Catalog 138, Autograph Material
223. BERGER, Thomas. Siamese Twins. NY: Harold Matson Co. (n.d.). A two-act play by Berger, apparently unpublished (and unproduced?). The setting for this comic script is a suburban milieu similar to the one Berger used in his novel Neighbors, which was made into a well-received movie. This is the corrected typescript, signed by the author. Ninety-eight pages, ribbon-copy, heavily corrected by the author with numerous changes and deletions in felt tip pen. A unique item by the author of the award-winning Little Big Man. Loose sheets in three-ring binder. Fine.
224. BERRYMAN, John. Autograph Letter Signed. April 1962. Written to Edward Hoagland ("Ted"). Two full pages, on 5 3/4" x 9" paper, written from a Minneapolis hospital. Berryman derides himself for being a poor correspondent, albeit a good friend, and talks about his and Hoagland's marriages, about mutual friend Walter Clemons, and a bit about each one's current writing projects. Berryman was hospitalized for exhaustion, alcoholism and nerves in 1958 and was hospitalized at least once a year for the rest of his life. This letter has good personal content, literary material, and is written to a close friend. It is also, at times, somewhat scattered -- Berryman reports being given drugs to calm him and the resultant disorientation. Together with a carbon typescript of Berryman's 1957 poem "American Lights, Seen from Off Abroad." The letter is fine; the poem, which also runs two pages, is folded in sixths; near fine. Berryman autograph material is uncommon, especially with such revealing content.
225. BOYD, William. Typescript. 1985. Five typed pages, with holograph corrections, on the life of Dr. Robert John Thornton. The typescript is signed by the author. In addition, there is an autograph note signed transmitting the article and asking the recipient for a copy of a book (presumably his own), which "cannot be had for love nor money." With an author photo from 1982. Fine.
226. HEMINGWAY, Ernest. Minoco. c. 1934. The passenger log for the private yacht, Minoco, from December, 1932 to March, 1937. Signed by Ernest and Pauline Hemingway. The Minoco was a large private yacht, apparently based near Chicago during the warm months of the year, which, along with various other yachts from the northern climes, wintered in Key West during the mid-1930s. Apparently, the owners hired out for private trips, ranging from day trips to two-week fishing trips, and kept a log for the passengers to sign and leave their comments. By the evidence here, it was quite a luxurious vessel, and many of the passengers, especially during the summer months, came from the wealthy suburbs of Chicago, Oak Park in particular. Hemingway grew up in Oak Park, and it may be this connection that prompted him to visit the Minoco in 1934, despite the fact that he already had his own boat, the Pilar, and had spent much of the summer and fall fishing on it, from a base in Havana. The log has also been signed by Jean Harlow, in 1933. Harlow has added, in the "Remarks" section, "What a man Dalling." Hundreds of other signatures and also many character sketches, tipped in or laid in, most signed "Casey," and one sketch of Harlow by Dorothy M. Rohn, the wife of the skipper of the boat. An intriguing glimpse of a moment, hitherto undocumented, in Hemingway's life at a time when he was perhaps the most famous writer in America. Leatherbound, professionally rebacked, with a cut jade circular emblem inlaid on the cover. 11" x 14". Near fine.
227. HILLERMAN, Tony. Typescript of Canyon de Chelly. 1987, 1998. The manuscript of this essay as it was submitted to the publisher for production of a limited edition. Photocopied typescript, 26 pages, with the author's holograph corrections. The text is copyright 1987. Together with a typed letter signed by Hillerman from July of 1998, detailing errors found in the proofs; with envelope. Also together with a signature page signed by the illustrator, Ernest Franklin. All elements fine. Manuscript material by Hillerman, one of the most collected of contemporary mystery writers and Southwest writers, is very uncommon and seldom offered on the market.
