Who Is Tom Baker

Baker, Tom. (Dr. Who). Illustrated by David Roberts.. THE BOY WHO KICKED PIGS. Faber and Faber, (London, 1999), Ist edition.,
126 pp, 8vo, hard cover with pictorial boards (no dust jacket - as issued). Grotesquely humorous b&w drawings by David Roberts. "Robert Galigari is a thoroughly evil thirteen-year-old who gets his kicks from kicking pigs. After a humiliating epis ode with a bacon butty, Robert realizes just how much he loathes the human race - and his revenge is truly terrible" But the final revenge is not Robert's... "This subversive horror-fantasy from Tom Baker (ex-monk, ex-sailor, and the ultimate Dr. Who) is outrageous and funny." Interior - tiny chip/tear at bottom edge of pages 15 thru. 26, otherwise clean and tight with no previous ownership marks. Exterior - minor rubbing. VG+.

[SW: ROBERT CALIGARI TEENAGERS CRUELTY EVIL HORROR FANTASY GROTESQUE REVENGE,]

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Baker, Tom. The Boy Who Kicked Pigs. Faber and Faber, October 20, 200.
Paperback - 2005 - good condition - ladylisabooks website used books, secon dhand books, out of print books, hard to find books, second-hand books, non fiction, non-fiction books delivered world wide. Robert Caligari is a thoroughly evil thirteen-year-old who gets his kicks from kicking pigs. After a humiliating episode with a bacon butty, Robert realizes just how much he loathes the human race - and his revenge is truly terrible. This subversive horror-fantasy from Tom Baker (ex-monk, ex-sailor, and the ultimate Doctor Who) is outrageous and funny, and since the hardback was published in 1999 has gone on to become a cult classic. It is illustrated throughout with b/w line drawings from David Roberts.. Fiction.

Paperback,

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Hartwell, David (ed.) Daphne Du Maurier; Robert Heinlein; H P Lovecraft; Madeline Yale Wynne; R Silverberg; Harriet Prescott Spofford; Peter Straub; George R R Martin; Arthur MacHen; Carlos Fuentes; Thomas Hardy; Tom Disch; Violet Hunt; Scott Baker: Foundations of Fear: An Exploration of Horror ( Includes At the Mountains of Madness; The Blue Rose; Who Goes There?; In the Hills, the Cities; Duel; The Great God Pan; Sandkings; Notes on the Writing of Horror: A Story, Etc ) N.Y.: TOR / Tom Doherty Associates, 1992, 1st Edition, 1st Printing
ISBN: 0312850743 Near Fine Tom Canty Cover Art

----------hardcover, Near Fine in a Near Fine dustjacket, faint remainder mark, small ink anme on front endpaper, feels unread, a landmark anthology, contents include: Introduction By David Hartwell; Don't Look Now By Daphne Du Maurier; They By Robert A Heinlein; At the Mountains of Madness By H P Lovecraft ( Howard Phillips ); the Little Room By Madeline Yale Wynne; the Shadowy Street By Jean Ray; the Moonstone Mass By Harriet Prescott Spofford; Passengers By Robert Silverberg; the Blue Rose By Peter Straub; Sandkings By George R R Martin; the Great God Pan By Arthur MacHen; Aura By Carlos Fuentes; Barbara of the House of Grebe By Thomas Hardy; Torturing Mr Amberwell By Tom Disch; the Prayer By Violet Hunt; Who Goes Ther? By John W Campbell; ...and My Fear is Great By Theodore Sturgeon; When Darkness Loves Us By Elizabeth Engstrom; We Purchased People By Frederik Pohl; the Striding Place / and the Bell in the Fog By Gertrude Atherton; In the Hills the Cities By Clive Barker; Faith of Our Fathers By Philip K Dick; the Sand-Man By E T A Hoffman; Bloodchild By Octavia Butler; Duel By Richard Matheson; Longtooth by Edgar Pangborn; Luella Miller By Mary Wilkins Freeman; the Entrance By Gerald Durrell; the Lurking Duck By Scott Baker; Notes on the Writing of Horror: A Tory By Thomas Ligotti, ...660 pages, any image directly beside this listing is the actual book and not a generic photo First Edition Near Fine Hard Cover

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Jones, James [Graphics Direction By Art Weithas]: WWII - A Chronicle of Soldiering, NY Grosset and Dunlap, Publishers 1975
ISBN: 0-448-11896-3 Fine in Fine Dust Jacket Dust Jacket Drawings By Howard Brodie; Scores of full Color and Black and White Paintings and Drawings printed on glossy art paper including some Gatefolds

