Men at War: The Best War Stories of All Time First Edition - Ernest Hemingway - Bauman Rare Books

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Men at War: The Best War Stories of All Time

Ernest HEMINGWAY

Item#: 88056 We're sorry, this item has been sold

Men at War: The Best War Stories of All Time

“THIS BOOK WILL NOT TELL YOU HOW TO DIE”

HEMINGWAY, Ernest, editor. Men at War. The Best War Stories of All Time. New York: Crown, (1942). Thick octavo, original black cloth, original dust jacket.

First edition, edited by Hemingway, with a 21-page introduction and three contributions by him.

Edited by Hemingway and published two years after For Whom the Bell Tolls, as war raged around the world, this anthology consists of 82 excerpts from writers such as T.E. Lawrence, Faulkner, Tolstoy, Hugo, Kipling, Churchill and Steven Crane, and features a lengthy introduction by Hemingway, as well as three works by him—“The Fight on the Hilltop,” “The Retreat from Caporetto” and “The Chauffeurs of Madrid.” Each work in this scarce volume offers insight into both the nature of war and the psychology of human violence. Hemingway writes with characteristic frankness, “This book will not tell you how to die. This book will tell you, though, how men from the earliest times we know have fought and died” (Introduction). First printing with “A” on copyright page; dust jacket with “First Edition” stated on front flap. Hanneman 19A.

Book fine; minor loss to spine end affecting imprint, slight edge-wear, tiny bit of dampstaining to verso of bright unrestored dust jacket.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
Association Copy copy that belonged to someone connected with the author or the contents of a book.
Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.
Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
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Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
Edition Print-run from a single setting of type without substantial change. Depending on demand, any number of printings can be made from a setting of type For example, a first printing might consist of 1000 copies, followed by a second printing of 2500 copies; in which case the book would have a first edition, first printing of 1000 copies, and a first edition, second printing of 2500 copies.
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Japanese Vellum Expensive handmade paper often used in deluxe editions.
Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
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Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
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