228. HUGHES, Langston. Autograph Letter Signed. September 18, 1956. Handwritten letter to Gwendolyn Brooks, written in the margins of a carbon typescript of Hughes' "Current Biographical Notes." In part: "From this you can see I've been BUSY. And just finished a little novel about the length of yours (I hope half as good). It's about gospel churches & the rocket invasion therein." Hughes also points out that Brooks is mentioned in his A Pictorial History of the American Negro. Initialed by Hughes (twice). Folded in thirds for mailing; fine, with envelope.
229. KELLER, David. Through the Back Door. (n.p.: n.p.) [1948]. Original typescript, with extensive holograph emendations, of Keller's unpublished autobiography. First written in 1940-41, and heavily revised by Keller in 1947-48. Bound in two volumes. Bound into volume one is an autograph letter signed by Keller in 1951, transmitting the manuscript to a collector and describing the process of this "working copy" and explaining that all but one page of it is true. Keller was a science fiction and horror writer who was widely published in the pulps from the 1920s to the 1950s, and had a number of books published by the science fiction and fantasy specialty presses of the time -- Prime Press, Avalon, Arkham House, etc. He is known to have assembled manuscripts such as these a number of times, of both published and unpublished works, and had them bound into volumes that he gave to collectors or admirers of his writing. Near fine.
230. KELLER, David. The Final War. (n.p.): (n.p.), 1948. A story written to accompany ten otherwise unrelated science fiction images, each by a different artist. Original ribbon copy typescript, 20 pages, approximately 4 1/2" x 6 1/2", with a number of holograph changes in the author's hand and with an introduction by Keller. Stringbound and laid into a cardstock wrapper inscribed by the author in 1952. Lloyd Currey's bibliography of science fiction writers identifies a mimeographed version of this story done in 1949 that does not contain the ten images. The images, he says, had been earlier issued as a portfolio and "are generally not found with, nor are they part of, this booklet." Since the illustrations are tipped into the sheets of this manuscript pamphlet, it suggests that Keller's introduction -- which thanks the artists for the use of their pictures and hopes "that they will be pleased with the combination" -- was written for this particular, hand-assembled volume, the text of which later became the basis for the mimeographed edition. Paperclip marks to covers; otherwise fine. By all appearances, unique.
231. KELLER, Helen. Typed Letter Signed. September 22 [1902]. Written to Mr. [William V.] Alexander, editor of Ladies Home Journal, who had requested a series of articles from Keller that were later published as The Story of My Life. Keller humbly thanks Alexander for payment for the last article; in part: "I only wish I could have made the story of my life more worthy of the generous praise it has received...It has meant a great deal in my life, and in Miss Sullivan's too -- the thought of the happiness that she says my compliance with your request has brought her is sweeter even than the thought of the kindness shown me in the letters that come constantly from old friends long silent and new friends whose words go to the heart..." Two 5" x 8" pages, typed with blue ribbon and signed "Helen Keller." A very early letter by Keller, preceding her first book, with exceptionally good content about the importance of her writing in her life. Fine.
232. KEROUAC, Jack. Correspondence with Steve Allen. April 1958 - February 1959. Two typed notes from Kerouac to Allen. The first, dated April 14, 1958, from Orlando, is typed upside down on 8-1/2" x 11" white lined paper and requests that Allen "arrange another evening like the one you planned" as Kerouac had been unable to keep their proposed date due to having to pick up his "mother & cats to take them back to the new house I bought in Long Island." The note is unsigned, but is folded in sixths for mailing and the original hand-addressed mailing envelope is stapled on verso. The second note, signed in full, is on a half sheet of paper, approximately 8-1/2" x 4-1/2", and is dated February 19, 1959, from his home in Northport, N.Y. -- the Long Island house referred to in the previous letter. Kerouac apologizes for declining a gift from Allen, a subscription to The Independent which had offended his mother with an article on the Pope. He further inquires about his and Allen's record coming out, informs Allen of his first full-length book of poems, published by Grove [Mexico City Blues], and enthuses about Harpo Marx and the Three Stooges. Also included is a retained copy of Allen's dictated reply, in part: "I sent your subscription on to Groucho Marx so all is well." Allen says that he understands about The Independent and that his own mother would not allow a copy of it in the house either. Together with two 8" x 10" black and white photographs of Kerouac and Allen together at Allen's piano, with a copy of On the Road on top, and one of the photos being a shot of them appearing on television. Other than folds and staple holes, all items near fine. Kerouac's appearance on the Steve Allen Show gave a kind of mainstream legitimacy to him, and by extension to the other Beat writers, and he collaborated with Allen on the record album, "Poetry for the Beat Generation."
