Both Sylvia Plath and Dylan Thomas are towering figures in the world of 20th century poetry. Each are known for their distinct voices and both carry an emotional intensity to their work that is not always seen in poetry. Though there is no evidence that these poets ever met, Sylvia Plath’s admiration for Thomas’ work is well-documented. His influence seems especially visible in her earliest work, though in the end Plath went on to carve a poetic identity very distinct from Thomas’ notable style. With their shared upcoming birthday on the horizon (both were born on October the 27th, almost 20 years apart), we thought we’d look at how these two poets are connected, and honor their shared visions and experiences.
Dylan Thomas, a Welsh poet known for his rich language and vivid imagery, wrote in a rather romantic style, and often explored themes of life, death and the natural world. His poetry frequently expresses a fairly passionate celebration of life, and admiration of life’s fleeting beauty. That being said, he counters this positivity with a deep awareness of mortality and death. His popular poem Do Not Go Gentle into that Good Night is a perfect example of this style. The way he used sound, rhythm and imagery generalizes him as a romantic modernist, since he blends traditional poetic techniques with powerful emotional depth.
Sylvia Plath, an American poet from a very different background from Thomas, came of age in the 1950s and 1960s, and began writing poetry from a young age. She was admittedly profoundly affected by Thomas’ work, and you can see evidence of his (almost) visceral imagery and romantic lyricism echoed in Plath’s early writing – poems like The Colossus, one of her most famous early works. Yet, where Thomas’ work might evoke a life-affirming energy and a focus on beauty, Plath’s work eventually took on a darker, more introspective tone. Plath, struggling with depression and her mental health, often focused her work on the self, on alienation and the eventual peace of death (obviously dissimilar to Thomas’ wish for us to rage against it). Her work diverged from the romanticism of Dylan Thomas in favor of her explorations of psychological trauma, gender and even the grotesque – whereas Thomas’ work focused more on a questioning of the personal and the political. While Thomas provided Plath with a solid foundation of poetry, her work would eventually grow into a voice more singular and ferocious. That being said, they shared poetic interests in language, mortality and the human psyche – no matter how distinct their eventual work is.
While as I stated earlier, these two poets came from such different backgrounds, they shared some similar experiences throughout their lives that perhaps explains their universal connection to their readership around the world. Both lives were marked with personal turmoil and struggles with mental health – most likely why their work focuses so heavily on their mortality. Both poets drew from their own inner conflicts and existential questions to display raw emotion in their writing, and each struggled with pressures of their own artistic expectations. And tragically, both met untimely, young deaths – Thomas from alcoholism at 39 and Plath by suicide at 30. Nevertheless, their work cemented them as literary icons that have stood the test of time.
Poet, essayist, activist, teacher and Nobel Laureate Czesław Miłosz was born on June 30th, 1911. After not only surviving both World Wars in Eastern Europe, he eventually was exiled to France and later the United States for his outspoken condemnation of totalitarianism. He settled in California – right near our old haunts in Berkeley! On this day in 2004, he died in Krakow, Poland, at the age of 93. We wanted to salute this local (by way of Poland, Lithuania, Russia, and France) legend, Nobel Prize Winner, and powerful writer with a blog in his honor.
Miłosz’s early life was marked by the dangerous political landscape that was Eastern Europe at the time. His experiences of wartime, fighting, anti-semitism and angst shaped his writing for the rest of his life. He eventually studied law at the University of Vilnius, where he became a key writer for an “underground” group of avant-garde poets known as the Žagary group. His early poetry is often marked by extreme symbolism and even surrealism as he wrote of themes of alienation, disillusionment and searching for meaning in a chaotic world (obviously taken from his own life experiences). In 1933 he published his first collection of poems Poemat o czasie zastygłym (or A Poem of Frozen Time).
The outbreak of World War II changed Miłosz’s life in many ways. After working at several radio stations in Poland, unafraid to denounce Hitler and anti-semitism, Miłosz began his escape from Poland early on in the German invasion. But when he heard that the girl he loved (and would eventually have two children with and marry) had stayed behind to be with her parents, he began his journey back to her – often on foot. During the war he worked for the Polish resistance and published underground literature of both his own writing and translations of authors like Shakespeare and T.S. Eliot. Along with his brother he helped several Jews escape occupied Poland. Immediately after the war in 1945 he published his fourth volume of poetry Ocalenie (or Rescue), which centers around his wartime experiences and contains several of his most critically acclaimed works.
