new version of something old and dear.” At the time, Laura Riding was living in Majorca and was a central figure in the literary circles of both England and her native America. Her work, in its different forms, has been important to other writers -- among the poets, for example, W. H. Auden, Sylvia Plath, and John Ashbery. As an author whose writing activity has extended over a period of nearly sixty years, she has become cloaked with the status of a writer’s writer, one whose earlier work, except for two recent republications, has been available only in the rare book area or as Xeroxed copies of the books. Yet the impact of her work--both the poems, stories, and prose of an earlier time and the now almost exclusively prose work, written under the name of Laura (Riding) Jackson -- continues to be felt, with new pondering on its nature and intent at the cutting edge of literary concern. In the original Progress of Stories there are eighteen stories, which “progress” from “Stories of Lives” to “Stories of Ideas” to “Nearly True Stories.” In this new edition Laura (Riding) Jackson has added twelve stories from
Anarchism Is Not Enough (1928) and Experts Are Puzzled (1930) and one late story (1966) to round out the collection. She has also provided a new general preface and prefatory words for the added material. New readers expecting conventional “short stories” will be surprised: Laura Riding’s story-telling is not concerned with art in the current sense of a constructed display of the author’s talents, but rather with the nature of story itself as related to the human responsibility of telling the truth, what Riding calls the “one story” of our being and the world. The content of Progress of Stories has an endearing closeness to Hans Christian Andersen’s fairy tales; it is a magical gathering of stories unlike any others, with extraordinary feeling for rhythm and language, and a wonderful humor-- crisp, brilliant stories that leave the reader exhilarated. This new edition not only brings a classical work back into print but arrives with a particular relevance for today’s readers.”

Paper: Cream laid paper, including endpapers.

Contents:
xi Preface to the 1935 Edition
xxi Preface to the 1982 Edition
The Stories of the First Edition
I. Stories of Lives
3 Socialist Pleasures
10 The Friendly One
18 Schoolgirls
26 The Secret
41 The Incurable Virtue
52 Daisy and Venison
67 Three Times Round
II. Stories of Ideas
85 Reality as Port Huntlady
134 Miss Banquett, or The Populating of Cosmania
III. Nearly True Stories
167 The Story Pig
185 The Playground
196 A Fairy Tale for Older People
236 A Last Lesson in Geography
255 IV. A Crown for Hans Andersen
V. More Stories
283 In the Beginning
285 Eve's Side of It
293 Privateness
295 In the End
Other Early Stories
305 Introduction
From Anarchism Is Not Enough, 1928
Three Stories About Unexpressed Feelings,
Including Mine, About People, About Me
307 How Came It About?
310 Hungry to Hear
311 In a Café
A Story About the Realness of Story Unrealness
and the Unrealness of Story Realness
314 An Anonymous Book
From Experts Are Puzzled, 1930
Stories That Make a Point of Going No Further
Than They Go, This Being Their Point
340 Mademoiselle Comet
342 The Fortunate Liar
344 Molly Barleywater
346 Buttercup
348 The Fable of the Dice
351 Perhaps an Indiscretion
354 Arista Manuscript
357 That Workshop
Finale
363 A Later Story: Christmastime (1966)
365 Some Stories in Review

Notes:
Published in April 1982 and priced at $15.95. Jacket design by Mary Mietzelfeld/Lynn Hollyn Associates.

Laura (Riding) Jackson distributed to her friends and acquaintances the following statement to be attached to copies of the American edition:

This book is presented to you by me exactly as issued by its publisher -- complete with a jacket having a pictorial design that offends against the substance and spirit of the stories contained in it, with a muddle of emblems of a reference and a significance having nothing to do with them. The emphasized bird-emblem is the most inapproriate bid of the jacket-design for attention to the book on the reader-market: the implication it makes of a coyly fluttering whimsey is grossly misrepresentative of what is inside the book. Opportunity of seeing the material delivered by the jacket-designer before its acceptance by the publisher was not given me, despite my having indicated my being seriously concerned about the fitness of the jacket-design to the intrinsic temper of the stories. I feel it important that those whom it especially pleases me to have as readers of this book know that I absolutely disavow what the jacket-design represents the book as conveying, typifying. I also want them to know that the final ssection of the book -- FINALE -- departs from my arrangements in certain typographical respects considered important by me for unity of reader-mind with author-mind as to the intended textual form and course of things. The preliminary item in this section was not placed by me for appearance as the initial item of the entire setion, but to be incorporated with the first feature of the section, the story ‘Christmastime’, as intervening between title and text. The entire ‘Some Stories in Review’ should be read with especially close attention to what is indicated in the text internally as to its basic composition, as of present-time commentary, with citings of earlier date incidentally and illustratively relevant to the course of the later, present-time, commentary.

It would meet my feeling, in joining this statement to my presentation, for it to be permanently attached to the book.

Laura (Riding) Jackson

First British edition

Binding and dust jacket: Brown cloth over boards. Front and back blank. Spine printed in gold: ‘Laura Riding Progress of Stories [publisher’s device]’ All edges trimmed.
Front flap text, continued on back flap: The new edition of Progress of Stories reproduces all of the 1935 edition, but enlarges it with some early stories of the same period, a second preface written for the new edition, and a little varied added material at the end. The reasons for the writing of the stories were fundamentally the same that moved the author in writing her other works, and Progress of Stories is not to be regarded apart from the interest of her other work. The two prefaces -- the original and the new one--should make this plain. While the first group of stories presents story-pictures of personal lives, each life a little isolated quantity, a thing-in-itself, the second group spreads into more generalized planes and quarters of narrative: these stories explore life-scenes in which the incidents are incidents in a framework of ideas -- their reality is permeated with ideas, as so much actual life-reality is. Then come what she called ‘Nearly-true Stories’. These have much of the quality of fairy-tale about them, with some touch of myth and legend: they reach out into the borderlands of the questioning mind that yearns to rest awhile on something truth-like if not actually true. Then comes a tribute to Hans Andersen, who loved to dramatize this beautiful predicament of the human mind. The original book closed with ‘More Stories’, an epilogue of four stories that spread this way and that in a manner as if to say, ‘There’s no going all the way of course to the truth-line in just story-telling, but the human mind sometimes can’t resist stretching the story-line limit somewhat, while knowing, yet, it will spring back as far as it’s stretched.’ Apart from ‘Christmastime’ (1966), all newly added stories are of early writing, none later than 1929 or perhaps early 1930. Back flap: LAURA (RIDING) JACKSON was born in New York City in 1901. She studied at Cornell and briefly at two other universities. At Cornell she began devoting herself seriously to the writing of poems. With increasing frequency her work was published in periodicals, most notably The Fugitive, and she was elected a member of the Fugitives group. Her first book was published in 1926, by which time she had left America for a stay abroad that extended itself to thirteen years. In this period she published several books, including Collected Poems (1938 -- new edition by Carcanet 1980), criticism, stories, and an historical novel. She edited a critical annual and was partner in a private publishing activity. After her return to the United States she worked long on a book on language, in which she had for collaborator until his death her husband Schuyler B. Jackson, poet and critic, also experienced farmer, whom she married in 1941. The two settled in Florida, which she continues to make her home. Her later publications include, besides articles and the new edition of Collected Poems, a prose work entitled The Telling (1972).’

Contents:
Identical to the American edition.

Paper:
Of inferior quality to the American edition!

Notes:
Published in ??? 1982 and priced at £7.95. Jacket cover design by Sue Richards.

A48 SOME COMMUNICATIONS OF BROAD REFERENCE 1983
Some Communications | of Broad Reference | BY | Laura (Riding) Jackson | [rule] |Lord John Press  Northridge, California | 1983
Collation: 9 1/4 x 6 in., unsigned, pp. [i-viii] 1-30 [31-34]. [i]: ‘LAURA (RIDING) JACKSON’. [ii-iv]: blank. [v]: title page. [vi]: LORD JOHN PRESS | 19073 LOS ALIMOS STREET | NORTHRIDGE, CALIFORNIA 91326 |Copyright © 1983 BY LAURA (RIDING) JACKSON | ISBN: 0-935716-22-X.’ [vii]: Contents. [viii]: blank. 1-30: text. [31-32]: blank. [33]: ‘This first edition of|SOME COMMUNICATIONS OF BROAD REFERENCE | is limited to one hundred and twenty-five numbered copies | and 26 lettered copies specially bound. | All copies are signed by the author. | The paper is Mohawk letterpress | and the type is Janson.| Designed by Vance Gerry and printed by Patrick Reagh| Presentation copy.’[34-36]: blank.

Binding: Patterned beige paper over boards. Front and back blank. Brown cloth on spine extends 1 in. onto front and back. Spine printed in gold: Laura (Riding) Jackson LORD JOHN PRESS. All edges trimmed. Author’s copy has dark blue paper over boards, with light blue, yellow-green, and white marbleizing. Same brown cloth on spine.

Paper: Cream laid paper. Beige wove endpapers.

Contents:
1 End of the Year Words: A Story in Progress -- 1973
2 Love and Forgiveness: A Discussion -- 1974
4 Again, on Love, A Moot Matter between Myself and a Friend of Loving Temperament --1974
6 Letter at Year’s End, Year’s Beginning: For My Friends -- 1974-1975
11 A Letter for Everyone: End of Year 1975
13 For Birthdays -- 1976
14 It Has Taken Long
17 For a Particular Birthday--1977
18 End-of-Year Word: To My Friends of All Degrees--1977
19 Reflections before the Date-Change:” For My Friends, and All--1978
21 Something for Friends in Perplexity: Summary of 1982
28 And the End?--Postscript, 1982

Notes:
Limited to 125 numbered and 26 lettered copies, all signed by the author. Also 1 author’s copy, 1 publisher’s copy, 1 designer’s copy, 1 printer’s copy, 1 binder’s copy, 1 James F. Mathias copy. [Information from Herb Yellin letter to Alan, dated Feb. 1, 1984]

Errata [marked in author’s copy]:
p. 1, l. 3 from foot: fulfilment, not fulfillment
p. 9, l. 18: undividedness, not undividness
l. 2 from foot: fulfils, not fulfills

p. 11, l. 1 in “A Letter for Everyone”: ‘for everyone’, [comma misplaced]
p. 13, l. 14: altar, not alter
p. 14, l. 10: personhood, not personoood
p. 15, l. 7: how much, [comma required]
p. 17, l. 12 from foot: cast, not case
p. 21, l. 4 from foot: judgements, not judgments
p. 22, l. 12 from foot: substantiatable, not substantialable
p. 23, l. 9: human identity. [period after identity]
l. 10 from foot: they, not They [after colon]
p. 25, l. 8: exactitudes, not exactidues
p. 27, l. 13 from foot: fulfil, not fulfill
p. 28, l. 11: honor [the o is faulty]

A49 FIRST AWAKENINGS 1992

a. First British edition

LAURA RIDING | First Awakenings: THE EARLY POEMS | Edited by Elizabeth Friedmann, | Alan J. Clark and Robert Nye | CARCANET

Collation: 8 1/2 x 5 1/4 in., unsigned. pp. [i-iv] v-xi] [xii] xiii-xvi [1-2] 3-86 [87-88] 89-135 [136-¬138] 139-200 [201-202] 203-222 [223-224] 225-268 [269-270] 271-280. [i]: 'FIRST AWAKENINGS | The Early Poems of Laura Riding’. [ii]: blank. [iii]: title page. [iv]: ' First published in Great Britain in 1992 by | Carcanet Press Limited | 208-212 Corn Exchange Buildings | Manchester M4 3BQ| Copyright  1992 The Board of Literary Management of the late |Laura (Riding) Jackson | Introduction and editorial matter copyright  The Editors | All rights reserved | A CIP catalogue record for this book is | available from the British Library. | ISBN 085635 985 8 | The publisher acknowledges financial assistance | from the Arts Council of Great Britain | Set in 10pt Palatino by Bryan Williamson, Darwen | Printed and bound in England by SRP Ltd, Exeter’. v-xi: Contents. [xii]: blank. xiii-xiv: Editors’ Introduction. xv-xvi: Author’s Preface. [1]: ‘I’. [2]: blank. 3-86: text. [87]: ‘II’. [88]: blank. 89-135: text. [136]: blank. [137]: ‘III’. [138]: blank. 139-200: text. [201]:’IV’. [202]: blank. 203-222: text. [223]: ‘V’. [224]: blank. 225-268: text. [269]: ‘Appendices’. [270]: blank. 271-280: text.

Binding: Black cloth over boards. Front and back blank. Spine printed in gold: 'LAURA RIDING FIRST AWAKENINGS | THE EARLY POEMS CARCANET’. All edges trimmed.

