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40. Miller, Henry. 6-page carbon typed letter to David Edgar, with holograph date (in Miller's hand) of March, 1937. N.p.: 1937. A fantastic letter that begins: "I am buried deep in The Black Book of Durrell's and certain correlations are sparking...I see him [Durrell] going up to the highest springboard he can find and without being blinfolded jumping off. Another form of bravery..." The letter is about writing technique, and Miller advises Edgar to let loose in his style of writing, to walk a tightrope "balancing over a void...You must come away from your aerial exercises prepared to turn your technique into other channels. You must put your body to other uses. You must put your sense of equilibrium itself to the highest use..." He continues on in his thought-process: "The irony, it seemed to me last night after leaving you, is that in trying to simplify and clarify by putting it down on paper - It, the process - you open up an infinite area of confusion. The process - that is, the finding out, is nothing but wheels. You are inside the clock, and the more you find out about wheels the less you know about the clock..." He philosophizes on narcissism and ego, and begins page 4, "About the labyrinth - Had a grand discussion of all this last night with Anais..." Miller analyzes Ana‹s Nin's psyche and diaries for a couple of pages ("It was the loss of her father, when a child of ten, that caused her to begin the diary...") and then brings his point back around again to Edgar's style of writing. The meeting with Edgar the previous night was recorded in a March 13, 1937 letter to Lawrence Durrell, published in Lawrence Durrell and Henry Miller: A Private Correspondence, 1963. Slight browning to pages, some creasing to edges, else very good - a fascinating, complex letter written while Miller was writing at his best, at Villa Seurat, 1937. (300/500).
FIRST IMPRESSIONS OF PARIS
41. Miller, Henry. 9-page typed carbon of a letter sent to "an old friend" (Cohen) from Paris in 1928. [Paris: 1928]. The letter was written while Miller and his wife June spent six months touring Europe in 1928 (June had extracted the money necessary for the trip from her "patron", Pop). This contains Miller's earliest recorded impressions of Paris and Europe and predates his move to Paris by nearly two years. Of Germany, Miller writes disgustedly: "At Aachen, I think it was, just over the French border, I caught the first glimpse of that boorish spirit which the world insists on calling German. Factory workers, stripped to the waist, making their toilet in 4th class trains, throwing ugly grimaces at the tourists, begging for cigarettes, heads shaved - as thoroughly bestial and depraved in appearance as a machine man can become. You remember George Grosz's caricatures? Hell, they are not even caricatures. The man is the most painstaking photographic realist..." Miller, true to style, takes up 2 or 3 pages with descriptions of toilets in Poland and Paris, then goes back to architecture and street scenes in Paris: "...And then the bookshops and the bookstalls. Wonderful! Especially those along the quays, where at night the possessions are all locked up in strong boxes that repose calmly on the walls of the Seine embankment. What a pity not to know French! Books are dirt cheap here - and what books. Anything and everything you want... Then as to the inhabitants. Whiskers still flourish, and corduroys, and wide sashes around the belt. Fairies galore - this must be their Paradise. At night squads of street- walkers, but all bunched pretty much in one or two localities. For the most part Paris is eminently respectable - frightfully bourgeois, in fact. Prostitution is no index of great liscence...The French, I imagine, take their women like they take their wines and apéritifs. Anybody who calls Paris wicked does not know his New York..." A wonderful letter comparing America to Europe, Brooklyn toughs to Paris toughs, sex-drives of Americans and French, etc. While a carbon, the letter is likely unpublished and an important contribution to Miller's early history in Europe. (300/500).
42. Miller, Henry. 1-page holograph list of Paris lodgings where Miller stayed while living there in the 1930's, along with photocopy of another page of Paris residences in Miller's hand. N.p.: n.d.. List includes not only hotel & residence addresses & names, but the names of the people with whom Miller stayed (Anaïs Nin's brother, Lowenfels, Hans Reichel, June, Fraenkel, and others. Many hotel names Miller can't remeber & instead has written-in general locations & partial names. The end of the photocopied list adds, "Which doesn't take account of the places where I `flopped' for a night." Fine. (200/300).
