AN UNUSUALLY INTIMATE ARCHIVE OF JOHN STEINBECK CORRESPONDENCE TO HIS TYPIST MARY MORGAN. Compri...

AN UNUSUALLY INTIMATE ARCHIVE OF JOHN STEINBECK CORRESPONDENCE TO HIS TYPIST MARY MORGAN. Comprising 7 presentation copies, 14 autograph letters 10 of which are signed, 3 autograph postcards signed, 2 typed postcards (one signed with his holograph initials, one signed in type), 5 typed letters signed, and 2 signed in type: 1. Sweet Thursday. New York: The Viking Press, 1954. 8vo. Publisher's olive cloth stamped in blue and red, top edge stained red, dust jacket. Spine ends slightly bumped, some rubbing to corners; jacket with wear to edges, approx. 143 mm long tear to rear panel. INSCRIBED BY STEINBECK: 'Dear M. M. / Having deloused Wednesday / leave us face the future / with courage, humility / and money. / John Steinbeck / Si no quieres volar— / Cuidado con las alas.' 2. The Pearl. New York: The Viking Press, 1958. 8vo. 5 drawings after José Clemente Orozco. Orange cloth with printed drawing after Orozco, top edge stained blue, fifth printing jacket, photograph of Steinbeck by Philippe Halsman adhered to rear flap. Some rubbing to corners and spine ends; jacket water stained with tears and creases. INSCRIBED BY STEINBECK: 'For Mary Morgan, / who to quote an / authority is 'delightful, brilliant / gorgeous, talented, etc, etc.' / I have tested this product / and certify that the claims / made for it are accurate. / The understatement is undoubtedly / due to the shy and maidenly / modest of the subject. I suggest / that she is also gurglific, teneflied, / protogarlion and squip. / John Steinbeck / and pretty too, / J.S.' 3. Speech Accepting the Nobel Prize for Literature. New York: The Viking Press, [1962]. 8vo. Publisher's beige wrappers printed in red. light crease to lower corner of wrappers, approx. 150 mm. closed tear to hinge of front flap, very light soiling. INSCRIBED BY STEINBECK: 'love + kisses / from / John Steinbeck.' 4. Cup of Gold. New York: Bantam Books, 1953. 12mo. Publisher's pictorial wrappers, edges stained red. Rubbing to edges and hinges, top corner of back panel creased, pages toned. INSCRIBED BY STEINBECK: 'For Mary / a lousy / book / John Steinbeck.' 5. The Pastures of Heaven. New York: Bantam Books, 1952. 12mo. Publisher's pictorial wrappers, edges stained red. Pages toned, final three leaves detached; Jacket rubbed particularly at the hinges, creasing, jacket secured to text block with tape. INSCRIBED BY STEINBECK: 'Dear Mary / Las pasturas / del cielo contienen — / (¡Que lastima!) / una vibora / John Steinbeck.' 6. The Long Valley. New York: The Viking Press, 1956. 8vo. Publisher's pictorial wrappers. Some rubbing to edges and hinges, some creasing to wrappers. INSCRIBED BY STEINBECK: 'For Mary Morgan / If this valley / had been any longer / there would be / no point in it. / Or is there? / John Steinbeck.' 7.The Wayward Bus. London: Transworld Publishers, 1952. 12mo. Publisher's pictorial wrappers. Text block split, pages toned; jacket separated from text block, tears and tape repairs. INSCRIBED BY STEINBECK: Dear Mary— / No / need to be wayward / just because this book / is — but it's fun! / John Steinbeck.' WITH: 26 letters and postcards as above, from John Steinbeck to his typist Mary Morgan discussing his work and family, taking an unusually personal and intimate tone, various sizes, various places including New York, Sag Harbor, and Somerset, April 5, 1958 to March 7, 1961, many with original transmittal envelopes, in varying condition but generally good. WITH: 3 autograph letters (2 signed) from Elaine Steinbeck to Mary Morgan. In 1958, Mary Morgan, a recently divorced Canadian socialite, moved to New York City to experience the social scene and pursue a career as an actress. While the heiress was living the life of a 'struggling' actress in the big city, she was approached by a friend who asked her if she could type because an author friend of theirs was looking for a typist for an assignment. Of course she could type, and Mary decided to take on the venture. The author turned out to be John Steinbeck, and what was supposed to be a two-week assignment turned into an almost three-year professional and personal relationship. The present archive of letters and presentation volumes from Steinbeck to Mary represents this relationship and showcases an unusually warm and vulnerable side of the typically private author. Mary served as his typist through the writing of Once there was a War, The Winter of Our Discontent, and Travels with Charley as well as for the beginnings of what would later go on to be Steinbeck's posthumous work The Acts of King Arthur and his Noble Knights. Steinbeck is known for his charming wit and the wonderful collection of inscriptions here truly speaks to that. He balances being inspirational and cynical with ease. Additionally, the inscriptions are tender and even flirtatious showcasing the great deal of affection he had for Mary, affection that goes far beyond the typical employee-boss relationship. Similarly charming, his letters to Mary make frequent references to his works and are filled with insights to his writing process. He discusses at length his travels and family life and intersperses the letters with affectionate comments and frequent compliments. He dotes on her abilities as a typist, finds encouragement in her when he has difficulty writing, and often remarks on her beauty. This remarkable collection offers a comprehensive view of Steinbeck as a multifaceted man and offers a unique glimpse into the author's personal life not usually represented in his letters. The references to his work, particularly the development of The Acts of King Arthur and his Noble Knights and insights into his fits and starts and constant throwing away of work involved in his writing process, are balanced by the equally fascinating peeks into his family life. All of this is imbued with the palpable tenderness his feels towards his typist. In his correspondence to Mary, Steinbeck shows himself not just as an author but also as a father, husband, boss, and even a flirt. In a series of postcards sent from Sag Harbor, Steinbeck demonstrates his self-deprecating attitude towards his own work. In one dated July 22, 1958, Steinbeck comments on the progress of what would later become The Acts of King Arthur and his Noble Knights while also praising Mary's typing skills: 'Dear Mary: Stop jittering! Youn want to work on the Arthur--- I want you to work on the Arthur--- where is the proble[m]... There is no hurry. I'm going to be on this for a long tiem. I'll just accumulate translated pages and when you are ready in the fall, there will be a back log. It is going super slowly now but will probably speed up later, and as far as I am concerned you are the one to do that job, and others.-- des quelles tentendes. J.S. J.S.' Another, postmarked October, 13, 1958, reads: 'Dear Mary: Old false start JS is up to his tricks again. The stuff finished wasn't worth recording. Another start is necessary and has been made. It was too many and not what I wanted as I soon found out when I heard back and burned the belts. I always make these booboos and I never remember that I do. But I would like this to be good if it is possible. That is nicely spelled. If I should get some decent stuff today I will send it on. Dont forget to keep the plastic liners of the belts. They have to be used over and over again. Yours J For further information about this lot please visit the lot listing