233. KEROUAC, Jack. Typed Letter Signed. December 1956. A full page love letter to Helen Weaver ("Sweetheart"), mailed on New Year's Eve. A passionate letter, written just before On the Road was published and while Kerouac still had the innocence and charm of a struggling writer, unencumbered by the celebrity that dogged him in later years. Much of the letter is personal, professing his love and desire to reunite with his girlfriend -- in writing that has the rhythm and lyricism of his novels, as well as the free flowing associations and lofty allusions: "I will lead schools, be exiled, scoffed at, I prophesy it, and I will lead schools...But it's only the golden eternity...eternal peace...and we're just passing through..." A portion of the letter refers to the business of writing in which he is engaged: "I have another week here, of mad typing and working on FOUR different manuscripts, that'll make us rich...Then I take the West Coast champion train, if my agent comes through with the return fare, and be right back, to your door, on Tuesday the 8th...If I dont get drunk and flub up..." Signed, "Jean (qui t'aime XXXXX)." Previously folded in sixths for mailing and splitting at the corner folds; paper acidifying; else near fine. With typed mailing envelope, postmarked Orlando, Florida. A remarkable letter, with Kerouac's characteristic, and unmistakable, prose.
234. KILMER, Joyce. Autograph Letter Signed. August 18, 1914. A one-page letter to the poet Edwin Markham soliciting the blurb that was used on the front cover of Trees and Other Poems. Markham had edited the 1910 collection The Younger Choir in which two of Kilmer's poems appeared. He had also, according to this letter, more recently praised the poems "Martin," "Trees," and "To a Young Poet who Killed Himself." Kilmer also inquires after Markham's health and sends respects to Markham's wife. Written on New York Times stationery and signed in full by Kilmer. Folded in sixths for mailing; a bit of corner creasing at the top edge; near fine. A nice literary association.
235. KOONTZ, Dean. Archive for "Dean R. Koontz in the Fictional Melting Pot" in Writer's Digest. 1989. Koontz was interviewed by Stanley Wiater for Writer's Digest magazine; the result was published in the November, 1989 issue. Included here are two typescript (computer printout) drafts of the interview: the first draft (2 copies) as prepared by Wiater, and the second draft, typed and edited by Koontz. With the second draft is an autograph letter signed by Koontz, saying "More Koontz blatherings have raised the page count from 12 to 16. I think this should satisfy Bill. If not, I'm on Mars for the next six months." Also included is an autograph letter signed transmitting four author photos (not included) for Writer's Digest to choose from and a typed letter signed transmitting two versions of the same page of text from Koontz's A Bad Place for use illustrating the author's writing process in the article. The two pages of text, reproducing the author's holograph corrections, are included. Lastly, there is a photocopy of the article as it was published, which differs somewhat from the two drafts included here. One (folded) mailing envelope included. All items fine. Koontz autograph material is uncommon, and this small archive provides a glimpse of the writer at work, commenting on his own work, and carefully revising it and clarifying it -- including the interview text -- prior to publication.