FIRST OF SEVERAL MEMOIRS OF MILLERS' CHILDHOOD FRIENDS
43. Miller, Henry. Al Burger. 9-page typescript with holograph corrections by Miller. With 9-page carbon typescript with holograph corrections by Miller. N.p.: [1976]. This memoir of Miller's teenage friend was slated to be a chapter in Book of Friends, but was eventually not included and remains unpublished. Miller talks mostly irreverently about his lust for Al's mother and sexual escapades with his younger sister, Norma, as well as the boys' summer days in Fallsburgh, New York "just before the Jews took over Sullivan County and made it into the `Borscht Route.'" Rust marks from paperclips, else about fine. (500/800).
TWO TRIBUTES TO ANAÏS NIN
44. Miller, Henry. Anaïs Nin - Venus Anadyomene. 6-page holograph manuscript tribute to Anaïs Nin on her 75th birthday (her last), on personal notepaper, initialed at end. * 4-page holograph manuscript. * 3-page carbon typescript, with holograph corrections. * 2-page holograph letter from Lawrence Ferlinghetti to Henry Miller, requesting use of a transcription of the audio-tape of Miller's tribute. * Printed program of the birthday celebration. * Several signed release forms for use of Miller's audio tape for the celebration. Various places: [1977]. A laudatory tribute to Anaïs Nin on her 75th birthday. Miller holographed on the envelope from Ferlinghetti: "No, don't want tape published! HM." Thus this tribute has never been printed. About fine. (500/800).
45. Miller, Henry. Anaïs Nin. 4-page stapled holograph manuscript tribute to Anaïs Nin, written on Miller's personal stationery, with numerous marginal notes of memories to add. Pacific Palisades: [1977]. Miller's tribute to Nin, who had recently died, is replete with personal memories and feelings. On the first page, Miller writes, "She led a multiple life, but secretly, not in the open as did her heroine, her Salome who had consorted with so many famous men of her time...She did not associate much with writers. Her life-long hobby, if I may call it that, was psychoanalysis. Indeed one might say that in her work she was actually playing the role of analyst. Yet when she acted as assistant to Otto Rank she would often confess to me that he found meaning in everything, which she found absurd...Most of all, she was an enigma. Her penchant for prevarication was born of mixed motives. Naked reality, like the naked truth, was abhorrent to her. Further, though unwittingly she deeply hurt people close to her, she never deliberately could hurt a fly. She was sensitive to an abnormal degree. Oddly enough, reveling as she did in a private life, she became for a time an ardent Communist, though her political sense was almost nil..." One spate of brief notes reads: "Another Lady Murasaki - Great fixer- chopping wood - Dancer - ball room and Flamenco - Had only very few women friends - Shy until she began lecturing. Had very frail voice - sounded more Cuban than French - More at home in Spanish than French - Like Proust whose Albertine was an Albert." Intialed by Miller at the end. Fine. (700/1000).
46. Miller, Henry. At the Garden Door. Typed carbon of a love song by Miller, written for his wife, Hoki, with holograph corrections by him. Accompanied by a cleaner copy (no corrections) & initialed note. N.p.: 1968. Rust mark from paperclip, else about fine. (150/250).
47. Miller, Henry. Bonnie and Clyde: A Toccata for Half-Wits. 9-page carbon typescript review of the film with holograph corrections, initialed with note on verso of last page. Pacific Palisades: [1979]. Apparently published in Stroker magazine, this is a vitriolic review of the film "Bonnie and Clyde," Miller was thoroughly disgusted by the film's portrayal of violence: "...But what is worse than cold-blooded muder, in my opinion, is the presentation of murder as a form of entertainment. In such instances I feel compelled to look upon the viewers as even more sick than the killers they are watching. As regards the men who make money from such productions, I consider them not only as sick but as evil-minded individuals. They know what they are doing, they are not unintelligent. Yet they seem to lack all sense of guilt. They not only seek profit for their labors but fame and glory...." Rust mark from paperclip (affecting Miller's name & address), else near fine condition. (120/180).
