New York: Macgraw-Hill Book Company. Hardcover. Undated. Thin 4to. Solid copy of this emotional book. In linen covered boards with black titling to spine and black/gold illustration on front board. Red ribbon bookmark undamaged and bound in. In cream, illustrated dust jacket with black title to spine. Toning to jacket overall, more evident on spine panel. Some edgewear including long closed tear along edge of rear flap and small, somewhat crude, tape repair to front edge. 80 pages. HOLOCAUST/121521. Very Good / Very Good.
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leipzig: Verlag für Wissenschaft und Literatur, 1946. Paperback. In German. A compilation of writings by survivors of Buchenwald detailing construction, corruption, deaths, signifcant events, and more. In tan paper wrappers with black and red illustration to front cover. Heavy creasing to rear cover, minor creasing to front cover, browning to edges of boards, and soiling to edge of rear board. Browning throughout interior and soiling to margins of last few pages. Includes chilling photographic illustrations, several diagrams, and maps. 130 pages. HOL/060822. Very Good.
Baltimore: Icarus Books, 1996. Paperback. Near fine in black and white paper wraps with white title to front wrapper and black title to white spine. Inscription to half title page. Else is clean and bright with photographic illustrations of the author. 79 pages. Holocaust. POE/109061. Near Fine in Wraps.
Peshastin, Washington: Wiesedruck, 2016. Hardcover. Number 26 of 36 copies. Signed and numbered by the artist. In this book of poignant poetry, "the narrator struggles with existence, voice, and memory after the trauma of genocide. Souls and words cannot burn but they can be forgotten in the smoke, fog and hail of the Holocaust" (artist statement). Horowitz was inspired to create this book by her friend and poet Carl Adamshick’s translation of the original by the late Israeli poet Dan Pagis, which was published in his book 'Transformations.' Permission to use the original text came from the estate of the author and from ACUM in Israel. Horowitz's stark etchings of thousands of tiny tick marks and swirling lines, seemingly representative of thousands of lost souls, effectively create a melancholy atmosphere for this poignant poem. An excerpt from the English translation of Pagis's poem: "From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths. ..." Bound in white textured paper wrappers with exposed sewing on spine and grey title to front cover. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. A translucent sheet of abaca paper covers the book. Housed in a grey cloth covered box with paper title label to spine. Binding and box are by Julia Weese-Young. In Hebrew and English. Size: 12.5 x 9.5 inches. Sarah Horowitz has been awarded multiple grants and has held residencies at several arts centers including ArtBellwald in Switzerland. She taught printmaking at Portland State University for over ten years and was a member of Atelier Mars printmaking workshop during her time in Portland. Her press is named for the Wiese stream that runs through her grandparents backyard near Basel, Switzerland. Much of her work is printed on a Charles Brand Press once owned by Leonard Baskin. Her work is held in private and institutional collections across the U.S. PRI/122722. Fine.