Tree Swenson (12 results)

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE PAPERBACK Standard-sized.

Trade Paperback. Condition: Like New. Susan Lippman (Author Photo); Tree Swenson (Book Design); Edward Munch (Cover Art) (illustrator). 60 pp. Clean, fresh copy with very light shelf wear, crisp pages and clean text.

Soft cover. Condition: Near Fine. Tree Swenson (illustrator). Limited Edition. Limited edition of 1500 copies in wrappers. Clean unmarked copy, very nice, price on rear cover has been blacked out otherwise fine.

Original Wraps. Condition: Very Good. No Jacket. Tree Swenson (illustrator). First Edition. One of 1,500 copies designed by Sam Hamill and Tree Swenson. 56 pages. Very slight turned up corners on bottom. The book is in very good condition throughout. Size: 8vo - over 7¾" - 9¾" tall. Soft Cover.

Soft cover. Condition: Fine. Tree Swenson (illustrator). 1st Edition. Clean unmarked copy, like new.

Hardcover. Condition: As New. Dust Jacket Condition: Fine. Solar, Xul (cover art); Swenson, Tree (cover design) (illustrator). As new condition cinnamon board, maroon spine, gold front cover illustration and gold spine lettering contained in a fine condition non price-clipped color illustrated dust jacket. Includes List of Other Books in The Graywold Palabra Sur Series; Introduction by Katherine Silver; About the Author and About the Translator. Translated by Katherine Silver. "This book is profoundly realist, but it is not a reproduction of exterior reality; it is rather the poetic, sensorial, intuitive, nonrational testimony of this reality." - Mario Vargas Llosa. "Las casa de carton is the very foundation of our contemporary narrative form, because it initiates a faith in the world that did not exist previously." - Mirko Lauer. "La casa de carton, translated here by Katherine Silver as The Cardboard House, is Martin Adan's first book and his only complete work in prose. It enjoys an almost mythical status in Peru and is widely considered to be a seminal work of modern Latin American literature. Written between 1924 and 1927, when the author was still a schoolboy, The Cardboard House is characterized by Adan's fresh and sensuous imagery and his visionary, enigmatic, and poetic language. Conveniently referred to as a novel, but more akin to a prose poem, it is alternately comic, absurd, mysterious, beautiful, puzzling, and cinematic. It is remarkable for its sophisticated humor and subtly ironic, complex portrayal of European travelers to Barranco, the Peruvian Cannes. Among other things, the book expresses a young and eminently talented writer's view of his precarious emergence from his own adolescence and his nation's from its colonial slumber." - from the inner front jacket flap.

Condition: Used: Like New. Fine book/ no jacket.

Hardcover. Condition: Fine. Dust Jacket Condition: No Dust Jacket [as issued]. Tree Swenson (illustrator). Limited Edition. Signed by William Stafford on the colophon page. Limited edition of 290 copies. Like new copy, no flaws. Signed by Author(s).

