English novelist (1885-1930). Autograph letter signed. c/o Aldous Huxley, Seine. 8vo. 2 pp. Age toning, sl. wrinkled.
$ 3,750 / 3.500 €
(93661)
To Percival Reginald Stephensen of the Mandrake Press. „Thanks for the Prospectus with Moses. Oh dear, Moses is dim! They get them so smudgy. Can’t they get anything clear-that yellow light at the back! O dear, how sad. So you are sending out the prospectus without the picture! - Just as well. You can’t fold the picture, it cracks it raw. Be sure to send several prospectuses to Alfred Stieglitz ... [in] New York City and several to Herbert J. Seligman […] and severy to Mrs Mabel Luhan […] New York.
You asked me to come to England - but the detecs. at Curtis Brown’s office said if I came to England I should be at one arrested. Voilà! My wife may come for the show, if Dorothy W. will bring it off. Do you expect her to, really? - and when? Secker is going to do the Pansies, but of course, expurgated. Conversation overheard here from my window-Votre chat, Madame, est il un mâle? Oui màdame, mais il a été arrangé-n’ayez pas de peur pour votre ,pussy.’ - C’est come ça-all been jixed, fixed, annangé.“ Stephensen was an Australian who had been collaborating with Jack Lindsay on the Fanfrolico Press and the London Aphrodite but left Lindsay to found the Mandrake Press whose first book reproduced Lawrence’s paintings in full color, together with a forward by the author. When Lawrence saw the proofs of the photographic reproductions for the paintings he „was disappointed in the way colors came out but nonetheless delighted at the prospect of a big expensive book. Seeing that he might clear as much as five hundred pounds from it, he briskly finished a ten-thousand-word forward, ,Introduction to These Paintings’“ [Maddox]. Dorothy Warren was the noted photographer, and the writer Mabel Dodge Luhan, had invited Lawrence to join her at Taos, New Mexico in 1922. Pansies is Lawrence’s collection of light verse, published in 1929. He had recently sent two copies of the manuscript to Curtis Brown, but they had been seized by the police. „The home secretary was asked whether he had instructed that manuscripts sent by ... Lawrence ... to his London literary agent should be intercepted. Sir William Joynson-Hicks (still remembered for his nickname, Jix) replied in the best traditions of the Home Office. There was no such thing as literary censorship in Britain. The packet in which the poems were found was opened purely as part of routine random postal searches to see if any material being sent through the mails vilated ... [postal laws]. Once opened, however, the seized materials of Lawrence were seen to be indecent beyond a doubt and would be held for two months to give the author a chance to prove to the contrary ... He [then] struggled with Secker to clean up Pansies for England - substituting ,my-eye’ for ,cat-piss,’ for example but Secker- worried about the formidable Jix, nonetheless insisted on removing some of the poems before publication“ [Brenda Maddox, D. H. Lawrence: The Story of a Marriage]..
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Eigenhändiges Manuskript.
Autograph ist nicht mehr verfügbar
D. H. Lawrence (1885–1930), Schriftsteller. Eigenhändiges Manuskript. O. O. u. D. [30. April 1927]. 10 SS. auf 5 Bll. 4°. – Bei dem vorliegenden Manuskript handelt es sich um den erst postum unter dem Titel „Germans and Latins“ erschienenen und in der Cambridge Edition der Werke als „Flowery Tuscany IV“ aufgenommenen Essay, der im Frühjahr 1927 während seines Aufenthalts in der Villa Miranda bei Florenz neben der Arbeit an „Lady Chatterley’s Lover“ entstanden war: „It is already summer in Tuscany, the sun is hot, the earth is baked hard, and the soul has changed her rhythm. The nightingales sing all day and all night – not at all sadly, but brightly, vividly, impudently, with a trilling power of assertion quite disproportionate to the size of the shy bird [...] Tomorrow, however, is the first of May, and already summer is here. Yesterday, in the flood of sunshine on the Arno at evening, I saw two German boys steering out of the Por Santa Maria on to the Ponte Vecchio in Florence. They were dark-haired, not blondes, but otherwise the true Wandervogel type, in shirts and short-trousers and thick boots, hatless, coat slung in the Rucksack [...] When I am in Germany, then Germany seems to me very much like anywhere else, especially England or America. But when I see the Wandervögeln pushing at evening out of the Por Santa Maria, across the blaze of sun and into the Ponte Vecchio, then Germany becomes again to me what it was to the Romans: the mysterious, half-dark land of the north, bristling with gloomy forests, resounding to the cry of wild geese and of swans, the land of the stork and the bear and the Drachen and the Greifen. I know it is not so. Yet the impression comes back over me, as I see the youths pressing heedlessly past. And I know it is the same with the Italians. They see, as their ancestors saw in the Goths and the Vandals, i barbari, the barbarians [...]“. – Mit einigen kleinen Ergänzungen und Korrekturen; auf liniiertem, aus einem Schulheft herausgetrennten Papier mit dreiseitigem Rotschnitt; gering fleckig und mit kleinen Stecknadeldurchstichen am oberen Rand. – Literatur: The manuscripts of D. H. Lawrence. A descriptive catalogue. Compiled by Lawrence Clark Powell. Los Angeles, 1937, Nr. 81. – Auf der Grundlage von Typoskript-Abschriften gedruckt in: D. H. Lawrence. Sketches of Etruscan Places and Other Italian Essays. Hrsg. von Simonetta de Filippis. Cambridge 1992; zu Entstehung und Textüberlieferung vgl. Introduction S. lxvii ff. („unlocated manuscript“).