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After the war, Miłosz served as a cultural attache for the Polish government in Paris and Washington D.C. But eventually, his disillusionment with an increasingly repressive regime in Poland caused him to realize he was no longer safe in his home country and he defected to France in 1951 and eventually the United States in 1960 – when McCarthyism had finally abated and he was offered a teaching position at the University of California, Berkeley. His writing during his exile is chock full of explorations of moral and spiritual crises in the modern world, and speaks to many to this very day. His book The Captive Mind, published in 1953 when Miłosz was living in France, inspects totalitarian ideologies and the hold they have on intellectuals – drawing from Miłosz’s own experience with the new Polish regime. This work threw Miłosz into the spotlight, as he became a leading voice in the critique of totalitarianism. This work is still one of his most widely read books, and is taught in political science courses to this day. Within months of his teaching at UC Berkeley Miłosz was offered tenure, as he had impressed both students and colleagues alike with his immediate triumph as a professor – a role in which he said he felt destined for and at home in.
In 1980, Miłosz was awarded the Nobel Prize in Literature. His work was praised for its “uncompromising clear-sightedness” and “passionate pursuit of truth” by the Nobel Committee, and as his work had been banned in Poland for a long time due to his condemnations of the regimes he found himself under, his win reintroduced him to the Polish people and he became a national treasure on multiple continents. Miłosz’s lasting influence is not only about his life experiences, but the fact that he used his unique understanding of humanity and morality, and added the complexities of history, religion and philosophy to describe the human condition. His work is truly one “of the people”.
William Makepeace Thackeray was quite a well-known name in 19th-century literature, as he was known for his sharp wit and satirical social observations. Despite being a famed author, he interestingly also used pseudonyms for various reasons throughout his life. Whereas nowadays authors may use pseudonyms for anonymity and privacy reasons, I believe Thackeray’s usage were for rather different reasons!
Several of Thackeray’s pseudonymous works were published early on in his writing career. Writing under a different name gave Thackeray the freedom to try new styles and genres without worrying about his reputation. Early on, he used names like “Michael Angelo Titmarsh” and “George Savage Fitz-Boodle”, especially for some of the satirical sketches and essays he published. These silly aliases let him get creative without the pressure of a failure staining his reputation.
Thackeray also most likely used pseudonyms to avoid harsh criticism. Critics could be brutal, and using an alias allowed him to publish riskier or more experimental work (like “Catherine” which glamorized criminal life, or “The Yellowplush Papers”, which featured a footman as the narrator) without putting his name on the line. This way, he could distance himself from any work that might not be well-received, protecting his growing reputation. And as I mentioned earlier, his novels often had sincerely sharp social commentary, and hiding behind a pseudonym let him critique a society and its people more freely without immediate backlash.
In the 19th century, writers had to produce quite a lot of work to make a living (I suppose some things never change). Thackeray often wrote for various magazines and periodicals and made extra money, and using pseudonyms for these definitely helped him diversify his work. He could write for multiple, very different publications simultaneously without people realizing it was all him. This not only expanded his reach and voice, but boosted his income to boot.
Thackeray was well-known for his playful nature, and using pseudonyms seemed to be part of his fun. It was a more common practice among writers of the time, and Thackeray probably enjoyed creating different personas. This added mystery and amusement to his work, keeping readers and critics alike guessing about the real author.
William Makepeace Thackeray’s use of pseudonyms was a clever strategy for the author. It gave him creative freedom, shielded him from harsh criticism, helped him navigate the literary world privately, all while showing his playful side. Entertaining thoughts of why Thackeray used aliases gives us deeper insight into the man behind a few of the most enduring works of English literature.
In Honor of July 4th (and to casually focus our attention on the U.S.’s intriguing political past rather than its more frightening present), we thought it would be interesting to look at what are arguably the most important documents that have been put forth by the leaders of our nation over its history! And while we were planning on choosing four documents (for the 4th of July and all), we couldn’t limit one of our top five. Enjoy!
1. The Declaration of Independence, which was primarily authored by Thomas Jefferson and adopted on July 4th, 1776, was the official announcement of the American colonies’ decision to separate from Britain. The document details their grievances against Britain and King George III, and stated their right to self-govern with citing belief in their individual liberty. Quite obviously this document played the most crucial role in the birth of the United States and therefore is number one on our list!