236. LE CARRÉ, John. Autograph Letter Signed and The Spy Who Came in from the Cold. London: Gollancz, 1963. A letter (dated February 18, 1963) running two sides of one page, in which Le Carré answers five questions put to him by the recipient, Mr. Broberg, the head of a Swedish mystery society, who had apparently read Le Carré's earlier books and admired them, and written to the author with a number of questions. In the first response, Le Carré informs Mr. Broberg that Gollancz will be bringing out his third book, "Carcass of the Lion," (eventually retitled as The Spy Who Came in From the Cold) in the summer. In the fourth response he refers to this book as his best to date. The second response gives his profession as part-time civil servant, with an earlier stint as schoolmaster. The third response claims he began writing thrillers on train journeys because he needed money and -- second reasons are always suspect -- "because I can't read fiction myself." The fifth response projects his productivity: "I intend to produce about a book a year, if I can manage it, or until I think I am turning them out too easily." An interesting and revealing letter, in large part focusing on the book that established Le Carré as the preeminent novelist of the spy trade and the Cold War, the eventual title of which contributed a phrase ostensibly from spycraft that has virtually become part of the language. Le Carré also adheres to the fiction, later dropped, that he was a "part-time civil servant" rather than a spy, now common knowledge. Most interesting, however, is the author's original title for the book, which comes from the Biblical story of Samson, who protects his parents and village from a dangerous lion without their knowing it, and brings them honey from its carcass without revealing the source of the gift and nourishment -- a powerful metaphor for the life and work of a spy. The letter is folded in fourths; apparently once tipped to something as the lower edge is unevenly cut and abraded on verso, not affecting any text; near fine. The book, retitled from "Carcass of the Lion," is slanted and faded on the spine; about near fine in a near fine, price-clipped and spine-faded dust jacket with the edges acidified, presumably from an earlier jacket protector.
237. LE CARRÉ, John. Typescript. Undated. c. 1968. Four pages of ribbon copy typescript with extensive holograph corrections. Reportedly early draft pages of A Small Town in Germany (takes place in Bonn), but it could also be from Naive and Sentimental Lover (shares a character name, "Hugo"). Folded in fourths; near fine. With a letter of provenance. We have seldom seen Le Carré manuscript material offered on the market and an early piece like this, with extensive corrections visible and earlier versions of the text (now excised) still present is quite rare.
238. LEARY, Timothy. My Growing, Admiring Friendship with My Very Own Cancer. June 12, 1995. Six page computer printout typescript in which Leary muses about the causes of the prostate cancer he was diagnosed with in January, 1995, discussing taboos about death and conspiracies against ejaculation. Inscribed by Leary on June 16, 1995: "To my dearest Pal/ Nelson [Lyon]/ Timothy." Lyon was a friend of Leary's as well as a longtime friend of Terry Southern and William Burroughs, among others. An original, unpublished manuscript, touching on both Leary's own personal situation and the larger questions of life and death, with a warm personal inscription to a close personal friend. Leary died in May of the following year. One vertical fold; several small water spots on page one; a small stain in the upper margins. Near fine. Unique.
239. LONDON, Jack. Typed Letters Signed. 1910-1912. Four letters from London to the secretary of the Vallejo Yacht Club concerning, primarily, his yawl "Roamer" and his skiff. The letters revolve around the maintenance and care of "Roamer" and London's joining the Vallejo Yacht Club in order to see to her care. London and his wife, Charmian, spent much time on "Roamer," and it has been said that sailing her was his first and best method for dealing with depression. The two took innumerable trips together, each better than the last according to Charmian; one of the letters mentions their return from a one month cruise on Big Lake. Each letter is signed in full; the last, which is on a half sheet of paper bears two holograph corrections, including the substitution of "port" for "starboard." The letters are folded for mailing; else fine. A nice view of a personal aspect of London's life that was enormously important to his writing life.
