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FROM THBI DESKI OF
Arthur Orrmont
14 February 1991
To: Maurice
I still feel that claiming anything less than
"total surrender" of the Nazis wasn't justified
would alienate any- red-blooded American editor,
but maybe I'm old fashioned. Here it's the left
wing that has deplored the bombing of Dresden.
The Persian Gulf, with its likage of Hitler and
Saddam, is another problem. I don't see where
British Establishment thinking that the empire
should be taken over by the U.S. comes in, but
what you say about Thomas Mann is startling.
How sad he should flee to the U.S. and then from
Your note about pigs on p. 323 made me remember
cnuelly how, on some Caribbean dock, I saw pens
of them screaning on their way to market. You
knew they were terrified not only because they
were going to their deaths, but because of the
terrible discomfort involved.
Another point I forgot to make concerns the world-
wife development of depression/anxiety as a stress-
related neurosis. If anxiety and panic attacks
(Auden was off by a generation) precede a nervous
breakdown, or even mirror it, this would seem to
confirm your theme of madness.
I still feel the treatment of Berkeley for Americans
is condescending, but won't argue further. Cuts
in the second half are more serious, but evidently
you preferred not to make them. Anyway, the revisions
are fine and I'll now begin queries to the publishers.
Because the outline is a bit forbidding by itself,
and you write SO well, I'll imlude the first ten or.
Form PP-135 The Drawing Board, Inc., Box 505, Dallas, Texas


FROM THE DESK OF
Arthur Orrmont
pages of the text itself, along with your bio.
All best.
Arthur Orrmont -
A0:cc
Form PP-135 The Drawing Board, Inc., Box 505, Dallas, Texas


FROM' THE DESKOF
Arthur Orrmont
18 March 1991
To: Maurice
Some publisher reactions to the outline and some
sample pages. Knopf didn't think the ms. was
"the kind of book we are looking to publish. It
Random's Executive Editor, Bob Loomis, wrote:
"I'm afraid it's not to my taste. However, I found
even in this short sampling a good deal of repet-
ition---and also a sort of vagueness that frustra=
ted me." The sample is still with Mike Bessie
at HarperCollins, and I'll be trying others after
I get the new material mentioned beloe.
Please-let me have more copies of the outline that
includes both the main title and the subtitle at
the top, and also several copies of the table of CC. ie
cortents that lists your well-titled parts or sections.
We also need in the outline mention of your scientif-
ic experiments (such as those with animal language)
and hopefully a stronger "scientific element" in
general.
I feel you should understand that when mss. is
submitted to a publisher it should be final and
polished; only texts here are carefully monitored
and rewritten exhaustively. It's a bit disturbing:
that you're still rewriting the book in your head,
although some of this is inevitable, especially with
a book with'a definite argument. Such matters
as the Berkeley psssage and unconditional surrender
in WWII should have been decided early either way.
As for the novel---wonderful title---let me have one
of your expert outlines. Generally I can't be
very enthusiastic about a book that
has already
Form PP-135 The Drawing Board, Inc., Box 505, Dallas, Texas


FROM THE DESKOF
Arthur Orrmont
been declined, but then there's that great
title and I now see you are an inveterate re-
writer, like Nabokov.
ARthur Orrmont :
A0:cc
Form PP-135 The Drawing Board, Inc., Box 505, Dallas, Texas


CONTENTS
1. The Black Tank.
2. The Californian Fever.
3. The Good Bishop Berkeley.
4. Crabs..
5. Lodestars One and Two..
6. Personal Growth.
7. Love-Prayers and Destitution.
8. You are Your Guru.
9. Blood..
10. Do It Yourself.
11. Good Vibrations.
12. The Night of the Jupiter Effect.
13. Sitting on a Serpent..
14. Conch-shells and Winkles.
15. Coco the Gorilla..
16. Thank You for Sharing It with Me.
17. Bog Corpses.
18. Severed Heads.
19. Caput Mortuum.
20. The Orgone Boots.
21. The PK Party.
22. Mixed Salad.


LA PARASINA
This is the story of fifteenth-century Ferrara.
Parasina', the fifteen-year-old wife of Niccold 111 of
Este, a man in his forties, is still called 'the first
feminist' in Ferrara today. Niccold had over three
hundred bastards, one of them a striking youth called
Ugo, who was fifteen years old when his father married
'La Parasina'. Ugo set out to seduce his father's wife
in revenge for the fact that his own mother, Stella, had
been denied the marriage Niccolo had been promising her
for years. Instead, 'La Parasina', now sixteen, seduced
Ugo, and an extraordinary love-affair of a Tristan-and-
Isolde quality began between the children during a journ-
ey along the River Po. They were finally denounced,
and spent their last days in Ferrara prison before being
executed together.
The prisons of Ferrara are today very much as they were
in the fifteenth century. Each year Ferrara has a
palio like Siena's in which 800 people take part in
costume. A research-historian in Ferrara has prepared
the story in detail.
A television series in 3-6 parts.
PRODUCTION: Mario Ferrari, FILMARPA (Rome).


LA PARABIRA
Tais ie the story of fifteenth-century Forrara.
Parasina', the fifteen-year-old wife of Niccold 111 of
Este, a man in his forties, is atill called 'the firet
feninist* in Ferrara today. Niccold had over threo
hundred bastards, one of them a striking Jouth called
Ugo, vho was fifteon yoars old when hic father narried
'La Parasina'. Ugo set out to seduce his father's wife
in revonge for the fact that his oun mother, Stella, had
been denica the marriage Niccold bad beon pronising her
for years. Instead, 'La Parasins', now sixtoen, seduced
Ugo, and ar oxtraordinary love-affair of a Tristan-and-
Isoldo quality began between the childron during a journ-
ey alons the River Po. They wore finally denounced,
and spent thoir last days in Forrara prison before being
executed togethor.
The prisons of Ferrara are today very ouch as they were
in the fifteenth century. Lach year Forrara has a
palio like Siona's in which 800 peoplo take part in
costune. A research-hiptorian in Ferrara hac prepared
the story in dotaile
A tolevision serics in 3-5 parts.
PRODUCTION: Mario Ferrari, FILMARPA (Rome).


UNA STORIA DEL SECOLO XV
(Vita, Armi e Amori di Niccold III D' Este)
Mentre scorrono i sottotitoli viene inquadrato un drappello di cavalieri al
galoppo.
Milano. Rocca Viscontea. Sala d'attesa, Uguccione Contrari, consulta do-
cumenti con alcuni gentiluomini. Sopraggiunge trafelato un famiglio, che gli an-
nuncia l'improvviso malore del Marchese Niccold, (Capitano Generale degli Sta-
ti Viscontei da pochi giorni prediletto del Duca Filippo Maria per l'assidua e fe-
lice opera di mediazione tra le maggiori Signorie Italiane, arbitro della pace
d'Italia).
Uguccione accorre nella stanz a del Marchese, e lo trova svenuto al suolo.
Lo soccorre, lo fa portare a letto, l'assiste. Niccold si rianima, lamenta forti
dolori, pensa ad un veleno per troppe ambizioni deluse; vuole il confessore non il
medico, che ritiene ormai inutile. Passano nella sua mente tormentata in rapidi
flash visioni di congiure, arresti, agguati, stupri, razzie soldatesche, esecuzioni.: -
Il tempo feroce della sua adolescenza, quando il Consiglio di Reggenza e la madre,
Isotta degli Albaresani, resistevano eroicamente agli assalti e agli intrighi di Azzo
Visconti D'Este.
Niccold, tutto in sudore e gemendo, si riscuote da tali visioni. Uguccione Con-
trari è sempre con lui, lo terge, lo rincuora. Niccold si riprende ancora un poco,
e vuol ricordare con l'amico e compagno fedeli ssimo le imprese trascorse, tristi
e liete da quando, diciottenne, dimostrava già la sua predilezione per le avventure
galanti sia con nobili che con plebet Eccolo in una fattoria di campagna, insieme al
fedele Ugucçione, mentre pranza all'aperto in mezzb a procaci contadine, appartan-
dosi poi con una di esse.. ..I contadini commentano salaci.
Successivamente, lo troviamo ospite di una festa in suo onore, in casa Tolomei,
dove gli onori di casa gli sono fatti da Stella, bellissima e virtuosa figlia di Messer
Giovanni. Niccold ne è preso e subito la corteggia con impeto. Stella gli resiste, acuen
do maggiormente il desiderio del Marchese, non essendo egli abituato ad incontrare


resistenza di sorta presso le donne che egli onora delle sue attenzioni. Una sera infine
egli entra nelle stanze di Stella e la prende quasi con la forza, Stella dapprima resiste,
quindi corrisponde con piacere a questa maschia brutalità. Da questa unione nascono
Ugo, Leonello e Borso che Niccold legittima e fa suoi eredi.
Stella spera di essere regolarmente sposata,ma Niccold non sa rinunciare alle
antiche abitudini, eccolo frequentare le osterie di Capo delle Volte e giacere con una
avvenente ostessa. Nel frattempo grandi impegni politici e militari attendono Niccold.
Dopo ripetuti assalti subiti dal Conte Ottobuono Terzi, longa manu, dei Visconti
in Emilia già impadronitosi ferocemente di Parma e Reggio, e ora di Modena, Nicco-
1d, con l'aiuto dei Malatesta di Rimini lo contrasta fieramente: Terzi allora gli chie-
de un abboccamento a Rubiera. Il fedele Muzio Attendolo mette in guardia Niccdd da
possibili insidie ma questi chiama proprio lui, Muzio, ad assisterlo a Rubiera.
nl 27 Maggio 1409, venuti a tal convegno, Muzio fa nascere un alterco nel mezzo
del quale pugnala freddamente il Terzi prevenendone l'insidia.
La casa d'Este è libera cosi dell'ultimo e più feroce pericolo alla sua sovranità.
Ora Niccold pud darsi tutto all'opera di mediatore politico che lo farà grande come,
qualche decennio dopo, Lorenzo De' Medici.
Morta-hitanto-Gigitokrda-EarTaTa Rimasto nel frattempo vedovo della brutta,
pia, sterile Gigliola da Carrara, Niccold delude una volta ancora, le sperabze di St ella,
sposando in sua vece, Parisina Malatesta per sdebitarsi del debiyo di riconoscenza
contratto con i Signori di Rimini nella vicenda di Ottobuono Terzi.
Rimini, Carlo Malatesta, zio e tutore delle orfana Parisina, le annuncia le nozze
invidiatissime con il Marchese di Ferrara. Parisina, sposata per procura come d'uso,
dovrà recarsi a Ferrara per consumare il matrimonio, facendo tappa a Ravenna presso
i parenti Da Polenta. Qui la raggiunge inaspettato l'impaziente Marchese, che la pos-
siede con reciproca gioia.
A Ferrara, in preda alla peste, le feste nuziali sono estremamente sobrie.
Ugo, compreso del dolore della madre Stella, che verrà a desolata morte di li
a poco, si mostra molto riservato e quasi ostile con la giovane Marchesa,


Niccold, sempre impegnato tra Milano e Venezia come Vicario della Chiesa,
per l'equilibrio politico, e distratto dai continui amori, vuol favorire l'armonia fa-
migliare e ordina a Ugo di accompagnare Parisina durante un soggiorno di un mese
a Ravenna.
Durante il viaggio per barca attraverso le Valli, e poi a Ravenna, l'annoiata
e già delusa Parisina, colta e raffinata, seduce il giovane. Hanno entrambi 18 anni.:..
Complici della tresca il Conte Aldobrandino Rangoni, coetaneo fedelissimo d'Ugo e
due damigelle di Parisina. Nelle delizie estensi (Consandolo, Belriguardo, Fossadalbe-
ro) segue la folle passione di Ugo e Parisina. Letture cavalleresche ed erotiche (mas-
sime di Tristano e Isotta) accompagnano e fomentano l'amore:
Parisina è sempre molto sollecita nell'amministrazione domestica. Er lei che si
occupa di vestire i piuttosto trascurati molti figli e figlie di Niccold viventi a Corte,
oltre a servi e funzionari che sempre a lei ricorrono fiduciosi. Er appassionatissima
di cavalli da Palio; i suoi, guidati dal fantino Giovanni da Rimini, vincono sempre, a
Ferrara e fuori. Suona una piccola arpa, per lei costruita, che porta spesso al collo
con un cordone di seta. Gioca a carte con splendidi tarocchi per lei miniati da Giovan-
ni della Gabella.
Ugo è bellissimo e Vigoroso. Meno atto agli studi dei fratelli minori : Leonello
e Borso, è abile nelle armi e nel gioco della palla. Inesperto d'amore è troppo facile
preda della maliziosa Parisina. Entrambi sono molto casi al popolo.
A Portomaggiore, un giorno (siamo ormai nel 1425) il medico privato di Parisina,
Giovanni da Verona traendo a scusa la peste, le chiede licenza di lasciare il servizio.
Forse sa e teme le conseguenze. Anche Parisina teme, poichè non sa più togliersi Ugo
dal cuore. Un giorno maltratta, nervosa, una servente che la denuncia al fido Zoese,
gentiluomo di Parisina. Costui, ben sapendo che il Marchese non gli avrebbe perdonato
il silenzio, denuncia a sua volta la cosa al suo Signore. Niccold incredulo e sgomento
vuole la prova. Un foro praticato nel pavimento dell'archivio estense della torre di Ri-
gobelli, situata sopra l'appartamento di Parisina, gli rivela direttamente l'orrenda