Contents:
xii Editors’ Introduction
xiv Acknowledgements
xv Author’s Preface
Sequence I
3 A Bird Speaks
5 A City Seems
5 A Dirge for Summer
6 A Preface
7 Another’s Tongue
8 Appearances
10 Beauty Is Kind
11 Bereavement
12 But What of Trees?
13 But Wickedness . . .
14 Cadence for an Elegy
16 Callando
17 Called Death
18 Ceremonial
19 Conclusion
19 Cordelia
21 Cricket’s Spring
22 Dawn
22 Did I Not Die?
22 Dilemma
23 Divestment
24 Doomed
24 Earth, Great Eyeball
25 Epigrams
26 Evasions
26 For Those Who Stay Up at Night
28 Forbidden
29 Harlequinade on a Curbstone
32 Heed
33 Her Portion
33 Heraclea (To Alastor)
34 How Can I Die?
35 How Does a Tree . . .
36 In the City of Grim Streets . . .
36 Interval
38 Invocation for Birds
40 Jazz Jubilate
46 Jews
47 Judgement Day
47 Lines in Farewell
48 Locomotive
48 Love Was No Tether . . .
49 Makeshift
50 On Excavating at Tell el-Amarna
52 On Having a Poem Accepted by a Magazine
53 Preparations for Departure
54 Requital
54 She Pitied Me
55 Spirit of This Strange Age
55 Tact
57 The Ballad of the Little Old Women of Rome
57 The Basket
58 The Carnival
58 The Cheat
59 The Crime of John Eldridge Katell
60 The Ghoul
61 The Judge
61 The Kiss
62 The Lost Isle
63 The Masterpiece of Lope Juan
71 The Music Teacher
72 The New Atlas
73 The Scourge
76 The Sin
77 The Thief
78 The Torch
78 They Pass Each Other in the Dance . . .
79 To Another
79 To B.S.B. (In Memoriam)
81 To One About to Become My Friend
81 Tocsin
82 Too Happy I
82 Traitor
83 Trifle
83 Truth
84 Unforfeited
85 Wrappers
Sequence II
89 Boy With Violets
89 For Rebecca West (On Reading The Judge)
90 Lovely My Flesh . . .
91 Mama to Maria
92 Melinda Pours
92 Men and the Hymn
93 Notwithstanding Love
93 Of Stone Is My Strong Heart
94 Orbits
96 Perinot Olad
97 Perspective
97 Pestilence
99 Pipers
99 Presences
100 Rest
100 Romantic Profession
101 Shores
102 Slaves
103 Sobriety
104 Song for a Hot Day
105 Strange . . .
105 Tears Are a Celebration . . .
105 The Magicians
107 The Mysterious Whoever
108 The Passionate Women
109 The Pedestal
109 The Rapture
110 The Saint of Daros
111 The Same Small Way
112 The Shore
112 The Spider
113 The Stone
114 The Subterfuge
117 The Sweet Ascetic
117 The Twins
118 These Men Have Been . . .
118 Timothy’s Lad
119 To a Proud Lover
121 To This Death
121 Transmigration
122 Tratch
124 Trinity
128 Triumph
128 Truth’s Promise
129 Two Hells
129 Underground
130 Waste
131 Xenones and Kyranos
Sequence III
139 A Kindness
139 Abstainer
139 Adorned
140 Adventure in a Train
141 Against Adventure
142 An Ancient Revisits
142 An Easier Doom
143 Angelica
144 Anniversary
145 Another Apple
146 Ars Mortis
147 Bacchus
152 Bed-ease
152 Belaguna
155 Biography
155 Bring Me Your Passion
156 Brothers
157 But Lies
157 Callers
158 Calotte’s Lady
159 Coming of Age
159 Compromise
160 Dedication
161 Doubters
161 Drinking Song
162 Epithalamium of a Nun
163 Evolution of a Creature Through Several Faces
165 God’s Proxies
168 Golden Plover
168 Grieve, Women
169 Houses
169 I Had Such Purposes
170 I Have a Penance Too
171 In Reverence
172 Joravely
173 Jugglers
175 Lady of All Creation
175 Last Women
176 Life Is A Thing . . .
177 Named
178 Ode to the Steel Throats
180 Reclamation
181 Speaking in Me
182 Summons
183 The Call
183 The City
184 The Dawn of Darkness
185 The Dead Know Nothing Now
186 The Defense
190 The Door Ajar
191 The End
191 The Fourth Estate
192 The Gropers
193 The Haunt
193 The Hills
194 The House
195 The King of Love (To Pedants and Puritans)
196 The Liar
197 The Quiet Echo
198 To a Cautious Friend
198 To a Gem
199 To I-------
Sequence IV
203 Addresses
207 Ammon’s Grief
208 Another Kind of Bird
209 Can Lips Be Laid Aside?
210 Dallydilbaree
211 If a Woman Should Be Messiah
212 Jowl and Cowl
213 Last Nuptials
215 Love and a Lady
218 Night
219 Reunion
220 The Dissolution of One
221 The Quietest Song
221 The Victory
Sequence V
225 Dimensions
226 A Pair
226 Adjustment
227 The Lightning
228 The City of Cold Women
230 To an Unborn Child
231 Initiation
233 Starved
233 Fallacies
237 Improprieties
238 For One Who Will Dust a Shadow
239 The Floorwalker
240 To the Sky
240 For One Who Will Bless the Devil
241 A Consolation
242 Across a Hedge
242 Forms
243 Wanderer
243 To a Broken Statue
244 For One Who Will Remember
244 Summary for Alastor
245 The Higher Order
246 The Spring Has Many Silences
247 Napoleon in the Shades
247 The Circus
248 Mary Carey
250 The Only Daughter
251 The Contraband
252 For One Who Will Love God
253 Mater Invita
253 For One Who Will Go Shivering
254 For One Who Will Stand in the Wind
255 Ode to Love
Poems to Alastor:
257 Prothalamion
258 Prothalamion II
258 Instead
259 Beauty Was Once . . .
259 The Bridge
260 Ghosts
260 This Side
261 Numbers
261 Plaint Not Bitter
262 The Fourth Wall
263 Song of the Lyre
263 Free
264 My Hunger
264 For One Who Will Keep a Mirror
265 Three Miles Away
266 For One Who Will Sing
266 For One Who Will Believe
267 How I Called the Ant Darling
271 Appendix A: bibliographical notes to Sequence V
273 Appendix B: notes on the sequences
274 Appendix C: Address to Shelley
275 A Prophecy or a Plea (essay)

Paper: Cream laid paper, including endpapers.

Dust jacket: Cream dust jacket printed in turquoise and purple.
Front flap copy: ‘Laura (Riding) Jackson died in 1991, at the age of ninety. The Poems of Laura Riding were published in 1938, after which she renounced poetry, an act which still challenges her readers. That volume omitted some two hundred early pieces, all written before she left America for England in 1926. She left those published and unpublished poems with a friend in New York; they were rediscovered in 1979. She consented to their publication. Her friend the editor Elizabeth Friedmann writes of how the poems ‘experiment in what poetry can do. They are stepping-stones on the path that led her ultimately to a realization of what poetry cannot do.’ The impact of Laura (Riding) Jackson’s work on writers from Graves and Empson to Auden and Ashbery is acknowledged: she is one of the defining intelligences of the century.’ Back flap copy: ‘Laura (Riding) Jackson was born in New York City in 1901. She studied at Cornell and briefly at two other universities. At Cornell she began devoting herself seriously to the writing of poems. With increasing frequency her work was published in periodicals, most notably The Fugitive, and she was elected a member of the Fugitives group. Her first book was published in 1926, by which time she had left America for a stay abroad that extended itself to thirteen years. In this period she published several books, including Collected Poems (1938; new edition by Carcanet 1980), criticism, stories and an historical novel. She edited a critical annual and was partner in a private publishing activity. After her return to the United States she worked long on a book on language, in which she had for collaborator until his death her husband Schuyler B. Jackson, poet and critic, also experienced farmer, whom she married in 1941. The two settled in Florida, where she died in 1991. Carcanet have also published Progress of Stories, Lives of Wives and A Trojan Ending.

Errata:
p. xi, final line: A Prophecy or a Plea [a omitted]

p. 109, l. 1: So still this life of mine has seemed to me, [not this; not mind]
p. 256: Should be stanza break between lines 12-13.
p. 256, l. 10 from foot: Grace with like leaves that wreathe [add with]
p. 256. l. 5 from foot: Who wins no kingdom but denies himself. [wins, not winds]
p. 276, l. 17: mood [not mold]
l. 19: Elizabethans [not Elizabethan]
l. 20: romanticists [not romantics]
p. 279: text omitted after first three words of line 3: You are like this, you are like that, you are swept here and there, you are dead. And it is all very moving, all very wonderful.

Notes: Published June 25, 1992. Priced at £14.95. Dust jacket design by Stephen Raw.
[Alan, I suppose a note identifying the source of non murato could go here?][

b. First American edition

Binding: Burgundy cloth over boards. Front and back blank. Spine printed in silver: ‘FIRST AWAKENINGS | THE EARLY POEMS OF LAURA RIDING LAURA (RIDING) JACKSON [publisher’s device] PERSEA BOOKS’. All edges trimmed.

Paper: Cream laid paper, including endpapers.

Dust jacket: Buff dust jacket printed in burgundy and black. Front panel: Title in burgundy over 1924 portrait of Laura Riding. Editors and preface information printed in cream over burgundy band underneath photo. Back panel: “Dimensions” printed within a burgundy frame, black on white; title in burgundy. Spine panel: Repeats lettering on spine, title and author in burgundy, pub. device and publisher name in black.
Front flap copy, continued on back flap: ‘When Laura Riding sailed for England in December, 1925, she left many of her personal belongings in the safekeeping of a friend in Greenwich Village. Among these items was a box containing the typescripts of more than two hundred poems, a few of which had been published in magazines such as The Fugitive, Poetry, Nomad, Lyric West, and Contemporary Verse. Then aged twenty-four, Laura Riding had already been hailed as a leading voice of her generation. She had come to New York to pursue a life devoted to poetry, but saw her American contemporaries as lacking a seriousness, both poetic and personal, which she considered to be the poet’s essential attribute. So when an invitation came from Robert Graves and Nancy Nicholson in England, she accepted. In Europe she found “solitariness in which to prove the reality of poetry as a spiritual, not merely literary, inheritance.” Although by 1938 she could say that “to live in, by, for the reasons of, poems is to habitate oneself to the good existence,” her probing finally led her to renounce poetry; she had found poetic utterance inherently incapable of yielding the full truth-potential of words. Meanwhile the correspondence with the friend in New York had continued. In 1979 her friend wrote that she had discovered, in storage, the cache of poems left behind. Arrangements were made for its return, and during the months before her death in 1991, Laura (Riding) Jackson was preparing these early poems for publication. Rediscovering these poems of her youth, Laura (Riding) Jackson saw in them “a precise anticipation of an envisaged whole of poetry.” Readers will find here the same confident authorial presence that permeates the “self-determining canon” of her poetic work, which she identified as her Collected Poems of 1938 (reprinted in 1980 by Persea as The Poems of Laura Riding), many of the themes developed in her later work, and a characteristic freshness of vision and scrupulosity of word-use. These poems are experiments in what poetry can do. They are early stepping stones on the path that led Laura (Riding) Jackson ultimately to a realization of what poetry cannot do. Those familiar with the poetry of Laura Riding will read First Awakenings with the delight of enlarged recognition, and those approaching it as an introduction to her work will find direction for the mind’s journey. Back flap copy: Laura (Riding) Jackson was born in New York City in 1901. She studied at Cornell University, and by 1926 her first book of poems had been published. In 1925 she left for England. During thirteen years abroad, she published some twenty books of poetry, criticism, and story, and with Robert Graves co-founded the Seizin Press and edited the “critical summary” Epilogue. After returning to the United States she renounced poetry and literary affiliations, seeing language as “the essential moral meeting-ground,” and began, in collaboration with her husband Schuyler B. Jackson, a book on language, which she completed after his death in 1968. In January, 1991, Laura (Riding) Jackson was awarded the Bollingen Prize for her lifetime contribution to poetry. She died on September 2, 1991. Elizabeth Friedmann is Laura (Riding) Jackson’s authorized biographer. Alan J. Clark is Deputy Librarian of The Royal Society and Jackson’s authorized bibliographer. Robert Nye, poet and novelist, is the poetry critic for The Times (London).’
Misprints: as British edition, except p. xi corrected.
Note: Published September 1992. Priced at $29.95. Jacket design by Dorothy Wachtenheim.

A50 THE WORD ‘WOMAN’ 1993

a. First American edition

Collation: 9 X 6 in., unsigned. pp. [i-iv] v-vii [viii] ix [x] 1-6 [7-8] 9-13 [14-16] 17-79 [80-82] 83-122 [123-124] 125-156 [157-158] 159-170 [171-172] 173-185 [186-188] 189-190 [191-192] 193-203 [204] 205-211 [212-214]. [i]: 'The Word | Woman | and Other Related Writings’. [ii]: ‘Other books by Laura (Riding) Jackson published by Persea |FIRST AWAKENINGS | The Early Poems of Laura Riding | THE POEMS OF LAURA RIDING | A New Edition of the 1938 Collection | SELECTED POEMS: IN FIVE SETS | FOUR UNPOSTED LETTERS TO CATHERINE. [iii]: title page. [iv]: 'Copyright  1993 by the Board of Literary Management of the late | Laura (Riding) Jackson | Introduction and editorial matter copyright  1993 by Elizabeth | Friedmann and Alan J. Clark | All rights reserved. No part of this publication may be reproduced or | transmitted in any form or by any means, electronic or mechanical, | including photocopy, recording, or any information storage and retrieval | system without prior permission in writing from the publisher. | Requests for permission to reprint or to make copies and for any other | information should be addressed to the publisher: | Persea Books, Inc. | 60 Madison Avenue | New York, New York 10010 | Library of Congress Cataloging-in-Publication Data | Jackson, Laura (Riding), 1901- | The word “woman” and other related writings / by Laura (Riding) | Jackson ; edited by Elizabeth Friedmann and Alan J. Clark. | p. cm. | ISBN 0-89255-184-4 : $29.95 --ISBN 0-89255-185-2 (pbk.) : $9.95 | 1. Femininity (Psychology) -- Literary collections. 2. Woman | (Philosophy) -- Literary collections. 3. Women -- Literary collections. | I. Friedmann, Elizabeth. II. Clark, Alan J. (Alan James) III. Title. | PS3519.A363A6 1983 | 809’.93352042--dc20 92-38483 | CIP | Designed by Semadar Megged | Printed on acid-free, recycled paper and bound by | The Haddon Craftsmen, Scranton, Pennsylvania | Jacket and cover printed by Lynn Art, New York, New York | First Edition’. v-vii: poem/epigraph [viii]: blank ix: Contents [x]: blank 1-6: Introduction [7]: ‘The Word “Woman”.’ [8]: blank. 9-13: Foreword. [14]: blank. [15]: ‘Part One’. [16]: blank. 17-79: text. [80]: blank. [81]: ‘Part Two | Physical | Impressions of | Woman’. [82]: blank. 83-122: text. [123]: ‘Women As People’. [124]: blank. 125-156: text. [157]: Eve’s Side of It | (with Commentary)’. [158]: blank. 159-170: text. [171] ‘The Sex Factor | in Social Progress | (with How Now To Think Of | Women?)’. [172]: blank. 173-185: text. [186]: blank. [187]: ‘How Women Are | Not As Men’. [188]: blank. 189-190: text. [191]: ‘The Bondage’. [192]: blank. 193-203: text. [204]: blank. 205-211: text. [212-214]: blank.