2. A few short years later in 1788, The Constitution of the United States was ratified. While the Declaration could be considered the letter “heard round the world”, the Constitution established the framework of our Federal government – dividing the law into the executive, legislative and judicial branches that we still have today. Some of the most influential creators of the Constitution were James Madison and Alexander Hamilton, and its opening line of “We the People” gave an entire new nation a voice. The fact that the Constitution has the ability to be amended is how we have added further rights over the last two hundred and thirty six years.
3. The Bill of Rights was authored mainly by James Madison (future president of the United States), and though it is associated with the Constitution as it is the first ten amendments made, it is its own document. Ratified in 1791, these amendments primarily address concerns over the original Constitution’s lack of specific guarantees of individual liberties. American citizens are all very familiar with these amendments… the rights of freedom of speech, freedom of religion, freedom of the press, the right to bear arms, and the right to be protected against unreasonable searches and seizures, etc., are just a few examples that safeguard the individual rights of the American people.
4. Skipping ahead several decades, we reach the Emancipation Proclamation. Issued by President Abraham Lincoln on New Years Day in 1863, the Proclamation declared the freedom of all enslaved people in the Confederate-held territories of the United States. This assurance of freedom transformed the Civil War, shifting its focus to the abolishment of slavery, as a fight for freedom, rather than a fight to “save the Union”. It paved the way for the Thirteenth Amendment (1864), which formally abolished slavery in the United States.
5. Last but certainly not least we reach the Civil Rights Act of 1964, signed by President Lyndon B. Johnson, and marking a significant victory for the Civil Rights Movement. This legislation was the result of many years of activism and struggle by leaders and organizations like Martin Luther King Jr. and the NAACP. The Act outlawed discrimination based on race, color, religion, sex or national origin. It ended segregation in public places and banned employment discrimination, among other incredibly important motions to equalize all the people of the United States.
Together, these five documents have profoundly shaped the United States throughout its (relatively) short history, and in our opinion all reflect the nation and its peoples ongoing aspirations of freedom, equality and justice. Happy Fourth of July, bibliophiles!
With summer right around the corner, and the heat starting to bear down on us, we sat down with Vic for a little Q&A on “seasonal” bookselling!
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Q: So Vic, another year of bookselling down, a million more to go. This year your big move to Reno, NV was the main change, we know. How is it going, selling books in Reno?
It’s a bit different here in Reno Ms P, for as you know, as here, I no longer have a store front on a major mercantile street, as was the case in Alameda… which, to be honest, suits my present business M.O. just fine. During COVID, I transitioned to a primarily mail order business. That, combined with recently adopting a semi-retired lifestyle, has meant less time in my out-of-the-way shop, so my “Closed to the General Public” persona works just fine! That said, always happy to entertain visitors from established members of the trade, and other bibliophiles, such as those individuals reading this blog.
Q: With the beginning of summer right around the corner, we thought it would be interesting to pick your brain about “seasonal” bookselling. Of course the holidays are a sure thing in a general way, for retail businesses. Do you find any other time of year to be a popular book-buying time?
Since Dickens is a sub-specialty of mine, I do see a bump in sales come the Christmas holidays, given his connection to Christmas. But otherwise, for my business in antiquarian material, I can’t say that I personally have noticed any significant seasonal fluctuations other than late spring, when my institutional customers have often reached the end of their budget cycle, and will need deferred billing, or extended hold periods, for acquisitions. Occasionally income tax time will impact sales, but other than those instances, I find book buyers indulge their passion pretty much all year round.
Q: Good to hear! The holiday season is a sure thing, of course. Do you suppose other booksellers find the holidays similarly busy?
I would expect this to be mirrored by others in the trade, as the holiday season usually brings in buyers other than collectors… e.g., buyers which wish to given a holiday gift to the bibliophile in their life.
Q: How are you feeling, heading into a summer of bookselling? Have you participated in any bookselling events in the Reno area as of yet? Do you plan to?
Well, I’m starting off summer by participating in Marvin Getman’s upcoming 4th Anniversary Virtual Book Fair. I must admit, Virtual Fairs [VBFs], which made their debut during COVID, have become a valuable adjunct to my business. Since I’m getting on in years, and no longer employ an assistant, I find I don’t relish the physical requirements of in-person exhibiting at a weekend book fair. 4-5 days on my feet just doesn’t appeal whatsoever. So the VBFs are a welcome compromise, I can exhibit in a on-line fair from the comfort of my big chair.
