signature – Page 9 – Julian Barnes Bibliography

Cross Channel | Uncorrected Proof (Jonathan Cape, 1996)

Notes on this edition: Julian Barnes. Cross Channel: Stories. London: Jonathan Cape, 1996. Pp. 211 + [1]. 20.3 x 13.3 cm. ISBN: 0224043013.

Uncorrected Proof in cream card wraps with black and red lettering. Designed to resemble a traditional French Gallimard paperback edition. ‘JONATHAN CAPE UNCORRECTED BOOK PROOF’ in black along bottom of upper panel. Limited to 500 copies with the numbering to the first sheet.

An unknown number of copies of this uncorrected proof were printed without the limitation line. The assumption is that this print run was extremely low and was supplied to in-house employees only, rather than reviewers. A copy of this proof, with a lengthy inscription from Julian Barnes, is in his bibliographer’s private collection.

Something to Declare (Alfred A. Knopf, 2002)

Notes on this edition: First American edition – New York: Alfred A. Knopf, 2002. $25.00. Barnes has dedicated the book to his parents using their initials: ‘A. L. B. | 1909-1992 | K. M. B. | 1915-1997’. The back cover of the book features an embossed publisher’s device near the bottom edge, as pictured.

Descriptive Bibliography:

Title Page: JULIAN BARNES | Something to Declare | Essays on France | [Knopf device] | Alfred A. Knopf New York 2002

Collation: 21.1 x 14.2 cm. Untrimmed pages. Pp. [–i-–ii, i-xii] xiii-xix [xx; 1-4] 5-13 [14-18] 19-29 [30-34] 35-41 [42-46] 47-55 [56-60] 61-69 [70-74] 75-89 [90-94] 95-99 [100-104] 105-133 [134-138] 139-157 [158-162] 163-177 [178-182] 183-193 [194-198] 199 [200-204] 205-217 [218-222] 223-231 [232-236] 237-247 [248-252] 253-265 [266-270] 271-279 [280-284] 285-295 [296-298] [Note: no even page numbers were printed]. [–ii]: blank. [–i]: ‘ALSO BY JULIAN BARNES | England, England | Cross Channel | Letters from London | The Porcupine | Talking It Over | A History of the World in 10½ Chapters | Staring at the Sun | Flaubert’s Parrot | Before She Met Me | Metroland | Love, etc.’. [i]: ‘Something to Declare’. [ii]: blank. [iii]: title page. [iv]: copyright page. [v]: ‘A. L. B. | 1909–1992 | K. M. B. | 1915–1997’. [vi]: blank. [vii-viii]: contents. [ix]: list of illustrations. [x]: blank. [xi]-xix: preface. [xx]: blank. [1]: ‘( 1 ) | An Englishman Abroad’. [2]: ‘[photo] | A typical Ultimate Peasant’. [3-14]: text. [15]: ‘( 2 ) | Spending Their Deaths | on Holiday’. [16]: ‘[photo] | Three beers, one ashtray, three singers: (l. to r.) | Jacques Brel, Léo Ferré, George Brassens’. [17-30]: text. [31]: ‘( 3 ) | The Promises of Their | Ordination’. [32]: ‘[photo] | Jean Seberg kisses Jean-Paul Belmondo | to advertise A bout de souffle’. [33-42]: text. [43]: ‘( 4 ) | The Land Without Brussels Sprouts’. [44]: ‘[recipe for tomato soup] | A simple recipe’. [45]-55: text. [56]: blank. [57]: ‘( 5 ) | Tour de France 1907’. [58]: ‘[photo] | The Pont du Gard: “a little stupid,” | according to Henry James’. [59-70]: text. [71]: ‘( 6 ) | Tour de France 2000’. [72]: ‘[photo] | “To the memory of Tom Simpson, Olympic medallist, | World champion, British sporting ambassador, | died 13th July (Tour de France 1967)”’. [73]-89: text. [90]: blank. [91]: ‘( 7 ) | The Pouncer’. [92]: ‘[photo] | George Simenon with all his needs | (the maid is off camera), 1930s’. [93-100]: text. [101]: ‘( 8 ) | French Letters’. [102]: ‘[photo] | Not an Ultimate Peasant but a | sophisticated poet: Stéphane Mallarmé’. [103]-133: text. [134]: blank. [135]: ‘( 9 ) | Flaubert’s Death-Masks’. [136]: ‘[photo] | Flaubert’s death-mask’. [137]-157: text. [158]: blank. [159]: ‘( 10 ) | Not Drowning But Waving: | The Case of Louise Colet’. [160]: ‘[photo] | Louise Colet in riding costume, | by Courbet’. [161-178]: text. [179]: ‘( 11 ) | Drinking Ink’. [180]: ‘[photo] | Alphonse Karr in his garden at Saint-Raphaël’. [181]-193: text. [194]: blank. [195]: ‘( 12 ) | Two Moles’. [196]: ‘[photo] | Turgenev at forty: the age of renunciation’. [197-200]: text. [201]: ‘( 13 ) | Consolation v. Desolation’. [202]: ‘[photo] | George Sand, by Nadar’. [203-218]: text. [219]: ‘( 14 ) | Tail-Flaying’. [220]: ‘[photo] | A bad sight for Flaubert: Prussians in the | studio of a Rouen photographer, 1871’. [221-232]: text. [233]: ‘( 15 ) | The Cost of Conscientious | Literature’. [234]: ‘[photo] | Caroline Commanville, | Flaubert’s niece’. [235-248]: text. [249]: ‘( 16 ) | Faithful Betrayal’. [250]: ‘[photo] | Isabelle Huppert as Emma Bovary, “a victim who | does not behave as a victim”’. [251]-265: text. [266]: blank. [267]: ‘( 17 ) | Justin: A Small Major | Character’. [268]: ‘[photo] | J.B. at the tomb of G.F., Rouen, 1983’. [269]-279: text. [280]: blank. [281-282]: acknowledgements. [283]-295: index. [296]: blank. [297]: ‘A Note About the Author | Julian Barnes is the author of nine novels, a book of | stories, and a collection of essays. He is a recipient of | the Prix Femina, and in 1988 was made an Officier | de l’Ordre des Arts et des Lettres. He lives in London.’. [298]: ‘A Note on the Type | This book was set in Fournier, a typeface name for | Pierre Simon Fournier, a celebrated type designer in | eighteenth-century France. Fournier’s type is consid- | ered transitional in that it drew its inspiration from the | old style yet was ingeniously innovational, providing | for an elegant yet legible appearance. | Composed by Creative Graphics, | Allentown, Pennsylvania | Printed and bound by R. R. Donnelley & Sons, | Harrisonburg, Virginia | Typography and binding design by | Dorothy S. Baker’.