48. Miller, Henry. Borderline. 6-page carbon typescript. 1964. * Lettre au Doppel.... 3-page carbon typescript, with holograph note at top by Miller: "Text for special number of Synthesis." [1966]. * Hurrah for Street Cleaners! Two 7-page carbon typescripts with holograph corrections. Miller's rubberstamp to top corners. [c.1970's]. Together, 3 articles. Various places: various dates. About fine. (200/300).
49. Miller, Henry. Foreword to the second edition of Fritz Peter's Boyhood with Gurdjieff. 3-page holograph manuscript, intialed at end, together with 2-1/2-page typescript with a couple of holograph corrections, & photocopy of same, with holograph title & date (1/1/79) by Miller at top. Accompanied by 2 T.L.s. from the publisher. [Pacific Palisades: 1978-79]. Fine - the book was published in 1980 by the Capra Press. (300/500).
50. Miller, Henry. Brenda Venus. 6-page second draft holograph manuscript portraying Miller's love for Brenda Venus. N.p.: [1979]. One of the last loves of Miller's life, which he considered "to be astrologically right." A lovesick portrait of Brenda and his feelings for her, Miller writes, "She could drag me along the rich river bottom. I would not murmur. All I'd keep saying (to myself) is - `I love you, I love you.' I have said it a thousand times to a few hundred women perhaps. It is one phrase that never wears out, never gets rusty. To wake up with words of love on one's lips - what bliss! Just to say `Brenda' puts me in ecstasy...To love at the end of one's life is something special. Few women can inspire that sort of love..." Occasional smudging to ink, else about fine condition. (400/600).
51. Miller, Henry. Cabeza de Vaca. 7-page holograph manuscript of Miller's preface for Haniel Long's book, The Power Within Us, later issued as The Marvelous Adventure of Cabeza de Vaca, accompanied by the original 3-page first draft typescript with holograph corrections, 5-page second draft typescript with holograph corrections, and photocopy of second draft. N.p.: [1964]. Holograph manuscript initialed by Miller at the end. All holograph corrections are in Miller's hand. Rust marks from paper clips, else about fine. (300/500).
52. Miller, Henry. China. 6-page signed holograph manuscript, accompanied by 5-page typescript with holograph corrections, signed with chops. N.p.: [1976]. Eventually printed in Miller's Mother, China and the World Beyond, printed in 1976 by the Capra Press. Miller records his impressions of a China about which he has only heard and read. About fine. (400/700).
19-PAGE MEMOIR OF COUSIN HENRY
53. Miller, Henry. Cousin Henry. 19-page typescript memoir of Miller's cousin Henry, with holograph corrections; accompanied by a copy of the same. N.p.: [1976]. An interesting memoir of Miller's childhood visits spent with Cousin Henry on 85th Street in Manhattan, the boys he played with, the girl he almost slept with, shenanigans with the gang in the streets or cool cellars during the summers, playing cards & reading aloud. From one passage, he writes: "And then there were those wonderful slices of rye bread with rich sweet butter and sugar which his mother handed us when we came home from play. She did it as if we were two little angels. Never did she suspect, sweet innocent creature, what her two `good little boys' were capable of. Never would she have believed that we two had killed a boy in a gang rock fight. No, we looked just the same as ever that day, or perhaps a little paler, for we were conscious of the crime we had committed. For days we trembled if there was an unexpected knock at the door. The police were constatntly on our minds. Fortunately none of the gang knew we were responsible for the killing. We were intelligent enough to keep our mouths shut. Besides, it was an accident and not a deliberate killing. As soon as it happened we had sneaked away. We didn't feel very heroic about it either...." Rust marks from paperclips, else about fine. (600/900).
