John Steinbeck and 'The Wizard of Maine'

Found among a collection of modern first edition catalogues this offering from Bradford Morrow in a catalogue entitled John Steinbeck: A Collection of Books and Manuscripts, Formed by Harry Valentine of Pacific Grove, California (Bradford Morrow Bookseller: Catalogue 8/1980). Morrow has subsequently become a distinguished novelist.  Hopefully this was  bought by a library but it could also have gone to a wealthy private collector. It does not appear to have ever been published. Many such items, especially letters and association copies sometimes disappear completely, and the only record of the item is a catalogue entry…

Manuscript of Unpublished Novella

289. 'The Wizard of Maine'. Original holograph manuscript written on 30 folio leaves and laid into original three-quarter cloth and marbled paper binder, of an unpublished novella by Steinbeck. Each sheet is written on recto only

Literary scams and pitfalls(1906)

Found in The Fingerpost: A Guide to Professions for Educated Women, with Information as to Necessary Training (Central Bureau for the Employment of Women. 1906) an article called 'Literary Catchpennies' which outlines various scams played on would be writers of the time. Some of these scams, often for bigger stakes, are still with us on the web.

Literary Catchpennies

The perennial literary advertisement trick is, perhaps, the most specious of all. A "Publishing Firm" will offer to consider MSS. sent to Box so-and-so at the offices of the paper in which the advertisements appears. Or the advertisement asks for some specified requires a fee; sometimes he merely swallows all the MSS. sent to him and is heard of no more. A plausible gentleman, with an office in London, extracted from a struggling authoress of my acquaintance a fee of 10s. 6d. for the purpose of making copies of a little tale of hers for the American Press.

An unpublished Titanic poem (May 1912)

Found among a lot of miscellaneous papers, some religious - this poem by one William Allen about the Titanic disaster. It is dated May 1912, one month after the tragedy. The name William Allen is associated with the Titanic because it was the name of the father of one of the survivors, Ada E. Hall. The family was from Hackney, London and Ada was emigrating to America (along with her brother in law the Reverend Bateman who drowned*). She is in the Encyclopedia Titanica and in a lengthy article on her in the  Baltimore Sun it states: "Nearer My God to Thee" was the last song Ada heard from the band that was playing on the deck of the RMS Titanic after she boarded a lifeboat and was lowered to the waters below." This hymn is mentioned in the poem and there are a few details that may have come from an eyewitness (i.e. his daughter) rather than from press reports. William Allen is a common name so none of this is conclusive. The poem is heartfelt, competent and deeply religious:

T'was the eve of the day of rest
That the mighty Leviathan
Ploughed her way through the ocean's
Sleeping breast.

List  to the throb of her stately tread
Mark her proportions
From anchor to lofty head
Its harmony sublime.

Needwood Forest - The axeman cometh…

Cottage in Needwood Forest (Joseph Wright)

Found a few years ago in a job lot is this manuscript copy of a poem which ranks among the most famous ‘local’ poems in the English language. Needwood Forest was published privately in Lichfield in 1776 by one Francis Noel Mundy, a Derbyshire squire alarmed by plans to cut down and enclose much of the large Staffordshire forest he had known since his childhood.

To head a campaign against these plans he composed a long poem in couplets, influenced by Milton and Spenser,  that celebrated its delights. Anxious to enlist the support of the great and good, Mundy allowed the manuscript to be circulated among a local coterie, some of whom made copies. Anna Seward, the ‘ Swan of Lichfield’ and Dr Erasmus Darwin, grandfather of Charles, and also of Lichfield, a celebrated physician, inventor, and author of another long scientific poem, The Botanic Garden,  were among those who saw the poem in manuscript and contributed lines to it.