General description: Binding 22 x 14.8 cm. Grey boards, silver blocked on blue board spine. White endpapers. Upper panel dust jacket features a photo of a Triumph Mayflower (courtesy of Julian Barnes), lettered in orange with red border (author) and white in a black rectangle. Lower panel has three vertical bands of color (blue, white, and red) with white, black, and red lettering. Flaps are white with black lettering. Jacket design by Abby Weintraub. Photograph of the author by Jillian Edelstein on back flap.

England, England (Jonathan Cape, 1998)

Notes on this edition: First edition U.K. hardback published by Jonathan Cape. This copy signed by Julian Barnes and dated “3/9/98”. ISBN: 0224052756.

Also includes an inscription from a different copy in which Barnes inscribes the preliminary page for a charity event.

Descriptive Bibliography: First Edition — England, England. London: Jonathan Cape, 1998. £15.99.

Collation: 21.5 x 13.8 cm. Pp. [i-vi, 1-2] 3-25 [26-27] 28-103 [104-105] 106-175 [176-177] 178-238 [239-240] 241-266. [i]: ‘ENGLAND, | ENGLAND’. [ii]: ‘by the same author | METROLAND | BEFORE SHE MET ME | FLAUBERT’S PARROT | STARING AT THE SUN | A HISTORY OF THE WORLD IN 10½ CHAPTERS | TALKING IT OVER | THE PORCUPINE | LETTERS FROM LONDON 1990—1995 | CROSS CHANNEL’. [iii]: title page. [iv]: copyright page. [v]: ‘TO PAT’. [vi]: blank. [1]: ‘1: ENGLAND’. [2]: blank. 3-25: text. [26]: blank. [27]: ‘2: ENGLAND, | ENGLAND | One’. 28-103: text. [104]: blank. [105]: ‘Two’. 106-175: text. [176]: blank. [177]: ‘Three’. 178-238: text. [239]: ‘3: ANGLIA’. [240]: blank. 241-266: text.