54. Miller, Henry - Ephemera. 2 prospectuses for Scenario (A Film Without Sound), based on Anaïs Nin's House of Incest. With contemporary holograph notes by Miller in margins. [1937]. * [Phineas Flapdoodle]. Letter to the Park Commissioner. 4 pp. [1937]. * [Mohamed Ali Sarwat]. Letter from Egypt via Washington, D.C. (Authentic Document). [1937]. * Printed invitation to an opening of Hans Reichel at the home of Betty Ryan. 1937. * Henry Miller Wishes to Call the Attention... Privately printed broadside recommending 12 of the author's favorite books. Soiling, tears along creases. [1938]. * Bilingual prospectus for Ana‹s Nin's diary, Mon Journal, to be published by Henry Miller in Bruges, March 1, 1938. With note at top in Miller's hand: "A publisher yet!" (the book was never published). Upper corner clipped. 1938. * Prospectus for Kenneth Patchen's Albion Moonlight, with long blurb by Miller (along with another Patchen prospectus), with T.L.s. from publisher to Miller. 1941. * Copy typed letter from Miller regretting that he cannot respond to every letter as he is busy working on The Rosy Crucifixion. [1945]. * Prospectus material for George Dibbern's book Quest, published & with blurbs from Miller. [1946]. Together, 9 items & additional related material. Various places: various dates. Overall very good to fine. (300/500).
55. Miller, Henry - Ephemera. Bufano. Genesis of the Night Life. With excerpts from Miller's Into the Night Life. Offprint from What's Doing Magazine. [1948]. * 28 pp. wrapper-bound prospectus for Into the Night Life, with insert. Damp-sticking to lower pages. [1950]. * Copy typed letter of recommendation by Miller for Eric Gutkind's Choose Life. [1952]. * Flyer printed by Miller advertising sale of his paintings & books. [1952]. * Prospectus printed by Miller for Portfolio of Illustrations by Bezalel Schatz. [1957]. * Haan. A Dream of a Book. Prospectus for Into the Night Life, extra copies of which had recently been discovered by Miller in his closet. [1958]. * Miller. Ein Weihnachtsabend in der Villa Seurat. (Excerpt from Remember to Remember). 24 pp. 1960. * Snyder. The Henry Miller Odyssey: A Two- Hour Film Biography. Promotional material. 1972. * Exhibition prospectus for Miller's art at First Impressions Gallery, S.F. [1970]. Together, 9 items. Various places: various dates. Very good or better. (150/250).
56. Miller, Henry. Fuck Away, Fuck Away! 25-line pornographic poem typed carbon with one holograph correction in red ink. N.p.: [1975]. One of only a handful of poems Miller would write in his lifetime, this one is, alas, unquotable here. (120/180).
57. Miller, Henry. The Heart of a Boy. 5-page holograph manuscript, signed. * 4-page typescript with holograph corrections, accompanied by a photocopy. [Pacific Palisades: 1979]. Miller's sentimental review of a book from his childhood, the Italian Cuore ("The Heart") by Edmondo de Amicis, which Miller came back into contact with at age 88. Fine. (400/700).
58.Miller, Henry. Henry Miller Talks to Henry Miller. 8-page carbon typescript with holograph corrections by Miller, subtitled "The Sexual Revolution." With 2 photocopies of the typescript. Initialed by Miller at the top. * 22-page typed transcript of the complete interview, with a couple of holograph corrections in another hand. * Signed transference of copyright of the article to Henry Miller from Fawcett Publications. N.p.: 1970. Published in True Magazine, 1971. Rust marks from paperclips, else near fine - contains Millers reflections on the Sexual Revolution. (400/700).
59. Miller, Henry. Hildegard Knef. 16-page holograph draft of a memoir of Hildegard Knef, the German actress Miller met in 1961, accompanied by two copy typescripts of the memoir, one with Miller's small holograph corrections. Also with telegram from Knef to Miller & T.L.s. regarding Knef from her friend to Miller. N.p.: [1971]. The holograph draft is written in black, red & blue ink; the corrections on the copy typescript are in black ink. Rust marks from paperclips, otherwise about fine. (300/500).
60. Miller, Henry. Hokusai. 3-page holograph manuscript, signed. * Two copies of 2-page carbon typescript. N.p.: n.d.. A brief essay by Miller on the Japanese artist, Hokusai. (300/500).