As to local Reno bibliophilic events, I am not aware of any, at least of an antiquarian bent, though I am exploring having a stand at Hot August Nights. I have a bunch of vintage car material that I think might be of interest to those who own vintage cars, and that seems to be pretty much everyone in Reno!
Q: Very cool! Finally, are there any other interesting pieces of information you’d like to add for our bibliophile friends?
Gustave Flaubert’s Madame Bovary didn’t just make a splash in the literary world — its release caused something more akin to a tidal wave. When it was published in 1857 (or, correction, after its author was acquitted from a trial on the obscenity of the book after its serialized release in 1856), it positively sank the boat of traditional storytelling and forever changed the literary landscape of the world of fiction.
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One of the key ways Madame Bovary turned things around was with its bold portrayal of realism. Flaubert didn’t sugarcoat anything – he presented life as it was, warts and all. From the monotony of small-town existence to the harsh realities of adultery and disillusionment alike, Flaubert quite obviously didn’t shy away from the more gritty details of adult life. It wasn’t just the scandalous affairs that made Madame Bovary famous – it was the way Flaubert captured the human condition. He confronted the ugly parts of life – the jealousy, heartbreak and crushing disappointment – and laid them all out there for the world to see, unflinching and unapologetic. This commitment to the realistic style was pretty groundbreaking, and one could argue that it paved the way for future authors to explore the complexities of human experience in a more honest and unfiltered way than previous Victorian literature.
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Another way Flaubert and Madame Bovary left their mark was through his distinctive narrative style. Flaubert had a meticulous attention to detail and used a form of indirect discourse and conversation that allowed readers to dive into the minds of his characters, not just view them from afar. In this way, we didn’t just observe Emma Bovary’s actions – but readers felt her desires, her frustrations and her despair. This engrossing literary technique was influential in setting a new standard for psychological and emotional depth in literature. Flaubert is cited by hundreds of writers that followed in his footsteps as the reason for their ability to explore the inner lives of their characters with greater complexity.
Another significant impact Madame Bovary had was its challenge to societal norms. Flaubert was brave enough to critique the superficiality and hypocrisy of French society, particularly its treatment of women. Madame Bovary’s quest for passion, excitement and fulfillment in an unbelievably stifling patriarchal world struck a chord with readers of the day. It was able to spark conversations about gender roles, marriage, and individual autonomy (whether male or female) – all topics hot on our minds still today. In doing so, Madame Bovary became not just a work of fiction, but one could see it as a stimulus for social change.
Madame Bovary didn’t just change the literary landscape of the mid 1800s, it reshaped it entirely. Flaubert’s revolutionary approach to the realistic style, his open and deep narrative techniques, and the social commentary throughout the book ensured its place as a timeless masterpiece that still inspires readers to this day. Because in the end, Madame Bovary is a book about longing, about a human search for something more. And who hasn’t felt that at some point in their lives?
Cormac McCarthy has a devoted following of readers & collectors, and as such, this Pulitzer-Prize winning author has drawn the interest of those who prey on such collectors. My ABAA colleague, Scott Brown, in a recent blog, identifies and discusses some fake McCarthy proofs recently discovered in the market. In an effort to disseminate this bibliographic information to a wider audience in the hopes of precluding the perpetuation of any further fraud, we share this information with you.
Finally, as one of my other colleagues is known remark, “Be careful out there.”
Kind regards,
Vic
Forged proofs1 exist for many of Cormac McCarthy’s books. They have fooled major McCarthy collectors, top dealers in first editions, and specialist book auction houses. You can read how I came across these fakes in my regular Dispatch newsletter.
This list is intended to help collectors and booksellers identify fake proofs of the first editions of Cormac McCarthy’s first five novels, the ones published before the break-out success of All the Pretty Horses in 1992.
Please contact Downtown Brown Books or post a comment to this post if you have corrections or questions about this list.
The starting point for this project was an attempt to compile a list of all the proofs of Cormac McCarthy’s novels known to exist before the forged proofs began to appear in the 2010s. I found two reliable pre-2010 sources for information on McCarthy proofs:
The Author Price Guide (APG) for Cormac McCarthy published by the booksellers Quill and Brush in 2004. For more than a decade the authors, Allen and Patricia Ahearn, compiled every catalog reference to McCarthy. Any book not seen by them should be considered suspect.
The J. Howard Woolmer Cormac McCarthy collection at the Wittliff Collection at Texas State University (TXST) in San Marcos. Woolmer began collecting McCarthy in 1969. He was a bookseller and a respected bibliographer. He sold his McCarthy collection to TXST in 2006. If he didn’t have an early published McCarthy item in his collection, it should be considered suspect.