Binding: Dark blue cloth over boards. Front and back blank. Spine printed in silver: ‘Laura (Riding) Jackson The Word “Woman” | and Other Related Writings [publisher’s device] Persea Books’. All edges trimmed.

Contents:
[v-vii: The Lady of the Apple (poem)]
1 Introduction by Elizabeth Friedmann and Alan J. Clark
7 The Word “Woman”
9 Foreword
Part One
17 I. Definitions and Generalizatons
29 II. Sexual Differentiation in Symbolic Notions
38 III. Difference and the Problem of Unity
47 IV. Being a Woman
56 V The Passing of the Historical Miasma
64 VI. What Women say
Part Two: Physical Impressions of Woman
83 VII. Difference of Appearance
90 VIII. Conventions of Appearance and Their Implications
98 IX. Impressions of Woman in Mediaeval British and French Literature
113 X The Accentuation of Female Appearance
123 Women As People
157 Eve’s Side of It (with Commentary)
171 The Sex Factor in Social Progress (with How Now To Think Of Women?)
187 How Women Are Not As Men
191 The Bondage
205 Appendix: Robert Graves’s The White Goddess by Laura (Riding) Jackson

Paper: Cream laid paper, including endpapers.

Dust jacket: Silver dust jacket printed in deep pink, white, and blue.
Front flap copy, continued on back flap: ‘Laura (Riding) Jackson was a woman of vision, and at the heart of her work in poetry and prose is a vision of woman. This volume brings together some of her most profound and explicity writings on the subject of woman’s role in the story of human identity. The core piece, “The Word ‘Woman,’” was written in Majorca during 1933-35 when Laura Riding, as she was known then, was associated with Robert Graves in a productive literary partnership. It has never before been published. Left behind when Riding and Graves fled at the outbreak of the Spanish Civil War, the manuscript was later in the possession of Robert Graves, who used Riding’s thought as source material for his book, The White Goddess. Laura (Riding) Jackson searches for an understanding of “woman” by investigating definitions of the word and its historical and literary usages; the words of women about themselves; and the physical body of woman in appearance and impression. What begins as an examination of the “historical trappings . . . [of] the subject ‘woman,’” quickly becomes something more: a revelaton of woman as “the universal character.” Among the topics she discusses are motherhood, “man-fever” in women, work satisfaction, sexual equality, and the essential relationship between man and woman. Also included in this volume are three later essays and two stories. An early poems serves as epigraph, and in the appendix is a previously unpublished personal commentary on the relationship of her thought on woman to Robert Graves’s The White Goddess. Laura (Riding) Jackson sought to understand “the woman element in human identity.” She has come very far. The Word “Woman” belongs in the company of other groundbreaking works of gender study.’ Back flap copy: ‘ Laura (Riding) Jackson was born in New York City in 1901. She was educated at Cornell University and published her first book of poems in 1926. During the years 1925 to 1939 she lived abroad, mostly in England and Majorca, and published some twenty books of poetry, criticism, and story. After returning to the United States she renounced the writing of poetry and literary affiliations, and began, in collaboration with her husband, Schuyler Jackson, a book on language, which she completed after his death in 1968. In 1991 she was awarded the Bollingen Prize for her lifetime contribution to poetry. She died later the same year at the age of ninety. Elizabeth Friedmann is Laura (Riding) Jackson’s authorized biographer. Alan J. Clark is Deputy Librarian of The Royal Society (London) and Jackson’s authorized bibliographer.’ Back panel: excerpts from the text.

Notes: Published March 1993. Priced at $29.95. Dust jacket design by Semadar Megged. Paperback published simultaneously.

b. First British edition

Title page identical to American edition except publisher’s name.

Collation: 8 ½ x 5 1/4 in. Otherwise identical to British edition. except for pp. [ii], [iv] and pp. 205- [214] omitted. [ii]: ‘Also by Laura (Riding) Jackson from Carcanet |First Awakenings: the early poems of Laura Riding | Poems of Laura Riding | Selected Poems | Lives of Wives’. [iv]: ‘First published in Great Britain in 1994 by | Carcanet Press Limited | 208-212 Corn Exchange Buildings | Manchester M4 3BQ | Copyright  1994 by The Board of Literary Management | of the late Laura (Riding) Jackson | Introduction and selection copyright  1993 | by Elizabeth Friedmann and Alan J. Clark | A CIP catalogue record for this book | is available from the British Library. | ISBN 1 85754 006 9|The publisher acknowledges financial assistance | from the Arts Council of Great Britain | Printed and bound in England by SRP Ltd, Exeter’

Binding: Black cloth over boards. Front and back blank. Spine printed in gold: ‘LAURA (RIDING) JACKSON THE WORD ‘WOMAN’ CARCANET’. All edges trimmed.

Paper: Cream laid paper, including endpapers.

Dust jacket: Light blue dust jacket printed in dark blue and white. Front panel: Author’s name in white over title and editors in dark blue. Back panel: ‘Other Books by Laura Riding | available from Carcanet |  | First Awakenings: The Early Poems | edited by Elizabeth Friedamnn, | Alan J. Cark and Robert Nye |  | The Poems of Laura Riding | A new edition of the 1938 collection |  | A Selection of the Poems of Laura Riding | edited with an introduction by Robert Nye |  | Lives of Wives’. Spine panel: Repeats lettering on spine in dark blue. Front flap copy: ‘Laura (Riding) Jackson set out to understand ‘the woman element in human identity.’ The Word ‘Woman’ collects her most profound and explicit writings on the subject. The title piece, published for the first time, was written in Majorca during 1933-5 when she and Robert Graves were associated in fruitful literary partnership. Left at the outbreak of the Spanish civil War, the manuscript was later in the possession of Robert Graves. By investigating definitions, historical and literary usages, the words of women about themselves, and the physical appearance of woman, Laura (Riding) Jackson seeks to understand the word ‘woman’. Motherhood, ‘man-fever’ in women, work, satisfaction, sexual equality, and the essential relationship between man and woman are all considered. The book also includes three later essays and two stories. Back flap copy: [under photo of Laura Riding, 1920s] ‘Laura (Riding) Jackson (1901-1991) was born in New York City. She studied at Cornell and briefly at two other universities. Her first book was published in 1926, by which time she had left America, to stay abroad for thirteen years. In this period she published some twenty books: poems, criticism, stories and a historical novel. After her return to the United States, she renounced the writing of poetry, and began, in collaboration with her husband, Schuyler Jackson, a book on language, Rational Meaning, which she completed after his death in 1968. One of the most remarkable figures in modern American literature, her books include Progress of Stories, A Trojan Ending, Lives of Wives, First Awakenings: The Early Poems, The Poems of Laura Riding [1938 collection], and A Selection of Poems, all published by Carcanet
Note: Published March 1994. Priced at £14.95. Jacket design by Stephen Raw.

A51 A SELECTION OF THE POEMS OF LAURA RIDING 1994/1996
a. First British edition

Collation: 8 1/2 x 5 1/4 in., unsigned. pp. [i-vi] vii-ix [x] 1-159 [160] 161-163 [164-166]. [i]: 'A SELECTION OF | THE POEMS OF LAURA RIDING’. [ii]: ‘Also by Laura (Riding) Jackson from Carcanet | First Awakenings: the Early Poems | Poems of Laura Riding | Lives of Wives | The Word ‘Woman’ and other related writings’. [iii]: title page. [iv]: 'First published in 1994 by | Carcanet Press Limited | 208-212 Corn Exchange Buildings | Manchester M4 3BQ| Copyright  1994 The Board of Literary Management of the late | Laura (Riding) Jackson | Introduction and selection copyright  Robert Nye 1994 | A CIP catalogue record for this book | is available from the British Library. | ISBN 1 85754 065 4 | The publisher acknowledges financial assistance | from the Arts Council of Great Britain | Set in 10 pt Palatino by Bryan Williamson, Frome | Printed and bound in England by SRP Ltd, Exeter’. [v]: 'To Elizabeth Friedmann’. [vi]: blank. vii-ix: Contents. [x]: blank. 1-159: text. [160]: blank. 161-163: text. [164-166]: blank.

Binding: Paper covers. Front panel printed in light blue overlaid with rows of dark blue diamonds. Title printed in dark blue on a white square: 'A Selection of the Poems | of Laura | Riding | EDITED WITH AN INTRODUCTION | BY ROBERT NYE'. Spine has dark blue printing on white: 'A Selection of the Poems of Laura Riding CARCANET'. Back panel repeats diamond pattern in light blue over white, with dark blue lettering. Back panel copy: ‘ She is a major poet. Like Eliot, like Yeats, she bids for an absolute rightness in her poetry . . . ‘ Martin Dodsworth Guardian ‘Laura Riding,’ wrote Paul O’Prey in the Guardian on her death in 1991, was ‘one of the most remarkable figures in modern American literature’. Now the poet, critic and novelist Robert Nye, long an advocate of the poems, makes this substantial new introductory selection. In 1970, three decades after she had renounced poetry, Laura (Riding) Jackson published with Faber her Selected Poems: In Five Sets. In 1980 a new edition of the 1938 The Poems of Laura Riding was published by Carcanet, with an important introduction. The poet said: ‘My work -- poetic and other, early and later -- has no allegiances, private, social, cultural. The point of it is, not “modernism” but What Further?’ In 1992 First Awakenings: The Early Poems added substantially to the œuvre. Laura (Riding) Jackson (1901-1991) was born in New York City. She is the author of numerous books of poetry, criticism and story, including Progress of Stories, A Trojan Ending, Lives of Wives and The Word ‘Woman’, all published by Carcanet.’

Paper: Cream wove paper. No endpapers.

Contents:
1 Introduction by Robert Nye
9 Dimensions
10 Ceremonial
11 Conclusion
12 The Sweet Ascetic
13 To a Proud Lover
15 An Ancient Revisits
16 Angelica
18 Another Apple
19 Lady of All Creation
20 Named
21 Summons
22 To a Cautious Friend
23 Dallydilbaree
25 Improprieties
27 For One Who Will Dust a Shadow
28 A Consolation
29 Summary for Alastor
30 How I Called the Ant Darling
31 Forgotten Girlhood
36 Incarnations
37 Several Love-Stories
38 The Mask
39 The Signature
40 Chloe Or . . .
41 Yes and No
42 Chrysalis
43 So Slight
44 The Tillaquils
45 Take Hands
46 Lucrece and Nara
47 The Sad Boy
49 Mortal
50 The Quids
52 Afternoon
53 No More Are Lovely Palaces
54 Goat and Amalthea
55 The Virgin
56 To a Loveless Lover
58 Druida
60 Back to the Mother Breast
61 As Well as Any Other
62 John and I
64 Lying Spying
65 The Lullaby
67 Helen’s Burning
68 Helen’s Faces
69 The Tiger
73 The Rugged Black of Anger
74 Echoes
79 An Ageless Brow
80 There is Much at Work
81 Many Gentlemen
82 The Map of Places
83 Death as Death
84 The Troubles of a Book
85 The Wine Suffers
86 Ding-Donging
87 You or You
88 Grace
89 All Nothing, Nothing
91 Sea, False Philosophy
92 World’s End
93 Rhythms of Love
96 Dear Possible
97 O Vocables of Love
98 In Nineteen Twenty-Seven
102 Rejoice, Liars
103 Beyond
104 In Due Form
105 Come, Words, Away
108 As to a Frontispiece
109 Tale of Modernity
112 As Many Questions as Answers
113 Earth
114 The Way It Is
115 The Wind, the Clock, the We
116 The World and I
117 The Flowering Urn
118 Nor Is It Written
119 Auspice of Jewels
121 Memories of Mortalities
133 Be Grave, Woman
134 Divestment of Beauty
135 Wishing More Dear
136 After So Much Loss
138 When Love Becomes Words
143 Doom in Bloom
144 Nothing So Far
145 Laura and Francisca
161 Index of First Lines

Notes: Published March 24, 1994, at £9.95.
Errata: p. viii: l. 6 from foot: The Way It Is (is shoud be capitalized)
b. First American edition

Collation: 8 3/8 x 5 ¼ in., unsigned. Identical to British edition, except for pp. [ii] and [iv]. [ii]: list of other Laura (Riding) Jackson books published by Persea. [iv]: copyright page.