61. Miller, Henry. Introduction to "Freedom to See." 5 (of 6)-page carbon of typed first draft. * 6-page "1st Carbon." * 6-page "2nd Carbon." * 7-page photocopy of A History of Erotic Art (not by Miller). N.p.: [1974]. Holograph notes by Miller to upper left corners. This introduction, the Erotic Art of the Masters, was published in 1974 by Gemini-Smith. Rust marks from paperclip, else near fine. (100/150).
62. Miller, Henry. Introduction to "Life and Times of Henry Miller." 4-page typescript with holograph corrections by Miller. Together with Introduction to Bradley's Book. [2nd draft of preceding?] 4-page typescript with holograph corrections by Miller. Together with 1-page typed outline of intro. with holograph corrections by Miller. N.p.: [1970].
The Life and Times of Henry Miller was published by Playboy Press. The introduction was written by editor Bradley Smith, so this Miller essay was never actually used. Second drfat signed by Miller at the end. About fine. (200/300).
63. Miller, Henry. J'Arrive by Maurice Girodias. 4-page signed holograph manuscript review of Girodias' book, J'Arrive, accompanied by original 3-page signed typescript with holograph corrections, photocopy, & holograph note from Miller to his son Tony, with instructions to mail the original & typescript pieces (which were clearly not mailed). [Pacific Palisades: 1979]. A laudatory review of Girodias and his book. Fine. (300/500).
MILLER ON JEWISH DIRECTOR GAREFIN
64. Miller, Henry. Jack Garfein. 10-page holograph manuscript, signed. Accompanied by 7-page typescript with holograph corrections, & photocopy. N.p.: [1978]. Miller's memoir of the Jewish theatrical director, whom he describes well in one line: "One is not long in his presence before one realizes that, next to the theatre his passion is women. He loves them as a gardener loves flowers. He makes no bones about it, he is a sensualist. And as such, he is like a famous violinist." The entire essay is quite laudatory, describing Garfein's starry personality. (400/700).
22-PAGE MEMOIR OF JIMMY PASTA
65. Miller, Henry. Jimmy Pasta. 22-page typescript essay, with holograph corrections, about Miller's childhood friend, Jimmy Pasta, and school & young adulthood memories of his Brooklyn neighborhood. Accompanied by a carbon copy of the same. N.p.: [1976]. Pasta attended P.S. 85 with Miller in Brooklyn, and later got him a job at the office of the Brooklyn Park Commissioner, where he began writing and eventually earned enough money for his passage to Paris. Pasta appeared as Tony Marella in Miller's Plexus & Nexus, and is referred to many times in Miller's notebooks of outlines for The Rosy Crucifixion. Holograph corrections are generally in the form of crossing out last names of people from Miller's youth that he is slandering (pedophiles, homosexuals, lusty female teachers at P.S. 85, etc.). He describes, as a 21-year old, hearing lectures given by Emma Goldman which changed the course of his life, his first marriage (rarely talked about) to his piano teacher: "I married her not because I was in love with her but to escape the draft. We quarreled almost from the very beginning. Sometimes we rolled on the floor struggling with one another. It was truly disgraceful the life we led..." (She eventually joined a nunnery after he left her for June). He details extra-marital affairs, asking his first wife to let his mistress come live with them (she said no), meeting and shacking up with June, June and Jean Kronski's lesbian affair, their collective pennilessness ("It was a cold winter and I had chopped all the furniture to pieces to make firewood..."), meeting Pasta on the street and getting a job with the Parks Commissioner, June and Jean leaving him for Paris, and the following years in brief. Rusty paperclip marks, else near fine - a well-written memoir. (800/1200).