“Suspect” does not necessarily mean forged. If a particular proof does not conform to the known real proofs or forgeries described below, a careful examination should be made to determine its authenticity.
In addition to the pre-forgery sources I located, I also consulted Ken Lopez, a specialist in modern first editions who focused on McCarthy early on and who also deals in uncorrected proofs.2 This bibliography would not have been possible without his considerable assistance. Ken and his photographer, Brendan Devlin, examined a large number of forgeries about 2013, took photos, and generously shared them with me. The collector Umberto La Rocca, who has done archival research on McCarthy’s proofs, willingly answered questions for me. A number of other dealers and collectors offered opinions and advice. The conclusions, however, are my own.
Observations on Known Forgeries
For Cormac McCarthy’s first five books, there are more distinct forged proofs than there are real proofs for those novels. (There are also forgeries of proofs of All the Pretty Horses and other books. I will add them in the future, as time permits).
This list was compiled without my ever seeing a forgery in person. I was unable to convince anyone to loan me one to examine, nor were any of the current owners willing to describe in detail the make-up of their forgeries. The conclusions rely on visual evidence from photographs supplemented with the memories of people who have seen them in the past and the surviving archival evidence. But that is more than enough. Once you know what to look for, the forgeries are obvious, it’s figuring out what to look for that is hard.
My analysis of the methods of manufacture devised by the forger are based on the information preserved by Ken Lopez and Brendan Devlin. However, there are variants in the forged proofs that indicate that fakes were produced at different times and the methods used might have changed.
So far, the fabricated UK proof of Suttree is the only forgery that appears to have been done in any sort of edition. I have located three or perhaps four identical or nearly identical copies; presumably there are more. The other fake proofs seem to have been made in smaller batches or perhaps one at a time. Where I have found more than one forgery for a particular proof, it is clear they were made at different times with different cover designs.
The big problem facing the forger of an entire book is how to produce the hundreds of pages required. In most (if not all) cases, the forgeries incorporate printed pages extracted from real books.
In some cases, the forger used first editions of the Cormac McCarthy’s novels to make fraudulent proofs. This was a reasonable choice because at least two real McCarthy proofs are made from the sheets of first edition books. The invented Chatto & Windus proof of Suttree seems to have used a paperback edition. When dismantled hardcover first editions were used to create forgeries, the forger appears to have variously used ex-library, remaindered, and later printing books for the text block of the fakes. These would have been cheaper to procure. Some forgeries also show evidence that the page block edges were sanded, perhaps to remove library or remainder marks. The UK proofs may have been made from American books, which also would have required the replacement of the title page.
Whatever the source, the sheets (pages) were then glued into paper covers printed with an invented or copied design. In a few cases (the least convincing forgeries), rubber stamps were created to add authenticity to the finished product. There is also evidence that false foxing (spotting) was added to the edges of proofs to make them look older than they are.
For the forgeries of books originally printed in the 1960s to the 1980s, the use of computer fonts is obvious to a practiced eye. But not everyone has a practiced eye so based on Ken Lopez’s photographs taken in the early 2010s, I have identified three hallmarks of the forgeries that can be observed without special training or experience. It is possible, however, that the forgeries improved over time and that these techniques are not sufficient to identify all forged McCarthy proofs. Any collector of McCarthy proofs should be exceptionally careful.
Hallmark 1: The Replacement of the Title/Copyright Leaf
For reasons that are still not completely clear, the forger regularly replaced the title/copyright leaf in the fake proofs with a modern printed sheet.
Hallmark 2: Amateurish Binding
The forger was not an experienced bookbinder and does not appear to have had access to professional equipment. As a consequence, there is a homemade look to the bindings (at least the ones seen by Ken Lopez early on—the forger may have improved over time).3 Real proofs are professionally made in almost every case. They are, after all, produced by companies who make books for a living. The design may be simple and the text pages may show corrections, but the books themselves are manufactured, not assembled by clerks with glue sticks.
The fake proofs for which images are available also show a mixture of glues, the original glue used to bind the real book and new glue used to attach the sheets to the paper proof covers.
The inserted title/copyright leafs often protrude from the rest of the page block. Inserting new leaves into an already-bound book is a binding skill that requires practice to do invisibly. The forger did not have enough practice.