Correspondence Archive. Condition: Near Fine. 17 items total: 13 TLS, 2 ALS, and 2 APCS. Items listed individually below. This collection documents the administrative and social structure of the Port Townsend, Washington literary scene during its foundational years. The correspondence centers on Cheryl Van Dyke in her role as manager of The Imprint, a bookstore that functioned as a primary hub during Centrum Foundation's annual Writers' Conference at Fort Worden State Park. The letters are often in response to Van Dyke's inquiries regarding bookshop stock to support conference lectures and workshops; they frequently evolve into warm, personal exchanges that reveal the close-knit nature of this regional symposium. This material originates from the personal papers of Cheryl Van Dyke, a poet and artist whose early collection, Cheat Grass, was a cornerstone of the emerging Copper Canyon Press catalog. As an essential figure in the region's fine press circles, Van Dyke's stewardship of The Imprint made the shop a vital setting where established writers and burgeoning Pacific Northwest voices intersected. Condition is uniformly Very Good to Near Fine, showing only occasional light edgewear or minor corner creasing consistent with professional handling. 17 pieces of correspondence. No envelopes present. Organized here chronologically: 1- Hugo, Richard ("Dick"). APCS to Cheryl Van Dyke. Missoula, MT. Postmarked December 17, 1975. Postcard [3.25" x 5.5"]. This warm personal note is written, addressed, and signed in black ink by Hugo. 2- Whalen, Philip. TLS to Cheryl Van Dyke. San Francisco, CA (Zen Center, 300 Page St.). Dated April 8, 1977. Two pages [11" x 8.5"] typed on rectos only. Signed by Whalen in black ink at the conclusion. A few later notations in pencil, presumably by Van Dyke. 3- Broumas, Olga. TLS to Cheryl Van Dyke. Eugene, OR. Dated May 22, 1977. One page [6" x 9"] typed on recto only, on toning pulpy paper. With one correction, and signed by Broumas in black ink at the conclusion. 4- Hamill, Sam. Typed Circular (Reproduction) sent to Cheryl Van Dyke. [An invitation and open call for poetry or prose submissions for two upcoming periodical publications.] Port Townsend, WA. Dated November 16, 1977. One page [11" x 8.5"] photomechanically reproduced on recto only. On Copperhead letterhead (Copper Canyon Press), with the names of Tree Swenson and Jo Cochran also listed at the top. Correction, small illustration, and signature of Sam Hamill in black (also reproductions, part of the general circular). 5- Snyder, Gary. TLS to Cheryl Van Dyke. n.p., n.d. [likely California, circa 1978]. This one page [11" x 8.5"] letter is on the verso side of an open letter and subscription form for the Kuksu Press and its Kyoi/Kuksu literary journal. Signed in black ink at the conclusion by Snyder. 6- Gallagher, Tess & Cheryl Van Dyke. TLS to Tess Gallagher from Cheryl Van Dyke [initial letter on the recto] and ALS to Van Dyke from Gallagher [response letter on the verso]. [Washington (state), dated April 6, 1978, with response undated.] One page [5.5" x 8.5"] TLS on The Imprint bookstore's letterhead and ALS response in black ink on verso. Signed in blue ink by Cheryl Van Dyke, and in black ink by Gallagher at their respective conclusions. 7- Stafford, William ("Bill"). TLS to Cheryl Van Dyke. Lake Oswego, OR. Dated April 7, 1978. One page [11" x 8.5"] on recto only. Additional note in Stafford's hand, and signed by him at the conclusion in black ink. 8- Wakoski, Diane. TLS to Cheryl Van Dyke. East Lansing, MI. Dated June 15, 1978. One page [11" x 8.5"] on recto only. Signed in black ink at the conclusion by Wakoski. 9- Kumin, Maxine. TLS to Cheryl Van Dyke. Princeton, NJ. Dated April 11, 1979. One page [9" x 6"] on Princeton University letterhead, on recto only. Signed in blue ink by Kumin at the conclusion, with a short note in her hand. 10- *Levertov, Denise (*typed and signed by Phyllis Leith, Secretary to D.L.). TLS to Cheryl Van Dyke. n.p. Dated April 16, 1979. One page [11" x 8.5"] on recto only. Signed in brown ink by Phyllis Leith, secretary to Denise Levertov. 11- McElroy, Colleen J. TLS to Cheryl Van Dyke. Seattle, WA. Dated April 17, 1979. One page [11" x 8.5"] on recto only. With one brief additional note in the margin, and signed in black ink at the conclusion by McElroy. 12- Halperin, Mark. TLS to Cheryl Van Dyke. n.p. Dated April 25, 1979. One page [11" x 8.5"] on recto only. Signed at the conclusion in blue ink by Halperin. 13- Swenson, Tree. APCS to Cheryl Van Dyke. Cedar City, UT. Postmarked June 25, 1980. The postcard shows an aerial view of Escalante Canyon, Utah, with a quotation by Joseph Wood Krutch (card produced by Beautyway of Flagstaff, AZ). A warm and lengthy handwritten personal note in black ink, in Swenson's distinctive hand while "on VACATION," and signed affectionately by Tree Swenson at her conclusion. 14- Stafford, William. TLS to Cheryl Van Dyke. Lake Oswego, OR. Dated April 21, 1981. One page [11" x 8.5"] on recto only. Signed in black ink at the conclusion by Stafford. 15- Yolen, Jane. TLS to Cheryl Van Dyke. n.p. Dated May 5, 1981. One page [11" x 8.5"] on recto only. Notations in (presumably) Van Dyke's hand. Signed in blue ink at the conclusion by Jane Yolen. 16- Matthews, William. TLS to Cheryl Van Dyke. n.p. Dated May 8, 1981. One page [11" x 8.5"] on recto only. A few notations in (presumably) Van Dyke's hand. Signed in black ink at the conclusion by Matthews. 17- Heynen, Jim. ALS to "David" [?] and to Cheryl Van Dyke. Norwich, Norfolk, England. Dated November 22, [no year]. One page [10" x 8"] on recto and verso. All written in black ink. Warm professional and personal content. First message addressed to "David" [?] takes up most of the recto, signed by Jim Heynen at the conclusion. The second message addressed to Van Dyke starts near the bottom of the recto and extends all the way to the end of the verso, and is signed by Heynen at the conclusion. Signed.