SEXY MEMOIR OF JOE O'REAGAN
66. Miller, Henry. Joe O'Reagan. 17-page carbon typescript memoir of Miller's friendship with Joe O'Reagan, who would be featured in The Rosy Crucifixion and played a major part in Miller's life on Clinton Street with June, Jean, and the gang. With holograph corrections; accompanied by a copy of the same, and carbons of last 2 pages with more corrections in Miller's hand. N.p.: [1976]. Joe escaped with his brother from the orpan asylum his parents had put them in at age ten (where Joe bedded the Mother Superior), and Joe joined the circus. He met Miller as a young man just out of the army, in New Jersey while the Millers were on vacation, and the two remained lifelong friends. Miller recounts tales of adventures with O'Reagan, describing his character (women trusted him, men did not) and actions (promoting Miller's writing to publishers & editors, womanizing, etc.): "Every time he came home to roost it was chez moi. Joe liked the way I lived and the women I was in love with. He would often implore me to allow him to share a woman with him. He saw nothing wrong with that. He would tell me that I was `lucky'...We sat opposite each other at the same desk...In the office we had two beautiful young women; he took one and I took the other. The two girls lived together, which made it easier for us. At this time I was still married..." He goes on to discuss, in full detail, sharing his first wife with Joe, at the same time (a very racy passage). He also described living with Joe and his second wife, "Mona" (June), and Joe's continued frustration at Henry not getting published. "One of the things I never told Joe was that I was fucking his girl friend on the side. I didn't do it out of revenge or to teach him a lesson. It just happened...For a while we were both screwing her. But then there was this other girl in the office...We did a lot of fucking in those days, especially after the telegraph compnay decided to hire women as messengers. Now Joe could no longer complain. He was swamped with lays...I was madly in love with my second wife. It sounds crazy, but I never felt that I betrayed her. To fuck someone else was not necessarily an act of betrayal. It was a sign of life, the celebration of life..." Rust from paper clips, else about fine, with fascinating content about Miller's early married years, of which there is little information. (800/1200).
EARLY BROOKLYN BUDDIES
67. Miller, Henry. Joey and Tony. 13-page typescript memoir of Miller's Brooklyn childhood friends, brothers Joey and Tony, with holograph corrections; accompanied by a copy of the same. N.p.: [1976]. Miller reminiscences about vacations spent in Glendale, a suburb of Brooklyn, with the German-born Imhof family. The boys, Joey & Tony, taught Miller much about animals, and the father's watercolors were an inspritation to young Henry: "Usually the father retired fairly early. He did not go to sleep immediately. He made watercolors by the light of a student lamp. We had to pass through his room (on tip toe) to go to our bedroom. It always gave me a holy feeling to see Mr. Imhof bent over a pad of paper with a brush or two in his hand. He seemed not to be aware of our presence..." He describes evenings spent with his and the Imhof family in a German-America beer hall: "There was always an arresting aroma of stale beer, horse piss, horse manure and other pungent odors...And while all this activity was going on we were raising hell of our own. Many was the half-empty glass of beer we polished off. It was an excellent place to play cops and robbers, for instance. And with all the running and sweating, it did us no harm to consume as much beer as we did...All in all these were marvelous week-ends, with the entire family walking home (or reeling) and singing at the top of our lungs..." He follows the Imhof family through the father leaving them for an old sweetheart in Germany, their move to Bensonhurst, the teenage daughter getting pregnant and having the baby out of wedlock, and what became of the boys. Rust from paperclips, else about fine. (600/900).
68. Miller, Henry. Large box containing correspondence from numerous fans of Miller from all over the world, some known friends and acquantances, photographs, etc. Various places: various dates. A huge archive of letters to Miller, a number with Miller's notes to envelopes - should be seen. (150/250).
69. Miller, Henry. Lawrence Clark Powell. 3-page holograph essay on Powell, signed, accompanied by 2-page carbon typescript with holograph corrections, initialed at end by Miller, & with 1-page terse carbon typed letter to Donald Dickinson regarding the essay he had written for him. N.p.: 1975. Rust marks from paper clip, else very good. (250/400).