Hallmark 3: The Use of Color Inkjet Technology for Black-and-White Printing
Many color inkjets print blacks using all four ink colors by default (the printer manufacturers say these blacks are richer; I suspect they want users to consume more ink cartridges). The forger was apparently unaware of this and consistently printed in full color. Under magnification, tell-tale spots of cyan (blue), magenta, and yellow inks can be clearly seen on the pages printed by the forger. Similar anachronistic printing can be seen on some of the covers, but this is harder to spot when the fake covers are printed on colored paper.
A Pictorial Guide to Real and Fake Proofs of Cormac McCarthy’s First Five Novels
THE ORCHARD KEEPER
Random House (1965)
Real US Proof
Covers: Light colored printed wrappers (paper covers), variously described as gray or buff. The paper has a faint vertical pattern.
Page Block: Folded and gathered signatures glued into paper covers. You should be able to clearly see the “loops” of the gatherings (also called signatures).
Notes: Since this proof is made with real folded and gathered sheets, it is better described as an advance reading copy (ARC).4 In this it resembles many of the phony proofs. The real version of the proof does not have a tipped in title page. The text paper color and texture should be the same throughout the book.
This proof is listed in the Ahearns’ APG (McCarthy no. 001a) and a copy is found in the Woolmer collection. No fake copies of this proof have been located but they could exist.
Real UK Proof
Andre Deutsch (1966)
Covers: Proof version of the UK dust jacket with “For Publication/Mar 1966/Andre Deutsch Ltd. Finished Jacket Will Be Varnished” in bold purple lettering on the inside of the front cover (the back or verso of the jacket)..
Page Block: Folded and gathered sheets from the first American edition glued into wrappers made from the trial dust jacket. Green top edge. With a Random House title page.
Notes: This description is from the Ahearns’ APG (#001c), citing a for-sale offering from Waiting for Godot Books in April 2004.
Forgery of the UK Proof
Covers: Bright yellow printed wrappers in a dust jacket.
Page Block: Signatures, with a tipped in title/copyright leaf printed with a color inkjet printer.
Notes: This proof cannot be a second variant of an Andre Deutsch proof because it includes a false title page printed using twenty-first century technology.
The ink stamp on the cover also has an anachronistic element: the straight single quote in the word “printer’s”. Straight quotes were based on typewriter fonts that were ported to early word processors; they were not in general use before the desktop computer era.
The jacket on this proof could be real, but it is more likely a modern recreation.
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OUTER DARK
No proofs of Outer Dark were made by either Random House in the US or Andre Deutsch in the UK. All Outer Dark proofs should be presumed to be fakes until proven otherwise.
Random House: A search of internet book marketplaces suggests that Random House produced very few paperback proofs in the late 1960s so the lack of a proof of this novel is not especially surprising.
In the late 1960s, Random House instead tended to produce unbound galleys of forthcoming books. Such an advance issue is known for Outer Dark. Galleys are long narrow sheets output from the typesetting equipment of the era. The Ahearns recorded an unbound set of galleys in their APG (#002a), and copies are found in Cormac McCarthy’s archive at TXST.
The collector Howard Woolmer unsuccessfully sought a proof of Outer Dark for many years, and in his papers at TXST is a copy of a letter he wrote to Ken Lopez in 1988 seeking information about this proof.
Forgeries of the US Proof
Two different fake proofs for Outer Dark are known.
US FAKE STYLE 1
Covers: Cream-colored printed wrappers with the title on one line. Information sheet taped to cover (replicating real examples of later McCarthy proofs). Tapebound spine
Page Block: Folded and gathered signatures glued into paper covers. Title/copyright leaf printed on an inkjet and tipped in.5
US FAKE STYLE 2
Covers: Title on two lines. The cover design uses a typeface that is not characteristic of printing in the 1960s. The lower half of the cover copies the design of the real proof of The Orchard Keeper.
Page Block: Unknown
Forgery of the UK Proof
Covers: Tan printed wrappers with the phrase “uncorrected first proof” at the top of the front cover. The tan wrappers on copy of this fake examined by Ken Lopez were printed on white paper (why the forger didn’t just use tan paper cannot be readily explained).
Page Block: Bound from folded and gathered signatures; tipped in title/copyright leaf printing on a color inkjet printer.
Notes: The description of this undoubted forgery is based on an examination of an fake proof seen by Ken Lopez.