240. LOWRY, Malcolm. Drunken Tribute Signed. Undated. An unaddressed tribute apparently paying compliment to the son (daughter?) of the writer of "The Lonely Faun," Reginald Redman, a noted jazz composer. Signed "Malcolm Lowry" on verso and "Malcolm (not Michael) Lowry" on the front. In addition to the other text, on each side Lowry has written the fragment "green ties among the supervisor's candles blues." Lowry's tribute, presumably never sent, was apparently written in a drunken state, as might be expected, and he repeats his sentiments, and self-doubts, several times for emphasis, in commenting on the recipient's volume (or writing) "Thought." "Let me pay my small alcoholic tribute. At any rate The Lonely Faun is wünderbar and Thought is - is - is - one of the huge fragilities before which comment is disgusting." 7" x 9". Folded in half, with prominent drink stain; very good. A revealing glimpse of the author's urgent, and self-critical, perception and commentary. Manuscript material by Lowry, the author of the classic Under the Volcano, is exceedingly rare.
241. LOWRY, Malcolm. Autograph Letter Signed. Undated, c. 1953. Written to his friend, fellow writer and translator Hoffman ("H.R.") Hays, from a Vancouver address. Two densely written pages, covering both inner panels of a Christmas card, explaining his failure to adequately respond to Hays' having sent Lowry his novel Envoys. In his defense, Lowry delves into his own immediate need to write rather than to read; his family history with regard to his father's legal battles around growing cotton in Peru; and his own convalescence with a broken leg and ankle. He then offers a page of response while simultaneously claiming that he is not yet prepared to respond. Approximately 500 words. Signed, "Malcolm." A little corner creasing; fragile along the card's fold; near fine. Again, autograph material by Lowry is very uncommon, especially with such wide-ranging, multifaceted content.
242. LITTLE, Malcolm. "Malcolm X." Holiday Card. [c.1940's]. 5-3/4" x 4-3/4". A Christmas card from the noted black activist, written decades before he converted to Islam and became the most outspoken and militant agitator for black civil rights in the early 1960s. Malcolm X's incendiary rhetoric in the early years of the Civil Rights Movement helped polarize the country around issues of race and also helped open the way for civil and legal reforms on an unprecedented scale. The social criticism that seemed so extreme and intransigent in 1963, when viewed with the historical perspective of the intervening decades, seems mild, almost mainstream, and much of his most extreme characterizations of race relations in the United States seem self-evidently true today, rather than provocative. This card has a sleigh scene on the front and a standard Christmas and New Year's greeting inside. Signed in full as "Malcolm Little," with the additional sentiment, in holograph: "I hope you haven't forgotten me." Folded once, seemingly to fit into a square envelope (not present). Very slight general wear; still near fine. Autograph material by Malcolm X is extremely scarce, particularly such an early example as this, preceding as it does his notoriety and period of historical significance.
243. MICHENER, James. Publisher's Archive for Ventures in Editing. [Huntington Beach: Cahill, 1995.] The published version of Ventures in Editing included two essays by Michener, "My Advice to Young America," which takes a long view of a writing life, and "The Writer and His Machine," which takes a hard look at kidney failure. The book featured two versions of each essay, together with an introduction by Michener about the machinations of the editing process, and it was published in a limited edition of 300 numbered copies plus a lettered edition. This archive includes a ten page computer printout of "The Writer and His Machine," which varies in small measure from the first version in the published book, and a 17 page computer printout, which varies from all versions. An unsigned Michener note says about this second version ("This Fourth Version of the manuscript, the final version"): "We have indicated by bold face the new material..." His note covers several options for dealing with printing two such similar versions of the essay. Also included is a 12-page typescript fax corresponding to the first version of "My Advice to Young America." This is on legal paper, folded up to letter size, with the text written in hand where it ran off the bottom. Together with a secretarially typed note signed by Michener from 1993, declining that he has any essays suitable for an edition. Except for the folded legal pages; all elements are fine. Original manuscript material by Michener, one of the most popular American authors of all time, is scarce as most of it resides in various institutional archives.
