Corbett's Ghost by Leon Garfield, Pantheon Books. 1968 Beowulf:a new telling by Robert Nye, 1968 Your Friend, the Insect, by Florence M. White, Knopf, 1968 The Wild Ducks and the Goose, by Carl Withers, Holt, Rinehart and Winston, 1968 Winter's eve by Natalia Maree Belting, Holt McDougal, 1969 Escape, by Ota Hofman, Knopf, 1970 The Dark is Rising by Susan Cooper, Atheneum Books, 1974 The Trial by Franz Kafka, The Limited Editions Club, 1975The Forgotten Society:92 drawgings, By Alan E. Cober,Dover Publications Ulysses by James Joyce, The Franklin Library, 1976 Collected Poems, Essays on Poetry by Edgar Allan Poe, The Franklin Library, 1977 Aaron's Door by Miska Miles, Little Brown and Company, 1977Jailbird by Kurt Vonnegut Jr., The Franklin Library, 1979The Naked and the Dead by Norman Mailer, The Franklin Library, 1979Cobers Choice, Dutton Books, 1979 Exile and the Kingdom, by Albert Camus, The Franklin Library, 1980 The Safety Net, by Heinrich Böll, The Franklin Library, 1981 The Tragedies of Sophocles, Franklin Mint, 1981 Giant Cold by Peter Dickenson, Kindle Edition, Reprint Edition, 2016 by Open Road Media As an educator Cober taught at the State University of New York at Buffalo, the University of Georgia, and the Ringling School of Art and Design in Sarasota, Florida. While teaching in Buffalo, an assignment was given out on Thursday, sketches were due on Friday and the finished piece was due the following Thursday. Classes were only held on Thursday and Friday because he flew to Buffalo on Thursday from downstate New York to teach the class, then flew back home on Friday. He also required at least one sketch a day in a personal journal. The assignments were usually 'live', meaning that the whole class' final pieces were submitted to a publication, and they chose one to print. The class took field trips to Toronto to see Henrik Drescher, to Phillip Burke's studio, to the Buffalo Museum to draw, to the Anthropology Lab on Campus to draw (dead creatures, including a dead person). Everything Cober taught centered around drawing. In his life drawing classes he was never interested in having the figure look exactly the way it should in nature. An interesting drawing was more important to him as a teacher. He said of his teaching: "My students call it 'traumatic drawing' because of where I take them to draw." Awards and honors In 2001, family and friends of Cober established