Condition: Near Fine. Dust Jacket Condition: dj. First editions. From the library of the poet, Cheryl Van Dyke. This lot of three items includes a likely unique calligraphic manuscript (executed and produced as a fine hand-made single-poem book), a chapbook with pre-publication design proofs, and an early Copper Canyon letterpress broadside. Together, these items trace a lovely collaboration between poet Cheryl Van Dyke and designer Tree Swenson during the most prolific years of Copper Canyon Press. -Item #1: DIANA. [Port Townsend, WA]: Winter Solstice, 1980. Original Calligraphic Manuscript. [12]pp. Quarto [32cm x 25cm / 12.5" x 9.75"]. Hand-sewn in original black fine paper wrappers. The front cover is embellished with a hand-drawn illustration of a stylized eclipse design in gold calligraphy. The internal text is calligraphed in white and gold on midnight-blue fine paper. Collation: [1-2] blank; [3] title page featuring the author's name, poem title, and a decorative illustration in white and gold; [4] blank; [5-10] poem text executed in white calligraphy; [11] blank; [12] colophon reading: "Calligraphy completed on the Winter Solstice of 1980 by Tree," accompanied by a small calligraphic square device (mark). In Near Fine condition with only minor sporadic spotting and light rubbing to covers. An exceptional, likely unique artifact. A significant, likely unique manuscript by Tree Swenson, co-founder and designer of Copper Canyon Press; produced for and presumably presented to the poet Cheryl Van Dyke. Swenson displays her mastery of a calligraphic hand in executing the poem, "Diana," by Cheryl Van Dyke. This manuscript, dated on the Winter Solstice of 1980, is a beautiful formal and thematic rendering of the poem. The use of black and midnight-blue papers with white and gold illumination suggests a thematic alignment with the solstice date of its completion as well as the astrological, constellational, and mythological references of the poem. While Swenson's typography defined the visual identity of the Pacific Northwest poetry renaissance of this period, this item represents a primary, hand-rendered document devoid of mechanical reproduction, making it an important piece of regional literary heritage, offering a unique counterpoint to the era's celebrated fine-press output. A beautiful and elegant work. -Item #2: CHEAT GRASS: A COPPERHEAD CHAPBOOK. [Port Townsend, WA]: Copper Canyon Press, 1975. First Edition. [24]pp. Quarto [25.5cm]. Original letterpress-printed wrappers, string-sewn. Colophon states: "Designed and printed by Tree Swenson and Sam Hamill at Copperhead. The text is 70 lb. Curtis Tweedweave. The type is hand-set 14 point Centaur. Illustrations by Cheryl Van Dyke." Unsigned/unnumbered, as issued. With the accompanying material: two folded sheets, laid in-presumably pre-publication design proofs; one of the illustration by itself, and another of the cover/title page (which are designed in exactly the same way). A Near Fine copy with only some light fading to the cover near the spine. An early and essential title from the foundational years of Copper Canyon Press in Port Townsend. Published as part of the "Copperhead" series. "Cheryl Van Dyke has had poems in Kayak, Paintbrush, Port Townsend Journal, and in other periodicals. Cheat Grass is her first published collection." -Item #3: KUHN SPIT. [Port Townsend, WA]: Copper Canyon Press, 1976. Broadside [36.5cm x 26cm / 14.5" x 10.25"]. Letterpress-printed in three colors on light brown paper. Comprising the title, thirty-three lines of verse in four stanzas, and a stylized printed illustration. Unsigned/unnumbered, as issued. Near Fine condition with a light bump and soft crease at the top right corner. This poetry broadside was published in 1976, shortly after the release of Van Dyke's chapbook Cheat Grass. Like most ephemeral productions from Copper Canyon Press during its early Port Townsend years, it was likely designed and printed by Tree Swenson and Sam Hamill. Clean, lovely letterpress work on high-quality paper. From the personal library of the poet Cheryl Van Dyke, a Pacific Northwest poet and artist whose early work, Cheat Grass, helped define the nascent literary landscape of Port Townsend's Copper Canyon Press in the 1970s. An integral figure in the region's fine press circle, she also managed The Imprint from the mid-1970s through the early 1980s-a bookstore that served as a vital social and literary hub for the burgeoning Pacific Northwest poetry community. Tree Swenson is a master typographer and calligrapher who co-founded Copper Canyon Press in 1972 (with Sam Hamill and others). Her rigorous design aesthetic and commitment to letterpress excellence established the visual identity of the press for decades. Copper Canyon Press is a nonprofit, independent poetry publisher that "believes poetry is vital to language and living." The press made its start in 1972 in Denver, CO, and moved to Port Townsend, WA in 1974. Fine Press Paperback Books & Broadside. Signed.