First Edition. 272pp. Khaki [green/brown] cloth, gilt spine lettering, blindstamped title front cover, black endpapers with Infantry, Airborne and Cavalry Division insignia designs. Scores of full color and black and white paintings and drawings printed on glossy art paper including some gatefolds. Dust jacket price 25.00. SIGNED BY AUTHOR to half-title page. A Gallery Of WWII Artists combined with some of Jones's best writing, perhaps his best since 'From Here to Eternity'. Illustrations include work by Tom Lea, Bill Mauldin, Howard Brodie, George Baker, captured Japanese and German combat art, and the combat art of the Allied Forces. "James Jones (1921-1977), one of the major novelists of his generation, is known primarily as the author of fiction that probes the effects of World War II on the individual soldier. Born in Robinson, Illinois, Jones entered the U.S. Army and had the distinction of being the only individual who would become a major writer to witness the attack by the Japanese on Pearl Harbor. A member of the 27th U.S. Infantry Regiment (25th Division), Jones was wounded at Guadalcanal and returned to Robinson, where he started to write about his experiences eventually producing the critically acclaimed international bestseller 'From Here to Eternity' (1951). He assisted in the creation of the Handy Writers' Colony in Marshall, Illinois (which lasted from 1949 to 1964) before taking up residence in Paris as part of the Second Generation of American Expatriate writers and artists. Jones's other novels are 'Some Came Running' (1957), 'The Pistol' (1959), 'The Thin Red Line' (1962), 'Go to the Widow-Maker' (1967), 'The Merry Month of May' (1971), 'A Touch of Danger '(1973), and 'Whistle' (1978). Jones published an acclaimed short-story collection, 'The Ice-Cream Headache and Other Stories' (1968), a nonfictional history of World War II from the viewpoint of the soldier, 'WWII' (1975), and a book of essays, 'Viet Journal' (1975). Jones's selected letters [mainly concerned with the craft of writing] were published in 1989. Of the trio of American writers on the big scale who emerged in the '50s--Mailer, Styron and Jones--the last has the most problematic reputation. This is partly because he was the least educated of them and his writing was, to put it kindly, less eloquently shaped [Drieser comes to mind]; but also in part because he seemed insufficiently self-critical and sometimes wrote large chunks of what seemed like barely digested naturalism [e.g. 'Some Came Running']. His raw emotional, but nonetheless considerable, talents as a writer seemed best-suited to describe the military world, in and out of combat, and less so the post-war world of America and Europe. His critical standing has only increased since his death." - James Jones Literary Society. " After he moved back to the United States in the mid-seventies, Jones was approached by Art Weithas, head art director of YANK, with an offer to write the text for a picture book of World War II graphic art. Jones was again reluctant to set aside 'Whistle' for another book; his decision this time was not influenced by a desire for adventure, but by the World War II art that he saw. A trip to Washington to see some of the actual art as well as files of photographs of paintings and drawings got Jones even more excited about the project. He agreed with Weithas that something ought to be done with the art so people could see it and think about it, something Jones thought particularly important since "...thirty-five years has glossed it all over and given World War II a polish and a gloss that it did not have at the time." Though the six months Jones spent writing 'WW II' would have enabled him to finish Whistle, the time devoted to 'WW II' was not wasted. Because of the quality of the graphic material and Jones's text, 'WW II' is far superior to most coffee table books. The information Jones provided about his army experiences offers insight into his stories and novels, and Jones in 'WW II' discussed his concept of the evolution of a soldier, central to Jones's work and dramatized so effectively in the army trilogy. While many reviewers approached 'WW II' with misgivings (common was the view of Christopher Lehmann-Haupt, who felt that the war was too big, and Jones's view of it too limited for him to be successful writing about it in this way), the critical response was almost universally favorable. Herbert Kupferberg, in the National Observer, said that the illustrations in 'WW II' are "spectacular and revealing," and like many reviewers argued that the book was more than just a collection of pictures. Jones's text, he wrote, "actually grows from the pictures, and it provides a genuine sense of the peril and drudgery that composed the life of the average doughfoot." This, most critics agreed, was the greatest strength of 'WW II', and some thought so highly of the book they called it Jones's best work since 'From Here to Eternity'. Art Weithas asked Jones to supply the text to accompany a collection of World War II art. He got more than that. Jones produced a text which could stand alone without the support of the artwork as a presentation of a viewpoint of the war which was often disregarded, that of the common soldier, and as a nonfiction appendix to his war trilogy which was completed with the publication of Jones's next, and final, book." - Michael Mullen. Difficult title to find in fine condition [especially dust jacket] because of size. Book appears in fine, unread condition [couple of slight corner bumps]; dust jacket is very bright, clean and crisp [just a hint of shelf-rubbing to extremeties; slight previous price-sticker discoloration front panel; small crease to front flap top corner by price]. Scarce signed. Signed by Author First Edition Fine Hard Cover Folio - over 12" - 15" tall

[SW: LITERATURE FIRST EDITIONS MILITARY HISTORY WORLD WAR II]

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