lotto/ballard j g a superb archive of correspondence copy typescripts Fi8ovdq 632809514 / In vendita

lotto/ballard j g a superb archive of correspondence copy typescripts Fi8ovdq 632809514

In venditaRisultati d’asta

lotto/ballard j g a superb archive of correspondence copy typescripts Fi8ovdq 632809514

In venditaRisultati d’asta

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Tutte le aste / Libri, Mappe & Manoscritti / Ballard (J. G.).- A superb archive of correspondence, copy typescripts

18h 52mGB

Ballard (J. G.).- A superb archive of correspondence, copy typescripts

Ballard (J. G.).-Numerous autograph notes and letters, signed typescript letters, postcards, signed "Jim" and "Jim B", typescripts and carbon copies, promotional material, contracts, numerous boxes (c.14), envelopes, folds and creases, 8vo, London and elsewhere, 1960s-2010s. From Ballard's former agent providing a unique insight into the genesis and development of major works such as Crash, The Atrocity Exhibition and Empire of The Sun. "Operating instructions for reading CRASH! 1) Fix yourself a stiff drink. 2) Fasten your safety belt. From the archive of Ballard's agent, Margaret Hanbury, and also containing material from previous agent John Wolfers, the collection contains a wider array of personal correspondence, typescripts, synopsis' and treatments for book and film projects, contracts, promotional material and reactions from Ballard's inner circle to some of his most transgressive works. Some highlights include early outlines of Crash, Concrete Island and The Atrocity Exhibition with letters from Ballard discussing their early development, a letter from Tom Maschler covering his initial reaction and feelings towards Crash "I haven't been ignoring the book, I've simply been trying to find the response to it", as well Ballard's personal instructions for reading it and numerous notes written by Ballard negotiating his literary realm. Of further note is a correspondence with Doubleday dealing with the infamous cancellation and destruction of the American edition of The Atrocity Exhibition, illuminating the reasons why it took until 1972 for it to be published in the US. A letter from Ballard dated 1971 vehemently expresses his disappointment in the book being canceled again, this time by Dutton. Also present is a lawyers report on the controversial nature of the book and Ballard's refusal to accept ("the vast inventory of changes and mutilations...") The archive also highlights the many attempts at translating Ballard's work to film, with numerous letters of interest from Disney, Paramount and other studios and producers seeking to option his novels and short stories since the 1970s. A broad and fascinating collection of Ballardian ephemera.

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