La porta di Mandelbaum.

Traduz.di Ettore Capriolo. Milano, Mondadori Ed. 1966, cm.13,5x21, pp.447, legatura ed. sopraccop.fig.a col.

London, Constable 1992, cm.16x24, pp.213, legatura editoriale cartonata, sopraccoperta figurata a colori. The two questions that are put to Muriel Spark most frequently are these: "Are your novels autobiographical?" and "Why did you become a Catholic?" The first of these questions Muriel Spark has consistently deflected. Now in this volume, she gives her readers the answers to both questions. In her first novel, "The Comforters", Mrs Spark wrote about a young woman recently converted to Catholicism who struggles against the will of the novelist who has created her. Many assumed that this reflected the author's own religious experience and self-consciousness about the business of writing fiction. But before then Muriel Spark had already written autobiographical studies and works of literary criticism, and had determined that she would be first and foremost a poet. Muriel Spark writes about her childhood in Edinburgh (foreigners were tolerated but the English were something quite different); she describes her Jewish father, the original Miss Jean Brodie, her marriage and her time in Africa which was the inspiration for "The Go-Away Bird" and so much of her early writing. There have been hints in later novels of her work as a publisher's editor ("A Far Cry From Kensington"), her lodgings in London ("The Ballad of Peckham Rye") and her work for the Poetry Society. Now Mrs Spark gives a direct account of the people and places which inspired so much of her work.

With a new Preface by the Author. New York, Basic Books 2004, cm.13,5x20,5, pp.LIV,226, alcune ill.in bn.nt., brossura, cop.fig. [copia allo stato di nuovo] Every smile is the product of physical processes common to all humans. But since the dawn of civilization, the upward movement of the muscles of the face has carried a bewildering range of meanings. Supreme enlightenment is reflected in the holy smile of the Buddha, yet the Victorians thought of open-mouthed smiling as obscene, and nineteenth-century English and American slang equated smiling with drinking whisky. In A Brief History of the Smile, Angus Trumble deftly combines art, poetry, history, and biology into an intriguing portrait of the many nuances of the smile. Elegantly illustrating his points with emblematic works of art, from eighteenth- and nineteenth-century European paintings to Japanese woodblock prints, Trumble explores the meanings of smiling in a variety of cultures and contexts. Effortlessly mingling erudition, wit, and personal anecdote, Trumble weaves a seamless interdisciplinary tapestry, bringing his expertise as a writer, historian, and thinker to bear on the art of smiling in this warm and perceptive work.

Avec une Dédicace par Oscar Ghez. Genève, Petit Palais de Genève 1968, 2 voll.di 2, cm.21,5x24, pp.75; 55, 529 tavv.a col.e in bn.ft. num. consecutivamente nei 2 voll., legature editoriali cartonate, sopraccoperte figg.a col., cofanetto con piatti figg.a col. (firme di appartenenza ai frontesp.ed etichette di biblioteca privata ai dorso delle sopraccop. ma copia in ottimo stato.)

Roma, Macchia Nera Ed. 1999, cm.17x24, pp.180, ill.bn. brossura copertina figurata a colori.

Versi celebri con incisioni (il nostro esemplare ne è mancante). Reggio Emilia, Stamperia Valdonega 1977, cm.17x24, pp.76, Stampato in edizione privata e fuori commercio. legatura artigianale in mezza pergamena e tela. I testi su carta Magnani, sono stati impressi dalla Stamperia Valdonega. Il nostro esemplare non numerato proviene dalla collezione privata del legatore del volume si evince dall'ex libris cartaceo applicato in appendice.