The main problem with my manuscript copy is that whoever created it could not be described as literary in any meaningful way. If we compare it to the published text

A manuscript page of Max Beerbohm

A good example of the appearance of Max Beerbohm's journalistic copy. About 250 words, part of an article published in The Academy and Literature in February 1902. An essay called 'A Needed Noun' (Max wanted a word for 'a writer of prose.')  The large jet black corrections are the most striking element. In the book Some Piquant People Lincoln Springfield describes this style thus: 'A mere crossing out was not enough. Everything to be taken out, whether it was one line or thirty, was obliterated to utter annihilation by deluges of ink, put on apparently with a brush giving his MSS the look of islands of words in the midst of seas of blinding blue black.'


The article itself (never reprinted) is a plea for more lyrical prose - he mentions Pater, Ruskin, Stevenson and Newman but feels that 'the full glory of prose as a medium for beauty was not realised by them...' The article is amusing and is the product of 'intercalary reflections' or, as it turns out, browsing Mr Nuttall's dictionary looking for a word that defines a writer of prose.  He rejects the word 'proser' and the nearest word he can find is a 'prosaist.'  Nuttall defines this as 'a prose writer' but, to the divine Max's chagrin, adds: '...one who cannot rise above prose.'

I Am Jonathan Scrivener

Valancourt Books have valiantly republished Claude Houghton's forgotten bestseller I Am Jonathan Scrivener (1930). This prompted us to dive into the fathomless archives where somewhere we have the manuscript.

“So remarkable in truth is this novel that I cannot understand why it is not universally known and admired.” - Hugh Walpole
(1935)



“I Am Jonathan Scrivener remains a tantalizing, highly diverting philosophical novel of rare elegance and wit.” - Michael Dirda (2013)

Valancourt sum up the plot thus:

James Wrexham is thirty-nine, lonely, and stuck in a dead-end job when he comes upon an advertisement for a position as secretary to Mr. Jonathan Scrivener. Much to his surprise, he is hired at a lavish salary despite never even meeting Scrivener, and he is told to take up residence at once in the flat of his new employer, who has suddenly disappeared. Mystified by Scrivener’s strange conduct and desperate to learn something about him, it seems Wrexham will get the answers he seeks when Scrivener’s friends begin to visit the flat: Pauline Mandeville, an ethereal beauty, Francesca Bellamy, a widow who may be responsible for the death of her husband, Andrew Middleton, a disillusioned alcoholic, and Antony Rivers, a handsome playboy. But as each of them unfolds his story about Scrivener, it seems that none of them are describing the same person, though all are obsessed with finding him. Why has he hired Wrexham, and why does he seem to have thrust this unlikely group of people together? Is Scrivener engaged in an inscrutable experiment, or could he be laying some kind of trap? 

Our catalogue entry borrows some of the language of the original cataloguer (and former owner) Peter Howard of Serendipity books, himself something of a Scrivener figure - in the sense that you could also get many different and differing accounts of him by those who knew him. As his daughter Esme said "He was loved and hated, sometimes by the same person, over the course of his life. He was extremely generous to those he favored…" The fascinating thing about the book is the idea that it may have inspired the movie Citizen Kane which follows something of the same formula. The suggestion that it was an influence came partly from Orson Welles' biographer the actor and writer Simon Callow. Here is the catalogue entry:

Plain tan wrappers, holograph title not in Houghton's hand, clam-shell box. Typescript, often or always (?) carbon, but obviously Houghton's final revised version, as there are a remarkable number of corrections, several in his hand, especially in the final third, with deletions a prominent force. pp 412. 84 leaves have corrections, deletions, paste-overs, ink additions, pencil strike-throughs, starting with the addition of a title added by paste-over on the first leaf. Very substantial deletions occur on many pages. This corrected typescript is accompanied by a transcription on foolscap paper in Houghton's hand, of fifteen different extracts of reviews from the contemporary press. Ink. 'I am Jonathan Scrivener', first published in London, 1930, was far and away Houghton's most celebrated fiction, his finest psychological crime novel, cited in Hubin and a substantial best seller. It has been cited as an influence on Orson Welles in the making of Citizen Kane-- he was attracted by its 'prismatic approach.'