verità. La decisione fatale è presa.
A palazzo, durante un ricevimento ai Savi della Municipalità, d'improvviso
Niccold fa chiamare Pietro da Verona, Capitano del Castello, e gli ordina di arre-
stare immediatamente Ugo, Parisina e complici, rei d'adulterio.
Al podestà l'ordine di istruire subito il processo; la sentenza è ovvia: morte
per decollazione. Gli ospiti restano allibiti ma s'inchinano alla giustizia del Signore,
anche se qualche voce bisbiglia.
Chi la fa.
l'aspettill!
Ed ecco mentre Parisina con le sue dame ammira dalle finestre di Rogobello
il suo Ugo che gioca a ae palla nella sottostante piazza nuova di fianco al Duomo,
vede sopraggiungere il drappello comandaté da Pietro da Verona. Immediatamente
intuisce: è la fine:
Poco dopo, Pietro da Verona appare alla sua porta.
Ugo è incarcerato nella torre dei leoni. Parisina nella marchesana. Non si
vedranno più. Ugo contrito invoca il padre e chiama giusta la sua sorte quasi lieto
di espiare. Parisina rifiuta il confessore, vuol parlare al Marchese perchè solo lei
punisca, sola colpevole.soprattutto d'Ugo le importa. Inutilmente il vecchio Iel Sale
e Contrari, invocando la fraterna amicizia implorano il marchese perchè si disponga
a pietà.
Se rimandassi Parisina ai Malatesta, essi la ic ciderebbero ! (tali in-
rati era l'uso). Nè posso perdonare in casa mia più che l'adulterio, il tradimento.
Rapidamente il processo è concluso. Il Podestà Dall'Arengo legge la sentenza
al popolo. n 21 Maggio XXXX 1425, all'imbrunire, i condannati, separatamente sono
portati al boia, nel fondo delle rispettive torri. Morto Ugo cristianamente, Parisina,
sorretta dallo stesso Zoese (di cui mai sospettd) vuole affrettare la morte. Avvoltasi
il capo in un bianco velo offre il nudo collo al carnefice.
Avvenuta l'esecuzione, Niccold scioglie infine la dura maschera della giustizia,
invocando la morte prostrato sul nudo pavimento della cappella privata.
Un suo editto emanato nel subito furore condanna a morte tutte le adultere. Ne
sarà vittima anche #t Laudomia Romei sua stessa amante.


Pur conservando le antiche abitudini, Niccold, d'ora innanzi, si dedicherà
alle cure dello Stato riuscendo ad un certo momento a diventare l'arbitro della
politica italiana, tanto che il Duca Filippo Maria Visconti, che solo. di Niccold
si fida, lo nomina (overnatore Generale degli Stati Viscontei. Niccold e Con-
trari sono suoi ospiti.
A Ferrara il secondo genito Leonello a cui è stata aff idata la reggenza sta
parlando ai suoi gentiluomini del nuovo grande successo paterno disponendo per
grandi feste al suo ritorno,ma ecco giungere il misterioso drappello di cavalieri
di rui abbiamo parlato all'inizio, recando la notizia della morte di Niccold.
Con una cerimonia funebre, di una semplicità francescana, a Santa Maria
depli Angeli, mentre Guarino Veronese, leggerà l'orazione funebre, cala il si-
pario sull'avventurosa vita di Niccold III d'Este - Marchepdi Ferrara
auhs
Nill aur
Veueria
pair.S.Elue
(aufpi
tel 36679


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
To: Maurice Rowdon
Do send along the complete manuscript, which
I'll be looking forward to seeing. You're probably
right in the wisdom of showing a complete ms. rather
than a partial with outline. Also let me have a
one paragraph description of the book and a one
page outline/description which we can show to
publishers. Best regards and when do you return
to the States?
Arthur Orrmont
Editorial Director
AO:eb


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
March 24, 1994
Maurice Rowdon
La Luciole
Chemin des Patins
84160 Cucuron
FRANCE
Dear Maurice:
A death in the family prevented my answering you sooner. A few initial de-
murs. We never discussed a letter of agreement, as far as I remember, before
this, nor did I know you had objected to such when offered to you by others
in the past. I never brought it up until you found British representation, on the
- basis that, if a British publisher offered Tanja Howarth a contract for world
rights only, you would !" be hard pressed to' refuse, considering the:fate ofMad
Ape in' the U.S. so far. Nor could I feel right saying that our understanding
ruled it out without the authority of an agreement. In connection with Lownie,
after he declined to handle I assumed British representation would be not
exactly easy to find, given the state of British publishing.
You will find if you haven't already that, in the U.S., the old handshake
agreement is disappearing as a way of doing business. Agents are increasing-
ly requiring written contracts, and this is all the more true when situations are
muddy and complicated.
Then, the original letter of agreement in no way "signed [my] career away for
good." It was, rather, for a period oftwo years, my usual term, and excepting
British rights, included your fiction and nonfiction books and only major ma-
gazine pieces (remember, I suggested.you, try a novella for Harper's maga-
zine when it was interested in such, at the time). Nor would it have prevented
us from consulting you on your wishes for. where a-particular manuscript was


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
sent or what the submission letter said.
I'm surprised that you seem to want at least nominal control ofthe entire
submission process- something you've never even mentioned before. In my
view, knowing the market and what specific houses/editors want (and when),
is the function ofthe agent. Again the two-year rule applies, SO I don't see
anything to be gained by unnecessary delays. On the other hand, we must
work on things in the order received, and when a number ofl long, revised
manuscripts come in, the last one must wait a while, whether delivered by
courier or not. I thought it was clear that I could not handle newspaper or any
other kind of article you wanted to submit to the British market, nor does the
original letter of agreement include such. In fact, I don't handle articles to
begin with, except for an occasional major one in one or more parts. As for
Mad Ape, it (or queries on it) couldn't go out without a new subtitle which I
asked for several times, and now that we have one, several of the latter have
been sent out to general trade publishers which are willing to consider
controversial books, and which didn't see the original Ape manuscript.
What I'd suggest is that we have an agreement for Mad Ape which covers
only that book for a period of eight (8) months, from signing, and not your
other work like the California novel, on which I never received final revi-
sions. I've put SO much editorial and other work into Ape that I believe you'll
agree that this is a fair compromise. Ifyou do do the final revisions on the
California novel, I'd be glad to represent this and other manuscripts (which
have also benefitted- or may in future benefit from my editorial input) on a
piece-by-piece basis, once final revisions are done on each. When I ask for
revisions, it's not intended that the author revise the entire work; in future I
want to see only those that have been requested. This would also apply to any
new work you might want to send me, such as a proposal for a book on
Provence mysticism. Just to repeat what was said before, I would want to see
outlines only of any projected new work or revision instead of the completed
manuscript itself, which would also help in saving you mailing expenses.


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
Is this agreeable? I continue to admire your work and your abilities, and
will do all in my power to see that your submissions are considered as
expeditiously as possible. Ifnot, we'll work out a way to return all your
material, and I'll be in touch with you about responses to the queries that
preceded this letter as they come in. Of course, I'd expect to negotiate any
contract that resulted from these queries. As for the other material, we'll be
willing to hold it for three months, pending your finding another American
agent willing to read it and forward it to him/her without charge to you. If,
on the other hand, you wish the material returned to France, I'll have to be
in touch with you about the cost by weight, by sea mail- -or a faster means,
if you prefer this.
I do hope we can continue what has been, for me, a most stimulating
friendship.
With alhbest regards,
Arthur Orrmont
Editorial Director
AO:lr


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DEAD SU ND A Y
A Journey Into The Underworld
A Novel
MAURICE ROWDON


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DEAD SU ND A Y
A Journey Into The Underworld
A Novel
MAURICE ROWDON


ADDENDA
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D EA D SU N ) A Y
A Journey Into The Underworld
A Novel
MAURICE ROWDON


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D E A I
S U N D A Y
A Journey Into The Underworld
A Novel
MAURICE ROWDON


Maurice Rowdon
La Luciole, Chemin des Patins, 84160 CUCURON, France.
Dear Arthur:
Yesterday I sent you the new play we discussed called FINGERPRINTS ON
THE WATER.
Thank you for your note with the Viking Penguin letter about jury duties. I
loved it that he goes away for a 'week of business' (by way of contrast, SO to speak).
It reminds me of the old saying that publishers fall into two categories, the manic
and the depressive.
Still and all, I am increasingly worried about THE MAD APE, not its
editors but it itself (which produces the mood of the editors). I never believe that
something can't be done to make a book presentable or takeable, especially
when it receives praise, like this one. And there is certainly no lack of work and
support on your side. Increasingly I have been feeling that it needs pointing up.
I have resisted (with Dachiell's help---she is terrified I will go raging into it again
and turn it into another book) even looking at it again, but my feeling is that only
a third or less of it is being read by the editors, who are disinclined, as Gore Vidal
says, to read books anyway. To date I would say that the most exhaustive reading
was at Wm Morrow, and that perhaps the truest evaluation was Michael Simon
Bessie's. My physical inspection of the script when it came back from the London
HarperCollins was that a good deal less than a third had been read.
Iam beginning to suspect, quite apart from the fact that the commercial
dice may be loaded against the book (not that I have ever believed this), that the
line of the book's argument isn't developed sufficientlyfor the journalists
to be able to project it briefly andstrikingly. For unless the media, from the
chat show to the review, can find a startling argument in the book there is no
reason to publish such a big book at all. It seems that THE MAD APE has to be
treated as a big book, but the essential wherewithal for a big book is still not
there. If it were there I think the point about my invisibility in the States would
get lost at once.
This matter (I mean this malady which Bessie detected and HarperCollins
London echoed) goes back to the time when I chose the present title, after two
years of searching. It changed the book, without in any way being a departure


from the book. It really said This book is a study of madness'. And this is what
the book doesn'tturn out to be.
I think it is a matter of pointing up, architecturally, not revising or cutting
drastically. The reader simply has to know at every chapter Where are we now?'.
And at present he doesn't. You remember Bessie said he didn't. They lose
themselves. The Viking Penguin editor says he didn'tfeel strongly enough about
the book---he didn't tread it, alright, but still he should and could have been
brought to feel strongly about it one way or the other by the book itself.
On the other hand I am unwilling to embark on this work without your
assent.
You remember you detected, early on, that the editors were missing the
fulfilment of the book's sub-title The Rehabilitation of the Mind' i.e. of showing
what we can do about the madness. So we hit on using the sequel THE
DEATH OF HUMAN SEXUALITY. In fact, there is in THE MAD APE a
perfectly adequate description of the rehabilitation process, and the whole book
carefully leads to it. The last part of the book describes in detail what has to be
done to change human conditioning --how to get over the problem 'How do I alter
primal reflexes because thinking and thoughts won't help me?. It is all set down
there clearly and methodically, only by that time the editor is exhausted, he has
lost his way and finally concluded that it all takes too much thinking. They have
all lost their wày in the book, from Wm Morrow to HarperCollins in London.
The book leaves a vague sense of being outstanding, but how can the media
handle what isn't clearly set out?
It is the difficulty with everything I do. Inever understand the thing when I
first write it. So it has to go through several drafts, or one second draft written
many years after the first one---according as to whether the new information is
given to me in bits and pieces or in one fell swoop. The new title, THE MAD
APE, showed starkly what the book was about, but I received it as a good title, and
only a title, not a pointer to necessary changes in the book itself.
I am enclosing thoughts about this mad ape theme. They aren't part of
any new draft of the book because I'm not going to write one, nor are they parts of
the sequel or anything else. They're just jotted down for you and you alone, as the
probable basis of whatIwould do by way of pointing up, getting the corners and
indicators right. It seems quite absurd that such a theme, which every day is
getting more and more evidence for its truth, should submerge in a sea of
argument. Iwant perfectly simple sentences like What are we going to do about
this? Can we do anything? What do we mean by 'doing'?".
Am now printing up more copies of ALMA PHOENIX. This gives me an


excuse to go to the delightful Aix en Provence because I can only get the binding
done there. Its Palais de Justice was bombed last night. The tree-lined
boulevard takes you right back to Toulouse Loutrec's Paris.
All the best