General description: Binding 22.2 x 14.4 cm. Black boards, silver blocked on spine. Dark blue endpapers. Upper and lower panels of dust jacket depict a puzzle of England in blue, orange, yellow, purple, pink, and red. Lettered in white, excepting the price in red. Illustration by Bill Gregory. Author photograph by Jillian Edelstein on back flap.

Printing Error on First Cape Edition: Below is an unusual example of a printing error on the first Jonathan Cape edition of Julian Barnes’s England, England. In this book, four pages feature a paper overlay (pp. 71-74), presumably the results of a quality control issue related to the end of a large paper roll (or the connecting of two rolls) during the printing process. The connecting paper/overlay is of a slightly different, light blue color.

Som jeg ser det: essays om billedkunst (Tiderne Skifter, 2011; Danish)

Notes on this edition: Julian Barnes. Som jeg ser det: essays om billedkunst. Copenhagen: Tiderne Skifter, 2011. Pp. 218 + [6]. 20.9 x 16.3 cm. Translated by Claus Bech. ISBN: 9788779733725. (Danish)

Julian Barnes’s Danish publisher encouraged the publication of this collection of essays on art several years prior to the publication of Barnes’s collection Keeping an Eye Open: Essays on Art (Jonathan Cape, 2015). The Danish publication contains essays on the following artists:

Theodore Géricault
Eugène Delacroix
Gustave Courbet
Édouard Manet
Edgar Degas
Odilon Redon
Félix Vallotton
Pierre Bonnard
Édouard Vuillard
Georges Braque
René Magritte
Claes Oldenburg

The example featured here is signed, but a lengthy, personalized inscription has been removed from the title page.

“A London View” (Granta 65, Spring 1999)

Notes on this edition: “A London View” by Julian Barnes. Granta 65 (Spring 1999): 176-177. Barnes recalls his early memories of the Metropolitan, Bakerloo and District tube lines.

Duffy (Jonathan Cape, 1980)

Notes on this edition: First edition – London: Jonathan Cape, 1980. £4.95. Print run: 4000.

Julian Barnes’s first book publication under the pseudonym Dan Kavanagh. Published the same year as Barnes’s first literary novel Metroland (1980).

Note in the images that Cape price clipped the front flap of the dust jacket and affixed price tags of £8.95 and £9.95. Both jackets were placed on first edition texts, showing the publisher’s increased sales price over time. Included in the images are two signatures, both as “Dan Kavanagh”, but one showing the Kavanagh “flare” Barnes typically uses when signing as his pseudonym. The second “Dan Kavanagh” appears in Barnes’s normal hand, which is unusual for his pseudonym signature.

Descriptive Bibliography:

Title Page: Duffy | Dan Kavanagh | [Jonathan Cape device] | JONATHAN CAPE | THIRTY BEDFORD SQUARE LONDON

Collation: 19.7 x 12.8 cm. Pp. [i-iv, 1-6] 7-180 [181-188]. [i]: pasted to board. [ii-iv]: blank. [1]: ‘Duffy’. [2]: blank. [3]: title page. [4]: copyright page. [5]: ‘To Pat Kavanagh’. [6]: blank. 7-180: text. [181]: text. [182-187]: blank. [188]: pasted to board.

General description: Binding 20.5 x 13.5 cm. Black boards, gold blocked on spine. No endpapers (outer leaves pasted down). Black dust jacket lettered in pink, yellow and white, with a color drawing of a woman’s foot in a pink high-heel shoe. No author photograph.

Talking It Over | Uncorrected Proof (Alfred A. Knopf, 1991)

Notes on this edition: Julian Barnes. Talking It Over. New York: Alfred A. Knopf, 1991. Pp. 273 + [1]. 19.9 x 13.5 cm.

Uncorrected proof in light blue paper covers. As a promotional item, Knopf produced a separate, white proof signed by Julian Barnes that was housed in a black paper “box sleeve”. The proof presented here is the standard proof that precedes the special proof.