MILLER'S LITTLE BLACK BOOK
70. Miller, Henry. Livre de Femmes (Roster) (de l'enfance à la vieillesse) et de partout au monde. Holograph notebook containing Miller's list of lovers throughout his life (including wives), with ratings of zero to three stars beside their names! N.p.: [c.1948]. Signed by Miller on the title page. The first 6 pages list 39 women under six different section headings: Fillettes de l'enfance;
Jeunes Filles; Femmes (Decatur Street); Femmes (Pendant mariage - premiŠr); Femmes (2d mariage) (Here he only lists June Edith Smith, to whom he allots 3 stars); Femmes (Paris) (including Anaïs Nin, who also gets 3 stars). If Miller is right by his calculations, he had 40 lovers between his childhood and 1948 (including a woman and her sister). The last 3 pages of the book, written dos-a-dos, are Miller's holograph translations of Japanese phrases, such as "I'm dying for you!" and "Shy?" Another man's name, dated 1948, is written on rear pastedown. Several preliminary pages have been torn out by Miller, else very good condition - a rare compendium of full, partial and maiden names of Miller's numerous lovers. (1500/2500).
71. Miller, Henry. Love and Sex. 10-page holograph manuscript, initialed (with note) on p.1, accompanied by 2 photocopies of the typescript. [Pacific Palisades: 1979]. A sexual adventure in Vienna between a Southern belle and a high-class crook, the published version in Stroker Magazine was titled "Vienna and Back." (400/700).
72. Miller, Henry. A Man From Missouri. 11-page holograph manuscript, signed. Accompanied by 8-page typescript & 8-page photocopy, the latter with holograph corrections by Miller. N.p.: [1976]. A memoir of Miller's adulthood friend, Howard Welch, which was to have been included in his Book of Friends but was not and has never been published. Howard Welch came to Big Sur in the 1950's from Missouri and began a business of picking up garbage at people's homes; he managed to furnish his home with abandoned objects, as well as making money taking trash to the dump for the people of Big Sur. He found work in several different fields, which Miller describes, the best being a masseur. Rust marks from paperclips, else about fine. (400/700).
73. Miller, Henry. Marie Corelli. 5-page typescript & 5-page carbon typescript, both with holograph corrections. N.p.: [1977]. Published in Miller's Gliding Into the Everglades, Lost Pleiad Press, 1977. A critical biographical essay of the author, Marie Corelli. (200/300).
MILLER'S XERXES CO-FOUNDER
74. Miller, Henry. Max Winthrop (George Wright). 9-page holograph manuscript, with last 3 pages being carbon typescript with numerous holograph corrections. * 20-page 1st Draft carbon typescript with small holograph corrections, with photocopy. * 19-page 2nd Draft carbon typescript with holograph corrections, with photocopy. N.p.: [1976]. A memoir of Miller's high school friend, with whom he helped form the Xerxes Society (of which Wright was the president). Miller describes him at length in his book, Plexus. The manuscript was originally titled "George Wright" but was later changed to "Max Winthrop" to protect the name of his friend. Each of the drafts is quite different, describing variant events of the personalities involved. The two remained friends after high school, when George became a school teacher: "As [a] school teacher he was already screwing all the good looking girls in his classes. He took terrible risks but managed never to get caught red-handed. Even later, as principal, he was dating the most attractive students...." Miller waxes nostalgic for the time in his life when he was in his early twenties: "It was the time of the trolley car, of Trixie Fraganza and Elsie Janis, of George N. Cohan and Charlie Chaplin, of the great dance halls, the marathon and little bunches of violets for your sweetheart. There were great wrestlers, like Jim London, for example, or Earl Caddock, the man of a thousand holds, not phonies like today. There were great fighters, like Fitzsimmons, Corbett, Jim Jeffries, Jack Johnson. There were singers, like Caruso and Tetrazzini. There were six day bike riders and world famous pugilists...." He writes of the spring he spent with George on a New Jersey farm where George was convalescing from pneumonia (a passage that is included in Plexus) - the sex, love, the cold, the jokes and stories told. He even compares the prostitues of his youth to the ones today. An interesting essay in near fine condition. (700/1000).