Thoughts on The Mad Ape
The Resident Mc adness of the Humanl Mind.
The media truism that 'man' has alienated himself from 'nature' is an exact
mis-statement of what really happened. Of course nothing within the natural
cycle can separate itself from it. There is no 'nature' separable from the entities
conscious of it, since the consciousness is the nature. What we are talking about
in this truism is that alienation.perse, namely madness, set in. Madness is
certainly within nature. THE MAD APE is really a discussion of how this came
about and how, astonishingly, the human managed to adapt himself to his madness
and ultimately create a world gone mad. This century is the physical
realization of the human animal's power to adapt his environment to his own dire
handicap SO that he now firmly believes that the disaster (war, ecological crisis,
nuclear leakage, famine, terrorism) is all due to'outside' events which have to be
handled if he is to survive. In the same way the madman sees a crown or a
landscape in a blank wall he stares at for hours. His fellow inmates at dinner are
his court. Habitat laws are simply not operating for him---but this is the one
problem he cannot even perceive to be the problem, he is too damaged.
Why don't wej feel mad?
Humans we call madmen are simply those in whom the progress toward


mental collapse present in all humans has gone beyond the reparable. The
associative and motor-control powers of the cerebral cortex are damaged. Itis
only a matter of degree. The non-certified madman cannot of course look into
his own madness any more than the certified one can. He does differentiate
himself from all other animals, including vast numbers of humans (he is a 'king',
the wall tells him so). Self-differentiation is the heart of madness. We say the
madman lives 'in his own world'. But the madman doesn't concur. He says his
own world is the world, and you are remiss if you can't C agree. His madness, if it is
universal and if he is the most power animal in the environment, will ultimately
produce a deranged world (300 species a day dying, one in seven trees diseased).
What are the characteristic features of this madness?
The madman regards his state as an elective or specially endowed quality
separating him from other minds and things and worlds. This is the origin of
theology's 'special relationship' with God which no other animal (and few other
humans) enjoy, and the theological attitude to the animal nature', considered as
an obstacle to any relationship with God. It is a simple demonstration of the
intense grandiosity with which the madman regards his own position in the 'real'
world. You could say, in fact, that theology is always a written case history. Of
all the forms of theological fanaticism, what we now call rationalism is the most
extreme. Itis the culmination of the madman'si involuntary rejection or
indifference to the habitat ("detachment'). This detachment is really the erosion


of the inner habitat (notably that part of it which THE MAD APE calls the
sympathetic bond with other creatures). Can this inner habitat be revived? On
this question hinges the human's future. Some certified madmen can re-enter
'sane' states by being taken back to scenes of childhood, as in the case of Nijinsky,
i.e. the inner habitat suddenly comes into play again.
Is Psychoanalysis an Attempt to Cope with this?
Psychoanalysis, quite apart from its validity or truth or usefulness, starts
from a key error that the madness (categorized as psychosis, neurosis,
schizophrenia, hysteria) is a caused phenomenon, not an inheritance of
biological origin. Analysis says that if you bring the causes into the arena of
rational choice you have a chance of rehabilitating the mind somewhat. Since
those causes are, for psychoanalysis (as for theology), grounded in an instinctive
or libidinous nature (a version of theology's 'animal nature') which cannot bring
any remedial will to bear on itself, clearly only the mind (i.e. the non-instinctive
area can illuminate' the mad situation (another theological argument).
Psychoanalysis rightly doesn't examine society or institutions because it
sees that mental rehabilitation must be individual---undertaken by the individual
suffering mind itself. But this way it only drives its error deeper---by missing the
fact that society or civilization is simply the sum total of our thought reflexes.
In like manner its attempt at rehabilitation misses out the fact thatyou can't get
at these thought reflexes, or any reflexes at all, with thought or analysis.


Rationalism is after all simply the alienation that characterizies madness,
not at all a mode of discovery, much less rehabilitation. So the analyst and
analysand are a madman guiding a madman. A certain guidance is possible---we
can observe how mentally disturbed people often derive the greatest benefit from
each other's company rather than from their doctors. The 'transference' problem
derives from this madman-confronting-madman situation. So does the high rate
of suicide among analysts. Reich tried harder than anyone to get to the reflexes
themselves, i.e. behind the madness, using somewhat crude breathing methods,
but he still required the patient to talk and analyse, and that was the end of any
effect the breathing might (with hit-or-miss luck) have had. Only methods
which the madman cannot control with his thought can rehabilitate him.
What are these methods?
They existed in all civilizations except our own, and this is why when we
examine them it is nearly always a historical examination. My chapter on the
Greek myths is one such examination. These myths are mystifying to us because
we fail to see that they are personalized accounts of Hellenic techniques of
rehabilitation or initiations. They were abolished by Christendom because
the new theology wished to establish that there was an automatic rehabilitation
simply in a thought about Christ, or a prayer. So no rehabilitating techniques,
namely those on which all civilizations are built, officially survived. We cannot
find a society before our own---from the pygmies to the Siberians---which had no


safeguarding techniques whatever. It is this that has taken the human's
biologically activated madness to certifiable extremes, sO that today the behavior
of those within the mental institutions differs less and less from the behavior of
those outside.
My idea is to create a sense of madmen adjudicating on madmen, and how
to stop the dreadful spiral of uncontrolled events resulting from this huis clos
situation (the Sartre play is the perfect depiction of it---no way out of the closed
room; the world 'outside' beyond access, forever, butyearned for, dreamed about,
tearfully evoked in a hundred eloquent programs which are endlessly discussed to
no effect whatever; this is his definition of hell and of course it is about life).


Maurice Rowdon
La Luciole, Chemin des Patins, 84160 CUCURON, France.
5 August 1993
Dear Arthur:
I've just finished my revision of THE MAD APE and am doing a final run-
through.
I hope to have it with you within the month.
Thank you for reading HOW TO STOP DYING in entirety again. I've had
to put this on the back burner (which is getting congested) and have filed your
letter sO that I can return to it when the time comes.
When I send THE MAD APE I shall explain what parts I think you should
read for a quick reaction. It mostly concerns the opening.
All good wishes, hope you're
not frying,


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
February 15, 1994
Maurice Rowdon
La Luciole
Chemin des Patins
84150 CUCURON
FRANCE
Dear Maurice:
Now that you have a London agent, we had best have an official letter of
agreement that covers our world rights, with the exception of the British
Commonwealth. Evidently Tanja Howarth and I have different
perspectives. Please send a copy of any agreement you have with her.
The outline is fine, except that we need a subtitle, as I've said before. My
two suggestions would be, in order of preference, The Mad Ape: Western
Culture and Dementia, and The Mad Ape: Rationalism, Western Culture
and Dementia. Have you others? If my first suggestion is okay, please add
it to the first page of the outline and send me 10 copies ofthe complete
outline. Ifr not, we'll have to decide on a final subtitle before you send me
corrected copies.
Alll best,
Cie -
Arthur Orrmont
Editorial Director
AO:lr


Dachiell Rowdon


RON
LEE WihhlAMS
AMERICAN
ACTOR/SINGER (Tenor)
Fluent German
Radio, Stage, Films, Television in
U.S.A., Germany, Italy, Switzerland, Austria
In England:
Lead in
THE WALL IS MAMA, THE CAGE
San Quentin Drama Workshop
Hampstead, Edinburgh, I.C.A
Theatre, London, 1974
Lead in
CEREMONIES IN DARK OLD MEN
-U.K. Tour, Dark & Light
Theatre, 1974
DENYS BECHER LTD.
31, Museum Street, WC1A ILH
Height 6 feet
Brown Eyes
John Vere Brown 1974


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Portslade
Productions Ltd.
5 Tamworth Street London SW6 1LB Tel: 01.385 4003
Directors: Maurice Rowdon and Nicholas Kimber
THE FIVE PAST TWELVE COMPANY
PORTSLADE PRODUCTIONS have formed a live company
called The Five Past Twelve Company which is to
set up its activities in Munich as the centre and
launching pad of its international tours.
The
nucleus of the company, under the direction of
Maurice Rowdon, consists of RONNIE LEE WILLIAMS
(American), ROY MARTIN (British), BRENDAN DONNISON
(British) and RUTH CAMERON (Canadian).
Outside
this nucleus the company will audition in. London
and Munich for English-speaking actors and actresses.
On its tours the Munich centre will always be named
on the programmes.
For some time PORTSLADE
PRODUCTIONS have been looking for a suitable centre
for its tours in Europe, and the close affiliations
of all its members with Germany seemed to make
Munich the obvious choice.
Company Reg No. 51236 Reg Office 24 Castle Street Edinburgh 2
Registered as Theatrical Emplovers


PORTSLADE PRODUCTIONS is financed in London by
Nicholas Kimber, money-broker, who would retain
a financial interest in the Munich enterprise.
The Company's last production was Maurice Rowdon's
play MAHLER at the Arts Theatre, London (handbill:
enclosed).
It: attracted the attention of Ken
Russell who subsequently made his film of the same 7.
name. An off-Broadway production of this play
is now projected, to be directed by Peter Delaunay.
Maurice Rowdon's Canadian play THE RYE MAN,
designed for! restaurant or beer-hall presentation,
with music, will première in Montreal and is based
on his earlier play ESKIMO TRANCE which. had two
productions in Britain, the first at the Victoria
Theatre, Stoke -on Trent, directed by Peter Cheese-
man, and the second directed by the author himself
at the Mercury Theatre, London.
Maurice Rowdon's new one-man show BLACK BOBIN,
featuring Ronnie Lee Williams, the Black American
actor, and Roy Martin, actor-guitarist, is also
with iyrics and
and an album is planned.. ,
music,
n 4A
This production is suitable for
a 500-seat theatre.
Maurice Rowdon's new small-cast plays (TICK TICK,
THE OPEN PAN SYSTEM etc), for two and three hands,
are designed for studio-theatre production.
Maurice Rowdon's CHRISTOPHE, a full-length Black
play, dealing with Haiti's king at the time of
Napoleon, with Voodoo drumming and ceremonies,
is for a large cast (correspondence from the
National Theatre and the Royal Shakespeare Company
on this play is enclosed). Negotiations are
pending with Oscar Lewenstein at the Roundhouse
in London for a production in 1977.
The famous
pop-group MOTT THE HOOPLE has composed a complete
electronic sound backup for this play.
Maurice Rowdon's FINGERPRINTS ON THE WATER,
designed as an entirely new type of musical,
is also to be set up in 1977. The book is
already complete.
2IECA TOMOT


-Apart from his theatrical activities Maurice Rowdon
has recently written an international film called
JULIA for Susanna York based on Jean Rhys's GOOD-
BYE TO MR MACKENZIE, located in Paris and London in
the Thirties, with music and cabaret from the period.
Maurice Rowdon is currently working with the Roman :
producer MARIO FERRARI (Visconti's THE LEOPARD,
Fellini's ROMA etc), who has taken the JULIA script
into Warner Bros ashis first project with them. E
Maurice Rowdon is also writing an Italian film IN:
CHIANTI for Mario Ferrari, for:the Italian market,
and a script based on his novel' AFTERWARDS, with.an.
Anglo-American cast.
Maurice Rowdon made the 55-minute FALL OF" VENICE
for BBC Television in 1973. He was last' year a
director of the DARK AND LIGHT THEATRE, London.
Maurice Rowdon has published many books---novels,
travel, biography and history. His one-man show.
BLACK BOBIN is in fact based on his latest book of
history, THE SPANISH TERROR, published in London
by Constable and in New York by St Martin's Press.
It is a study of Spain's imperial role in'the six-
teenth century.
Rowdon's published works are as follows:
Novels
Hellebore the Clown (Chatto and Windus)
Of Sins and Winter (Chatto and Windus)
Perimeter West (Heinemann)
Afterwards (Barrie Books)
Travel
Italian Sketches (Gollancz)
A Roman Street (Gollancz)


Biography
Lorenzo the Magnificent (Weidenfeld/Regnery)
Leonardo da Vinci (Weidenfeld Great Lives)
History
The Fall of Venice (Weidenfeld/Praeger)
The Spanish Terror (Constable/St Martin's Press):
Maurice Rowdon is at present at- work on a worldwide
book project THE THINKING DOGS. for Doubleday in New
York and Ekon Verlag in Germany.
- - IEON


Chairman
Sir Max Rayne
Ad-ress!
The Archway
Director
Peter Hail
Rugistured Offce 10a Aquinas Street-
The NationalTheatre
Denuty Director
Michael Birkett
London SE1 BAE
Gene:al Administretce Peter Stevens
Telechone
Cabies/Telegrams ThenatLondon SE1
Reoisteredi Lordon in No 749504
Maurice Rowdon Esq
Portslade Productions Ltd
5 Tamworth Street
LONDON SW6 1LB
1st September 1975
Dear Mr Rowdon
I have now had a chance to examine your text of CHRISTOPHE,
which I found fascinating.
I think the play rings of truth and that the characters are
drawn with clarity and compassion. The story line is strong
and important, and the part of 'Christophe' would provide a
black actor with an opportunity for a great tour-de-force
performance. The background is colourful, exciting and.
extravagant.
However, having said that, I don't think that at the moment
it is one for us. In our current state of flux we do not
have the flexibility which would be required to enable us to
incorporate this particular piece into our repertoire.
However it was very good of you to let me see your script,
and I âm returning it herewith for safe keeping. I wish you
every success with it.
Best wishes
Yours sincerely
lelu Hall
PETER HALL


Cnairman
Sir Max Rayne
Address!
The Archway
Director
Peter Hall
Registered Office 10a Aquinas Street
The NationalTheatre
Deputy Dirèctor
Michael Birkett
London SE1 8AE
Upper Ground
General Administretor Peter Stevens
Telephone
LONDON SEI 9PX
Cables/Telegrams Thenat London SE1
Registeredin Loncon
Maurice Rowdon Esq
28th October 1975
Portslade Productions Ltd
5 Tamworth Street
LONDON SW6 1LB
Dear Mr Rowdon
Thank you very much for sending me the play "Christophe", and
also the previous correspondence with Peter Hall. I read
"Christophe" with particular interest since, when I was a film
producèr, I had always intended to propose a film on this
subject, and indeed had done a certain amount of background
research. Like Peter Hall, I found the play extremely
powerful in many respects, and it has, as hè said, a marvellous
part for a black actor, Unfortunately, I don't believe that
our new circumstances can really change our reaction to the
play. Although we are now in the happy position of being able
to move into the new theatre, our subsidy position is, if anything,
slightly worse. We have not, in fact, enough money to run both
the new main theatres on a repertory basis, and this restricts our
work rather more than we had anticipated.
Furthermore I do believe that: "Christophe" depends on a pretty
elaborate set and a pretty large cast to make it effective, and
this I'm afraid is going to be quite beyond us for' some time.
There is also the problem that our repertory work necessarily
involves planning plays in pairs, or even four at a time, and
"christophe" is obviously very much a one-off production.
This may seem obvious to you - if so, you must forgive me - but
it does appear to me that "Christophe 11 would make a marvellous
television spectacular, or indeed a marvellous film. Is it not
possible merely to transform it into a film script, like which it
already reads, and submit it to one of the American companies whom
I'm sure would be interested.