244. MILLER, Henry. Signed Photograph. 1969. An 8" x 10" black and white photo taken by Bill Webb. Titled "H.M. at Pacific Palisades," this is one of five numbered prints, initialed and dated by Webb and signed by Miller. Miller, in profile, is smiling and smoking. A very attractive image of Miller in his later years. Matted and framed to 14 3/4" x 18". Fine.
245. MILLER, Henry. Autograph Note Signed. Undated. A 5" x 3" card: "June -/ Tell me what/ you have read/ and I'll know/ better what to/ send!/ Henry." A short but nice sentiment, not only linking Miller with June, his muse, but also with the literary dimension of their lives together. Near fine.
246. SOLZHENITSYN, Aleksandr. Typed Letter Signed. June 5, 1995. Written to Elie Wiesel, declining an invitation. In part: "I fully share your concerns for the full scope of today's -- purely unexpected -- problems, problems that besiege all humankind as it enters the twenty-first century. However, Russia's condition is so especially perilous that, having returned home in May 1994, I have been unable to leave here since that time, and see no possibility of traveling abroad at any time in 1995." 8-3/8" x 11-3/4"; folded in thirds for mailing; secretarial notation of receipt in lower corner; very faint edge creasing; else fine. Solzhenitsyn's letter probably refers to the December 1995 Hiroshima conference that was co-hosted by Wiesel's Foundation for Humanity. A rare and notable association between two Nobel Prize winners: Solzhenitsyn won the 1970 Nobel Prize for Literature; Wiesel won the 1986 Nobel Peace Prize.
247. TWAIN, Mark. Autograph Letter Signed, to Bret Harte. [1876]. Dated July 13. Two small pages written on one sheet, approximately 7" x 10", folded to make four pages. Twain writes to Harte, with whom he had a longstanding friendship dating from their time in San Francisco, when both were young writers and were part of the San Francisco literary scene of the 1860s, with Harte at the time being the more well-known of the two, although his fame did not yet extend beyond California. When Harte was made editor of the new literary weekly, The Californian, he hired Twain as a writer. Their friendship continued for years, even after they went their separate ways, and shortly after this letter was written, when Twain returned to the U.S. from abroad, Harte visited him in Hartford, Connecticut, and the two collaborated on the play Ah Sin. The play, produced the following year, was only a moderate success at best, and tensions grew between Harte and Twain that ultimately led to the breakup of their friendship. In this letter, Twain asks Harte for an autograph to give to a clergyman he has met in Ireland who is an autograph collector and "a mighty good fellow -- for a Christian." He also recounts that he has "just finished writing the book to-day (900 pages MS.,)" -- "the book" being Tom Sawyer -- "but can't print now, because I have a book going through the press at this time," referring to Sketches, New and Old. The letter is signed "Mark." A wonderful association between two of the most prominent American writers of the 19th century, written on the day Twain finished one of his most famous books, and referring to its manuscript.
248. VELIKOVSKY, Immanuel. Correspondence. 1951, 1952, 1970. One typed letter signed, one autograph letter signed, and one autograph postcard signed by the controversial author of Worlds in Collision, Earth in Upheaval, and others. Velikovsky's books suggested that Earth's history was defined more by sudden catastrophes than by slow evolution. They became quite popular during the 1960s, when conventional wisdom of all sorts was being called into question. Each letter is written to a Mr. Tereshchenko: the first refutes two notions in a book by "Beaumont;" the second letter assures the recipient that the second volume of Ages [in Chaos] will be published and is being held up by Velikovsky himself; the third voices intent to send along a 1946 publication and explains that Ages in Chaos grew to a tetralogy. "Beaumont" is William Comyns Beaumont, a British author whom some claimed had advanced the notions put forward by Velikovsky a generation earlier. The first letter is secured across the midpoint fold with tape; very good. The second letter is on airmail paper; folded and opened as designed; else fine. The postcard is fine. Correspondence, or any autograph material, by Velikovsky is quite scarce, especially with significant content. For the three: