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Autograph Letter [Signed "Ton G"] to Louise Colet by FLAUBERT, GUSTAVE

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Seller: The Manhattan Rare Book Company

Title: Autograph Letter [Signed "Ton G"] to Louise Colet
Author: FLAUBERT, GUSTAVE
Seller: The Manhattan Rare Book Company (United States)
Condition: Very Good
Description: Croisset: np, 1854. First edition. Letter; custom case. Very Good. AN EXTRAORDINARY LETTER TO LOUISE COLET DURING THE FINAL DAYS OF THEIR RELATIONSHIP WITH INSIGHTS INTO HIS PHILOSOPHY OF WRITING, THE COMPLETION OF MADAME BOVARY, AND HIS RELATIONSHIP WITH HIS "MUSE". On Louise Colet: "Louise Colet was truly Flaubert's muse and a midwife for his Emma Bovary. It is to her that the hermit of Croisset chronicled, in over a hundred letters, the progress of his first published novel: It is exclusively to Louise that he wrote his famous reflections about the craft of literature - prophetic passages that would become the most familiar credos of twentieth-century modernism... "Throughout the phase of their correspondence... Flaubert so often sought Louise's advice on details that her daughter and literary executor, Henriette Colet Bissieu, would later demand... that her mother's collaboration in Madame Bovary be officially acknowledged." (Francine du Plessix Gray, Rage & Fire: A Life of Louise Colet, Pioneer Feminist, Literary Star, Flaubert's Muse, pp. 199-201.) Flaubert's Letters: Flaubert wrote wonderfully evocative letters and his correspondence as a whole has often been hailed as a literary masterpiece, holding a rightful place alongside his novels. Michael Dirda has noted that "the correspondence of Gustave Flaubert soars above all other works in setting forth the proper ideals and accompanying rigors of art", Enid Starkie thought that the letters "in the future, [would] become Flaubert's most popular and widely-read book, the one in which he has most fully distilled his personality and wisdom" and André Gide connected with the letters on such a personal level, claiming that "for more than five years his correspondence took the place of the Bible at my bedside. It was my reservoir of energy". (Dirda, Washington Post, "Flaubert on Travel, Sex, and Writing"; Starkie, Flaubert the Master; Gide, in Steegmuller, ed., The Letters of Gustave Flaubert). This Letter: It is April 18, 1854, three years into the writing of Madame Bovary, when Gustave Flaubert pens this letter to his lover Louise Colet. He doesn't know it yet, but it will be over 2 1/2 years before he completes his work. He also does not know that this is one of the final letters he will write to his "muse"; there will be one four days later on April 22 and one on April 29. And despite the promise he makes to Colet in this letter: "You will see me in three weeks at the latest," the two lovers will never see each other again, thus ending their eight-year affair. The letter offered here is remarkable for several reasons. First of all, despite the fact that we are days from a breakup after an eight-year relationship, Flaubert's words are deeply emotional: "your joys and sorrows are mine. I would like to see you above all happy, happy in every way," and declaring that if he could find someone who would bestow happiness upon her, he "would journey barefoot to find him." These sound more like the words of a person about to book a ticket to see his lover rather than a prelude to a breakup. Also extraordinary about this letter is the insight it offers into the composition of Madame Bovary. Flaubert's dedication to the process necessary for realism leads him to taking a deep dive into making sure the medical details are correct in Madame Bovary, as he reports that "I journeyed to Rouen to consult my brother regarding foot anatomy and the pathology of clubfoot." Upon his visit, he realizes that "revisions and adjustments are needed" to his original descriptions in the draft of Madame Bovary. Here we see that although Flaubert was enslaved by his own commitment to style, he was more committed to truth as he explains in the letter how he originally wrote about the surgery:"I had crafted something comical, a stylistic movement of such beauty that it moved me to tears for two hours. Yet it was pure fantasy, inventing the unheard-of." Then in a moment of great self awareness he explains: "It is a challenge to render technical details both literary and lively while retaining precision. Ah the torments of style!" Less self aware is his sense of his own progress in the book. He reports he has just "five or six pages left to pen, in addition to another seven or eight that are half or two-thirds completed" and believes he will be near finished in the coming months. Unfortunately for him, he is still over two and a half years away from publication. Finally, the letter presents Flaubert's detailed, but harsh feedback on Louise Colet's writing. While he sprinkles in the occasional compliment declaring a line or stanza "very good" or even "excellent," these rare praises are undermined by a stream of criticisms calling the writing, "clichéd" "unpleasant" "ATROCIOUS," "obscene," "vile," "ugly," "sordid," "utterly wrong," and so on. It's hard to believe that this is the same person who only a few sentences earlier wished for his lover's happiness. Whether or not the critiques are justified, one generally hopes for a gentler editor. The modern reader of the letter wonders: Are these scathing edits cruel on the part of Flaubert? Could his harshness have been the catalyst that ended the eight-year affair? Or perhaps he is jealous of Colet, as she was a successful and prolific writer. Then again, they may demonstrate his deep respect for her and her writing. He provided incredibly rich feedback on the entire piece, word by word at times. One needn't waste time on all that for an unworthy writer. Overall, in this letter, we see a person with a lack of awareness about his relationships and himself. He insists upon seeing Colet in the following weeks, but will never see her again, he declares he wants Colet happy, but then proceeds to tear apart her work, and he surmises he is nearly finished with his novel, but is in fact years away from publication. The letter in the original French reads in full: Mardi, minuit. Si je ne t'ai pas reparlé de l'affaire du Philosophe, c'est que je croyais que c'était entièrement fini, quant à présent du moins. & fini par un refus formel de sa part ? Malgré l'avis contraire de Béranger, je persiste à penser que le mien était bon, si toutefois tu persistes continues à le tenir ferme. Je t'ai donné ce conseil d'après les données de son caractère que tu m'as dit être faible.- et, cela admis, j'avais raison ! donc, attends. - & tiens bon - & ne crois plus, chère Muse, que je ne m'intéresse pas à tes affaires. Rien de ce qui te touche, au contraire, ne m'est indifférent - Je voudrais te voir avant tout, heureuse, heureuse de toute façon, de toute manière, heureuse d'argent, de position, de gloire, de santé, etc., & si je savais qqu'un qui pût te donner tout cela, je l'irais chercher, pieds nus. Le bonheur, ou ce qui en approche, est un composé de petits bien-être, de même que le non-malheur ne s'obtient que grâce à par la plénitude d'un sentiment unique - qui nous bouche les ouvertures de l'âme à tous les accidents de la Vie. n'est-ce pas vendredi prochain que l'on décide le prix ? J'attends dimanche matin avec anxiété. tu me verras dans trois semaines au plus tard. Je n'ai plus, d'ici à mon départ, que cinq ou six pages à faire - puis et, de plus, sept ou huit à moitié ou aux deux tiers faites. Je patauge en plein dans la chirurgie. J'ai été aujourd'hui à Rouen, exprès, chez mon frère, avec qui j'ai longuement causé anatomie du pied & pathologie des pieds bots. Je me suis aperçu que je me foutais dans la blouse (si l'on peut s'exprimer ainsi). ma science acquise de fraîche date n'était pas solide de base. - j'avais fait une chose très comique (le plus joli mouvement de style qu'il fût possible de voir, & que j'ai pleuré pendant deux heures), mais c'était de la fantaisie pure, et j'inventais des choses inouïes. - il en faut donc rabattre, - changer, refondre ! Cela n'est pas facile, que de rendre littéraires et gais des choses détails techniques, tout en les rendant gardant précis. Ah ! les aurai-je connus les affres du style ! au reste, tout, maintenant, m'est montagne ! - Bouilhet n'a pas été mécontent de ce que je lui ai lu. - j'ai fait, je crois, un gd pas, à savoir la transition insensible de la partie psychologique à la dramatique. Maintenant, je vais entrer dans l'action et mes passions vont être effectives. Je n'aurai plus autant de demi-teintes à ménager. Cela sera plus amusant, pr le lecteur du moins. il faut qu'au mois de juillet, quand je reviendrai à Paris, j'aie commencé la fin - puis j'y reviendrai au mois d'octobre, prendre un logement. - Quand arrivera-t-il donc ce bienheureux jour où j'écrirai le mot : fin ? il y aura, en Octobre prochain, trois ans que je suis sur ce livre. Cela est long, trois ans passés sur la même idée, à écrire du même style (de ce style-là surtout, où ma personnalité est aussi absente que celle de l'empereur de la Chine) - et à vivre toujours avec les mêmes personnages, et dans le même milieu, à se battre les flancs toujours pr la même illusion. J'ai lu - relu - (et je les ai là sous les yeux) tes deux dernières pièces de vers sur lesquels il y a beaucoup à dire. - les bons vers abondent. Mais, encore une fois, je ne t'en sais aucun gré. les bons vers ne font pas les bonnes pièces. - Ce qui fait l'excellence d'une œuvre, c'est sa conception, son intensité. - et, en vers surtout, qui est l'instrument précis par excellence, il faut que la pensée soit tassée sur elle-même. Or je trouve la pièce À ma fille, lâche de sentiment. C'est là ce que toutes les mères eussent dit, & à peu près de la même manière, poésie à part, bien entendu. Commençons : La 1re strophe, sauf le 1er vers, me semble très bonne, surtout le dernier vers qui est excellent. Mais remarque que de répétitions dans les cinq strophes qui suivent. C'est toujours sur ou sous. la pensée est divisée en petites phrases pareilles. & c'est sans cesse la même tournure de style. La 2e strophe, du reste, me plaît assez, qque moins bonne que l'autre. " Tes cheveux dorés caressent ton front" caressent, expression consacrée. "Sur ta joue il luit " désagréable à l'oreille. Les deux vers qui suivent, charmants, mais il eût fallu les mieux amener par qque chose de plus large, à propos des cils, & qui aurait fait un pendant plus exact à « un pli de la nuit " : "Sur ta bouche rose." Voilà trois strophes qui commencent de même :"Sur ton oreiller" "Sur tes longs cils" "Sur ta bouche." Ils sont du reste très bons ces deux vers . "Sur ta bouche...Ton souffle..." Mais, dans les deux qui suivent, l'inversion est trop forte. Sois sûre que la pensée ne gagne rien à ces tournures poétiques. Mais quant à la strophe "De ton joli... ", je la trouve ATROCE ! - de toute façon. De ton joli corps sous ta couverture." est obscène, et hors du sentiment de la pièce. "Couverture" est ignoble de réalité, outre que le mot est laid en soi. Le sentiment était : "Ton visage rit sur la toile blanche." mais cela est tout bonnement cochon, surtout avec la [illis.] suite : "Plus souple apparaît le contour charmant." - et puis, qu'est-ce que vient faire là le Parthénon, l'antiquité et la « frise pure » si près de la couverture ? - & d'abord un enfant n'a pas les formes si saillantes qu'on les voie ainsi sous une couverture, et comme les filles du Parthénon dont les seins font bosse. - cela est complètement faux de sentiment et d'expression. il y a ici une chair qui n'est pas du tout à sa place. "&, pour les rouvrir tu baises mes yeux" Superbe ! "nous mêlons nos soins, tendre, tu m'habilles." que signifie "mêler des soins" ? & cette tournure archi-prétentieuse "tendre, tu m'habilles" ? et quelle vulgarité dans ce "tu m'habilles" - notez que nous avons plus bas "ta tête d'ange". "des frais tissus chers aux jeunes filles" école de Delille. Au reste, il y a beaucoup de rococo dans cette pièce : "Tu t'assieds parfois rêveuse au piano »« Je pose une fleur sur ta tête d'ange." Nous allons au bal, un ange qui va au bal & qui a un port virginal. - (port comporte par lui-même une idée de maturité). Je trouve toute cette seconde page fort plate : "Auprès du foyer tu brodes, je couds Tu danses, tu ris " est-ce de la poésie cela ? à quoi bon faire des vers pr de pareilles trivialités ? Les morts qui reviennent sont fort embêtants. cela n'est pas ému, parce que ça tient trop peu de place dans l'économie de la pièce. il ne faut pas ménager la sensibilité du lecteur quand on la touche. - & puis voilà encore des détails de beauté qui reviennent : "Avec son front blanc poli comme un marbre. Une jeune fille est comme un arbre" c'est trop &. Si elle est a le front comme un arbre marbre, elle ne peut être, elle, comme un arbre. "À tous ses rameaux des fruits sont promis" fort ingénieux ; mais, encore une fois, cela trop dans un ordre d'idées étrangères à celle de maternité, de virginité. "Et les blanches fleurs Et les nids joyeux" quel dommage que deux si bons vers soient perdus ! L'orage, pr dire le malheur, a été dit par tout le monde, & puis, le pire de tout cela et ce qui m'irrite - ce qui fait que je ne suis peut-être pas impartial, c'est le sujet. Je hais les pièces de vers à ma fille, à mon père, à ma mère, à ma sœur. Ce sont des prostitutions qui me scandalisent (voir Le Livre posthume ). Laissez donc votre cœur & votre famille de côté & ne les détaillez pas au public ! - Qu'est-ce que cela dit tout cela ? qu'est-ce que ça a de beau, de bon, d'utile et, je dirai même, de vrai ? il faut couper court avec la queue Lamartinienne - et faire de l'artimpersonnel . ou bien, quand on fait du lyrisme individuel, il faut qu'il soit étrange, désordonné, tellement intense enfin que cela soit devienne une création . Mais quant à dire faiblement ce que tout le monde sent faiblement, non. Pourquoi donc reviens-tu toujours à toi ? tu te portes malheur. tu as fait dans ta vie une œuvre de génie (une œuvre qui fait pleurer , note-le) parce que tu t'es oubliée, que tu t'es souciée des passions des autres & non des tiennes. il faut s'inspirer de l'âme de l'humanité & non de la sienne. C'est comme le sonnet A la gloire . cela n'est pas lisible et le lecteur s'indignera toujours de la supériorité que l'auteur se reconnaît. la première strophe est superbe. Mais ensuite cela dégringole : la Poésie, personnifiée & parlant, mauvais goût ; "l'étendard de la poésie", id[em]. "Une route étoilée et sereine" que l'on poursuit un étendard à la main et que l'idéal..."traçait. "De la cime où je plane." tout cela est forcé, cherché, encombré. "La gloire sur ma tombe a sonné son réveil." de qui le réveil ? de la gloire ou de la royauté ? - nous avons déjà "reine" &, plus bas, encore "reine". "La fleur de l'aloès éclate épanouie" non, la fleur éclate en s'épanouissant, mais elle n'éclate pas épanouie. Quand elle éclate, elle n'a pas pr qualité, pr attribut d'être épanouie. elle est, au contraire, s'épanouissant. Si tu as ton prix, travaille avec ta Servante tranquillement. - & mets-toi de suite, sans t'inquiéter de rien, à tes autres contes & publie tout en masse. Il faut toujours employer les grosses artilleries. - il ne faut pas donner ainsi son sang goutte à goutte. Songe à ce que serait la publication de six bons contes en vers, bien différents de forme & de fond, & reliés par une pensée & un titre commun. cela au moins serait imposant d'aspect, à part la valeur du contenu. B. [Bouilhet] m'a dit que Philipon t'avait défendu (formellement) de rien recevoir. Dois-je faire néanmoins l'article pr la Librairie Nouvelle ? - en cas qu'oui, dis-le-moi, je te l'apporterai. à toi, je t'embrasse. Ton G. Full translation: [Croisset, 18 April 1854] Tuesday, midnight. I have remained silent regarding the Philosopher's predicament, presuming it has found its resolution, at least temporarily, with his formal refusal. Despite Béranger's opposing counsel, I steadfastly adhere to my original advice, convinced of its merit, should you remain resolute. My guidance was grounded in your portrayal of his fragile character, and I was right! Be patient. Do not waver. Do not imagine, dear Muse, that your affairs escape my concern. Nothing that touches you is indifferent to me; on the contrary, your joys and sorrows are mine. I would like to see you above all happy, happy in every way-happy in wealth, status, renown, health, etc. Were I aware of someone one who could bestow all these upon you, I would journey barefoot to find him. Happiness, or its semblance, is an alchemy of small pleasures, while true desolation arises from a singular, overwhelming sentiment that blinds the soul to all of life's vicissitudes. Is it next Friday that the price is decided? I eagerly await Sunday morning. You will see me at the latest in three weeks' time. I have but five or six pages left to pen, in addition to another seven or eight that are half or two-thirds completed. I am immersed in the thick of surgery now. Today, I journeyed to Rouen to consult my brother regarding foot anatomy and the pathology of clubfoot. I realized my recent understanding was flawed, lacking a solid foundation. I had crafted something comical, a stylistic movement of such beauty that it moved me to tears for two hours. Yet it was pure fantasy, inventing the unheard-of. Now, revisions and adjustments are needed. It is a challenge to render technical details both literary and lively while retaining precision. Ah, the torments of style! Furthermore, everything now appears as an insurmountable mountain to me! Bouilhet was not displeased with what I read to him. I believe I have made significant strides, particularly in transitioning smoothly from the psychological to the dramatic. Now, as I delve into the action, my passions shall be more potent, no longer burdened by accommodating so many nuances. This, at least, will provide the reader with greater amusement. By July, when I return to Paris, I should have embarked upon the final chapters, then return in October to settle down. When shall the blessed day come when I can write "The End"? By next September, I will have dedicated three years to this book. Three long years on a single idea, writing in the same style (especially a style wherein my personality is as absent as the Emperor of China's), dwelling with the same characters in the same milieu, labouring perpetually for the same illusion. I have read and reread your latest two pieces of verse, which lie before me. There is much to discuss. Good verses abound, but once again, I owe you no thanks. Good verse alone does not constitute overall excellence. Excellence in a work arises from its conception and intensity. Especially in verse, the thought must be self-contained and precise. However, I find the À ma fille piece lacking in sentiment. It echoes what any mother might say, poetry notwithstanding. Let us begin: The first stanza, except for the first line, appears very good, especially the last line, which is excellent. However, notice the repetition in the five subsequent stanzas. It is always "sur" [on] or "sous" [under]. Thought is divided into similar small sentences, repeating the same style. I rather like the second stanza, though it does not match the strength of the others. "Tes cheveux dorés caressent ton front"[Your golden hair caresses your forehead] "caressent" is a clichéd expression. "Sur ta joue il luit" [On your cheek, it shines] is unpleasant to the ear. The following two lines are charming but would have benefited from being led by something broader about eyelashes, providing a more precise counterpart to "un pli de la nuit" [a fold of the night]. "Sur ta bouche rose" [On your pink lips]. Here are three stanzas which start similarly: "Sur ton oreiller," [On your pillow] "Sur tes longs cils" [On your long lashes] "Sur ta bouche" [On your lips] These two lines are also very good: "Sur ta bouche.... Ton souffle..." [On your lips.... Your breath...] But in the next two, the inversion is too pronounced. Be assured that such poetic turns of phrase do not enhance the thought. As for the stanza "De ton joli...," [Of your pretty...] in any case, I find it ATROCIOUS! "De ton joli corps sous ta couverture" [Of your pretty body under the blanket] is obscene and inconsistent with the piece's sentiment. "Couverture" is a vile word in its reality, other than it being ugly itself. The sentiment was: "Ton visage rit sur la toile blanche." [Your face laughs on the white canvas.] but it becomes sordid with the context that follows: "Plus souple apparaît le contour charmant.".[More supple seems the charming outline.] And then, what have the Parthenon, antiquity, and the "pure frieze" to do with a blanket? A child's curves are not prominent enough under a blanket to compare with Parthenon maidens. This sentiment and expression are utterly wrong, introducing misplaced sensuality. "&, pour les rouvrir tu baises mes yeux" [And to open them again, you kiss my eyes] Superb! "nous mêlons nos soins, tendre, tu m'habilles" [we combine our care, tender, you dress me] What does "to combine care" mean? And how vulgar is "tu m'habilles." Note we have "ta tête d'ange" [your angel head] below. "des frais tissus chers aux jeunes filles" [new fabrics that young girls love] Delille school2. Besides, there is much rococo in this piece: "Tu t'assieds parfois rêveuse au piano" "Je pose une fleur sur ta tête d'ange." [You sometimes sit dreamily at the piano. I place a flower on your angel's head.] We are going to the ball, an angel going to the ball with the stance of a virgin" - (the stance itself suggests maturity). I find the entirety of this second page very flat: "Auprès du foyer tu brodes, je couds, Tu danses, tu ris" [By the fireplace you embroider, I sew You dance, you laugh.] Why compose verses for such trivialities? The dead who return are exceedingly tiresome. It does not move us because it occupies too little space in the piece. One must not spare the reader's sensibility when striking it. And then the recurring beauty details: "Avec son front blanc poli comme un marbre Une jeune fille est comme un arbre" [With her white forehead polished like marble. A young girl is like a tree] Too much. If she possesses a forehead like marble, she cannot resemble a tree. "À tous ses rameaux des fruits sont promis" [To all her branches, fruit is promised] Very ingenious, but it belongs to an idea foreign to maternity and virginity. "Et les blanches fleurs Et les nids joyeux" [And the white flowers. And the happy nests] what a pity such good verses are lost! The storm, as a metaphor for misfortune, has been depicted by everyone, and what irks me most-perhaps rendering me somewhat biased-is the subject matter itself. I abhor verse compositions addressed to one's daughter, father, mother, or sister. These are prostitutions that scandalize me (see Le Livre posthume). Therefore, set aside your heart and family, and do not expose them to the public! What does it all say? What is beautiful, good, useful, or, dare I say, even true about it? One must sever the Lamartinian tail and create impersonal art. Alternatively, if one indulges in personal lyricism, it must be strange, disordered, and so intensely powerful that it becomes a creation. But to feebly express what everyone else feels feebly? It's a no. Why do you always come back to yourself? You bring bad luck to yourself. You achieved a work of genius ( a work that moves you to tears, don't forget this) because you forgot yourself and cared about the passions of others and not your own. You must draw inspiration from the soul of humanity, not your own. It's like the sonnet À la gloire. It's unreadable, and the reader resents the author's self-proclaimed superiority. The first stanza is superb, but then it declines: poetry personified and speaking-bad taste; "l'étendard de la poésie" [the banner of poetry], id[em]. "Une route étoilée et sereine" [A starry and serene road] that one follows banner in hand "traced" by the ideal "De la cime où je plane" [From the summit where I soar] all this is forced, contrived, cluttered. "La gloire sur ma tombe a sonné son réveil" [Glory on my grave has sounded its awakening] whose awakening? That of glory or that of monarchy? We already have "queen" and further down "queen." "La fleur de l'aloès éclate épanouie" [The aloe flower burst in full bloom] No, the flower bursts into bloom but does not "burst in full bloom." When it bursts, it does not have the quality, the attribute of being in bloom. It is, on the contrary, in the process of blossoming. Should you win your prize, work quietly with your servant and immediately commence your other stories. Publish everything en masse. Always resort to the grand strokes; do not offer blood drop by drop. Imagine publishing six excellent stories in verse, varied in form and content, linked by a common thought and title. This would be impressive in appearance, apart from the content's value. Bouilhet told me Philipon forbade you categorically to accept anything. Should I still write the article for the Librairie Nouvelle? If so, let me know, and I will bring it to you. à toi je t'embrasse, ton G. 1 Bérangeris Pierre-Jean de Béranger, a popular contemporary French poet and songwriter. 2 The Delille school seems to have been an institution where easy verse writing was taught. 3 Louis Bouilhet, French poet and dramatist, was a school friend of Flaubert. -------------------------------------------------------------- Translation by Daniele Tort Moloney. Provenance: Sotheby's, November 29, 2007 [18,250 Euro]. Croisset, France. April 18, 1854. Six pages on three 19.0 x 24.8 cm (7.5 x 9.8 inches) sheets. Usual folds. In outstanding condition. Housed in a custom presentation folder. References: Flaubert, Gustave, and Francis Steegmuller. "The Letters of Gustave Flaubert." Harvard University Press eBooks, 1980.

CHINATOWN [ca. 1973] Jack Nicholson's copy of early draft film script by Robert Towne by Robert Towne

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Seller: Walterfilm, Inc.

Title: CHINATOWN [ca. 1973] Jack Nicholson's copy of early draft film script by Robert Towne
Author: Robert Towne
Seller: Walterfilm, Inc. (United States)
Condition: Near Fine
Description: Paramount. Softcover/Paperback. Near Fine. [Los Angeles]: Paramount Pictures, [ca. 1973]. Vintage original film script, printed die-cut Paramount Pictures wrappers, 11 x 8 1/2" (28 x 22 cm.). First-generation xerographic printing, 187 pp. Pp. 178-187 are hand-numbered in ink. Light creasing to back cover, last few pages have minute stains at extreme top blank margins, overall near fine. Jack Nicholson's copy of a very early draft by Robert Towne. The script contains innumerable photocopied revisions, almost certainly in Towne's hand, and some underlinings and notes in ink in Nicholson's hand. Almost all of the great American private eye films -- The Maltese Falcon, Murder My Sweet, The Big Sleep, Out of the Past, Kiss Me Deadly -- are adapted from preexisting works, with one outstanding exception: 1974's Chinatown, based on an original screenplay by Robert Towne that is a masterpiece of narrative construction, meta-history, and myth. This early draft of the Chinatown screenplay, with corrections by writer Towne and annotations by star Jack Nicholson, is substantially different from the screenplay that was eventually filmed -- rougher and much longer. It has voiceover narration missing from the completed film. Where later versions of the screenplay -- and the film -- begin with the detective protagonist Jake Gittes (Nicholson) in conference with a cuckolded client (Burt Young), this version, set like the film in the 1930s, begins with the eventual murder victim, water commissioner Hollis Mulwray, examining the bed of the L.A. River. What appear to be Towne's photocopied annotations are essentially corrections (portions of lines crossed out, many hand-printed words added to the dialogue), suggesting this is an early draft, if not the first draft, of the completed script. What appear to be Nicholson's annotations, handwritten in this copy, are comments suggesting a dialogue between Towne and Nicholson (who had been friends and collaborators for many years) regarding the development of the script. The screenplay was clearly written with Nicholson in mind as the lead. Although the movie is much tighter than this early draft, and scenes have been revised, replaced, or rearranged, the bare bones of the plot are the same as in all later versions -- the mystery of why massive amounts of L.A.'s water are being diverted into the ocean, the strange interrelationship of water engineer Hollis Mulwray and his beautiful wife Evelyn Mulwray (Faye Dunaway), her monstrously wealthy father and Hollis's former partner Julian Cross (renamed Noah Cross and played by John Huston in the movie), and the incest theme, the hidden girl who turns out to be Evelyn's daughter by her own father. Between this draft and the completed film, some characters were added and others eliminated. Unlike in the movie, the screenplay's patriarchal villain, Julian Cross, doesn't appear until late in the story. And he has far fewer scenes and lines. The most radical difference between this draft, subsequent drafts, and the completed film is its final act and conclusion. In this early draft, Cross, the man behind it all, is shot dead by Evelyn off-screen -- whereas in the completed movie's stunning ending (written by director Roman Polanski), Evelyn is the one who is shot and Cross leaves the scene with Evelyn's terrified daughter in his custody. Evil and corruption prevail. Jack Nicholson's copy of a very early draft by Robert Towne. The script contains innumerable photocopied revisions, almost certainly in Towne's hand, and some underlinings and notes in ink in Nicholson's hand. The script belongs to a collector who acquired it at Heritage Auctions in 2010 for $14,340 and has now consigned it to me. Almost all of the great American private eye films -- The Maltese Falcon, Murder My Sweet, The Big Sleep, Out of the Past, Kiss Me Deadly -- are adapted from preexisting works, with one outstanding exception: 1974's Chinatown, based on an original screenplay by Robert Towne that is a masterpiece of narrative construction, meta- history, and myth. This early draft of the Chinatown screenplay, with corrections by writer Towne and annotations by star Jack Nicholson, is substantially different from the screenplay that was eventually filmed -- rougher and much longer. It has voiceover narration missing from the completed film. Where later versions of the screenplay -- and the film -- begin with the detective protagonist Jake Gittes (Nicholson) in conference with a cuckolded client (Burt Young), this version, set like the film in the 1930s, begins with the eventual murder victim, water commissioner Hollis Mulwray, examining the bed of the L.A. River. What appear to be Towne's photocopied annotations are essentially corrections (portions of lines crossed out, many hand-printed words added to the dialogue), suggesting this is an early draft, if not the first draft, of the completed script. What appear to be Nicholson's annotations, handwritten in this copy, are comments suggesting a dialogue between Towne and Nicholson (who had been friends and collaborators for many years) regarding the development of the script. The screenplay was clearly written with Nicholson in mind as the lead. Although the movie is much tighter than this early draft, and scenes have been revised, replaced, or rearranged, the bare bones of the plot are the same as in all later versions -- the mystery of why massive amounts of L.A.'s water are being diverted into the ocean, the strange interrelationship of water engineer Hollis Mulwray and his beautiful wife Evelyn Mulwray (Faye Dunaway), her monstrously wealthy father and Hollis's former partner Julian Cross (renamed Noah Cross and played by John Huston in the movie), and the incest theme, the hidden girl who turns out to be Evelyn's daughter by her own father. Between this draft and the completed film, some characters were added and others eliminated. Unlike in the movie, the screenplay's patriarchal villain, Julian Cross, doesn't appear until late in the story. And he has far fewer scenes and lines. The most radical difference between this draft, subsequent drafts, and the completed film is its final act and conclusion. In this early draft, Cross, the man behind it all, is shot dead by Evelyn off-screen -- whereas in the completed movie's stunning ending (written by director Roman Polanski), Evelyn is the one who is shot and Cross leaves the scene with Evelyn's terrified daughter in his custody. Evil and corruption prevail.

Carta Geografica General de la Republica Mexicana Comenzada en 1878 por la Comision Geografico-Exploradora: Atlas Topografico de los Alrededores de Puebla. 3A serie by Comisión Geográfico-Exploradora

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Title: Carta Geografica General de la Republica Mexicana Comenzada en 1878 por la Comision Geografico-Exploradora: Atlas Topografico de los Alrededores de Puebla. 3A serie
Author: Comisión Geográfico-Exploradora
Seller: The Book Collector ABAA, ILAB, TBA (United States)
Condition: Very Good
Description: Title leaf & 13 leaves of maps, being mounted albumen photograph reductions of the original map. Photographs are approximately (7¼" x 8¾"), on card stock leaves. Oblong royal octavo (9 "x 12½") bound in original red cloth, rebacked with modern leather with original gilt-lettered leather spine laid on. (References: P-LG 5121. El Territorio Mexicana, Vol II, p 457 reproduces 5th map of 1st edition. International Geographical Exposition and Congress of London. Geographical and Exploring Commission of the Mexican Republic. Catalogue of the Exhibits presented by the Commission with a short sketch of its organization and labors by the Directing Engineer, Julio Alvarado C. E. Mexico 1895. p 32) First and only edition.Rare atlas of photographs of the map of the region around Puebla, southwest of Mexico City. Warren Heckrotte describes the atlas and the enterprise that produced it: "The Comision Geografica-Explordora was established by a decree of December 13, 1877. It was directed to prepare a map of the Republic with all the scientific accuracy desirable. The region around the town of Puebla, southwest of Mexico City, was the first effort of the Commission. The surveying was done by astronomical determinations and triangulation. Between 1879 and 1882, the planned nine sheets, lithographed in Mexico City, were issued at a scale of 1:20,000. Elevations are shown by contour lines. For this atlas, the sheets were issued as photographs, the maps reduced in scale to 1:50,000. A photographic edition at the scale of 1:100,000 was also issued. Other areas of the country were mapped. The ultimate goal was to produce a map of the country at a scale of 1:100,000 in 1100 sheets. At the time the Commission closed shop in 1914, a little over 200 sheets had been completed. This mode of production suggests that a small number of these atlases were produced." Indeed, OCLC/WorldCat locates only two copies, at the University of California Berkeley and Dartmouth College.Condition:Some soiling to covers; expertly rebacked by Sandra Good; new endpapers; internally fine or nearly so, a bit of darkening to margins of mounts.

Young Men in Spats by Pelham Grenville "P G" Wodehouse (1881-1975)

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$600.00

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Seller: The Book Collector ABAA, ILAB, TBA

Title: Young Men in Spats
Author: Pelham Grenville "P G" Wodehouse (1881-1975)
Seller: The Book Collector ABAA, ILAB, TBA (United States)
Condition: Very Good
Description: 297 pages. Small octavo (7 3/4" x 5 1/2") bound in original publisher's green cloth with dark green lettering to spine and pictorial cover in original jacket. (APG: 062b) First American edition.Young Men in Spats is a collection of short stories by P. G. Wodehouse, first published in the United Kingdom on 3 April 1936 by Herbert Jenkins, London, then in the United States with a slightly different selection of stories on 24 July 1936 by Doubleday, Doran, New York. The collection, recounting the adventures of various members of the Drones Club (except for the last one), features many familiar characters from Wodehouse's other writings, including Freddie Widgeon and the irrepressible Mr Mulliner. One story, "Uncle Fred Flits By", features the first appearance of Pongo Twistleton and his Uncle Fred, who would go on to feature in four novels, including two appearances at Blandings Castle. The US edition contains a slightly different selection of stories from the UK version. "Tried in the Furnace" and "Trouble Down At Tudsleigh" had not previously appeared in the US, and were held back so they could garner greater income from magazine sales. (Both stories eventually appeared in Cosmopolitan.) These two stories were accordingly replaced by three Oldest Member golf stories, "There's Always Golf", "The Letter of the Law", and "Farewell to Legs". These three Oldest Member stories had all appeared in US magazines in early 1936; they all later appeared in the UK in Lord Emsworth and Others (1937). After their Cosmopolitan appearances, "Tried in the Furnace" was included in the US-only collection The Crime Wave at Blandings (1937), and "Trouble Down at Tudsleigh" was included in the US edition of Eggs, Beans and Crumpets (1940).Condition:Light sunning to extremities and spine. Jacket chipped at corners and spine ends, light edge wear, light soiling else a very good copy in like jacket.

Autograph indenture agreement between Johannes Schuster, Bremen, Germany and Mark Reeve of Burlington, New Jersey in 1802 by Schuster, Hannah - INDENTURED AT THE AGE OF SIX

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$550.00

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Seller: Palinurus Antiquarian Books

Title: Autograph indenture agreement between Johannes Schuster, Bremen, Germany and Mark Reeve of Burlington, New Jersey in 1802
Author: Schuster, Hannah - INDENTURED AT THE AGE OF SIX
Seller: Palinurus Antiquarian Books (United States)
Condition: Very good; some old folds.
Description: Burlington, NJ, 1802. As issued.. Very good; some old folds.. Single sheet written by Josiah Foster, Justice, Burlington NJ Johannes Schuster, the father of Hannah Schuster, indentured his daughter to Mark Reeve and his heirs until she was 18 (in 1814) for the price of her passage to New Jersey from Bremen Germany ($45.). She was to receive full lodging, apparel, five quarters of "day schooling", and at the end of her term of indenture her clothes and $10. in payment. Signed by Johannes Schuster and marked by his daughter with an "X".

40 Mills Place: A Collection of Type Specimens. by [ Archetype Press, Pasadena:]

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$500.00

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Seller: Michael R. Thompson, Booksellers, ABAA/ILAB

Title: 40 Mills Place: A Collection of Type Specimens.
Author: [ Archetype Press, Pasadena:]
Seller: Michael R. Thompson, Booksellers, ABAA/ILAB (United States)
Description: Pasadena, CA: Archetype Press, Art Center College of Design, 2003 One of 120 copies, printed as a tribute to 40 Mills Place, the address at which the Archetype Press printed forty different projects. The Press has recently moved to new quarters. Fifty-three sheets, printed on rectos only, consisting of a half-title, title-page, introduction by Doyald Young, colophon leaf, an illustrated leaf containing an image transfer print by photographer Steven A. Heller, and forty-eight type specimens, featuring color and illustrations, printed by the students of Art Center, under the direction of Gloria Kondrup and Cody Clark. The sheets are loose, in a red cloth clamshell case, made by Alice Vaughan. The specimens were printed letterpress, using metal and wood type. A fine copy. This is one of the Archetype Press's most ambitious productions. It includes samples of the different kinds of type owned by the press, from the classic fonts like Bembo, Palatino, Garamond, Baskerville and Bodoni to those designed by the great designers of the twentieth-century such as Eric Gill, Jan Van Krimpen, Frederic Goudy, and Rudolf Koch, to more contemporary, whimsical ones. The Steven Heller illustration is a delightful color rendition of the historic Old Pasadena building.

TUILERIES GARDENS. PL. 25 by ARNOUT, J

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$275.00

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Seller: L'Estampe Originale

Title: TUILERIES GARDENS. PL. 25
Author: ARNOUT, J
Seller: L'Estampe Originale (United States)
Description: Lithograph from Views of Paris. c. 1840. Lithographs with hand-coloring. With stamp of publishers Goupil & Cie. editeurs. Image: 6¾ x 10¾. Margins: 11 x 16¾.

Catalogue of Egyptian Antiquities in the British Museum VI: Jewellery I From the earliest times to the Seventeenth Dynasty by Andrews, Carol A. R.

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$250.00

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Seller: Eric Chaim Kline - Bookseller

Title: Catalogue of Egyptian Antiquities in the British Museum VI: Jewellery I From the earliest times to the Seventeenth Dynasty
Author: Andrews, Carol A. R.
Seller: Eric Chaim Kline - Bookseller (United States)
ISBN: 9780714109282
Condition: Near fine condition
Description: London: British Museum Publications Limited, 1981. First edition. Hardcover. Near fine condition. Folio. 102, 48 plates. Original tan cloth with gilt lettering and publisher's device on brown label of spine, in original, light blue dustjacket with black lettering on spine. Andrews' work is based on material collected by Alix Wilkinson with drawings by Marion Cox. Profusely illustrated with six hundred and thirty-six items on forty-eight plates, in b/w offset reproductions. Contains list of plates, abbreviations, detailed description of object from twelve periods, appendices, concordance, index of proper names, and general index at front. "The collection of ancient Egyptian jewellery in the British Musuem is huge and not generally well known. This volume is the first in a series which will present the whole of this body of material to the scholarly world in a systematic manner. Jewellery from the earliest times down to the end of the Second Intermediate Period is included here, covering a time-span of about 2,000 years. The catalog contains a high proportion of pieces from excavations, and is rich in material from Predynastic Periods, and from Nubian sites." (Publisher). Minor wear to dustjacket.

Manual of the Corporation of the City of New York, D. T. Valentine, 1866 by Valentine, D. T.

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$200.00

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Seller: White Fox Rare Books and Antiques

Title: Manual of the Corporation of the City of New York, D. T. Valentine, 1866
Author: Valentine, D. T.
Seller: White Fox Rare Books and Antiques (United States)
Condition: Good
Description: New York: Edmund Jones & Co, 1866. Hardcover. Good. 820 pp. With numerous plates and fold-outs, including 13 color plates and title with color illustration of Central Park's Bethesda Fountain. Considerable age toning to pages, as norm. Dampstain marks on margins of several plates, not affecting images. Library stamp on bottom foreedge. Cloth has considerable soiling and a dampstain on front board. With small loss on spine. Black-out areas on FEP.

Shakespeare' AS YOU LIKE IT, Intro. by Peter Brook by (Dali, Salvador)

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$125.00

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Seller: J.B. Muns, Fine Arts Books

Title: Shakespeare' AS YOU LIKE IT, Intro. by Peter Brook
Author: (Dali, Salvador)
Seller: J.B. Muns, Fine Arts Books (United States)
Condition: Very Good
Description: London: Folio Soc., 1953. Hardcover. Very Good/very good. (Folio Society Series). Frontispiece & seven color plates by Dali.

Stock Photo: Cover May Be Different

Cambridge Handbook of Consciousness. by ZELAZO, Philip David, et al (editors).

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$75.00

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Seller: Grendel Books, ABAA/ILAB

Title: Cambridge Handbook of Consciousness.
Author: ZELAZO, Philip David, et al (editors).
Seller: Grendel Books, ABAA/ILAB (United States)
ISBN: 9780521674126
Condition: As New
Description: NY:: Cambridge University Press,. As New. 2007. Paperback. 9780521674126 . First paperback edition. As new in printed wraps. ; 981 pages .

Arquitecturas, 1983-1987: Comunidad de Madrid. by ZURILLA, Pablo Olivares.

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$40.00

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Seller: Grendel Books, ABAA/ILAB

Title: Arquitecturas, 1983-1987: Comunidad de Madrid.
Author: ZURILLA, Pablo Olivares.
Seller: Grendel Books, ABAA/ILAB (United States)
ISBN: 9788450556681
Condition: Very Good in Near Fine dust jacket
Description: Madrid:: Consejeria de Ordenacion del Territorio, Medio Ambiente y Vivienda,. Very Good in Near Fine dust jacket. 1987. Hardcover. 8450556686 . Text is in Spanish. Color and black and white illustrations throughout. First edition. Foxing on endpapers, brief gift inscription on half-title page, else very good in a near fine dust jacket. .

Stock Photo: Cover May Be Different

Let's Pretend: A History of Radio's Best Loved Children's Show by a Longtime Cast Member by Anderson, Arthur

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$63.50

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Seller: Ed's Editions Bookstore

Title: Let's Pretend: A History of Radio's Best Loved Children's Show by a Longtime Cast Member
Author: Anderson, Arthur
Seller: Ed's Editions Bookstore (United States)
ISBN: 9780899509679
Condition: Very Good
Description: McFarland Publishing, 1994. First Edition. Hardcover. Very Good. 6x0x9. Signed by Author. Signed, 1st (1994) edition by McFarland Publishing. Author's signature on title page. Red cloth boards are clean, vibrant, and crisp-cornered. Spine is secure and uncreased. Pages are clean, bright, and unmarked. Professional packaging and prompt shipping. JB.