Thank you for sending it to me and I'm sorry that our
response remains unchanged.
Yours sincerely
Lord Birkett


ROYAL SHAKESPEARE COMPANY
Trevor Nunn Artistic Director and Chief Executive
Direction
1 T
Peggy Ashcroft Peter Brook Trevor Nunn
Peter
RSC
ESP PEANE Consultant Director Hall
Royal Shakespeare Theatre
Stratford-upon-Avon Warwickshire CV37 6BB
Incorporated under Royal Charter Patron Her Majesty the Queen
President The Earl of Harewood Chairman Kenneth R Cork
Telephone: Stratford-upon-Avon (0789) 3693
Deputy Chairman Sir George Farmer Vice-Chairman Dennis LI Flower
Box Office Telephone: Stratford-upon-Avon (0789) 2271
Aldwych Theatre
London WC2B 4DF
Telephone: (01) 379 6721
Box Office Telephone: (01) 836 6404
17 December 1975
Please reply to Aldwych address
Maurice Rowdon
Portslade Productions Ltd
5 Tamworth Street
London SW6. 1LB
Dear Mr Rowdon
Trevor Nunn passed on your play "Christophe" to me to read. We've
conferred about it today, and he has asked me to return it to you
with our regrets that it seems impossible for the RSC.
We can both see that it's a play with immense theatrical possibilities.
But it's hard to see how they could be realised with a cast of less
than twenty-five or thirty, all but six of them black. In our present
financial situation, it would be prohibitively expensive to mount,
and in any year it would be an unprecedented departure for us to put
on a play which used so few of our regular RSC players. Theoretically,
I know, while we are playing straight-run repertory at the Aldwych we
can cast any play ed hoc. But in practice this makes us all the more
concerned to maintain an obvious identity from production to production,
by using actors associated with the RSC in the past. In the nature
of Shakespearian casting, very few of these have been black.
Could I make one criticism of the script as it stands? I was put off
at the beginning of the play by the prologue scene with the tourists
and Tonton Macoute policeman. I can see that it conveys some necessary
information, but in most other ways it seemed to me unnecessary and
unhelpful: instead of suggesting that the story the play then tells
is reality rather than tourist legend, I think it has the reverse
effect. I'd have thought myself that the information the scene conveys
could be put over equally effectively by one of the English characters,
Tom Gulliver or Dr stewart, perhaps, and that the use of one of them as
a narrator-mediator between the story and an English audience might be
helpful: might, for instance, discourage them from juding Christophe's
rule by the standards of 1975 rather than the early 1800s.
Yours sincerely
Xonale
Ronald Bryden
Bauplen
Play Adviser


MAHLER at the Arts
4 It happened that a few weeks ago I read the script of MAHLER by
Maurice Rowdon and reported that while a play for two characters was
generally very difficult to put over, this play, though it had a few
46 contrivances, 9> ran very smoothly, had great zest, a delight in its two
characters, and a feeling of rapture for the music that enslaved them . -
a moving play - . .
THE JEWISH CHRONICLE Feb 23
4 Anne Mahler, the daughter of the composer, will not be going to see
MAHLER, the new play about her father by Maurice Rowdon .
- I know the play,' she said. 4 Mr. Rowdon sent it to me some time ago
and I sent it back as being beneath discussion. I am scandalised that
anyone should put it on.'
THE TIMES Jan 31
6 MAHLER covers an infinity of time, during and after the characters'
lives - . .Alma sits and faces death with the screaming of a jungle cat. -
the assurance of the young woman who knows that she is secure socially
and attractive physically Edith Macarthur handles beautifully.
THE STAGE Feb 22
4 Kit Surrey has designed a structure of wood and gauze that takes John
B. Read's evocative lighting well - . .
As Mahler Vladek Sheybal nicely
understates the 42 year old honeymooner with a book in his hand.'
THE TIMES Feb 15
€ Edith Macarthur is very much all-woman, beautiful to look at, graceful
in stature and good to hear. Vladek Sheybal is cunningly self-effacing as
Mahler, the man who is not of this world but who has to live in it .
I see that Mahler's daughter Anna, having read the script of this play,
described it as inept. It isn't.'
THE EVENING NEWS Feb 15


RONNIE LEE WILLIAMS
Born in Oakland, California.
THE BAND, Munich 1970
p A
Hudt
che original ensemble, Munich,
Dlisseldorf 1968, 4969
DO AS YOU LIKE IT (Orlando) - Colegne, 4970.
Vienna, 4970.
HAIR directed new produetion for-tour-of-Gemmang,
Austria nd Switzerland, 1971, 1973.
TV FILMS,
NBC/SY Colour me German (lead role)1969.
ORF/TV Neighbours (lead role) 1969.
ZDF/TV Tomorrow a Window to the Street, 1969.
ORF/TV Trip lead role) 1977.
ZDF/TV The pawnbroker 1971.
FEATURE FILM: Traumstadt 1972. Timeints Soumls
SILO UL 1976 Roser Aduch


ROYMARTIN F
Height: 5'10"
Eyes: Blue (2)
Hair: Various
ROY MARTIN. actor, director, musician, writer, poet, acrobat and Equity member, also rides horses,
performs car and motor-cycle stunts, and is an expert Scuba diver.
Early Training 1960 - Stuntman for Wamer Bros. Hollywood
1961 - Wall-of-death rider, Southend Amusement Park
1962-1965 - Travelled in the East with The Magic Theatre
1966-69 Robert O'Neil's Actors Studio Company
Jonothan Hammond's Northend Troupe (plays by Paul Ableman and Roger Howard at London Arts
Lab and Mercury Theatre)
Quipu Productions (David Calderisi and David Halliwell)
Rivendo Productions (Alexis Kanner)
La Mama
Co-Director of Wherehouse La Mama (London). Ellen Stewart's London offshoot of her New York
company. Extensive European tours and TV appearances including:
'Hump' (in collaboration with the author. David Benedictus)
'GroupJuice' and 'Little Mother'.
Title role in 'The Hilton Keen Show' - to which James Mossman devoted an entire TV
programme, Review (13 Dec 1969) *
'obviously a bit of a shock for some older members of the audience . . imaginatively appalling
cleverly devised . - brutally funny . projected with vigour and abandon by this energetic
young company' - Guardian
Playschool (TV Director: Michael Cole)
Launched BBC TV's new series First Time Out' with "Programme', written and performed by
the company (TV Director: Anne Head)
'Does you mother know your watching' (TV Director: Michael Cole)
Roy Martin was Founder-Director of La Mama Amsterdam, launched with 'Evol', a
rock-musical, directed by and featuring Roy Martin.
entirely effective . - The whole work is a free-flowing pastiche of contemporary
theatrical effects that succeeds in sensuously, ecstatically involving the audience and,
at the end of the performance, bringing them, to their feet. : The music and songs are
delightful and the joyous involvement of the actors in their work is miraculous in the
face of the current theater of abstraction and alienation. - - Paradiso Fox, Amsterdam
Roy Martin's departure from the London La Mama company was noted by Irving Wardle in.
The Times:
'Since I last saw them the Wherehouse have lost two of their strongest members,
Roy Martin and Neil Hornick.
Classes and workshops in Experimental Theatre at London School of Contemporary Dance
Directed 'Spiggy Topes' 'Plastic Sock' at The Place, London
Quipu Productions - David Caldersi's 'Intersection' at Mercury Theatre, London, and
Phoenix Theatre, Leicester.
Co-directed. 'A Shakespeare Collage' for D.A.T. Company, Amsterdam
Directed La Mama Season at Pistol Theatre, Stockholm:
Leonard Melfi's "Stimulation'
Maria Irene Fomnes' 'Dr. Kheal' (a one-man play directed and performed by Roy Martin)
Roy Martin's 'Five and a. Half Minutes'


Royl Martin / continued.
1972-73 Staged '22', Marsha Hunt's new Road Show
Collaborations with Neil Hornick's The Phantom Captain company
'Watch out Monty Python. There's an outfit called The Phantom Captain coming
close behind you in the fine art of making serious fun of heavy breathing sugjects.
The Sunday Times
Playroom Theatre season, Old Compton Street, London
'The Hidden Arthur' by the Company, DirectorJ. Skarvellis
- - Roy Martin's fiery Merlin' -! Time Out
'Animals Under Canvas' byJ. Skarvellis, Director Christy Dickason.
' imaginative performance of Royl Martin' - Time Out
'Beautiful Lunatics' by William Dumaresque, Director Richard Howard.
'Dr. Kheal', a one-man play by Maria Irene Fornés, Director Roy Martin
Electra' by Warren Heamden, Director Mike Sarne
'the very talented Roy Martin' * Plays and Players
'Wankers' by J. Skarvellis, Director Mike Sarne
Films: 'Crossplot' (Tribune Productions, Alvin Rakoff)
"Twentynine' (Shillingford Lamb Productions, Brian Cummings)
'Connecting Rooms' (Telstar Productions, Franklyn Gollings)
'La. Pied' (Avcar Productions Brussels, Patrick Hella)


BRENDAN DONNISON
HAIR, lead role and director in Germany, Austria,
Holland, Switzerland.
JESUS CHRIST SUPERSTAR (Annas) in Germany, also
sang on the album.
With the SAN QUENTIN: WORKSHOP:
Hatchet in THE CAGE: London, Munich, Frankfurt,
Bochum, Edinburgh Festival.
END GAME: Edinburgh.
THE WALL IS MAMA: Edinburgh, ICA in London and
New End Theatre, London.
With the MONSIEUR ARTAUD COMPANY:
With Sally Willis THE SAILOR: Edinburgh and Bracknell
Arts Centre, London.
FREE LANCE : MOBY DICK.
THE STAIRCASE.
Sartre's MEN WITHOUT SHADOWS.
JASON by Joe Praml.
FILMS: HoraceFOve's THE IMMIGRANT $ TIRED or WAITING.
RUTH CAMERON
Studied Drama at University of British Columbia, Canada.
She has played many roles in German theatres:
Pinter's THE INTERVIEW.
Arden's SERGEANT MUSGRAVE'S DANCE.
THE KILLING OF SISTER GEORGE.
A LITTLE SOMETHING FOR THE MAID.
Albee's THE AAMERICAN DREAM.
Kenneth Cameron's THE HUNDRED AND FIRST.
Joe Orten's RUFFIAN ON THE STAIR.
FUNERAL GAMES.
Beckett's HAPPY DAYS.
For her performance in HAPPY DAYS (1975) Ruth Cameron
was chosen 'Star of the Week' by the Abendzeitung,
Munich.
: t: : E GION


Individual
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A I
MAHLER at the Arts
6 It happened that a few weeks ago I read the script of MAHLER by
Maurice Rowdon and reported that while a play for two characters was
generally very difficult to put over, this piay. though it had a few
44 contrivances," ran very smoothly, had great zest, a delight in its two
characters, and a feeling of rapture for the music that enslaved them .
a moving play .
THE JEWISH CHRONICLE Feb 23
4 Anne Mahler, the daughter of the composer, will not be going to see
MAHLER, the new play about her father by Maurice Rowdon .
- I know the play,' she said. - Mr. Rowdon sent it to me some time ago
and I sent it back as being beneath discussion. I am scandalised that
anyone should put it on.'
THE TIMES Jan 31
4 MAHLER covers an infinity of time, during and after the characters'
lives . - Alma sits and faces death with the screaming of a jungle cat. -
the assurance of the young woman who knows that she is secure socially
and attractive physically Edith Macarthur handles beautifully.'
THE STAGE Feb 22
+ Kit Surrey has designed a structure of wood and gauze that takes John
B. Read's evocative lighting well .
As Mahler Vladek Sheybal nicely
understates the 42 year old honeymooner with a book in his hand.'
THE TIMES Feb 15
6 Edith Macarthur is very much all-woman, beautiful to look at, graceful
in stature and good to hear. Vladek Sheybal is cunningly self-effacing as
Mahler, the man who is not of this world but who has to live in it .
I see that Mahler's daughter Anna, having read the script of this play,
described it as inept. It isn't.'
THE EVENING NEWS Feb 15


BRite Hunke,
David
Associates Limited
Iuréehuntor
Higham
dov idlughom
John Street
Golde uafe don WIR 4HA
DAVID HIGHAM ASSOCIATES
Telephone 071-437 7888
Cables HIGHLIT LONDON-W1
Telex 8955509 (BQSLDN G)
Maurice Rowdon Esq
Church Cottage
Church Hill
Midhurst
Sussex
GU29 9NX
Dear Maurice,
Thank you for your letter of the 17th. I have no opinion about the commercial
possibilities of TIDES OF MADNESS because I haven't understood the thrust
of the book. Perhaps I will when I've read the rest. It's clearly and
well written but what I have read so far seems to raise more questions
than it answers.
With best wishes,
Yours,
Rus
Bruce Hunter
BH/tf
Directors
Bruce Hunter, Jacqueline Korn,
Anthony Crouch, John Rush,
Elizabeth Cree, Anthony Goff,
Ania Corless
Registered in England at the
above address No. 304776


David Higham Associates Limited
5-8 Lower John Street
Golden Square, London WIR 4HA
DAVID HIGHAM ASSOCIATES
Telephone 071-437 7888
Cables HIGHLIT LONDON-W1
Telex 8955509 (BQSLDN G)
Maurice Rowdon Esq
Church Cottage
Church Hill
Midhurst
GU29 9NX
Dear Maurice,
TIDES OF MADNESS IN THE HUMAN' BRAIN
Thank you for your letter of May 2nd and the partial typescript which I
have read with interest. If you are asking me to say on the basis of this
whether we would represent you I would have to say no. I'm afraid I don't
at present see the market for this. However if you'd like to send me the
remainder of the typescript I'd be glad to reconsider.
I'll hold the material here until I hear from you. If you want me to return
it of course I will. I'm sorry I can't be more enthusiastic on the basis
of the present material.
Yours sincerely,
Bmw.
Bruce Hunter
BH/tf
Directors
Brucel Hunter, Jacqueline Korn,
Anthony Crouch, John Rush,
Elizabeth Cree, Anthony Goff,
Ania Corless
Registered in England at the
above address No. 304776


CHURCH COTTAGE
CHURCH HILL
MIDHURST
GU29 9NX
Bruce
Hunter
David Higham Associates
5 - 8 Lower John Street
Golden Square
LONDON
W1R 4HA
2nd May 1990
Dear Bruce,
Ever since our joyous meeting last week I have been trying to
get my PC and printer adapted to different current paper sizes
etc. and repaired after transit. Not yet successfully, which
accounts for the title page of the enclosed "TIDES OF MADNESS
in the HUMAN BRAIN"
This is the first two parts. Part 3, the final part, which I
would like to potter about with further, is about 120 more
pages.
You must meet Dachielle. We will arrange something soon. You
look twenty years younger,
all the best from
MAURICE ROWDON


CHURCH COTTAGE
CHURCH HILL
MIDHURST
GU29 9NX
Bruce Hunter
David Higham Associates
5 - 8 Lower John Street
Golden Square
LONDON,
W1R 4HA
2nd May 1990
Dear Bruce,
Ever since our joyous meeting last week I have been trying to
get my PC and printer adapted to different current paper sizes
etc. and repaired after transit. Not yet successfully, which
accounts for the title page of the enclosed "TIDÈS OF MADNESS
in the HUMAN BRAIN"
This is the first two parts. Part 3, the final part, which I
would like to potter about with further, is about 120 more
pages.
You must meet Dachielle. We will arrange something soon. You
look twenty years younger,
all the. best from
MAURICE ROWDON


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
February 15, 1994
TO: Maurice Rowdon
La Luciole
Chemin des Patins
84160 CUCURON
FRANCE
This will confirm cur understanding that Author Aid Associates will serve
exclusively as your literary agent for U.S. and world rights (except for British
Comimonwealth book/dramatic/article/short story rights), at a commission of
15%, U.S. domestic sales and 20%, foreign, for all your booklength
fiction/nonfiction, short fiction, major articles, and full-length plays.
It is agreed that earnings ofthis work and subsidiary rights thereof will be
collected by us on your behalf, and will be paid to you promptly after de-
duction ofthe stipulated fee from gross earnings.
It is further agreed that you will be kept informed of all book and other offers,
including those for electronic rights; that we will consult with you on such
offers; and that no agreement will be made or contract drawn without your
prior consent. Itis understood you will not unilaterally submit material that
we are handling to publishers/producers and negotiate with them on your
own. All costs ofretyping/word processing, Xerox, duplication, messenger
fees when necessary, long distance phone calls, etc., will be borne by
yourself, but in any case will be itemized.
As is customary in the trade, if our author-agent relationship be terminated,
we will continue to collect commission on any contract already negotiated,
executed, and earning money, or on any contract not yet earning money but
negotiated and executed during the agency term, or on any contract negotia-
ted during the agency period and executed within 30 days following termina-


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
tion of the agency. A list of publishers/producers/studios to whom represen-
ted material has been shown will be provided at time oftermination ofagency
representation; should you conclude a contract with one or more of them after
termination, full agency commission will also be due on each such contract.
You are free to take unnegotiated, unsold rights with you if representation is
ended. It is agreed that the only termination of this agreement within duration
ofthe term specified below will be either by mutual consent or by the agency
unilaterally, and that this will not occur without written notice one month in
advance. During the term of this agreement, the agency will have exclusive
right of first refusal of all other new scripts and/or book-length material
written by you.
This agreement will be in effect for a period of two years from date ofyour
signing of this agreement, an extension to be mutually agreed upon. This
countersigned letter of agreement, to be in effect, must be received by us on
or before March 1, 1994. To signify your approval, please sign both copies,
retain one for your files, and return the remaining one for ours.
Dol Yo
Arthur Orrmont
Editorial Director
Signed and Agreed to


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
February 15, 1994
TO: Maurice Rowdon
La Luciole
Chemin des Patins
84160 CUCURON
FRANCE
This will confirm our understanding that Author Aid Associates will serve
exclusively as your literary agent for U.S. and world rights (except for British
Commonwealth book/dramatic/article/short story rights), at a commission of
15%, U.S. domestic sales and 20%, foreign, for all your booklength
fiction/nonfiction, short fiction, major articles, and full-length plays.
It is agreed that earnings ofthis work and subsidiary rights thereof will be
collected by us on your behalf, and will be paid to you promptly after de-
duction of the stipulated fee from gross earnings.
Iti is further agreed that you will be kept informed of all book and other offers,
including those for electronic rights; that we will consult with you on such
offers; and that no agreement will be made or contract drawn without your
prior consent. It is understood you will not unilaterally submit material that
we are handling to publishers/producers and negotiate with them on your
own. All costs of retyping/word processing, Xerox, duplication, messenger
fees when necessary, long distance phone calls, etc., will be borne by
yourself, but in any case will be itemized.
As is customary in the trade, if our author-agent relationship be terminated,
we will continue to collect commission on any contract already negotiated,
executed, and earning money, or on any contract not yet earning money but
negotiated and executed during the agency term, or on any contract negotia-
ted during the agency period and executed within 30 days following termina-


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
tion oft the agency. A list of publishers/producers/studios to whom represen-
ted material has been shown will be provided at time oftermination of agency
representation; should you conclude a contract with one or more ofthem after
termination, full agency commission will also be due on each such contract.
You are free to take unnegotiated, unsold rights with you if representation is
ended. It is agreed that the only termination of this agreement within duration
ofthe term specified below will be either by mutual consent or by the agency
unilaterally, and that this will not occur without written notice one month in
advance. During the term of this agreement, the agency will have exclusive
right of first refusal of all other new scripts and/or book-length material
written by you.
This agreement will be in effect for a period of two years from date of your
signing oft this agreement, an extension to be mutually agreed upon. This
countersigned letter of agreement, to be in effect, must be received by us on
or before March 1, 1994. To signify your approval, please sign both copies,
retain one for your files, and return the remaining one for ours.
Best,
Arthur Orrmont
Editorial Director
Signed and Agreed to


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
January 26, 1994
Maurice Rowdon
La Luciole
Chemin des Patins
84160 CUCURON
FRANCE
Dear Maurice:
Sorry about the delay in answering yours ofthe 21st, but we have been
swamped here, one reason for a relatively recent reading ofthe
revision. agree 100% on the title- -any title with "Homo" in it is
bound to raise snickers -but wonder if we won't need a new subtitle
as well.
There was a definite misunderstanding. I was merely over-reacting
from the stresses ofhaving received several revisions at the same time
over the holidays. As for your psychic advisor, I might remind you that
my own psychic flash on Mad. Ape was that it would sell 50,000 copies
in hardcover and 100,000 in soft. This to assure you that my interest in
it remains strong, even though publishers here continue to downsize
and cut their lists, including Harcourt and Atheneum (which latter is
virtually disappearing).
As for the revision itself, I've read it with much admiration, except for
your problem with detatchment- -which, however, I'm not asking be
further revised. I've looked for the outline you mentioned, but haven't
found it (only the outline that combined the originally-conceived
sequel), and will need a draft version of two or three double-spaced


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NY 10022
Publisher of Literary Agents of North America: Fourth Edition
pages, to be revised for use with our queries to potential publishers. I'll
be asking you for eight or ten copies ofthe final version oft the
outline. We can't re-query any of the houses that have already
considered the manuscript.
I'm glad we're friends again, since I do want you to know that you are
highly valued as a client and the most interesting writer I represent.
My best to Daschiell, who must be coping with a very impatient writer
at this point.
All'best,
Arthur Orrmont
AO:lr


AUTHOR AID ASSOCIATES
Literary Representatives
340 EAST 52ND STREET
NEW YORK, NEW YORK 10022
Publisher of Literary Agents of North America: Fourth Edition
March 3, 1993
TO: Maurice Rowdon
La Luciole
Chemin des Patons
84160 Cuceron
FRANCE
Sorry to be SO long in writing, but I was expecting a call about the novel and also am recently
out ofhospital after a recurrence of the episode I mentioned to you on the telephone. Since you
haven't sent the revisions for Ape, I assume you won't be doing so, and will resume submissions
ofthe original version. As for Dying in California, I find the expansion slow reading and
wonder if you have gone to extremes in fleshing out a short novel, and ifthere's too much
orthodox Freudian analysis that is dated now. The basic problem is that the original plot was
appropriate only to a short novel, and that an expansion hasn't added any new plot
developments, SO that as a result the pace is quite slow, despite patches of your usual brilliant
writing. And you have dragged in many ofy your favorite ideas. This kind of satire should be
short and pointed--Waugh's Loved One comes to mind. However, ifyou wish the new version
submitted, I'll do SO to a couple of California houses that I feel would be most appropriate after
the following revisions:
Pages 42-57: cut down
Page 89: There's too much on Sally's anger forestalling the end of the world. Please cut down.
Page 182: Is a ten-cent phone call correct for the time period?
After p. 200, the ms. gains sharply in authority.
Ifit's declined, would you consider revising the first, shorter version?
All best, and I hope this finds you and your lady well.
Arthur Orrmont
Editorial Director
AO:lr


LAURENCE POLLINGER LIMITED
18 MADDOX STREET
AUTHORS AGENTS
MAYFAIR
LONDON, WIR OEU
DIRECTORS
GERALDJ. POLLINGER
MARGARET PEPPER
SECRETARY
TELEPHONE: 071-629 9761 (P.B.X)
FAX:
DENZIL DE SILVA
TELEGRAMS: LAUPOLLLONDONI W1
CABLES: LAUPOLL LONDONI W1
Mr.Maurice Rowdon
Casa Campardi
Casale 23
San Gimignano 53037
Siena Italy
1lth March 1991
Dear Maurice,
Thank you for your letter of the 22nd February. As requested I am
returning the typescript of THE MAD APE.
I note that your novel is beinghandled by your New York agent and
naturally I do hope you have early success with it.
Best wishes.
Burton
Gpp gulet
Juliet Burton
JB/SD
REG. NO. 600568 (ENGLAND) REG. OFFICE: MERCURY HOUSE, 195 KNIGHTBRIDGE LONDON, SW7 IRE
ALTHOUGH EVERY REASONABLE CARE IS TAKEN OF MATERIAL IN OUR POSSESSION WE CAN ACCEPT NO RESPONSIBILITY FOR ANY LOSS OR DAMAGE THERETO


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
11 November 1992
To: Maurice
David Stanford of Viking Penguin reports: "Although
there is much in it that I find interesting, in the
end I don't feel strongly enough about it to want
to take it on for the Arkana list, which remains
quite small in terms of new acquistions. I appre-
ciate your giving me a chance to coasider the
work, though, and apologize for being so slow to
give you a response. It first arrived while I was
on a business trip, and then a two week jury
stint put me way behind on my reading. I thought
I had replied to your follow-up inquery letter,
and am embarrassed that I did not. I am just
now beginning to catch up, and hope you will
forgive me."
The ms. is now with Crown (an editor looking for
"serious " books) and Ballantine (a new editor in
chief who has come over from Bantam). I'll let
you know substantive reactions. The novel ms.
arrived yesterday. Best.
Arthur Orrmont
A0:cc


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
17 December 1992
To: Maurice
As addenda to our conversation, do emphasize
initiatory aspects in your MAD APE revisions.
It's occurred to us that publishers with New
Age lists might be more interested than general
ones. I'd always planned to show the ms. to
HarperCollins California, which has a New Age
list and also S&S/and Bantam, which also do.
My Harper & Bantam contacts are good.
As to the vegetarian idea, only one USA vegetarian
magazine pa'25 and that not well, nor, as I said,
do I handle articles unless they're major ones
for magazines such as PLAYBOY or PENTHOUSE,
one, two or three parters. A worldwide vegetarian
guide, or even one for the US., France, or
California would require a research staff; the
restaurants themselves, of course, come and go
quickly.
However, a book on mystical: Provence for a
regular, non New Age publisher would be a possibility
depending on how it's handled. I don't submit
to small New Age lists. Could you do an outline
we could discuss here further?
I wasn't quite clear on the short stories. I submit
only to. the majors---Playboy, Harper, Atlantic -
Montrhly,". New Yorker, Esquire. Any Rowdon short
short'story would be interesting, but I can't
get involved with the same kind of revision we've
had on your book. So send me outlines of short
fiction you do or are planning to do, and also
keep in mind the 20,000 word novellas Harper's


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
are soliciting. All best to you and your lady
for the Season.
Arthur
AO:cc


M lartir
Secker
Warb ur
Byinf
acknowledge safe receipt of Haw 10 Stp
Michelin House
81 Fulham Road
in Calipormia by meince Reuda C
London SW3 6RB
Telephone 01-581 93
Telex 920191
and will let you have a decision as,soon as possible.
with the compliments
ROBIN ROBERTSO:


LA lousises
foct35it
APEAES
Pador


LAURENCE POLLINGER LIMITED
18 MADDOX STREET
AUTHORS AGENTS
MAYFAIR
LONDON, WIR OEU
DIRECTORS
GERALD J. POLLINGER
MARGARET PEPPER
TELEPHONE: 01-629 9761 (PBX)
SECRETARY
TELEGRAMS: LAUPOLL, LONDON-WI
DENZIL DE SILVA
CABLES: LAUPOLL, LONDON-WI
26th September, 1990
Maurice Rowdon Esq.,
Church Cottage,
Church Hill,
Midhurst,
Sussex,
GU29 9NX
Dear Mr. Rowdon,
Thank you for your letter of 18th September
regarding your work.
We will be pleased to read THE MAD APE but
I am afraid we do have to ask for a £10 contribution
towards our editorial costs as well as the usual
return postage. In the event that we undertake
to act on your behalf and place your work with a
publisher the editorial contribution will be
refunded in full.
I am enclosing copy of our commission schedule
for your information.
Yours sincerely,
mldon
Mancy
Juliet Burtdd
JB/NW
Enc. comm. schedule.
REG. NO. 600568 (ENGLAND).REG. OFFICE: : PAINTERS HALL, 9 LITTLE TRINITY LANE, LONDON EC4V 2AB.
ALTHOUGH EVERY REASONABLE CARE IS TAKEN OF MATERIAL WHILE IN OUR POSSESSION WE CAN ACCEPT
NO RESPONSIBILITY FOR ANY LOSS OR DAMAGE THERETO


LAURENCE POLLINGER LIMITED
18 MADDOX STREET
AUTHORS' AGENTS
MAYFAIR
DIRECTORS
LONDON, WIR OEU
GERALD. J. POLLINGER
MARGARET PEPPER
TELEPHONE: 01-629 9761
SECRETARY
TELEGRAMS:
DENZIL DE SILVA
LAUPOLL, LONDON-WI
CABLES: LAUPOLL, LONDON-WI
SCHEDULE
On sales in the English language we. deduct on the price obtained a
commission of:
15% on British Commonwealth book rights.
10% on Motion Picture, Drama, Television and Sound Broadcast-
ing rights.
15% on United States rights.
15% on original magazine, newspaper, and serial rights.
And on sales in translation:-
20% on all translation rights.
A higher commission is charged on the sale of rights in translation
form to cover both the higher administration expenses and the
commission payable to our associate representatives. The only
disbursements charges made are for:
The cost of Cables and International Telegrams.
Special mailing costs occasioned by emergencies or at an
author's request.
Legal charges incurred on behalf of the author.
Copies ofbooks and/or magazines purchased on behalf of
authors where necessary for the offer of additional
(including translation) rights of their published material.
REG. NO. 600568 (ENGLAND) REG. OFFICE: PAINTERS HALL, 9 LITTLE TRINITY LANE, LONDON EC4V 2AE.
ALTHOUGH EVERY REASONABLE CARE IS TAKEN OF MATERIAL WHILE IN OUR POSSESSION WE CAN ACCEPT
NO RESPONSIBILITY FOR ANY LOSS OR DAMAGE THERETO.


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET -
NEW YORK, NEWYORK 10022 / I
Cable: MAXBIRD, NEW: YORK -
20 July 1990
To: Maurice Rowdon
Mr. Orrmont hasn't received the complete manuscript,
and wonders if you got: his letter of May 23rd_saying
that yes, indeed, he would be glad to see it.
Bolton
Eleanor
EB:cc
Assistant Editor
P.S. In thât letter to also asked for a one paragraph
description of the book and'a one page outline/descrip-
tion we could show to publishers;


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AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
9 May 1989
To: Maurice Rowdon
Do send on the first two chapters of the ms. plus
an outline of the remainder, together with a stamped,
self-addressed envelope for their return, if necessary.
If we're impressed with this, we'll ask to see the re-
mainder of the manuscript. Please note that we can't
read material also being shown to other agents at the
same time; we will, though, respond to you as to our
own interest as soon as possible.
Arthur Orrmont
AO:eb
Editorial Director
P.S. Who is your present agent and what was the
reason for your dissatisfaction?


LAURENCE POLLINGER LIMITED
18 MADDOX STREET
AUTHORS AGENTS
MAYFAIR
LONDON, WIR OEU
DIRECTORS
GERALD J. POLLINGER
MARGARET PEPPER
TELEPHONE: 01-629 9761 (PB.X)
SECRETARY
TELEGRAMS: LAUPOLL, LONDON-WI
DENZIL DE SILVA
CABLES: LAUPOLL, LONDON-WI
Mr.Maurice Rowdon
Casa Campardi
Casale 23
San Gimignano 53037
Siena Italy
27th November 1990
Dear Maurice,
Thank you very much for your letter of the
21st November.
It is very good of you to
suggest we take a look at HOW TO STOP DYING
IN CALIFORNIA and we look forward to doing
Best wishes.
Yours
Imeraunlu
Juliet Burton
JB/SD
REO. NO. 600568 (ENGLAND) -REO. OFFICE: : PAINTERS HALL, 9 LITTLE TRINITY LANE, LONDON EC4v 2AE.
ALTHOUGH EVERY REASONABLE CARE 1S TAKÉN OF MATERIAL WHILE IN OUR POSSESSION WE CAN ACCEPT
NO RESPONSIBILITY FOR ANY LOSS OR DAMAGE THERETO


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LAURENCE POLLINGER LIMITED
18 MADDOX STREET
AUTHORS' AGENTS
MAYFAIR
LONDON, WIR OEU
DIRECTORS
GERALD. J. POLLINGER
MARGARET PEPPER
TELEPHONE: 01-629 9761 (P.B.X)
SECRETARY
TELEGRAMS: LAUPOLL, LONDON-WI
DENZIL DE SILVA
CABLES: LAUPOLL, LONDON-WI
Mr.Maurice Rowdon
Casa Campardi
San Gimignano 53037
Siena ITALY
7th November 1990
Dear Mr.Rowdon,
Several of us have now read your interesting book. I am
sorry to tell you, however, that the final consensus was
that we would not be able to find a publisher for it on
your behalf.
There is no doubt that THE MAD APE draws on a formidable mass
of information and frequently succeeds in being both
entertaining and controversial. However, as one of our
readers put it "Though in its way well enough written,
the book is (regardless of its central argument) by no means
an easy read: doubtless because the inadequacies of the
brain here described are exemplified in me. I found myself
mentally calling for help every 50 pages or so. In the end
I do not feel the author manages to make his argument
convincing and the considerable amount of evidence he
produces does not, for me, support it satisfactorily."
I do regret not having better word for you and shall keep
the typescript here until I have your instructions.
Thank you very much for giving us the opportunity to consider
Yoyhs sincerely,
werun 1 ( -
Juliet Burton
JB/SD
REG. NO. 600568 (ENGLAND) REG. OFFIÇE: MERCURY HOUSE, 195 KNIGHTBRIDGE LONDON,SW7 IRE
ALTHOUGH EVERY REASONABLE CARE IS TAKEN OF MATERIAL IN OUR POSSESSION WE CAN ACCEPT NO RESPONSIBILITY FOR ANY LOSS OR DAMAGE THERETO


LAURENCE POLLINGER LIMITED
18 MADDOX STREET
AUTHORS' AGENTS
MAYFAIR
LONDON, WIR OEU
DIRECTORS
GERALD. J. POLLINGER
MARGARETI PEPPER
TELEPHONE: 01-629 9761 (P.B.X)
SECRETARY
TELEGRAMS: LAUPOLL, LONDON-WI
DENZIL DE SILVA
CABLES: LAUPOLL, LONDON-WI
8th October 1990
Mr.Maurice Rowdon
Casa Campardi
San Gimignano 53037
Siena
Italy
Dear Mr.Rowdon,
Thank you for your letter of 1st October enclosing your cheque for
£10 as a contribution towards our editorial costs and £5.60 return
postage.
The typescript of THE MAD APE has arrived safely and I shall be in
touch just as soon as we have had a chance to consider it.
I note you do not wish the typescript to be returned to your Italian
address.
Yours sincerely,
Nmolouales
Hliet Burton
JD/SD
REG. NO. 600568 (ENGLAND) REG. OFFICE: MERCURY HOUSE, 195 KNIGHTBRIDGE LONDON, SW7 IRE
ALTHOUGH EVERY REASONABLE CARE IS TAKEN OFI MATERIALI IN OUR POSSESSION WE CAN ACCEPT NOI RESPONSIBILITY FOR ANY LOSS OR DAMAGE THERETO


Julian Bath Litray-Agongync.
747 THIRD AVENUE, NEW YORK, N.Y. 10017 - 212753-2605 - CABLE: TURTLES NEWYORK . TELEX: 668359
Mr. Maurice Rowdon
The Ship Hotel
Chicester
West Sussex
UNITED KINGDOM
Dear Mr. Rowdon,
I read into much of your partial manuscript. It's obvious
from the start that you're an intelligent and articulate
person. But I cannot offer to represent this manuscript
because I do not think I could sell it. This does not mean
that it is not publishable but that it would not be what the
companies with whom I do most of my business are looking
for.
You might try Cambridge University Press and Oxford; and
this might be something for Academic Press in Cambridge
Massachusetts.
I am holding both copies because it is unclear whether you
would like them sent to your California or West Sussex
address.
Normally we mail manuscripts to Europe by sea mail. If you
would like it sent air mail please send a check for $43.90.
to cover the mailing cost.
Sincerely,
Back
Jalan
Julian Bach
JB:td


NEW' YORK
BEVERLYHILLS
NASHVILLE
LONDON
ROME
SYDNEY
MUNICH
WILLIAM MORRIS AGENCY, INC. EST.1 1898
1350 AVENUE OF THE AMERICAS NEW YORK, N.Y. 10019 - (212) 586-5100 XXXX
Cable Address:
WRITER'S DIRECT DIAL NO.
"WILLMORRIS"
TELEX 620165
FAX:
November 27, 1989
Mr. Maurice Rowdon
125 Crescent Road
San Anselmo, CA 94960
Re: TIDES OF MADNESS IN THE HUMAN BRAIN
Dear Mr. Rowdon:
Thank you for your recent letter. Unfortunately, we have
a problem here, because I am not authorized to make
changes in this legal form. As a large agency, we are
vulnerable to nuisance suits and to claims that material
submitted to us is being improperly used. Therefore,
the policy is strict and cannot be changed. Almost
everybody that wishes to have material reviewed by us
agrees to this form. If it is impossible for you to
agree, then, unfortunately I am afraid we must pass on
being able to review your material. That would be a
shame, since I am very interested. Perhaps you could
agree to send the two chapters and outline with the release
form, indicating only those two chapters and the outline.
That would leave the larger part of your work free from
any concerns you might have about the release form. If
this works for you, I look forward to receiving the
material; if not, I send you best wishes for good luck
with someone else.
Sincerely yours,
Ned Leavitt
NL/sp


NEW' YORK
BEVERLYHILLS
NASHVILLE
LONDON
ROME
SYDNEY
MUNICH
WILLIAM MORRIS AGENCY, INC. EST. 1898
1350 AVENUE OF THE AMERICAS NEW YORK, N.Y. 10019 - (212) 586-5100 XXXX
Cable Address:
WRITER'S DIRECT DIAL NO.
"WILLMORRIS"
TELEX 620165
FAX:
VIA CERTIFIED MAIL
December 15, 1989
Mr. Maurice Rowdon
125 Crescent Road
San Anselmo, CA 94960
Dear Mr. Rowdon:
I regret very much to say that while I found some of the
writing quite fascinating, I do not think that I could
provide the kind of enthusiastic representation for your
book that you would want. I wish I could be more
supportive, but unless I feel strongly : that I know which
publishers would respond well to a project, it is best
for me not to get involved. I send you best wishes for
finding someone who can support you in this project.
Sincerely yours,
Ned Leavitt
NL/sp
Encl.


Church Cottage
Church Hill
Midhurst
Sussex GU29 9NX
Dear Mr Orrmont:
We were in touch last year about a book of mine
then called INROADS ON SANITY. You read the first
two chapters and needed an Outline from me, but I
decided that describing a book already dense in ideas
would produce a highly abstract account which could
attract no one in the business of selling books
I was anxious to finish the book, and present a
completed manuscript, and this is what I have done,
under a new title-- -not the title I finally hope to
get but better than the first one-- -TIDES OF MADNESS
IN THE HUMAN BRAIN.
The book has been revised and
a new introductory first chapter added that provides
the reader with an outline of the subject tackled.
I wonder if you would be interested in pursuing
this mat tter now with a view to discussing an agreement
about representation. I would gladly send you the
script.
Sincerely
Maurice Rowdon
PS Your letters to me were dated 9 May 1989,
9 August 1989 and 12 October 1989.


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
12 October 1989
To: Maurice Rowdon
The ms. has arrived. For the outline we can't use
chapter titles, which tell me or the publisher little
or nothing, but a narrative expository outline that
describes balance of the me., mentions total wordage
as "around 100.000" and expected date of completion.
Keep this to no more than six or seven doublespaced
pages, if you can. I'd also like a short one-paragraph
description of the book we can use in publisher
queries.
I can't use the bound versions, which in any case
should be loose, because of the necessary addition
of the revised outline and a new title page---the latest
title suggestion isn't too impressive; any more sugges-
tions, please? Try to avoid humor. After receipt
of outline we'll send our standard letter of agreement
that covers our 15% domestic commission and 25% foreign,
and a two year period of handling. Best regards.
Arthur Orrmont
Editorial Director
AO:eb


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
August 1989
To: Maurice Rowdon
Your important book is very impressively conceived
and written, though I feel a length of no more
than 100,000 words is essential for a general mar-
ket. We would have to agree : on length before I
could show the sample material and outline to
publishers. (I'm willing to read the complete present
version although cuts must be your own). Also, a
better title is needed that suggests both the issue
and the importance of a solution to it. Any sugges-
tions? With best regards.
Arthur Orrmont
AO:eb
Editorial Director


Church Cottage
Church Hill
Midhurst
Sussex
GU29 9NX
Dear Bruce:
Thank you for your letter of the 15th and
I appreciate you reading TIDES OF MADNESS so fast.
Ofycourse I wouldn't dream of asking you to submit
this as a condition of representing me. I am of
course very well aware of its difficulties.
What I suggest is that we put the book on a
side burner for the time
and
ahead
being
I go
print-
ing the final draft of a novel (a comedy, youmight
be relieved to hear) called HOW TO STOP DYING IN
CALIFORNIA.
Then if you disliked this as well we
would clearly know not to do business together.
However I do need to know from you that your
feelings about TIDES OF MADNESS are simply about the
question of its commercia 1 possibilities and not a
decided preference for other modes of writing arkd
other modes of thinking, for that wouldn't do any of
us any good.
Of course I would like you to see Part 111 of
TIDES OF MADNESS when it is ready, as it could well_
make a difference to your overall judgement of the -
book.
If you decide to come Midhurst way onia sunny
Sunday we will take you to some excellent pub food-
do let,me know the day before and I can book.
Al1 the best from
Maurice Rowdon


Maurice Rowdon
Casa Campardi, Casale 23, San Gimignano 53037, (SIENA), Italy.
Jed Mattes
ICM
40 West 57th Street
NEW YORK
Dear Mr Mattes:
Could I referyou to your letter to me of December 6th lastyear, following
my letter to you of nearly one year ago (25th November 1989),just after you
moved from the ICM? Iwas then offering you a non-fiction title-- -at that time
TIDES OF MADNESS IN THE HUMAN BRAIN.
In my reply to you I told you that simultaneously with your letter Collins in
London had advised me to go to the Elaine Greene agency in London (this is all
beginning to sound like the opening of a bad novel). Carol Heaton read the first
chapters of MADNESS and we met. It was very much the result of my talk with
her that made me write an introduction to the book explaining what it was all
about, which in turn led me to rework the book in the light of the explanation.
The Ms is now called THE MAD APE (you and me and even Carol) with about
150.000 words, and I would like to approach you with this, as unmenacingly as
possible, now that it is finalised and I am all but dead.
On the other hand (and here the bad novel thickens) I think it would be
reckless to offer this non-fiction title with its mass of information, unfamiliar
ideas and closely reasoned development to any publisher as a first after a ten year
silence. What I would propose is to offer you also a novel begun before THE
MAD APE started raging, and which I am finalising now, called HOW TO STOP
DYING IN CALIFORNIA. It is a complete farce, designed for laughs not thinks,
and it is about how to stop dying in California.
Iam starting off at your NY end because both books are USA-oriented,
despite my being London/Italy oriented now. You will want to throw this letter at
someone at this point, though Is suggest that throwing books is better. I had a
father in law once who was a prominent publisher and he used to throw double
beds.
Sincerely


2 January 1990
Mr Maurice Rowdon
125 Crescent Road
San Anselmo
USA
Dear Mr Rowdon
Many thanks for your letter of 21st December, which awaited
my return to the office this morning.
Do give me a ring when you arrive in London and we can arrange
to meet.
It would be useful also if I could see some copies
of your books and the remaining chapters of TIDES OF MADNESS IN
THE HUMAN BRAIN.
Thank you once again for writing to me and I look forward to
meeting you.
Yours sincerely
ANDREW LOWNIE


ANDREW LOWNIE
LITERARY AGENT
15/17 HEDDON STREET, LONDON WIR 7LF
Telephone: 01-734 1510 Fax: 01-2875118
2 January 1990
Mr Maurice Rowdon
125 Crescent Road
San Anselmo
USA
Dear Mr Rowdon
Many thanks for your letter of 21st December, which awaited
my return to the office this morning.
Do give me a ring when you arrive in London and we can arrange
to meet.
It would be useful also if I could see some copies
of your books and the remaining chapters of TIDES OF MADNESS IN
THE HUMAN BRAIN.
Thank you once again for writing to me and I look forward to
meeting you.
Yours sincerely
Achs bwne
ANDREW LOWNIE


STERLING LORD LITERISTIC, INC.
One Madison Avenue, New York, N.Y. 10010 (212) 696-2800 FAX: (212) 686-6976
Peter Matson
December 12, 1989
Maurice Rowdon
125 Crescent Road
San Anselmo CA 94960
Dear Mr. Rowdon:
Thank you for your letter of November
27 regarding your new non-fiction entitled
TIDES OF MADNESS IN THE HUMAN BRAIN.
I am impressed with your list of publica-
tions but now that I've had the opportunity
to consider your letter I'm afraid I don't
feel the necessary enthusiasm to be the
right agent to represent your material.
Thank you once more for contacting me
and good luck with your work.
Sincerely,
Peter Matson
CC: Michael Sissons
IN LONDON: Peters Fraser & Dunlop, Ltd., (U.K. rights)
Intercontinental Literary Agency, (European Rights)
5th Floor, The Chambers, Chelsea Harbour, Lots Road, SW10 OXF


Telephone: 01-493 7070
Cables: Herakles, London WIX
Facsimile: 01-493 3061
Telex: 25611 Colins G
Collins. Publishers
80 GRAFTON STREET, LONDON W1X 3LA
22nd September, 1989
Mr Maurice Rowdon
125 Crescent Road
San Anselmo
USA
Jear - lw Rodo,
Thank you for your letter which arrived this morning. I have not at all
lost patience. I still very much want to see your excellent guide revitalised
and back in print. I will wait with interest to see who you appoint as your
agent. Perhaps I will even be able to persuade him or her to send me your
new book.
hocary
Shn
Stuart Proffitt
Registered as Williams Collins Sons & Co. Ltd. (Scotland 1880 No. 934) Westerhill Rd., Bishopbriggs, Glasgow G64 2QT


DUPREE/MILLER & ASSOC., INC.
October 12, 1989
Dachiell Ahlschlager-Oddson
125 Crescent Road
San Anselmo, CA 94960
Dear Daciell Ahlschlager-Oddson:
In response to your inquiry, I would like to explain to you
the scope of the services offered by Dupree/Miller &
Associates.
We represent full-length fiction and non-fiction book
projects. We enthusiastically accept for review submissions
of any genre, though we accept a necessarily small percentage
for representation. The areas of children's stories and
category romances are ones of which we are particularly
selective.
Dupree/Miller has been in the business since 1979, as a
literary agent since 1984. Dupree/Miller has been responsible
for the sale of many books to major publishing houses within
that timeframe. In fact, a number of these books, including
UNLIMITED POWER by Anthony Robbins, THE GREAT DEPRESSION OF
1990 and SURVIVING THE GREAT DEPRESSION OF 1990, both by
Dr. Ravi Batra and STORMING INTREPID by first-time Dallas
writer Payne Harrison have risen to the top of the New York
Times Best Seller List.
If you have a full-length book project you would like us to
review, we encourage you to submit a proposal or outline and
sample chapters for the same via U.S. mail. We review each
manuscript in the order it was received with review times
varying between 6-8 weeks.
When a manuscript or proposal is submitted, it is imperative
that we receive several items: a daytime telephone number, a
mailing address and A SELF-ADDRESSED STAMPED ENVELOPE for the
manuscript or proposal in the event it must be returned.
We look forward to seeing your project.
With best regards,
Jan Miller
JM/afs
5518 Dyer Street / Suites 3, 4 and 4A/Dallas, Texas 75206 / Telephone (214) 692-1388 / Fax (214) 987-9654


Telephone: 01-493 7070
Cables: Herakles, London WIX
Facsimile: 01-493 3061
Telex: 25611 Colins G
Collins. Publishers
8GRAFTON STREET, LONDON W1X 3LA
21st November 1988
Maurice Rowdon Esq.,
125 Crescent Road,
San Anselmo,
USA.
Dear Mr Rowdon,
Thank you for your letter of the 10th. I am glad we have established direct
contact.
I quite appreciate what you say about the cost of working on a revision.
There is room certainly for us to be slightly flexible over the advance I
we could stretch to £3000 I think - but the point about both that figure
and the first printing is that neither is intended to represent what we
hope the new edition would achieve over its lifetime. Rather what we hope
we can achieve over, say, the first one to two years. After that time, I
fully expect that more royalties would be on their way to you.
The other factor, which I touched on in my previous letter, is that the
Companion Guides seem to be moving into another gear, and the advance
might be earned even sooner that we could now predict. It would be wrong
of us to anticipate that, of course. But it is what we would be aiming
for.
The great thing is to get the book back in print. I hope you will consider
this revised offer and that we can set the ball rolling as quicly as possible.
Yours sincerely,
Stuart Proffitt
Registered as William Collins Sons & Co. Ltd. (Scotland 1880 No. 934) Westerhill Rd., Bishopbriggs, Glasgow G64 2QT


Dachiell Oddson
Casa Campardi, San Gimignano 53037, (SIENA), Italy.
November 7, 1990
Abner Stein
10 Roland Gardens
England
London SW7 3PH
Dear Mr. Stein:
Iwould like to interest you in my non-fiction title The American Dream Junkies. X
This book is about the American Dream seen not by someone who aspired to it
and didn't get it but by someone who was born, andlived-iit- and nearly died in YX
/h ih
The book begins with a description of my early and contented life of luxury in
Dallas, Texas and the increasingly frequent violent tragedies which I witnessed
around me. As a secure observer of these events Ifelt nevertheless, EU
unnacountably baffled and shaken by them asthough possibly ethey weren't-after
all abberations from the Happy-Ever-After we declared not just our 'right', but
our-requirement. It was only! years after my own life had veered into inexplicable
tragedy that I began to perceive that dire consequences were the natural
conclusion of our Dream aspirations and unhappily all we were gong to get as long
as we remained in iféripps.
Gradually I began to learn that this cherished Dream was much more than a
prosperity ideology of new càrs, servants, swimming pools and lifeyin-general
going 'our way'. It was an extremely strict and quite mysterious code of which we
knew nothing but which propelled us unthinkingly anyway, and even against our A
A best wishes and efforts into inevitable misfortune. Even to entertain the
possibility that our automatic thoughts were wrong and harmful was nearly
impossible because our most cherished and untouchable concepts of morality
were contained within it.
This is a personal account of how finally a peculiar and sometimes exciting
oddyssey throughout the States,
forced
Europe and othermore remote regions
me :
out of my Dream education aadinto.a-newlif-offealpossibilites. I managed, I
wre
Eve-
loAc
te tphs
Agh
sxeyphrais
had?
fn anol alrads
Lre ueve
pastily
Laadiy


think, in these years of exploration to decipher the Dream, what its hidden inner
nature acutally is and howit works in our everyday livesto produce an Unhappy
Ever After which insureséverything eventually crashing down round idealistic
ears. Perhaps America's astonishing drug consumption- -she is two percent of the
world population consuming sixty-five percent of the world's illicit drug
production--bespeaks-ef deep disillusionment. I believe this to be the first real
account of what the American Dream is
snld
You may: feel that this is the kind ofbookthat should start off in the US but I'm
approaching/you because Ihave,become a UK resident and London will be my
professional base. On-theother-hend-my years abroad show me that the American
Dream is Yess exclusively Ameriçan than I thought.
I have been working on this MSfor five or six years and feel it is ready to be seen.
This is/my first title but I've had the good fortune of consistent advice from a
professional published writer/throughout the books many drafts. Ienclose a copy
of the first chapter.
Gls


November 7, 1990
Abner Stein
10 Roland Gardens
London SW7 3PH
England
Dear Mr. Stein:
I would like to interest you in my non-fiction title The American
Dream Junkies. This book is about the American Dream seen not by
someone who aspired to it and didn't get it but by someone who was
born and lived in it-- and nearly died in it.
The book begins with a description of my early and contented life
of luxury in Dallas, Texas and the increasingly frequent violent
tragedies which I witnessed around me. As a secure observer of
these events I felt nevertheless unnacountably baffled and shaken
by them as though possibly they weren't after all abberations from
the Happy-Ever-After we declared not just our 'right', but our
requirement. It was only years after my own life had veered into
inexplicable tragedy that I began to perceive that dire
consequences were the natural conclusion of our Dream aspirations
and unhappily all we were gong to get as long as we remained in it
gripps.
Gradually I began to learn that this cherished Dream was much more
than a prosperity ideology of new cars, servants, swimming pools
and life, in general going 'our way'. It was an extremely strict
and quite mysterious code of which we knew nothing but which
propelled us unthinkingly anyway and even against our best wishes
and efforts into inevitable misfortune. Even so, to entertain the
possibility that our automatic thoughts were wrong and harmful was
nearly impossible because our most cherished and untouchable
concepts of morality were contained within it.
This is a personal account of how finally a peculiar and sometimes
exciting oddyssey throughout the States, Europe and other more
remote regions forced me out of my Dream education and into a new
life of real possibilites. I managed, I think, in these years of
exploration to decipher the Dream, what its hidden inner nature


acutally is and how it works in our everyday lives to produce an
Unhappy Ever After which insures everything eventually crashing
down round idealistic ears. Perhaps America's astonishing drug
consumption---she is two percent of the world population consuming
sixty-five percent of the world's illicit drug production--
bespeaks of deep disillusionment. I believe this to be the first
real account of what the American Dream is.
You may feel that this is the kind of book that should start off
in the US but I'm approaching you because I have become a UK
resident and London will be my professional base. On the other
hand my years abroad show me that the American Dream is less
exclusively American than I thought.
I have been working on this MS for five or six years and feel it
is ready to be seen. This is my first title but I've had the good
fortune of consistent advice from a professional published writer
throughout the books many drafts. I enclose a copy of the first
chapter.


