An online collection of books and ephemera
Notes on this edition: Julian Barnes. “A Self-Possessed Woman.” Black Water 2: More Tales of the Fantastic. Edited by Alberto Manguel. New York: Clarkson Potter, 1990. Pp. 941 + [7]. 19.7 x 13 cm. ISBN: 0517575590.
Julian Barnes’s story appears on pp. [444]-459.
Notes on this edition: Julian Barnes. “What’s in a Domain Name?” The Fun of It: Stories from the Talk of the Town. Edited by Lillian Ross. New York: The Modern Library, 2001. Pp. 478 + [10]. 23.4 x 15.5 cm. ISBN: 0375756493.
Julian Barnes’s essay appears on pp. [448]-449. Originally published in the 3 April 2000 issue of The New Yorker.
Notes on this edition: Julian Barnes. “Book into Film: Chabrol’s Madame Bovary.” Writers at the Movies: Twenty-Six Contemporary Authors Celebrate Twenty-Six Memorable Movies. Edited by Jim Shepard. New York: Perennial, 2000. Pp. 277 + [1].23.1 x 15.5 cm. ISBN: 0060954914.
Notes on this edition: Julian Barnes. “Playing Chess with Arthur Koestler.” The Best American Essays: 1989. Edited by Geoffrey Wolff. New York: Ticknor & Fields, 1989. Pp. 298. 21.5 x 14.3 cm. ISBN: 0899198910.
Barnes’s essay appears on pp. [1]-14. This example has a large stain on the jacket.
Notes on this edition: Julian Barnes & Martin Amis. “The Grudge Match”. The Esquire Book of Sports Writing. Edited by Greg Williams. London: Penguin, 1995. Pp. 229 [230]. 19.7 x 12.9 cm. ISBN: 0140251243.
The entire entry runs from pp. 117-[124] with Julian Barnes’s specific contribution on pp. 121-[124]. Originally published in Esquire Magazine in 1991.
Notes on this edition: Travelling Light: Punch Goes Abroad. Edited by Susan Jeffreys. Foreword by Barry Humphries. London: Punch, 1988. Pp. 187 + [5]. 25.3 x 18.4 cm. ISBN: 0246133244.
Julian Barnes’s short story “On the Terrace” appears on pp. 70-74.
Notes on this edition: The Faber Book of Utopias. Edited by John Carey. London: Faber and Faber, 1999. Pp. 531 + [3]. 24 x 16 cm. ISBN: 9780571197859.
Julian Barnes contributes an excerpt from the chapter “The Dream” from his novel A History of the World in 10½ Chapters, pp. 483-487. The excerpt is titled “Having What You Want”.
Notes on this edition: The Writing Life: Writers on How They Think and Work. Edited by Marie Arana. New York: Public Affairs, 2003. Pp. 404 + [6]. 20.8 x 13.9 cm.
Uncorrected proof in paper covers. Julian Barnes’s entry is titled “Literary Executions” appears on pp. 382-386. Barnes’s biographical profile appears on pp. [380]-382.
“A Collection from The Washington Post Book World”.
Notes on this edition: Julian Barnes. “Ford and Provence”. Ford Madox Ford, France and Provenance. Edited by Dominique Lemarchal and Claire Davison-Pégon. Amsterdam: Editions Rodopi B.V., 2011. Pp. 297 + [23]. 22 x 15 cm. ISBN: 9789042033474.
Barnes’s essay appears on pp. 153-163. “An un-annotated version of this essay was first published in the Guardian, 21 August 2010, Review, 2-4, under the title ‘Ford Madox Ford’s passionate affair with Provence‘.”
Notes on this edition: Paeans for Porter: A Celebration for Peter Porter on His Seventieth Birthday by Twenty of His Friends. Edited by Anthony Thwaite. London: Bridgewater Press, 1999.
Julian Barnes contributes a piece titled “Postcard to Peter Porter” (Pp. 16-19) for this collection in honor of the poet Peter Porter. Other contributors include: Martin Amis, Alan Brownjohn, Geoffrey Burgon, Wendy Cope, Allen Curnow, Ian Duhig, D. J. Enright, U. A. Fanthorpe, Barry Humphries, Clive James, David Malouf, Les Murray, Sean O’Brien, C K. Stead, George Szirtes, Ann Thwaite, Anthony Thwaite, William Trevor, and Kit Wright.
The limitation page indicates Bridgewater Press issued three editions of this book, as follows:
“This book is published in an edition of 113 copies on Archival Parchment paper. Seventy-five copies, numbered 1-75, are bound in Ratchford Atlantic cloth. Twenty-six copies signed by the contributors, lettered A-Z, are bound in quarter cloth and marbled paper boards. Twelve copies signed by the contributors, numbered I-XII, are bound in quarter Library Calf.”
This contributor’s copy is from Julian Barnes’s personal collection. Also signed by Peter Porter.