Binding: Paper covers. Front panel buff printed in brown and pale green. Photograph of Laura Riding (1930s) printed in brown over vertical pale green band. Title in brown over buff; editor’s name in buff on horizontal brown band at bottom. Spine printed in buff on brown background: 'A SELECTION OF THE POEMS OF LAURA RIDING Edited, with an introduction by Robert Nye [ornament] PERSEA BOOKS'. Back panel copy: ‘Laura Riding is recognized as one of America’s great twentieth-century poets, although she renounced the writing of poetry in 1941, viewing poetry as “blocking truth’s ultimate verbal harmonies.” Now the poet, critic, and novelist Robert Nye, long an advocate of the poems, makes this substantial new introductory selection. It is the only selection to draw from the full range of Riding’s poetic work, and includes eighteen poems from the last-published volume, First Awakenings: The Early Poems of Laura Riding (1992). In his introduction, Robert Nye writes, “When the true history of twentieth-century poetry in the English language comes to be written, I believe that the poems of Laura Riding -- and the story that goes with them -- will be seen to be as important as anything in it.” Laura (Riding) Jackson (1901-1991) was born in New York City. She is the author of numerous books of poetry, criticism, and story, including The Poems of Laura Riding, Selected Poems: In Five Sets, First Awakenings: The Early Poems of Laura Riding, Progress of Stories, The Word “Woman” and Other Related Writings, and Four Unposted Letters to Catherine, all published by Persea.’ All edges trimmed. Cover design by Dorothy Wachtenheim. Cover photograph by Ward Hutchinson.

Paper: Cream wove paper. No endpapers.
Contents: Identical to British edition.
Note: Published in 1996. [Amazon has March 1997?] Priced at $12.95. In the American edition the editor has added a footnote on p. 2 of his introduction.

Errata: Same as British edition.

A52 RATIONAL MEANING 1997

Collation: 9 1/4 x 6 in., unsigned. pp. [i-iv] v-vii [viii] ix-xxi [xxii] xxiii [xiv-xvi]. [1-6] 7-25 [26] 27-31 [32] 33-36 [37-38] 39-71 [72-74] 75-113 [114-116] 117-171 [172-174] 175-240 [241-242] 243-306 [307-308] 309-374 [375-376] 377-469 [470-472] 473-598. [i]: 'RATIONAL MEANING | [rule] AND [rule] | SUPPLEMENTARY ESSAYS’. [ii]: blank. [iii]: title page. [iv]: Acknowledgments and copyright page. v-vii: Contents [viii]: blank. ix-xxi: Introduction. [xxii]: blank. xxiii: Editorial note. [xxiv]: blank. [xxv]: ‘RATIONAL MEANING | [rule] AND [rule] | SUPPLEMENTARY ESSAYS’. [xxvi]: blank. [1]: ‘RATIONAL MEANING | [rule] | A New Foundation | for the Definition of Words |[swash rule?] | Laura (Riding) Jackson | and Schuyler B. Jackson’. [2]: blank. [3]: ‘In Memoriam | [rule] | Alfred R. McIntyre, President of Messrs. Little, Brown and Company | In grateful remembrance of his enthusiasm for the rudimentary conception | anteceding this book, and the faithful backing he gave us in the first years of | our difficult search for the way to make this book a reality. | E. F. Bozman, of Messrs. Dent and Company | In grateful rememberance of his early interest and support, and recognition of | his extended forbearance towards us in our authorial vicissitudes.’ [4]: blank. [5]: Epigraph. [6]: blank.7-12: Foreword. 13-25: First Preface. [26]: blank. 27-31: Second Preface. [32]: blank. 33-36: Third Preface. [37]: ‘PART ONE | [rule] | General Background, | General Objectives’. [38]: blank. 39-71: text. [72]: blank. [73]: PART TWO | [rule] | The Use of Words: | The Apparatus of Guidance’. [74]: blank. 75-113: text. [114]: blank. [115]: ‘PART THREE | [rule] | Language and Rationality’. [116]: blank. 117-171: text. [172]: blank. [173]: PART FOUR | [rule] | The Principles | of Definition’. [174]: blank. 175-240: text. [241]: ‘PART FIVE | [rule] | The Make-Up | of Language’. [242]: blank. 243-306: text. [307] ‘PART SIX | [rule] | Studies in Meaning-Relation | and Meaning-Distinction’. [308]: blank. 309-374: text. [375]: ‘PART SEVEN | [rule] | The Future Tasks’. [376]: blank. 377-469: text. [470]: blank. [471]: ‘SUPPLEMENTARY | ESSAYS | [rule]’. [472]: blank. 473-578: text. 579-598: index.

Binding: Blue-green cloth over boards. Front and back blank. Spine printed in silver: [vertically at top] ‘(RIDING) | JACKSON | AND | JACKSON [horizontally at center] RATIONAL MEANING | [rule] AND [rule] | SUPPLEMENTARY ESSAYS [vertically at bottom] VIRGINIA | [swash rule?]’ Dust jacket cover white with wide verticle band of blue-green flanked by bands of lighter blue-green. Three horizontal bands of purple cross. The top one is interrupted by a white rectangle framed in purple rules with lettering in blue-green, except for the first letter of each name, which is in purple: ‘Laura (Riding) Jackson | & | Schuler B. Jackson’. Center purple band printed in white: ‘RATIONAL MEANING’. White, purple-framed square below contains subtitle” [in purple] ‘A New Foundation | [in blue-green] for the | [in purple] Definition of Words | [in blue-green] [rule] and [rule] | [in purple] Supplementary Essays’. Narrow purple band at foot printed in white: ‘Edited by William Harmon [swash rule?] Introduction by Charles Bernstein’. Spine printed in bands of purple and blue-green, with authors’ names in white on top purple band, Title and subtitle in purple and blue-green on a purple-framed white rectangle, and publisher in white on narrow purple band at foot. Back cover consists entirely of a purple band about 3 inches deep and a blue-green band about 6 ¾ inches deep. Front and back flaps printed in both blue-green and purple. Front flap copy, continued on back flap: ‘The publication of Rational Meaning: A New Foundation for the Definition of Words brings to completion one of the most aesthetically and philosophically singular projects of twentieth-century American poetry. No North American or European poet of this century has created a body of work that reflects more deeply on the inherent conflicts between truth telling and the inevitable artifice of poetry than Laura (Riding) Jackson.” -- Charles Bernstein, from the introduction. Existing only in manuscript since the 1940s but enjoying an underground reputation among friends and advocates, this primary document by one of the most original and influential of American poets and thinkers is now being publilshed as Rational Meaning, Laura (Riding) Jackson’s testament of the necessity of living for truth. Begun as a dictionary and thesaurus in the 1930s, the work developed into a fundamental reevaluation of language itself. Riding, in close collaboration with her husband, continued this monumental project over the succeeding decades, completing it after his death in 1968. The work, which she regarded as a “Magna Carta of the human mind,” has heretofore been seen by only a handful of people. Yet the recent resurgence of interest in Laura Riding (1901-1991) is nourishing the growth of scholarship and study, in which this culmination of a life’s work will play its part as her true significance becomes more widely understoond. At the age of forty, having already produced a substantial and challenging body of poetry, stories, and criticism, Laura (Riding) Jackson renounced poetry and began to concentrate on the discovery of the principles that embed truth and meaning in words. She believed that, if words and meaning could be irrevocably fused, people would become “morally articulate” and thus could never lie. This inquiry, which reaches out to include literature, philosophy, linguistics, and lexicography, would become central to the latter half of her long life and would finally result in Rational Meaning. Included in this edition are essays that Riding wanted published as supplements to Rational Meaning. At the core of Rational Meaning, which aims to restore the truth of language by arguing that meaning inheres in words, stands the idea that a total renovation of the knowledge of language is needed, not to develop mere verbal sophistication and respectability but fundamentally to reinvigorate the intellectual processes of consciousness. The book reveals the disastrous extent to which language has been “unlearned” and shows how it may be learned again. Rational Meaning will be essential reading, not only for students of literature but for radical-minded linguists and lexicographers unhappy with the orthodoxies current in their disciplines.’ Back flap copy: ‘Among Laura (Riding) Jackson’s recent publications are First Awakenings: The Early Poems of Laura (Riding) Jackson [sic] and The Word “Woman” and Other Related Writings. Schuyler Jackson’s writings have been published in several magazines, including The New Republic and Time. William Harmon, James Gordon Hanes Professor of English at the University of North Carolina at Chapel Hill, has published five volumes of poetry and edited several anthologies, including The Oxford Book of American Light Verse and The Top 500 Poems. Charles Bernstein is David Gray Professor of Poetry and Letters at the State University of New York at Buffalo and is a published poet, essayist, and librettist.’

Contents:
ix Introduction by Charles Bernstein
xxiii Editorial Note
Rational Meaning
7 Foreword
13 First Preface
27 Second Preface
33 Third Preface
Part 1 General Background, General Objectives
39 Prospectus
45 Chapter 1, Introductory Explanations
52 Chapter 2, The Authors: The Personal Background
61 Chapter 3, A Comparison of Objectives
Part 2 The Use of Words: The Apparatus of Guidance
75 Foreword
77 Chapter 4, The Inner Guidance
88 Chapter 5, The Guardians
103 Chapter 6, The Canons
Part 3 Language and Rationality
117 Foreword
118 Chapter 7, The Nature of Meaning
129 Chapter 8, Language and Linguistics
148 Chapter 9, Philosophy and Language
168 Conclusion
Part 4 The Principles of Definition
175 Foreword
177 Chapter 10, The Feasibility of Definition
203 Chapter 11, The Knowledge of Meanings
221 Chapter 12, The Scope of Definition
Part 5 The Make-Up of Language
243 Chapter 13, Words and Terms
265 Chapter 14, The Words Miscalled Synonyms
283 Chapter 15, The Rationale of Terms
Part 6 Studies in Meaning-Relation and Meaning-Distinction
309 Chapter 16, The Placing of Words: The Topography of Meanings
329 Chapter 17, From Words to Words: The Continuum
348 Chapter 18, Truth
Part 7 The Future Tasks
377 Foreword
379 Chapter 19, the Moral Aspects of Meaning
396 Chapter 20, Words and Things
424 Chapter 21, The Grand Difficulty
445 Notes
Supplementary Essays
473 Dr. Gove and the Future of English Dictionaries
487 The Externalistic View of Language
491 The Universal Pattern of Languages
496 Mathematics As an Intellectual Master-Method
506 The Matter of Metaphor
510 On Ambiguity
514 “Create” in Modern Usage
518 The Language-Champions
521 The Physical Aspects of Words
528 The New Grammar
564 Contemporary Fashion-Plate (Intellectual Gab)
568 Leaves from the Book’s Notebooks
577 For Colophon
579 Index

Notes: Published February 1997. Priced at $70. ISBN 0-8139-1682-8. Publication assisted by a grant from the Sonia R. Giop Charitable Foundation.

A53 THE SUFFICIENT DIFFERENCE 2000

CHELSEA 69| THE SUFFICENT DIFFERENCE: | A CENTENARY CELEBRATION OF LAURA (RIDING) JACKSON | Guest-edited by Elizabeth Friedmann

Collation: 9 x 6 in., unsigned, pp. [1-6] 7-182 [183-192]. [1]: title page. [2]: 'The publication of this issue is made possible in part | with the financial support of the Sonia Raiziss Giop Literature Fund | of the New York Community Trust, | the Sonia Raiziss Giop Charitable Foundation, | & the Laura (Riding) Jackson Board of Literary Management. | The editors thank as well Ginger Agron for her generous support. | Cover Art: “The Midwife,” digital photography printed on Arches | watercolor paper, 11” x 14”, by Barbara H. Martin. | E-mail: Wheatenb@aol.com | The complete run of Chelsea, Issues 1 through 69, is available from | University Microfilms International | 300 North Zeeb Road | Ann Arbor, Michigan 48106 | Chelsea is included in | BOOK REVIEW INDEX | INDEX OF AMERICAN PERIODICAL VERSE | POEM FINDER (WWW.POEMFINDER.COM | [“Notice to Our Readers” in box]’. [3]: '[graphic] Chelsea | Editor | Richard Foerster |Senior Associate Editor | Alfredo de Palchi | Associate Editor | Andrea Lockett | Book Review Editor | Michael Waters | Assistant Editor | k. Margaret Grossman | CHELSEA is published twice a year, in June and December, by Chelsea Associates, | Inc., a nonprofit corporation under section 501(c)(3) of the United States Internal | Revenue Code. Editorial address: P.O. Box 773, Cooper Station, New York, NY 10276-0773. | [subscription rates, delivery notice, printer and distributor identification, copyright notice, terms for submissions, disclaimer of opinions expressed by contributors]'. [4-5]: Contents. [6]: blank. 7: ‘LETTER TO THOSE WHO MAY CARE | TO REFLECT ON ME SHOULD THERE TRAVEL | TO THEM A REPORT THAT I HAVE DIED. 8-14: Introduction. 15-180: text. 181: announcement of the Camargo Foundation fellowship program. 182: announcement of Chelsea poetry and fiction contests. [183-192]: announcements and advertisements for other journals and presses.
Binding: Paper covers. Front full-color art depicts elderly woman dressed in black walking towards a shadowy doorway. Table covered with white cloth in the foreground. At top printed in black: ‘Chelsea 69 | The Sufficient Difference: A Centenary Celebration | of Laura (Riding) Jackson.’ Back cover purple repeats magazine title in green, special issue title in black, and underneath, in green letters: GUEST-EDITED BY ELIZABETH FRIEDMANN |  | FEATURING PREVIOUSLY UNPUBLISHED PROSE, POETRY, & CORRESPONDENCE |  | WITH INTRODUCTIONS & ESSAYS BY ELIZABETH FRIEDMANN, | JOHN NOLAN, AMBER VOGEL, & WILLIAM HARMON | PLUS | A BIBLIOGRAPHICAL CHECK-LIST (1923-2001) | COMPILED BY ALAN J. CLARK'. Spine printed lengthwise in green on purple band: ‘Chelsea 69’.