Another copy of this proof was sold at auction on December 10, 2019 by Fonsie Mealy as part of lot 716, a group of books from the Philip Murray collection of Cormac McCarthy. The purchaser was a UK bookseller, who consigned it to Forum Auctions in Lonon, which sold the book with a fake UK Child of God proof (see below) on November 30, 2023 for £1,512 (about $1,900).6
I considered the possibility that the Murray Outer Dark proof might have been real and the source of the fake seen by Ken Lopez. Looked at on their own, the fake UK Outer Dark proofs look plausible, until you compare them with other proofs from the same publisher from about the same time.
A strong argument can be made that the Murray copy was also fake, from the cover design alone without knowing how it was constructed.
The key give-away is the phrase “uncorrected first proof” on the cover. This is not typical wording for any proof, let alone an Andre Deutsch proof from the early 1970s.
This phrase comes from Random House, McCarthy’s American publisher, which used that descriptor on proofs for a brief period in the early 1970s, including the real proof of Child of God (1973). Thus, the forger faked a 1970 British proof using a distinctive design element from an American proof published three years later.
There are other elements that don’t pass the sniff test. The addition of the superfluous “by” in front of the author’s name; the italicization of Cormac McCarthy, copied from the Random House proof of The Orchard Keeper; and the use of a contrasting font for the publisher’s name (Andre Deutsch did not have a standard typeface for its proof covers, but it typically used just one type family for the entire text).
The Philip Murray / Fonsie Mealy / Forum proof is thus almost certainly fake. Forum Auctions told me they were going to issue a refund to the purchaser, an American.
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CHILD OF GOD
Real US Proof
Random House (1973)
STATE 1: Without Information Sheet
Cover: Red printed wrappers with a double rule in the center. The double rule is slightly wavy. The Random House logo is hand drawn.
Page Block: Unknown (I haven’t been able to confirm if it is perfectbound or bound from folded and gathered signatures).
STATE 2: With Information Sheet Taped to Front Cover.
State 2 is the same as State 1, but it has a photocopied information sheet taped to the cover. Heritage Auctions sold a Random House proof of Child of God on October 16, 2009. It did not have and information sheet but it had surface scars where the tape used to be.
Notes: A distinctive feature of this proof is the wording “uncorrected first proof” on the cover, a particular phrasing that appeared on Random House proofs in the early 1970s and rarely on proofs at any other time or by any other publisher.
Forgeries of the US Proof
Two different forgeries of this proof are known.
US FAKE STYLE 1
Covers: Red printed wrappers designed to look very similar to the real US proof. The easiest way to distinguish the two are to look closely at the double rule (line) between the title and the author. The forged rules are computer generated and perfectly straight. The real proof has slightly wavy lines.
Page Block: Folded and gathered signatures with an inkjet-printed title/copyright leaf. The sheets appear to have come from a hardcover copy of the book.
US FAKE STYLE 2
Covers: Red printed wrappers with a design similar to the real Random House proof of The Orchard Keeper and the fake Random House proof of Outer Dark. The distinguishing features between this fake style and the real proof are 1) the real proof was a slightly wavy double rule between the author and the title where this fabrication has a tapered rule; and 2) the real proof uses a hand-drawn logo while the forgery uses a more standard publisher’s logo, probably copied from the Random House Orchard Keeper proof.7
Page Block: Unknown
Notes: As with several other fake proofs, this style can be condemned from its cover design, which is copied from the American proof of The Orchard Keeper. Most likely, this forgery was made before the forger had access to the real proof.
The partial photograph I have found of this style shows a copy that has the order “destroy” rubberstamped many times on the cover.8 The fact that this proof pretends to have been destined for the trash bin made it easier to overlook its design flaws.
Forgeries of the UK Proof
No legitimate UK proofs of Child of God are known to exist. No copies were recorded in the Ahearns’s APG or in the Woolmer collection. The collector Umberto La Rocca spent time researching this proof in the Chatto & Windus archive at the University of Reading. He told me that there is no record of a proof being printed for this book.
UK FAKE STYLE 1
Covers: Heavily textured paper. The publisher’s logo is closer to the bottom of the front cover.
Page Block: Folded and gathered signatures with a tipped in title/copyright leaf printed with a color laserjet printer.
UK FAKE STYLE 2
The Style 2 UK proof proves that fake proofs were made over time (and not in a single act of forgery).
Cover: Lightly textured paper, with the publisher’s name closer to the bottom of the front cover.
Page Block: Unknown.
Notes: An example of fake Style 2 of the UK proof of Child of God came out of the Philip Murray collection auctioned by Fonsie Mealy in 2019. It later sold at Forum Auctions (2023), a sale cancelled by the auctioneer when the forgery came to light.
While this style of proof has not been examined closely, it can be condemned by its cover design.
Stylistically, this proof is atypical of other proofs from Chatto & Windus from the mid-1970s as the title text is based on the dust jacket design, a feature not seen on any other proofs from the era. In addition, it has a text box noting this copy is “the property of the publisher and not for sale.” This wording and the formatting appears to be based on the real Picador proof for Blood Meridian, which wouldn’t be published for another decade.
A distinguishing feature of the McCarthy forger’s design work are elements that are copied from proof to proof, publisher to publisher, and country to country in a way not seen in real proofs by other authors or among the real proofs for Cormac McCarthy. Proofs typically conform the publisher’s current house style and not to previous or future proofs for other books and different editions.
Covers: Red printed wrappers without an information sheet taped to the front cover.
Page Block: Unknown
Notes: I have not found an image of the proof without the information sheet. A copy of this proof is listed in the Ahearns’ APG (#004a). A copy is also recorded in the Woolmer collection which is apparently State 1, with a “book synopsis” laid in. No forgery of this proof has been reported.
US PROOF STATE 2
Same as State 1 but with an information sheet taped to the front cover.
Notes: No forgery of this proof has been reported.
Forgery of the UK Proof
No proof of this book was issued and any book purporting to be a proof should be considered extremely suspect.
Covers: Red textured printed wrappers, with the title reproducing the title-page design.
Page Block: Perfectbound. Umberto La Rocca has identified the page block of at least one copy are coming from the 1992 Vintage Books paperback which omitted the acknowledgements page which is opposite the copyright page in all other editions. The title page is recreated using a slightly wrong font (see below). The page block may be from a paperback copy or perhaps photocopied from a paperback copy.
Notes: The UK first edition of Suttree was made in the US from finished American books. The title/copyright leaf was removed and new one with the British publisher’s name was tipped in (in technical book terms, the title leaf is a cancel). The spine of the UK first edition says Random House, not Chatto & Windus. Chatto & Windus designed and printed a different dust jacket for the novel.
It does not seem logical for Chatto & Windus to produce a proof of the novel when they didn’t even bother to put their name on the outside of the finished book. The collector Umberto La Rocca says that there is no record of Chatto & Windus producing a proof for their edition of Suttree in the publisher’s archive at the University of Reading.
The cover design of the fake proof is not characteristic of Chatto & Windus proofs of the era, which use straightforward typesetting, just like the American proofs. Further condemning this proof is the fact that the copyright page is a re-creation of the real UK title page, but the font is wrong.
A Note on Foxing
A known fake of the UK edition of Outer Dark has heavy foxing on the page edges. The forged UK Suttree proof photographed by Ken Lopez in the early 2010s and the Paul Ford/BooksCurious/Burnside Rare Books copy that I wrote about in my newsletter also had foxing on the top edge (they may be the same copy, but the photographs are not clear enough to say for sure).
The Suttree foxing may be faked; it has the appearance of a coffee splatter. The forger may have used this and other fake aging techniques to disguise the recent printing of the proof covers.
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BLOOD MERIDIAN
Real US Proof
Random House (1985)
US PROOF STATE 1
Covers: Printed yellow wrappers without an information sheet on the cover.
Page Block: Perfectbound
A copy of this proof is found in the Woolmer collection with an information sheet laid in. It is also listed in the Ahearns’ APG (#005a). No forgery of this proof has been reported.
US PROOF STATE 2
Same as State 1 but with an information sheet taped to the front cover.
Notes: No forgery of this proof has been reported.
Real UK Proof
Picador (1989)
Covers: Red printed wrappers.
Page Block: Uncertain. The cover says the page block is printed on “proofing paper.” How this is different from regular paper is unclear.
The cover of the forged proof of the Picador edition of Blood Meridian is the best of the fakes. The most obvious difference is that the publisher’s logo is closer to the bottom edge on the fake than on the real proof.
Covers: Printed red textured wrappers.
Page Block: Bound from folded and gathered signatures from a hardcover book.
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Forgeries of Other McCarthy Proofs
Faked copies of the UK proofs of All the Pretty Horses and The Stonemason exist. There are also fakes of a fictitious illustrated edition of Blood Meridian and of a supposedly scrapped signed, limited edition of The Road.