Shown in the photos are three versions of the uncorrected proof. The first is a standard copy without markings. Another is the printer’s or “Press Copy”, which features printing information on the cover and text block indicating the color of paper to be used while printing the proofs. Written on the text block in ballpoint ink is “50 wh. | Blue Regular | Train”, suggesting the color that should be used for the paper covers. On the paper cover is written, “press copy | 91-778 | choo choo”, the “choo choo” suggesting “Train”, as written on the text block. In addition, the date on which the proofs were printed is written on the spine as “5-8-91”.

The third version presented here is a copy prepared for distribution to reviewers. The original provisional publication date and price have been covered over with a white slip of paper taped to the cover. In addition, three pages of advertisements have been stapled to the inside front cover.

Pulse | Final Uncorrected Proof (Jonathan Cape, 2010)

Notes on this edition: Julian Barnes. Pulse. London: Jonathan Cape, 2010. Pp. 228 + [6]. 21 x 14.8 cm.

Final Uncorrected Proof with lengthy inscription by Julian Barnes stating: “the first proof run to be bound up was suppressed because of authorial complaint at the myriad errors. A very few of the final (or near-final) corrected proofs were later bound up, of which this is one”.

Note: The inscription has been edited to remove part of the personalized dedication.

The Pedant in the Kitchen (Atlantic Books, 2003)

Notes on this edition: First edition – London: Atlantic Books, 2003. £9.99. Print run: 15,000.

Descriptive Bibliography:

Collation: 17.8 x 12.8 cm. Pp. [i-viii] 1-4 [5] 6-9 [10] 11-19 [20] 21-26 [27] 28-36 [37] 38-41 [42] 43-52 [53] 54-57 [58] 59-63 [64] 65-71 [72] 73-82 [83] 84-91 [92] 93-101 [102] 103-106 [107] 108-113 [114] 115-122 [123] 124-127 [128] 129-136. [i]: ‘THE PEDANT IN THE KITCHEN’. [ii]: ‘THE PEDANT’. [iii]: title page. [iv]: copyright page. [v]: ‘to She For Whom’. [vi-vii]: contents. [viii]: blank. 1-4: text. [5]: illustration. 6-9: text. [10]: illustration. 11-19: text. [20]: illustration. 21-26: text. [27]: illustration. 28-36: text. [37]: illustration. 38-41: text. [42]: illustration. 43-52: text. [53]: illustration. 54-57: text. [58]: illustration. 59-63: text. [64]: illustration. 65-71: text. [72]: illustration. 73-82: text. [83]: illustration. 84-91: text. [92]: illustration. 93-101: text. [102]: illustration. 103-106: text. [107]: illustration. 108-113: text. [114]: illustration. 115-122: text. [123]: illustration. 124-127: text. [128]: illustration. 129-136: text.

General description: Binding 18.5 x 13.7 cm. Black boards, silver blocked on spine. Red endpapers. Deep yellow dust jacket lettered in burgundy and black. Upper panel features a color illustration on of a metal spoon reflecting the image of the pedant who is holding a book in front of his face. Lower panel features a color illustration of a wooden spoon. Jacket design and illustrations by Joe Berger. Author photograph by Jillian Edelstein on back flap.

The Times Anthology of Ghost Stories (Jonathan Cape, 1975)

Notes on this edition: Julian Barnes. “A Self-Possessed Woman.” The Times Anthology of Ghost Stories. London: Jonathan Cape, 1975. Pp. 195 + [1]. 20.5 x 13.2 cm. ISBN: 0224011952.

Julian Barnes’s short story appears on pp. 132-149.

From a competition judged by Kingsley Amis, Patricia Highsmith and Christopher Lee. The Times sponsored the competition in conjunction with Jonathan Cape.

This constitutes Julian Barnes’s first book publication, as it was published five years before his first novel Metroland (Jonathan Cape, 1980). The book was published in hardback with dark green dust jacket. The top of the text block is stained yellow.

This edition was followed by a paperback edition (Corgi Books, 1977) and a German translation (Bastei Lübbe, 1979), also in paperback.

Below is pictured Julian Barnes’s advance copy sent to the author from his publisher Jonathan Cape. The copy bears Barnes’s personal ownership signature dated “MCMLXXV” [1975].