Paper: White wove paper. No endpapers.

Contents:
7 Prologue: Letter to Those Who May Care to Reflect on Me Should There Travel
To Them a Report That I Have Died
The Sufficient Difference; A Centenary Celebration of Laura (Riding) Jackson
8 General Introduction by Guest Editor Elizabeth Friedmann
15 A Little Essay dedicated to Isabel Claire Schmidt with Afternote
17 An Unfinished Story for Children / Introduction by E. F.
19 The Serious Angels: A True Story
26 Definitions for the Use of Parents in their Converse with their Children -- or for Other Uses Seeming Suitable
28 On Exactitude / poem with note
On Other Poets
30 As To Shakespeare And Others
31 As To Wordsworth
33 Thinking About Coleridge
34 Poetry And Mystery
36 ‘Reality’ -- According To Eliot
37 Further On Eliot
39 Jottings On Eliot
40 Jottings On The Waste Land
40 William Carlos Williams, Ezra Pound, Others: The American Element
44 On Ezra Pound
45 To A Friend Very Seriously Devoted To The Study Of Yeats’ Work And Life And Thinking
46 Yeats And Poetic Magic
48 The Failure of Poetry: Selections from the Manuscripts, Edited & Introduced by John Nolan
50 Reading for the University of Florida Library
61 A Poet’s Life, A Poet’s Truth
63 Uncompleted Comment On Some Writing In Anarchism Is Not Enough
64 To A Critic And Poet, 1964-65
66 Word Of Reply To A Young Poet
67 To A Friend, A Scholarly Devotee Of Yeats
68 To A Young Friend
69 To A Student Of My Writings
70 Love
From A Book Of Later-Life Commentaries
81 A Covenant
87 The Principle Of The Thing
107 On Change
108 A Concentrated Impression of H.C.: Laura Riding’s Letters to Hart Crane’s Biographer Philip Horton, Selected & Introduced by Amber Vogel
122 The Test
126 ‘The Little Piece on Death’ for Schuyler / Introduction by E. F.
127 The Sufficient Difference
143 A Note on Two Graves with the Same Epitaph, by William Harmon
147 Expanded Bibliographical Check-List (1923-2001), by Alan J. Clark
180 Contributors

Notes: Published December 2000. Priced at $8.00.
Errata [or include in Notes?]
On p. 33, Coleridge’s “Apologia pro Vita Sua” is misquoted. “His gifted ken can be” should be “His gifted ken can see”
A54 THE POEMS OF LAURA RIDING 2001

a. First American edition

Collation: 8 1/4 x 5 1/4 in., unsigned. [i-vi] vii [viii] ix-xv [xvi] xvii-xlv [xlvi-xlvii] [1-2] 3-60 [61-62] 63-149 [150-¬152] 153-260 [261-262] 263-367 [368-370] 371-418 [419-420] 421-422 [423-424] 425-432 [433-434] 435-438 [439-440] 441-442 [443-444] 445-448 [449-450] 451-456 [457-458] 459-462 [463-¬464] 465-466 [467-468] 469-472 [473-474] 475-477 [478] 479-498. [i]: 'THE POEMS OF LAURA RIDING'. [ii]: list of other books by Laura (Riding) Jackson published by Persea. [iii]: title page. [iv]: ‘Reciprocal acknowledgement is here made by the Laura | (Riding) Jackson Board of Literary Management to the Trustees | of the Robert Graves Copyright Trust, at whose desire | ‘Midsummer Duet’ (p. 145-149) was reprinted, with notes, in | Robert Graves: Complete Poems; volume 2, edited by Beryl | Graves and Dunstan Ward (Manchester: Carcanet Press, 1999).’ copyright, permissions, cataloging information. [v]: ‘To Schuyler Brinckerhoff Jackson | who knew, | and exerted himself to his extreme to serve, | the beneficent duty that words lay upon us, | and help us to exert ourselves to serve.’[vi]: blank. vii: ‘Note on the Text’. [viii]: blank. ix-xv: Contents. [xvi]: blank. xvii-xxviii: ‘Preface to the Collected Poems’. xxix-xlv: ‘Author’s Introduction’. [xlvi]: blank. [1]: 'POEMS OF MYTHICAL OCCASION'. [2]: blank. 3-60: text. [61]: 'POEMS OF IMMEDIATE OCCASION'. [62]: blank. 63-149: text. [150]: blank. [151]: 'POEMS OF FINAL OCCASION'. [152]: blank. 153-260: text. [261]: 'POEMS CONTINUAL'. [262]: blank. 263-367: text. [368]: blank. [369]: 'HISTORIES'. [370]: blank. 371-418: text. [419]: blank. [420]: illustration ["Le Coeur sec"]. 421-422: text. [423]: blank. [424]: illustration ["Les Trois Ames des Morts"]. 425-432: text. [433]: illustration ["Le Théâtre de Mortjoy"]. [434]: blank. 435-438: text. [439]: illustration ["La Transformation de Romanzel"]. [440]: blank. 441-442: text. [443]: blank. [444]: illustration ["La Naissance des Bébés Morts"]. 445-448: text. [449]: blank. [450]: il¬lustration ["A l'intérieur de la ville: de jour"]. 451-456: text. [457]: illustration ["A l'Intérieur de la Ville: de Nuit"]. [458]: blank. 459-462: text. [463]: illustration ["Le Banquet des Morts"]. [464]: blank. 465-466: text. [467]: blank. [468]: illustration ["La Musée de l'Aube"]. 469-472: text. [473]: blank. [474]: illustration ["La Déesse qui Plaisante"]. 475-477: text. [478]: blank. 479-498: Appendix.

Binding: Paper Covers. Front panel burgundy with light blue vertical rectangle at center printed in burgundy: ‘The | POEMS |  of  | LAURA | RIDING | [rule] | a NEWLY | REVISED | EDITION of | the | 1938 |  | 1980 | COLLECTION | [rule] | WITH | A CENTENNIAL | PREFACE | [decoration?] by [decoration?] | MARK JACOBS’. At foot, printed in light blue: ‘Laura (Riding) Jackson’. Back panel light blue framed in burgundy. Title printed in burgundy, along with author’s name (in copy) and publisher. Back panel copy; ‘Always ahead of her time, no other major poet of the last century enters the twenty-first so fresh, so essentially unexplored as does Laura Riding. Beginning in spiritual respect for Shelley, Whitman, and Francis Thompson, Riding’s resolve to work toward nothing less than “the essence of the good in language” carries her across an entire poetic world within this volume -- as it afterwards carried her out of poetry altogether. This definitive volume presents the entire content of the 1980 edition of Poems of Laura Riding, including the author’s retrospective Introduction and Appendices, corrected and reset. The poem-text reproduces, with the few errata corrected, the typography and design of the celebrated Collected Poems of 1938, as supervised by the author herself. Included are the ten memorable full-page illustrations by John Aldridge. Adding important perspective on Riding is a centennial preface by scholar Mark Jacobs. With this edition, Laura Riding’s poetry at last receives the full treatment it deserves. Laura (Riding) Jackson was born on January 16, 1901, in New York City. She is the author of numerous volumes of poetry, criticism, and story. In 1991, she was awarded the Bollingen Prize for her lifelong services to poetry. She died later the same year.’ Spine printed vertically in light blue over burgundy. Repeats title and author as on cover. Publisher’s device and name at foot. Cream laid paper. No endpapers. All edges trimmed.

Contents:
xvii Preface to the Collected Poems, by Mark Jacobs
xxix Author’s Introduction
Poems of Mythical Occasion
3 Forgotten Girlhood
9 Incarnations
10 Pride of Head
11 How Blind and Bright
12 Because I Sit Here So
14 Several Love-Stories
15 The Mask
16 The Signature
17 Chloe Or
18 Yes and No
19 The Number
20 Chrysalis
21 So Slight
22 The Tillaquils
23 Take Hands
24 Lucrece and Nara
26 The Nightmare
27 The Sad Boy
29 Mortal
30 The Quids
32 Enough
33 Room
34 Afternoon
35 No More Are Lovely Palaces
36 Goat and Amalthea
37 The Virgin
38 To a Loveless Lover
40 Druida
42 Back to the Mother Breast
43 As Well as Any Other
44 John and I
47 Lying Spying
48 Prisms
49 Postponement of Self
50 The Lullaby
52 Helen's Burning
53 Helen's Faces
54 The Tiger
59 The Rugged Black of Anger
Poems of Immediate Occasion
63 Echoes
70 Hospitality to Words
71 One Self
72 An Ageless Brow
73 There Is Much at Work
74 The Definition of Love
75 Many Gentlemen
76 The Poets' Corner
77 Sunday
78 A Previous Night
79 The Devil as Friend
80 Life-Size Is Too Large
81 The Map of Places
82 Footfalling
83 Death as Death
84 The Troubles of a Book
86 Elegy in a Spider's Web
90 That Ancient Line
91 Opening of Eyes
93 Though in One Time
94 Originally
95 The Wind Suffers
96 Ding-Donging
97 You or You
98 Growth
99 Grace
100 All Nothing, Nothing
103 Last Fellows
105 Sea, False Philosophy
106 By Crude Rotation
108 It Has Been Read by All
109 Sleep Contravened
110 Finally
111 World's End
112 Poem Only
113 Rhythms of Love
116 Nearly
117 Faith upon the Waters
118 Advertisement
120 Dear Possible
121 O Vocables of Love
122 Throe of Apocalypse
123 In Nineteen Twenty-Seven
128 Second-Death
129 For-ever Morning
130 Rejoice, Liars
131 Beyond
132 And This Hard Jealousy
133 In Due Form
134 All the Time
135 Celebration of Failure
136 Then Wherefore Death
137 Come, Words, Away
140 As to a Frontispiece
141 Jewels and After
142 Tale of Modernity
145 Midsummer Duet
Poems of Final Occasion
153 As Many Questions as Answers
155 The Judgement
156 And I
157 Earth
158 Regret of War Ways
159 All Things
161 Further Details
163 The Way It Is
164 And a Day
165 The Fates and the Mothers
167 Who
168 Cycles of Strangeness
170 The Time Beneath
171 The Fact
172 Scornful or Fond Infinity
173 The Courtesies of Authorship
174 Then Follows
181 Meanwhile
182 Autobiography of the Present
184 Care in Calling
185 Intelligent Prayer
186 Cure of Ignorance
187 With the Face
188 The Biography of a Myth
191 The Wind, the Clock, the We
193 From Later to Earlier
194 Respect for the Dead
196 After Smiling
198 The World and I
199 There Is No Land Yet
201 Letter to Man’s Reasonable Soul
203 The Talking World
207 Unread Pages
209 I Am
212 Concerning Food
215 Tree-Sense
218 The Dilemmist
222 The Unthronged Oracle
224 The Flowering Urn
225 It Is Not Sad
229 The Signs of Knowledge
234 Poet: A Lying Word
239 Three Sermons to the Dead
243 Benedictory
251 Disclaimer of the Person
Poems Continual
263 The Last Covenant
277 Auspice of Jewels
280 Memories of Mortalities
296 Be Grave, Woman
297 The Need to Confide
300 Divestment of Beauty
302 No More Than Is
305 Friendship on Visit
308 Christmas
309 Wishing More Dear
310 The Reasons of Each
312 Plighted to Shame
313 We Are the Resurrection
315 The Wages of Eloquence
316 On a New Generation
317 How Now We Talk
320 Modern Superstition
321 Because of Clothes
323 A Letter to Any Friend
325 After So Much Loss
327 Eventual Love
329 The Why of the Wind
331 The Readers
334 The Cycle of Industry
336 Of All the World
338 I Remember
340 A Need for Hell
341 Decline of Prophecy
344 The Forgiven Past
346 When Love Becomes Words
353 March, 1937
355 The Victory
357 In the Beginning
360 Doom in Bloom
362 Seizure of the World
363 Nothing So Far
365 Christmas, 1937
Histories
371 The Vain Life of Voltaire
398 Laura and Francisca
417 The Life of the Dead--With Illustrations by John Aldridge
Appendix
479 I. Note on ‘Midsummer Duet,’ p. 145
479 II. An Early Poem, ‘Saturday Night’
482 III. Original 1938 Preface
492 IV. Excerpts from the Preface to Selected Poems (1970)
495 Excerpts from A Recording (1972), explaining the poems

Notes: Published in July 2001. Priced at $19.95 (U.S.A.); $28.99 (Canada). Cover design by Mary Belibabakis.

Errata: p. 360, line 6 (“Doom in Bloom”): should be a period [full-stop] after shows.

A55 ESSAYS FROM ‘EPILOGUE’ 2001

LAURA RIDING AND ROBERT GRAVES | Essays from ‘Epilogue’| 1935-1937 | Edited by Mark Jacobs | CARCANET

Collation: 8 1/2 x 5 1/4 in., unsigned. pp. [i-vii] viii-x [1] 2-4 [5] 6-37 [38] 39-47 [48] 49-57 [58] 59-65 [66] 67-71 [72] 73-77 [78] 79-99 [100] 101-118 [119] 120-128 [129] 130-139 [140] 141-147 [148] 149-156 [157] 158-162 [163] 164-179 [180-181] 182-187 [188-189] 190-192 [193] 194 [195-198]. [i]: 'LAURA RIDING & ROBERT GRAVES | Essays from Epilogue’. [ii]: ‘LAURA (RIDING) JACKSON (1901-1991) is among the most influen- | tial yet misread writers of the twentieth century. She renounced poetry | after her Collected Poems appeared in 1938 and after she had written a | body of work which left its mark upon Auden, Ashbery and many others. | Her collaborations and her own essays, stories and poems are central to | the creative and critical debate surrounding twentieth-century English | and American literature. A great deal of her work is still being published. | ROBERT GRAVES (1895-1985) was a major lyric poet and -- as the | monumental three-volume Complete Poems (1995-9) demonstrates -- an | enormously prolific one. He was also an unusually versatile writer of | prose: his works include historical novels, reworkings of mythology, the | celebrated autobiography Goodbye to All That and The White Goddess | (subtitled ‘A Grammar of Poetic Myth’), as well as a wide range of literary | criticism, some of which originated in these Epilogue essays. | MARK JACOBS, born in 1941, attended the Universities of York and | Leicester, writing his doctoral thesis on Laura (Riding) Jackson and corre- |sponding with her from 1971 to her death. He is a member of the Laura | (Riding) Jackson Literary Board and has previously published three works | on her poetry. He has been a poet and joint editor of Omens.’ [iii] title page [iv] ‘First published in Epilogue 1935-1937 | This edition published in Great Britain in 2001 by | Carcanet Press Limited | 4th Floor, Conavon Court | 12-16 Blackfriars Street | Manchester M3 5BQ | Copyright  2001 by the Laura (Riding) Jackson Board of Literary Management | Copyright  2001 by the Trustees of the Robert Graves Copyright Trust | Copyright  2001 by the Executor of the T. S. Matthews Literary Estate | Introduction copyright  2001 by Mark Jacobs | A CIP catalogue record for this book | is available from the British Library | ISBN 1 85754 516 4 | The publisher acknowledges financial | assistance from the Arts Council of England | [Arts Council logo] | Set in Ehrhardt by XL Publishing Services, Tiverton | Printed and bound in England by SRP Ltd, Exeter’. [v]: Contents. [vi]: ‘Dedicated to | Hazel and Asche | for their help, | for their patience . . .’ .[vii]-x: Introduction. [1]-179: text. [180]: blank. [181]-187: Notes. [188]: blank. [189]-192: Appendix. [193]-194: Index of Names. [195-198]: blank.

Binding: Paper covers. Front panel orange with rows of leaves in buff and brown. Printed [in cream] ‘ESSAYS | FROM | ‘EPILOGUE’ | [in black] 1935-1937 | Edited with an introduction by Mark Jacobs | [in blue] LAURA RIDING | AND | ROBERT GRAVES | [in black] CARCANET’. Spine repeats front panel background with title, authors, and publisher printed in black lengthwise. Back panel cream printed in black. Back panel copy: ‘The Epilogue essays, published when the literary partnership between Laura Riding and Robert Graves was at its height, illustrate their working relationship and the background to their very different careers. Conceived in the mid-1930s by Laura Riding, Epilogue: A Critical Summary was originally to be called The Critical Vulgate, a title suggesting that the thematic concerns of the project would go well beyond the literary, attempting to discover, in a secular spirit reminiscent of Voltaire, the truth regarding all sorts of subjects, from God down. In 1935 ‘The Idea of God’ led off the extraordinary experiment of Epilogue. The effort was to be encyclopaedic, and in this respect the project foreshadows Riding’s later life-work, the massive Rational Meaning which she and her husband Schuyler B. Jackson undertook and which detained her until her death. Like so much of the work for which she was responsible, Epilogue was a collaboration involving as key figures Riding herself and Robert Graves, but also a number of other authors. The original four volumes, published by Seizin Press (Majorca) and Constable jointly, are now scarce, seldom found even in libraries. Quite apart from their intrinsic interest, they offer rich source material for the two authors. Laura (Riding) Jackson never reprinted her Epilogue work, while Robert Graves republished some of his, in revised form. This selection, a valuable resource for scholars, alerts general readers to a rigorous, impassioned and remarkably alive creative and critical moment.’

Paper: White laid paper [?]. No endpapers. All edges trimmed.

Contents:
vii Introduction by Mark Jacobs
1 Preliminaries by Laura Riding
5 The Idea of God by Thomas Matthews and Laura Riding
29 Supplementary Argument by Laura Riding and Thomas Matthews
38 Nietzsche by Madeleine Vara
48 Poems and Poets by Laura Riding with questions and comments by Robert Graves
58 Coleridge and Wordsworth by Robert Graves
66 Keats and Shelley by Robert Graves
72 A Note on the Pastoral by Robert Graves
78 Homiletic Studies by Laura Riding
80 Stealing by Robert Graves
88 In Defence of Anger by Laura Riding
101 The Exercise of English by Laura Riding and Robert Graves
120 The Bull-Fight by Laura Riding
130 Lucretius and Jeans by Robert Graves
141 The Literary Intelligence by Laura Riding
149 Neo-Georgian Eternity by Robert Graves
158 George Sand by Madeleine Vara
164 From a Private Correspondence on Reality by Laura Riding and Robert Graves
181 Notes
189 Appendix
193 Index of Names
Notes: Published August 2001. Priced at £14.95. Cover design by Stephen Raw.

Errata: p. 191, following line 3 should be this listing: “148-160 Philosophy and Poetry Alan Hodge and Laura Riding”

A56 UNDER THE MIND’S WATCH 2004

Collation: 9 x 6 in., unsigned. pp. [1-7] 8-9 [10-11] 12-14 [15-17] 18-19 [20-21] 22-24 [25] 26-31 [32-35] 36-50 [51] 52-60 [61] 62-64 [65] 66-108 [109] 110 [111] 112-113 [114] 115-121 [122] 123 [124] 125-132 [133] 134-135 [136] 137 [138] 139-141 [142] 143 [144] 145-146 [147-149] 150-178 [179] 180-184 [185] 186-211 [212] 213-240 [241] 242-263 [264] 265-271 [272] 273-277 [278] 279-283 [284] 285-302 [303-304] 305-314 [315] 316-317 [318] 319-326 [327-328] 329-331 [332] 333 [334] 335-338 [339] 340 [341-343] 344-354 [355] 356-391 [392] 393-403 [404] 405-417 [418] 419-422 [423-424] 425-446 [447] 448-450 [451-452] 453-455 [456] 457-468 [469-470] 471 [472] 473-476 [477-478] 479-480 [481] 482-483 [484] 485-490 [491] 492-503 [504] 505-515 [516] 517 [518] 519 [520-521] 522-534 [535-536]. [1]: 'UNDER THE MIND’S WATCH’. [2]: Photograph of Laura (Riding) Jackson. [3] title page [4] ‘Bibliographic Information published by “Die Deutsche Bibliothek | Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie;| detailed bibliographic data is available on the Internet at <http://dnb.ddb.de>. | British Library and Library of Congress Cataloguing-in-Publication Data: | A catalogue record for this book is available from The British Library, Great Britain, | and from The Library of Congress, USA | Cover design: Thomas Jaberg, Peter Lang AG | ISBN 3-03910-168-4 | US-ISBN 0-8204-6978-5 |  Peter Lang AG, European Academic Publishers, Bern 2004 | Hochfeldstrasse 32, Postfach 746, CH-3000 Bern 9, Switzerland | info@peterlang.com, www.peterlang.com, www.peterlang.net | All rights reserved. | All parts of this publication are protected by copyright | Any utilisation outside the strict limits of the copyright law, without | the permission of the publisher, is forbidden and liable to prosecution. | This applies in particular to reproductions, translations, microfilming, | and storage and processing in electronic retrieval systems. | Printed in Germany’ [5]: Acknowledgements [6]: blank. [7]-9: Contents. [10]: blank. [11]-14: Editorial Note. [15]: Epigraph. [16]: blank. [17]-19: ‘Explanation’. [20]-24: Preface. [25]-31: Prospectus. [32]: blank. [33]: ‘Language’ | [swash rule]’. [34]: blank. [35]-146: text. [147]: ‘Literature | [swash rule]’. [147]: blank. [148]-340: text. [341]: ‘Life | [swash rule]’. [342]: blank. [343]-519: text. [520]: blank. [521]-534: index. [535-536]: blank.

Binding: Paper covers. Front panel dark blue with author, title, editors printed in bright pink. Band of bright pink at right edge has publisher printed in dark blue. Photograph of Laura (Riding) Jackson inset at top right. Spine has bright pink printing on dark blue: 'Laura (Riding) Jackson  UNDER THE MIND’S WATCH J. Nolan & A. J. Clark (eds) [publisher’s device]’. Back panel dark blue with bright pink lettering. Back panel copy: ‘Consisting of essays of the 1960s and 1970s, and assembled by Laura (Riding) Jackson herself, this previously unpublished collection is both a substantial addition to the work of her later period, after she had renounced poetry, and also a spirited contribution to later twentieth-century debates about language, literature, and life. There is immense variety and appeal here. Readers will find themselves challenged by the author’s combative engagement with her contemporaries, and rewarded by the lucid complexity and immediacy of her thinking. Topics include: love, friendship, imagination; thinking, belief, and conviction; the importance of knowledge of language; the active unselfishness of women; the intrinsic reality of mind; death; good and evil; ‘soul’ and ‘spirit’; structuralism and theory; the novel, history, myth -- besides her judgements on writers such as Coleridge, and contemporaries such as Stein. As the excitement aroused by ‘theory’ subsides, now may be the time for Laura (Riding) Jackson’s considered judgement of the spiritual function of language and human life to be given the attention it deserves. Laura Riding worked first as a poet in her native USA, where she was associated with the Fugitives, then in Europe, collaborating as poet and critic, with Robert Graves among others. Not long after her return to America in 1939, she renounced poetry, judging it an artificial substitute for natural truth-speaking. There followed two decades devoted to the study of language with her husband Schuyler B. Jackson, crowned by three prolific decades of renewed writing and publishing activity. Laura (Riding) Jackson died in 1991. Editors: John Nolan is editor of Laura (Riding) Jackson’s The Failure Of Poetry; The Promise Of Language. Alan J. Clark is her authorized bibliographer, and his check-list of her work appeared in Chelsea 69 (2000); he has co-edited her books First Awakenings and The Word “Woman”, and was text-editor of The Poems of Laura Riding (2001). The editors are members of the author’s board of literary executors: their several respective contributions on her work have appeared in the UK, USA, Japan, and Brazil.’

Paper: White laid paper [?]. No endpapers. All edges trimmed.

Contents:
11 Editorial Note
15 Epigraph
17 Explanation
21 Preface
25 Prospectus
Language
35 Habits Of Linguistic Curtailment
51 And So On (Masters, Mistresses, Misters, Mrs. {Misses}-ez, Ms. {Miz} -ez
61 Notes Of Comment On some Absurdities In Contemporary Thinking On Language
65 Structuralism, And The General Decline In Human Intellectual Well-Being
82 Freedom Of Tongue
109 Lexicographical Abandon
111 Terms And Error
114 A Linguistic Note On The Philosophical Labors Of Susanne K. Langer
122 The Nature Of ‘Prose’
124 Making Do With Deterioration
133 The Nature Of Sanity
136 Another Language Expert (George Steiner)
138 The Same Language?
142 Anti-Language Sentiment In Contemporary Literary Attitudes
144 Under The Mind’s Watch
Literature
149 Twentieth-Century Literary Individualism: A Series Of Considerations
179 A Terminology Of Literary Criticism
185 The Word-Plan Of Gertrude Stein
212 The Novel As A Contemporary Subject
241 The New Immorality
260 To Be A Writer
264 Language In The Mind
272 Some Notes On Greek, English, Hebraic Poetic Style
278 Punctuation, Rhythm, Word-Delivery, In Poetry
284 Carrying Coals . . . : The Cause Of Selfhood
303 Thinking About Coleridge
304 Men -- And Women -- At Work
315 Considering I. A. Richards And F. R. Leavis: What Then, For Literature?
318 Some Notes On Poetry And Poets In This Century, And My Influence
327 A Type Of Literary Professionalism
328 ‘Reality’ -- According To Eliot
332 Yeats And Poetic Magic
334 William Carlos Williams, Ezra Pound, Others: The American Element
339 James Dickey On Poetry
Life
343 Liberalism
355 The Word ‘Human’, The Living Of Human Life
392 Bertrand Russell, And Others: The Idea Of The Master-Mind
404 Thoughts On Thought
418 Modern Imagination
423 Imagination
424 History And The Myth Of History
447 Homosexuality
451 Principles
452 Signs
456 The Limits Of Human Decline
469 On Kierkegaard
470 Is There Life After Intellectual Death?
472 Right And Wrong: The Principle Of Correction
477 Friendship’s Solutions (Written To A Friend)
478 Culture Dichotomized: A False Proposition
481 Thinking, Knowing, Judging
484 Home (Written As A House-Warming Gift To A Friend)
491 Love
504 People In General
516 The Answer
518 For Finis
521 Index

Notes: Published October 2004, at $85.95.

A57 A SURVEY OF MODERNIST POETRY AND 2002
A PAMPHLET AGAINST ANTHOLOGIES

Collation: 8 1/2 x 5 1/4 in., unsigned. pp. [i-vii] viii-xiv [1-5] 6-16 [17] 18-28 [29] 30-39 [40] 41-52 [53] 54-62 [63] 64-74 [75] 76-92 [93] 94-110 [111] 112-128 [129] 130-144 [145] 146-150 [151-157] 158-164 [165] 166-176 [177] 178-185 [186] 187-196 [197] 198-214 [215] 216-223 [224] 25-233 [234] 235-243 [244] 245-251 [252-253] 254 [255] 256 [257] 258. [i]: 'LAURA RIDING & ROBERT GRAVES | A Survey of Modernist Poetry | and | A Pamphlet Against Anthologies|[Laura (Riding) Jackson note, same as A55] [Robert Graves note, same as A55] | CHARLES MUNDYE is Lecturer in English at the University of Hull. | PATRICK McGUINNESS is Lecturer in French and a Fellow of St. Anne’s | College, Oxford. He is the editor of T. E. Hulme’s Selected Writings for | Carcanet.’ [ii]: ‘Also by Laura Riding and Robert Graves from Carcanet | Essays from Epilogue’. [iii]: title page [iv] ‘This edition first published in Great Britain in 2002 by | Carcanet Press Limited | 4th Floor, Conavon Court | 12-16 Blackfriars Street | Manchester M3 5BQ | A Survey of Modernist Poetry first published by Heinemann, 1927 | A Pamphlet Against Anthologies first published by Garden City, 1928 | Text Copyright  2002 by the Laura (Riding) Jackson Board of Literary Management | Text Copyright  2002 by the Trustees of the Robert Graves Copyright Trust | Introduction and editorial apparatus copyright  2002 | by Charles Mundye and Patrick McGuinness | The right of Charles Mundye and Patrick McGuinness to be identified as | the editors of this work has been asserted by them in accordance with | the Copyright, Designs and Patents Act of 1988 | All rights reserved | A CIP catalogue record for this book | is available from the British Library | ISBN 1 85754 568 0 | The publisher acknowledges financial | assistance from the Arts Council of England | [Arts Council logo] | Typeset in Monotype Ehrhardt by XL Publishing Services, Tiverton | Printed and bound in England by SRP Ltd, Exeter’. [v]: Contents. [vi]: blank. [vii]-xiv: Introduction. [1]: ‘LAURA RIDING and ROBERT GRAVES | A SURVEY OF | MODERNIST POETRY’ [2]: ‘NOTE | This book represents a word-by-word collaboration; except for the last | chapter, which is a revision by both authors for the purposes of this | volume of an essay separately written and printed by one of them.’ [3]: Contents of A Survey of Modernist Poetry [same as A4]. [4]: blank. [5]-144: text. [145]-150: Notes. [151]: ‘LAURA RIDING and ROBERT GRAVES | A PAMPHLET | AGAINST ANTHOLOGIES’. [152]: blank. [153]: Contents of A Pamphlet Against Anthologies [same as A7]. [154]: blank. [155]: Foreword. [156]: blank. [157]-251: text. [252]: blank. [253]-254: Notes. [255]-256: List of Principal Anthologies. [257]-258: Index.

Binding: Paper covers. Front panel red textured with brown. Printed [in cream] ‘A SURVEY OF |MODERNIST | POETRY | and | A PAMPHLET | AGAINST | ANTHOLOGIES | [in white] LAURA RIDING | AND | ROBERT GRAVES |[in cream] Edited by | Charles Mundye and Patrick McGuinness’ Cream spine with title, authors, and publisher printed in black lengthwise. Back panel cream printed in black. Back panel copy: ‘The books paired here make up the first collaborative study of ‘Modernist’ poetry by two of the twentieth century’s most important and original poets. In A Survey of Modernist Poetry, Laura Riding and Robert Graves produce a contemporary reaction to the early experimentation of writers such as Eliot, Pound and e.e. cummings. Their close critical readings are deployed, along the way, in an engagement with Shakespeare scholarship, issues of populism and elitism and an attempt to define -- perhaps to invent -- that elusive creature known as ‘the common reader’. The Survey contains groundbreaking readings of modern poems and movements and is an illuminating and polemical account of the beginnings of modernism. It is an important resource but also a valuable critical text in the reception and development of modernist poetry in English. A Pamphlet Against Anthologies is an entertaining polemic against the perceived iniquities of the trade anthology. A statement of poetic integrity, it poses awkward questions about the production and consumption of art in the mass markets of the twentieth and twenty-first centuries.

Paper: White laid paper [?]. No endpapers. All edges trimmed.

Contents:
vii Editorial Introduction
1 A Survey of Modernist Poetry
145 Editorial Notes
151 A Pamphlet Against Anthologies
253 Editorial Notes
255 List of Principal Anthologies
257 Index

Notes: Published August 2002. Priced at £14.95. Cover design by Stephen Raw.

A58 THE LAURA (RIDING) JACKSON READER 2005

Collation: 9 x 6 in., unsigned. [i-ix] x-xiii [xiv-xv] xvi-xxi [xxii-xxiv] [1-3] 4-8 [9] 10-13 [14] 15-53 [54] 55-66 [67] 68-70 [71] 72-87 [88] 89-90 [91] 92-93 [94] 95-98 [99] 100-105 [106] 107-168 [169] 170-186 [187] 188-190 [191] 192-199 [200-203] 204-207 [208] 209-219 [220] 221-227 [228] 229 [230] 231-234 [235] 236-237 [238-239] 240-248 [249] 250-252 [253] 254-263 [264] 265-270 [271] 272-289 [290] 291-331 [332-334] 335-337 [338] 339-368 [369] 370-372 [373] 374-377 [378] 379-386 [387-392]. [i]: ‘THE LAURA (RIDING) JACKSON READER’. [ii]: ‘OTHER BOOKS BY AND ABOUT LAURA (RIDING) JACKSON | PUBLISHED BY PERSEA | First Awakenings: The Early Poems of Laura Riding | Four Unposted Letters to “Catherine | A Mannered Grace: The Life of Laura (Riding) Jackson | The Poems of Laura Riding | Progress of Stories | Selected Poems: In Five Sets | A Selection of the Poems of Laura Riding | The Word “Woman” and Other Related Writings’. [iii]: title page. [iv]: copyright page. [v-viii]: Contents. [ix]-xiii: Chronology of Laura (Riding) Jackson’s Life. [xiv]: blank. [xv]-xxi: Introduction. [xxii]: blank. [xxiii]: ‘THE LAURA (RIDING) JACKSON READER’. [xxiv]: blank. [1]: ‘PART I | 1923-1938’. [2]: blank. [3]-199: text. [200]: blank. [201]: ‘PART II | 1962-1991’. [202]: blank. [203]-331: text. [332]: blank. [333]: ‘PART III | THE TELLING’. [334]: blank. 335-368: text. [369]-372: Thematic contents guide to prose. [373]-377: Laura (Riding) Jackson major works and notes on texts. [378]-386: Name and title index. [387-392]: blank.

Binding: Paper covers. Front panel white with narrow buff stripes overlaid by two photos of Laura (Riding) Jackson (1927 and 1970s). Title and editor’s name printed in black. Decorative band in buff and black along entire wrapper at bottom. Spine printed in black on buff and white striped background: 'THE LAURA (RIDING) JACKSON READER | [rule] | ELIZABETH FRIEDMANN | [publisher’s device] | Persea'. Back panel copy: ‘Laura (Riding) Jackson, the important American poet and thinker, emerged as a powerful literary voice in the 1920s with the publication of her earliest poems, stories, and criticism. Writers such as Ted Hughes, John Ashbery, Susan Sontag, and Paul Auster have acknowledged her influence as a modernist poet and storyteller. Yet however influential this aspect of her work remains, it represents only half of her long literary career. In 1941, at the height of her fame as a poet, Laura (Riding) Jackson turned her attention exclusively to prose writings about language, sexuality, morality, and other subjects of general human concern. Finally, here in one portable volume are the key texts from the full range of this eminent author’s work. Included from the early writings are a generous selection of the poems, chapters from such major works as A Survey of Modernist Poetry (with Robert Graves), Anarchism Is Not Enough, and The Word “Woman” and Other Related Writings, along with four complete stories from Progress of Stories and the striking preface to her 1938 Collected Poems. The editor has also compiled an ample and representative selection of Laura (Riding) Jackson’s later writings, including the provocative essay “Poetry and the Good,” the chapter “Truth” from Rational Meaning: A New Foundation for the Definition of Words, and a substantial, previously unpublished piece entitled “Body & Mind And the Linguistic Ultimate.” A final selection presents “The Telling” -- the remarkable spiritual testament (Riding) Jackson called her “personal evangel.” Modernist and critic of modernism, feminist and critic of feminism, poet and renouncer of poetry, Laura (Riding) Jackson is a writer whose extensive and challenging work reaches beyond the twentieth century and into our own. LAURA (RIDING) JACKSON (1901-1991) wrote more than forty books of poetry, criticism, and story. Just months before her death, she was awarded the Bollingen Prize in Poetry from Yale University. ELIZABETH FRIEDMANN is co-editor of a number of books by Laura (Riding) Jackson, including First Awakenings: The Early Poems of Laura Riding, and she is the author of the definitive biography A Mannered Grace: The life of Laura (Riding) Jackson. Friedmann lives in Ponte Vedra Beach, Florida.’

Paper: Cream wove paper. No endpapers.
Contents:
ix Chronology of Laura (Riding) Jackson’s Life
xv Introduction
Part I: 1923-1938
3 A Prophecy or a Plea
from First Awakenings: The Early Poems of Laura Riding
9 Dimensions
10 Makeshift
11 The Sweet Ascetic
12 To a Cautious Friend
12 If a Woman Should Be Messiah
from The Poems of Laura Riding
14 Incarnations
15 Take Hands
15 Lucrece and Nara
16 Mortal
16 The Quids
18 The Virgin
18 Back to the Mother Breast
19 As Well As Any Other
19 The Lullaby
21 The Tiger
24 The Rugged Black of Anger
25 Echoes, 1-6
26 The Map of Places
27 Death as Death
27 The Troubles of a Book
29 Opening of Eyes
30 The Wind Suffers
31 You or You
31 World’s End
32 Rhythms of Love
34 Beyond
34 Come, Words, Away
37 As Many Questions As Answers
38 Earth
39 The Wind, the Clock, the We
40 Respect for the Dead
41 There Is No Land Yet
42 The Flowering Urn
42 Poet: A Lying Word
45 Nor Is It Written (from Three Sermons To The Dead)
46 Be Grave, Woman
47 Divestment of Beauty
48 The Reasons of Each
49 After So Much Loss
51 Doom in Bloom
52 Seizure of the World
52 Nothing So Far
from A Survey of Modernist Poetry (with Robert Graves)
54 Chapter VI: The Making of the Poem
from Contemporaries and Snobs
67 Shame Of The Person
from Anarchism Is Not Enough
71 The Myth
73 What Is A Poem?
74 A Complicated Problem
74 The Corpus
77 The Damned Thing
88 from Though Gently
from Experts Are Puzzled
91 Experts Are Puzzled
92 The Fable of the Dice
from Four Unposted Letters to Catherine
94 The Second Letter: To Continue To Begin With
from The Word “Woman” and Other Related Writings
99 Chapter 4: Being a Woman
from Progress of Stories
106 Preface to the First Edition
112 Daisy and Venison
122 Reality as Port Huntlady
155 A Last Lesson in Geography
170 In the Beginning
from Epilogue
171 The Exercise of English, Sections 1-2
172 In Defence of Anger
from The World and Ourselves
187 Part V, Recommendation 14 (abridged)
from Collected Poems
191 To the Reader
Part II: 1962-1991
203 Introduction for a Broadcast; Continued for Chelsea
208 Poetry and the Good
220 The Sex Factor in Social Progress
228 How Now To Think Of Women
230 Preface to Selected Poems: In Five Sets
235 Sequel of 1964 and of 1974 to ‘A Last Lesson In Geography’
238 On ‘In The Beginning’
239 What, If Not a Poem, Poems?
249 The Road To, In, And Away From, Poetry
253 Introduction to The Poems of Laura Riding
264 Preface to the Second Edition of Progress of Stories (abridged) 271 Rational Meaning, Chapter 18: Truth (abridged)
290 Body & Mind And the Linguistic Ultimate
Part III: The Telling
335 Nonce Preface
337 Outline
338 The Telling
369 Thematic Contents Guide to Prose
373 Major Works and Notes on Texts
378 Name and Title Index

Note: Cover design by Leslie Goldman. Published January 2005. Priced at $21.95 (U. S.), $32.00 (Canada). ISBN 0-89255-263-8.

Errata:
p. xx, l. ll: note number 17 omitted after “any of the standard modern moods.”

p. [235]: Second subheading should read “Sequel of 1974” (not 1964).

TRANSLATIONS
Tra 1 LITERATURA NA ´SWIECIE 2003

LITERATURA| na ´swiecie | nr 7-8/2003 (384-385) PL ISSN 0324-8305 nr indeksu 364088 8

Collation: 8 ¼ x 6 14 in., unsigned, pp. [1-4] 5-31 [32] 33-39 [40] 41-127 [128] 129-141 [142] 143-189 [190] 191-201 [202] 203-209 [210] 211-233 [234] 235-255 [256] 257-325 [326] 327-385 [386] 387-409 [410] 411-452 [453-456]. [1]: title page. [2]: editors and magazine address. [3]: blank. [4]: photograph of Laura Riding, 1933. 5-31: text. [32]: Photograph of Laura Riding, 1927. 33-39: text. [40]: photograph of Laura Riding, 1923. 41-127: text. [128]: Photograph of Laura (Riding) Jackson, 1950s. 129-141: text. [142]: Photograph of Laura (Riding) Jackson and Schuyler B. Jackson. 143-189: text. [190]: Photograph of Laura Riding as child with her mother and sister. 191-201: text. [202]: Photograph of Gertrude Stein. 203-209: text. [210]: Photograph of Gertrude Stein and Leo Stein. 211-233: text. [234]: Photograph of Gertrude Stein. 235-255: text. [256]: Photograph of Alice Toklas and Gertrude Stein. 257-325: text. [326]: Photograph of Jane Bowles. 327-385: text. [386]: Photograph of Jane Bowles. 387-409: text. [410]: Photograph of Jane Bowles and John Goodwin. 411-452: text. [453]: information about journal. [454-455]: Contents. [456]: Emblem of 75th anniversary of Biblioteki Narodowej w Warszawie and address.
Binding: Paper covers. Front cover features black-and-white portraits of Laura Riding, Gertrude Stein and Jane Bowles. Name printed vertically in red over each photo. At top right printed in white: ‘LITERATURA | na ´swiecie | Nr 7-8/2003 (384-385) PL ISSN 0324-8305 Nr indeksu 364088’ Back cover has one line of white printing on lower right: ‘Cena 14 zt [vat )%.’ Spine printed lengthwise [in white] ‘NR 7-8/2003 [in red] ‘Laura Riding | Gertrude Stein | Jane Bowles’ [in white] ‘LITERATURA | na ´swiecie.’

Paper: White wove paper. No endpapers.

Contents:
5 Laura Riding, Anonimowa ksiqzka, przet. Julia Fiedorczuk i Andrzej Sosnowski
28 Laura Riding, Miasto zimnych kobiet, przet. Julia Fiedorczuk
33 Mit, przet. Julia Fiedorczuk
36 Laura Riding, Do Cztelników, przet. Julia Fiedorczuk
48 Laura Riding, Wiersze, przet, Julia Fiedorczuk
63 Laura Riding, Wstep do audycji, przet. Julia Fiedorczuk
66 John Ashbery, “Odludniona wyrocznia”, przet. Karolina Krasuska
86 Laura Riding, Opowiadania, przet. Julia Fiedorczuk
108 Harry Mathews, Queen Story, przet. Tadeusz Pióro
129 Laura Riding, Rzeczywisto´s´c jako Port Hartpani, przet. Julia Fiedorczuk
178 Julia Fiedorczuk, Prawo anarchii: o religiach Laury riding i Laury (Riding) Jackson
203 Gertrude Stein, Lucyna Ko´sciót przyjemnie, przet. Bill Martin i Adam Wiedemann
224 Charles Bernstein, Ujmujac Stein / Stein ujmujaca, przt. Adam Zdrodowski
235 Gertrude Stein, Ciezki brzuszek, przet. Adam Zdrodowski
299 Donald Sutherland, Rozwazania, przet. Adam Zdrodowski
327 Jane Bowles, Dwie powazne damy, przet. Andrzej Sosnowski
404 Andrzej Sosnowski, Glosa o Jane Bowles
414 Jakub Ekier, Tekst jako wyj´scie
426 Jacek Gutorow, Magiczne pudelko Gadamera
439 noty o autorach
443 Copyright Information, Acknowledgments and Photo Credits
445 Václav Burian, Laudacja dla Leszka Engelkinga
447 Jerzy Jarniewicz, Kwartet w maju
449 Piotr Siemion, Tomaszowi Mirkowiczowi (1953-2003)

Tra 2 MINDSCAPES 2004

Collation: 8 ¼ x 5 ¼ in., unsigned, pp. [1-11] 12-49 [50-53] 54-71 [72-73] 74-199 [200-201] 202-205 [206-216] 217-237 [238] 239-243 [244] 245-247 [248] 249 [250-256]. [1]: blank. [2]: blank. [3]: ‘Mindscapes’. [4]: blank. [5]: title page. [6]: copyright page. [7-9]: Contents. [10]: blank. [11]-49: text. [50]: blank. [51]: ‘POEMAS’. [52]: blank. [53]: ‘DE PRIMEIROS DESPERTARES | FIRST AWAKENINGS’. 54-71: text. [72]: blank. [73]: ‘DE OS POEMAS DE LAURA RIDING | THE POEMS OF LAURA RIDING.’ 74-199: text. [200]: blank. [201]: ‘COMO NASCE UM POEMA | HOW A POEM COMES TO BE | (1980)’. 202-205: text. [206]: blank. [207]: ‘FOTOGRAFIAS’. [208]: blank. [209]: Photograph with caption, ‘Laura Riding, poucos meses depois de sua chegada a Londres, 1925.’ [210]: Photograph with caption, ‘Laura Riding, Londres, 1926.’[211] Laura Riding portrait by John Aldridge with caption, ‘A poeta em pintura feita em Majorca por John Aldridge, anos 30.’ [212]: Laura Riding photograph by Ward Hutchinson, 1935, with caption, ‘Laura Riding em foto de Ward Hutchinson, Majorca, Espanha, anos 30.’. [213]: Laura Riding portrait by Arnold Mason, with caption, ‘Laura (Riding) Jackson, pintura de Arnold Mason, por volta de 1935.’ [214]: blank. [215]: ‘LAURA RIDING” | UM FÓRUM’. [216]: blank. 217-237: text. [238]: blank. 239-243: text. [244]: blank. 245-247: text. [248]: blank. [248]: notes on translator. [249]: blank. [250-252]: other titles from publisher. [253-254]: blank. [255]: publishing information.
Binding: Paper covers. Front cover features abstract design in shades of blue, grey and green, with lettering: [in grey] ‘Laura Riding | [in light blue] MINDSCAPES | [in light green] Poemas | [in white] | Seleção, tradução e introdução |Rodrigo Garcia Lopes | ILUMINURAS’. Front and back flap printed with information on the poet and the selection of poems. Front flap extends to include bookmark removable at perforations. Back cover dark blue with 1927 photo of Laura Riding at top and quotations from Paul Auster, William Carlos Williams, Lisa Samuels and Charles Bernstein.

Paper: White wove paper. No endpapers.

Contents:
11 Mindscapes: Poesia & Poética de Laura Riding, by Rodrigo Garcia Lopes
49 Agradecimentos
Poemas
De Primeiros Despartares, First Awakenings
55 Para um quase amigo (To one about to become my friend)
57 Verdade (Truth)
61 O misterioso sejaquemfor (The mysterious whoever)
63 Uma gentileza (A kindness)
65 O Quarto Poder (The Fourth Estate)
67 Dimensoes (Dimensions)
71 Livre (Free)
De Os Poemas De Laura Riding
The Poems of Laura Riding
75 Encarnaçoes (Incarnations)
77 Orgulho da cabeça (Pride of head)
79 Sim e não (Yes and no)
81 Tarde (Afternoon)
83 Adiamento de si (Postponement of self)
85 Helena em chamas (Helen’s Burning)
87 de Ecos (from Echoes)
95 Muito funciona (There is much at work)
97 A definição de amor (The definition of love)
99 Tamanho natural é demais (Life-size is too large)
101 O mapa dos lugares (The map of places)
103 Morte como morte (Death as death)
105 Os problemas de um livro (The troubles of a book)
109 Elegia numa teia de aranha (Elegy in a spider’s web)
117 Abrir de olhos (Opening of eyes)
121 Oceano, filosofia falsa (Sea, false philosophy)
123 Por uma tosca rotação (By crude rotation)
127 Sono transgredido (Sleep contravened)
131 Fim do mundo (World’s end)
133 Quase (Nearly)
135 Fé sobre as águas (Faith upon the waters)
137 Ó vocábulos do amor (O vocables of love)
139 Além (Beyond)
141 Venham embora, palavras (Come, words, away)
147 Tantas perguntas quanto respostas (As many questions as answers)
151 Terra (Earth)
153 E um dia (And a day)
155 Com a face (With the face)
157 O vento, o relógio, o nós (The wind, the clock, the we)
161 O mundo e eu (The world and I)
163 Nenhuma terra ainda (There is no land yet)
167 Poeta: palavra mentirosa (Poet: a lying word)
177 Por causa das roupas (Because of clothes)
181 O porquê do vento (The why of the wind)
185 Quando o amor vira palavras (When love becomes words)
197 Nada até aqui (Nothing so far)
201 Como Nasce Um Poema, How A Poem Comes To Be (1980)
207 Fotografias
Laura Riding: Um Fórum
217 Laura (Riding) Jackson e o absoluto poético, Lisa Samuels
221 Laura (Riding) Jackson: um breve esboço biográfico, Elizabeth Friedmann
227 Um ser se pensa, Mark Jacobs
229 A poesia de Laura Riding, e além, John Nolan
231 Laura Riding: comentário, Jerome Rothenberg e Pierre Joris
233 Perguntas e respostas, Alan Clark
239 A razão de Riding, Charles Bernstein
245 O sorriso de Laura Riding, Carla Billiteri e Benjamin Friedlander
249 Sobre o Tradutor

Errata:

p.8 (Indice), and p.13 (Note 5): sp. becomes (When love becomes words)

p.19, line 5: insert ‘An’ (An Acquaintance With Description)

p.36, penultimate line, Goat and Amalthea quote: insert ‘it’ (Now it is always snow)

p.45, lines 9/10: change ‘immortality’ to ‘mortalities’ (Memories of mortalities)
line 13: change Ridings to Riding

p.47, line 1: Ann Arbor (not Ann Harbor)
line 9 from foot: correct title: ‘…a new edition of the 1938 Collection’ (nb no point after 1938)

p.48, line 3: sp. Northridge (not Horthridge)
line 7 from foot: typo ‘after’ (not ‘wfter’)

p.76, Pride of head, line 5: change to ‘precedent’ (not precedence)
line 5 from foot: sp.’benignly’

p.90, Echoes 18: quote-marks open double but close single: regularise

p.120, Sea, false philosophy, line 7 from foot: ‘swoon’ (not ‘swoons’)

p.122, By crude rotation, line 6: ‘fell’ (not ‘feel’)
line 17: ‘knows’ (not ‘knowns’)

p.140, Come, words, away, stanza 3, line 3: ‘You’ (not ‘Tou’: which is a misprint in the 1980 ed.)

p.146 [important], As many questions as answers: penultimate line should begin ‘Is it…’ (not ‘It is…’)

p.168, Poet A Lying Word, line 7 from foot: ‘at steady count’ (not ‘as’)

p.170, 2nd stanza: LINE OUT: ‘…as everlong you builded against very-death, to keep you everlong in boasted

p.170, penultimate line: delete question-mark after ‘actual’ [error in 1980 text]

p.172, line 4: delete exclamation-mark after ‘both’ [error in 1980 text]

p.176, Because of clothes, stanza 3 line 2: ‘below’ (not ‘bellow’)

p.182, The why of the wind, penultimate line: delete ‘and’ (‘keep returning wailing’)

p.186, When love becomes words, line 23: change ‘night’ to ‘thing’ (‘or other thing to dream’)

p.188, line 11: ‘though’ (not ‘thought’) (though our earth it is)
line 6 from foot: insert ‘to’ (Ring to the heart…)
p.190, line 11 from foot: sp. ‘stubbornness’ (two x ‘n’)

p.192, mid-page end-verse: insert ‘the’ (The taste is lost in the taste of the thought)

p.194, stanza 2, line 6: sp. ‘disunion’ (not ‘desunion’)

p.202, How a poem comes to be, line 8 from foot: ‘construct’ (not ‘constructs’)

p. [209]: photograph misdated 1925; should be 1927.

p. [210]: photograph misidentified as taken in London in 1926; should be United States, 1924 [n.b. Laura Riding Gottchalk (not Laura Riding) was her authorial name at the time.]

p. [213]: portrait misdated as 1935; should be 1933 [n.b. Laura Riding (not Laura (Riding) Jackson) was her authorial name at the time.

p.219, line 5: change ‘categories’ to ‘communications’

p.221: Note should read ‘Elizabeth Friedmann é autora da biografia A Mannered Grace: The Life of Laura (Riding) Jackson, publicada em 2005.’

Notes:

Published November 24, 2004, in São Paulo. Priced at R$44,00. ISBN 85-7321-218-7.

Tra 3 TID FOR HELVETE 2004

Laura (Riding) Jackson| Tid for helvete | Dikt i utvalg | Utvalgt og gjendiktet av Terje Dragseth | Tiden Norsk Forlag

Collation: 8 x 5 in., unsigned, pp. [1-4] 5-45 [46] 47-53 [54]. [1]: ‘Tid for helvete’. [2]: blank. [3]: title page. [4]: copyright page. 5-6: Contents. 7-45: text. [46]: blank. 47-53: text. [54]: blank.
Binding: White wove paper over boards. Front and back blank. Printed down spine in black: ‘Laura (Riding) Jackson Tid for helvete’ with publisher’s device at bottom. White dust jacket. Front cover is full-color reproduction of John Aldridge portrait, printed over with white lettering: ‘Laura (Riding) Jackson | Tid for helvete’ with ‘tiden’ printed in black at lower right edge. Front and back flaps blank. Back cover printed in black and bronze with information about author and translator.

Paper: Cream wove paper, including endpapers.

Contents:
7 Problemet for en Bok
9 Selvutsettelse
10 Inkarnasjoner
11 Marerittet
12 Kjær Mulighet
13 Likeså Mange Spørsmål Som Svar
15 Ettermiddag
16 Dødelig
17 Vinden Lider
18 Fordi Jeg Sitter Her Slik
20 Død Som Døden
21 Vinden, Klokka, Vi
23 Poet: Et Løgnaktig Ord
27 Hvordan Jeg Kom Til å Kalle en Maur for Kjær
29 Så Vagt
30 Sermonielt
31 Til en Stolt Elsker
33 Så Blind og Klar
34 Flett Hender
35 Nok
36 Jomfruen
37 Prismer
38 Det Står Så Mye På Spill
39 Bare Dikt
40 Sånn er Det
41 Respekt For De Døde
43 Kjærlighet Omsider
45 Et Behov For Helvete
47 Etterord: Det Er En Mening I Språket Som Ikke Har Nådd Fram Til Menneskene
53 Originaltitler:

Notes:

Printed and bound in Norway; print run: 1534 copies. ISBN: 82-10-04381-1.

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