Shakespeare Bats Cleanup by KOERTGE, Ron

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$35.00

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Seller: Between the Covers- Rare Books, Inc. ABAA

Title: Shakespeare Bats Cleanup
Author: KOERTGE, Ron
Seller: Between the Covers- Rare Books, Inc. ABAA (United States)
ISBN: 9780763629397
Condition: Fine
Description: Cambridge, Massachusetts: Candlewick, 2003. Hardcover. Fine/Fine. First edition. Fine in fine dustwrapper. Signed by the author. Young ballplayer forced to his bed with illness discovers poetry.

WRITING WRITING A COMPOSITION BOOK FOR MADISON, 1953: Stein Imitations by DUNCAN, Robert

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$30.00

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Seller: Brian Cassidy Bookseller at Type Punch Matrix

Title: WRITING WRITING A COMPOSITION BOOK FOR MADISON, 1953: Stein Imitations
Author: DUNCAN, Robert
Seller: Brian Cassidy Bookseller at Type Punch Matrix (United States)
Condition: Very good.
Description: Portland: Trask House, 1971. Later edition. Very good.. Lovely reprint, published from the original edition by sumbooks in a limitation of 1000. Wraps. Large 8vo. Unbound sheets in publisher's printed wraps. Wraps sunned at spine, with small stain and price in pen at front wrap. Minor wear to page corners. Interior toned. Very good.

A Short Guide to Great Britain. For Use of Military Personnel Only. Not to Be Republished, in Whole or in Part, Without the Consent of the War Department by Special Service Division, Army Service Forces, War and Navy Departments

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Seller: ZH BOOKS

Title: A Short Guide to Great Britain. For Use of Military Personnel Only. Not to Be Republished, in Whole or in Part, Without the Consent of the War Department
Author: Special Service Division, Army Service Forces, War and Navy Departments
Seller: ZH BOOKS (United States)
Condition: Very good
Description: Washington DC: War and Navy Departments, 1943. First Edition. Very good. First edition presumed, n. d. (1943); 5 `/4 x 4 1/4; pp. 1-37, [1]; pictorial beige wraps, decorated and ruled in red and blue; illustrated with drawings and maps; light wear along edges and corners and a tiny crease to upper corner; in very good or better condition.Published for the American soldiers, deployed in Europe in WWII, the guide's purpose was "to start getting you acquainted with the British, their country, and their ways."

The People's Revolution for Peace by Westphall, Victor

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$15.00

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Seller: Bolerium Books Inc., ABAA/ILAB

Title: The People's Revolution for Peace
Author: Westphall, Victor
Seller: Bolerium Books Inc., ABAA/ILAB (United States)
Description: Angel Fire, NM: Self-published by the author, 1984. Pamphlet. viii, 36p., stapled wraps, 5.25x8.25 inches, very good condition. Manifesto against war and nuclear weapons. The author's son was killed in the Vietnam war.

Strike Strike Strike / Nov. 14 / SMC [pinback button] by [Student Mobilization Committee to End the War in Vietnam]

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$12.00

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Seller: Bolerium Books Inc., ABAA/ILAB

Title: Strike Strike Strike / Nov. 14 / SMC [pinback button]
Author: [Student Mobilization Committee to End the War in Vietnam]
Seller: Bolerium Books Inc., ABAA/ILAB (United States)
Description: New York: SMC, 1969. 1.75 inch pin, black text on yellow-green field. Advertises the nationwide student strike called to protest the Vietnam War.

Baking Powder and Other Leavening Agents by Foot, F. N.

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$25.00

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Seller: lizzyoung bookseller

Title: Baking Powder and Other Leavening Agents
Author: Foot, F. N.
Seller: lizzyoung bookseller (United States)
Condition: Green boards, title and illustration in gilt. Very good
Description: New York: The Spice Mill Publishing Company, 1906. Hardcover. Green boards, title and illustration in gilt. Very good. 86 pages. 18 x 13 cm. Are you familiar with the "baking powder wars" that took place at the end of the 19th century? Baking powder had become a highly profitable product, with more than a hundred manufacturers springing up across the country. To win over home cooks still devoted to their old recipes, these companies published their own cookbooks and promotional pamphlets. This particular volume - annotated throughout by a keenly observant, and evidently hungry, reader - offers a scientific study of the product and its manufacture. Crisp, clean copy.

30 Internaional Congress of Human Sciences in Asia and North Africa. 30 Congreso Internacional de Ciencias Humanas en Asia y Africa del Norte [Six Volumes] by International Congress of Human Sciences in Asia and North Africa

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$20.00

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Seller: Kaaterskill Books, ABAA/ILAB

Title: 30 Internaional Congress of Human Sciences in Asia and North Africa. 30 Congreso Internacional de Ciencias Humanas en Asia y Africa del Norte [Six Volumes]
Author: International Congress of Human Sciences in Asia and North Africa
Seller: Kaaterskill Books, ABAA/ILAB (United States)
Condition: Near fine copies with only a little rubbing at the corners.
Description: Mexico: n.p., 1976. First edition. Paper wrappers. Near fine copies with only a little rubbing at the corners.. 8vo. In Spanish, English, or French. Includes Seminars volume plus 5 of 7 Abstracts volumes: 3. South Asia; Asia del sur.-4. SouthEast Asia Sudeste Asiatico.-5. China. Chine-6. Japan and Korea Japon y Corea.-7. Interarea.

Support the People of Viet Nam, Defeat U.S. Aggressors [Vol. III] by [VIETNAM]

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$15.00

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Seller: Lorne Bair Rare Books

Title: Support the People of Viet Nam, Defeat U.S. Aggressors [Vol. III]
Author: [VIETNAM]
Seller: Lorne Bair Rare Books (United States)
Description: Peking: Foreign Languages Press, 1965. First English Language Edition. 12mo (18.5cm); publisher's white staplebound wrappers printed in black and orange; [4],35pp. Some wrinkling, most heavily at bottom edge, else Very Good and sound. Collection of five newspaper articles attacking the Johnson administration and the Vietnam War.

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