75. Miller, Henry. Miriam Painter. 4-page holograph manuscript. * 3-page typescript with holograph corrections. * 1 page of holographed notes by Miller to his secretary & son. [Pacific Palisades: 1979]. Fine. (200/300).
76. Miller, Henry. Miscellaneous material, incl. holograph list of foods eaten by Miller in Seville (on verso of hotel bill made out to Mr. Miller); typed list of "Henry Miller's restaurants - Paris, 1969"; holograph price list of Kubo reproductions; holograph list of debts due; holograph note about Nexus II, Miller's unpublished work; 2 pages + 4 note pages of holograph notes of impressions & memories of Paris, c.1969; holograph list of Japanese addresses; 1 typed bill to Miller from lawyer Sidney Kaplan. Various places: [1969]. All but Japanese addresses are holographed by Henry Miller in his distinct hand. An interesting group. (250/400).
LOVING PORTRAIT OF ALFRED PERLÈS
77. Miller, Henry. Mon Ami Alfred Perlès. 29-page holograph manuscript of Part I. * 18-page typescript of Part I, with holograph corrections. * 43-page holograph draft of Part II. * 25-page typescript of Part II, with holograph corrections. * 2-page holograph of "Conclusion to Epilogue." * 2-page typesctipt of same, with holograph corrections. * 1-page holograph statement "Fred's X-mas day." * 5 pages of holograph notes about the essay. N.p.: [1979]. A loving portrait of a fellow writer who befriended Miller during his early, hungry years in the Paris of the 1930's, and who remained a friend and correspondent for the remainder of Miller's life. Perlès was identified by Miller as the closest male companion he ever had. The memoir contains many anecdotes of their early years in Paris together, with June, Ana‹s Nin ("When I became acquainted with Anais Nin, Joey naturally fell madly in love with her"), numerous other women (and his Madonna/whore complex/theory), numerous cockroaches & vermin, seedy hotels, petty thefts ("It was always a collaborative event. While I engaged Michael Fraenkel in hearty discussion of this or that Joey would remove the wallet from the inside pocket of Fraenkel's coat..."), practical jokes, homesickness, writing Tropic of Cancer ("At last it was finished. But before thinking about a publisher I knew it had to be edited, trimmed down especially. I looked about me in vain for editorial guidance. Anais Nin was out of the question. It was not her type of book. One day, perhaps at Fred's own suggestion, I asked him if he would help me..."), Lawrence Durrell ("During the period that Durrell and his wife stayed in Paris - a year or two - most every night was a gala night..."), a white wine-enduced menage … trois with Miller, PerlŠs, and a raven-haired friend, an evening of bar-hopping with Blaise Cendrars, and many other great escapades. Miller ends poignantly, "I wind up this chapter about him with tears in my eyes. He was a friend indeed, an unfogettable one." A wonderful and valuable memoir. (2500/4000).
78. Miller, Henry. Mother, I Love You! 22-page holograph manuscript about Miller's mother, accompanied by photocopied typescript. N.p.: [1976]. Eventually printed in Miller's Mother, China and the World Beyond, printed in 1976 by the Capra Press. A bizarre imagined meeting and conversation between Miller and his mother in the afterworld, with many insights into Miller's chilhood & lukewarm relationship with his mother. Fine condition. (600/900).
79. Miller, Henry. New Preface to "Alf" Pamphlet. 4-page carbon typescript, with numerous holograph corrections & additions, accompanied by two corrected carbons of the same (one initialed by Miller in upper corner). * PerlŠs, Alfred. Epilogue. 3-page carbon typescript of Perlès' epilogue to Miller's book, with one holograph correction, accompanied by T.N.s. from PerlŠs with holograph postscript. Pacific Palisades & Crete: 1968. This preface & epilogue appeared in the Turret Books [London] 1971 edition of Miller's What Are You Going to Do About Alf? The preface refers to the poverty Alfred PerlŠs and Henry Miller faced when living in Paris, and what it means to be an artist; the epilogue refers to the preface. Rust marks from paperclips, else about fine. (300/500).