ANDREW LOWNIE
LITERARY AGENT
122 BEDFORD COURT MANSIONS
BEDFORD SQUARE LONDON WCIB 3AH
Maurice Rowdon,
La Luciole,
Chemin des Patins,
84160 Cucuron,
France.
28th September 1992
Dear Mr Rowdon,
Thank you for your letter of 22nd September. It was
nice to hear from you again. I am no longer using the Julian Bach
Agency so am certainly open to dealing with Arthur Orrmont. Why not
send a synopsis and sample chapter of HOW TO STOP DYING IN CALIFORNIA.
It may be still easier to place it first in the States but I would certain!
like to see it. Perhaps Mr Orrmont would get in touch with me directly
as it would be useful to know who else he represents and what his
arrangements are in Britain for representation. Andre Schriffin at The
New Press might be interested in THE MAD APE.
Yours sincerely,
Ah Lre
Andrew Lownie.


N E
T H E Q U E S T


Et in Arcadia ego...


Telephone: 01-493 7070
Cables: Herakles, London WIX
Facsimile: 01-493 3061
Telex: 25611 Colins G
Collins. - Publishers
8GRAFTON STREET, LONDON W1X 3LA
October 21st, 1988
Maurice Rowdon, Esq.,
125 Crescent Road,
San Anselmo,
Mw - hadso,
Jeav
The Companion Guide to Umbria
I wrote recently to David Bolt to see if he knew more than I do about the
current position on your Companion Guide - without lucR and perhaps it may
be best for me to write direct. We are anxious to know where we stand with
the revision of the book, which we would like to get back into print in a
revised form (to include, for example, the changes you wrote about in your
letter to Vincent Cronin of the 11th November 1986, and no doubt much else
besides) as quickly as possible. The Companion Guides are undergoing
something of a renaissance and are selling in a way that they have not done
for quite some time: we want Umbria to be part of that. We did, I think,
discuss at one point on the telphone the extent of the revisions that might
be necessary, and the kind of advance we could pay. I would be very
grateful to hear your thinking on these matters.
Ameehy
far
for
Stuart Proffitt,
Senior Editor.
C.C. David Bolt
Registered as William Collins Sons & Co. Ltd. (Scotland 1880 No. 934) Westerhill Rd., Bishopbriggs, Glasgow G64 2QT


1 - Va
615 TEXAS AVENUE/HOUSTON, TX 77002
Theate
JIM BERNHARD, Interim Artistic Director
AlleyTheatre is a Non-Profit Cultural Institution
CHRISTOPHER KAWOLSKY, Interim General Manager
Houston's Resident Professional Theatre
1987/88 BOARD
OF DIRECTORS
Meredith). Long
Chairmen
Mrs. FordHubbard,Jr.
President
Leonw. Blazcy, Jr.
October
Vicel
Executive President
Mrs. OscarS. Wyarr, Jr.
Vicel President-S SprcialEvents
Ms. Catherine ClarkN Mosbacher
Vic-President- -PublicAfain
Ms.) Jeanne CrusemannD Daniels
Maurice Rowdon
Seoretary
RusselM. Treasurer Frankel
125 Crescent Road
Executive Committee
San Anselmo, CA 94960
ScortJ.Atlas
HarrictBath
Leonw. Blazey, Jr.
Mrs. Beverly Brannan
Ms.J JeanneC CrusemannD Danicls
DonL.Fitch
Dear Maurice Rowdon,
RusselM. Frankel
Mrs. RobertR. Herring, Jr.
Mrs. FordHubbard,Jr.
William). Johnson
Thank you for your letter to Jim Bernhard, our Interim Artistic
Meredith).1 Long
Ms. Lolliel Lowe-Jack
Director, of September 24.
Ms.CarherineClarkM Mosbacher
Mrs. Barrys Simon
Mrs.J.T Tafs Symonds
Mrs. OscarS. Wyart,Jr.
I should like very much to read your play, FINGERPRINTS ON THE
Mrs.) Directors JocB.A Allen
WATER, and would appreciate your sending me a copy.
JeffD. Anderson
IsaacA Arnold, III
Scont).Atias Mrs.T ThomasG. Barksdale
Thanks for your interest in the Alley Theatre, and best wishes.
HarrictB Bach
Mrs.) JamesG. Beruman
Lconw. Blazey, Jr.
WilliamHarrisonB Boylston, M.D.
Yours-gincerely,
Mrs. Beverly Brannan
AlexB Brennan-Martin
DavidM.B Bridges
Thomsw. Campbell
JohnF. Carter, II
- Cd
Roben). Cruikshank
uue
Ms.) JeanneCrusemannD Danicls
Rober.F. Dunphy
Robert Strane
Mrs.) JohnFalb
MissMarthaF. Farish
Literary Manager
DonL.Fich
RusselM. Frankel
J.T ThomasF Furlan
Ms. Tarranth Hancock
LutcH Harmon
WolfH. Hengst
Mrs. RobertR. Herring,) Jr.
Mrs. GeraldD. Hines
EWiliamH Hoffman
Mrs. FordHubbard,Jr.
CultonIngram
MarkE E.J lohnson
Richardl.V.Johnson
William).Johnson
Mrs.] Jack S.J Joscy
Ms. Emilic S. Kilgore
Mrs. DavidH. Knapp
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ColinLee
lohnH. Lindsey
JohnH. Lollar,i
Meredith).Long
Mrs. BenF.1 Love
Mrs. H. MakcolmL Lovett, Jr.
Ms. Lollic Lowe- jack
A.J.Lynch
Mrs.! Haris-Masterson,lll
Mrs.] JohnG. McDonough
John). McKenna
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Ms. Catherinc Clark Mosbacher
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Edward Randall,Ill
WilliamC Remington
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Mrs. MichaclZilkha
The Alleys soars with CONTINENTAL
AIRLINES


1E11 The Carol Smith
Literary. Agency
2. John Street London WC1N 2HJ Telephone 01-405 4072
8th January 1980
Mr. Maurice Rowdon
Casa Campardi
53037 San Gimignano
(SIENA)
Italy
Dear Mr. Rowdon,
Thank you for your letter - and for the typescript which arrived
safely today, I look forward to reading it as fast as possible
and will be in touch with you again at that time.
I handle very few plays but will be able to advise you once I have
read your novel.
Wours sincerelys :
luan li
Registration No. 2029712 VAT Registration No. 234 7155 69


Maurice Rowdon
44 Brookwood Road London SW18 5BY U.K.
e-mail: rowdoxy@aol.com
Ms. Faith Hamlin
Sanford J. Greenburger Associates
55 Fifth Avenue
NEW YORK NY 10003
RE: MANIC MUTATIONS The Human's Fatal Power to Choose
Dear Ms. Faith Hamlin:
This is a query letter about a non-fiction project of
mine with the above working title.
Humans are animals. This is a physiological
certainty. All the more remarkable then that few of
us believe it. It isn't that we find it difficult to
recognize the facts of biology. We feel we're very
special animals, and to that extent no longer
animals.
We used to say we had been divinely selected as
non-animals on account of our intelligence. Now we
miss out the divine part and ask how the horse, the
tiger, the lizard could imitate our intelligence in
the smallest regard.
This is a biological question so we have to
answer it biologically. How could -a human seize prey
with the bare teeth after a tactically unerring chase
as the tiger can? bear a ten-stone human on his back
in full gallop? graze grass from the standing
position? project the tongue and snatch an insect in
a flash? swim deep in the ocean and never come up for
air?
Are we not to call all these abilities specific
(as in species'), and isn't it clear that we cannot
comprehend (physiologically) any other intelligence
than our own - specific intelligence?
It is this specific human intelligence that my
book examines, I believe for the first time in the
history of thought. That is, I study human


intelligence as that of a species, and I discover the
species through that intelligence!
Unless I discard my sensation of being non-
animal (for it is much deeper than thought) I can
never get a picture. of myself that is in any degree
true. I can never winkle out the real human self. I
must always be blocked by the false 'I' of non-animal
origin, an 'I' that SO far has got nothing right in
its tumultuous and internecine history.
It isn't, however, that we committed 'errors'.
Moralism doesn't come into it at all, just as it
doesn't come into any serious study of the animal.
No, that 'special' feeling the human has of not
belonging to the animal kingdom is biologically
inevitable. In my book I explain why this is, and
why, faced with circumstances similar to those the
human has had to face, any other species might feel
the same (the termites for example).
The moment we are able to see the true human we
begin to view all his works, his cities and religions
and civilizations and highly articulated daily habits
as ways of dealing with certain dire problems of
survival. The moment the story unfolds we take a much
more compassionate view of our own. kind than we have
hitherto.
We begin to see that all species are concerned
with survival every moment. Their nervous/digestive
systems are designed this way. But other animals have,
certain mechanisms that prevent survival-anxiety. We
don't. Yet we have never examined why survival is so
grave a matter for us even though we built a world-
wide human enclosure.
When I first began to think in these terms I
felt the need for a 'world-view' book on the subject.
I mean a book about the 'human condition' but not in
the sense of a closed-system non-animal condition.
I wanted a book that dealt not with a 'naked
ape', i.e. à creature that recognized embarrassing or
thrilling similarities in himself to grunting
'forbears' but a creature that while animal in all
respects was yet not a member of the animal kingdom.
A simple enough idea. But it was never thought
about seriously because most humans felt happily
released from such dreadful company!
Right from the time of Aristotle we learned, and
Sigmund Freud came forward to confirm it, that we had
an animal within that has to be mastered or brought


to reason. By Freud's time 'animal' had become a no-
go area called the 'un' conscious, where human reason
couldn't penetrate, So darkly unmentionable was it.
My book shows this 'hidden' area to be far from
hidden. It demonstrates why supposedly 'dark' forces
dominate us, indeed detèrmine us not because they
arise from the animal physiology but because they
have been carefully manufactured. My book describes
that process of_manufacture.
Human-condition books have been thin on the
ground in recent decades, at least in the nonfiction
category. Academic specialization was perhaps the
reason, especially as a lot of it was revolutionary
and brilliant like Frances A. Yates's The Art of
Memory, Giordano Bruno, Majesty and Magic, and the
much earlier books I cite below.
Above all there were fewer and fewer writers who
could range across all the disciplines, much less ask
themselves how those disciplines came into existence,
how they got their parameters.
In any case, even if they could they would be
barred from thinking beyond the disciplines unless
they challenged the credulous theory on which they
are based, namely that the human has a power of
detachment quite absent in other creatures. On the
contrary the illusion of detachment is an essential
animal (and universal) function.
Human knowledge has no truth or relevance for
other species. It is so much trash and piffle for
them just as the knowledge that accrues from the
insect's waving of the antennae is So much trash and
piffle for humans.
My book discusses the rules that were laid down
for the disciplines seven hundred years ago. I show
for what ardent and well-intentioned reasons non-
animal status became essential. I show how this
entered the human physiology rather than simply the
mind.
Non-animal status is the background of even new
disciplines like ethology (the study of animals). It
is why the chosen academic or scientific language
says 'we' instead of 'I' and is ghosted, so to speak,
with passive clauses and impersonal pronouns. This is
supposed to denote 'objectivity' while the personal
and private phrase denotes 'subjectivity'. A word
that carries a load of contempt for the latter is
'anecdotal', namely all that other animals trade in.


It all helped to erode the lonely courage
required for the writing of world-view books. World-
views were shunted over to fiction.
One man who certainly could range over all the
disciplines, and had the authority. to do it, was
Marshall McLuan. His Gutenberg Galaxy was the last
world-view book we got (1961).
In the half-century before that it was Oswald
Spengler's The Decline of the West, 1918.
One of the many originalities of McLuan's book
was that it went from quotation to quotation linking
and clarifying them. McLuan was looking for evidence
for his own thought, of which there was plenty.
He had a sense of history rare in the best
historians. He even had a ready grasp of philosophy,
this in a world which usually gets it flatly wrong,
viz. the fatuous market-favorite of recent years
Sophie's World (poor Sophie) .
McLuan told us we were living in a global
village. And this expression traveled all over the
world. He also told us we were living in an electric
or electronic age and that this was making incursions
into our habitual rigid spade-time or linear'
thinking. That word too became common usage.
One of his quotes said that life was like
electricity. It doesn't flow in a line from one point
to another. Electricity is a state and comes into
being as a result of 'certain spatial relations
between things'.
But we, all went on thinking of electricity as
flowing into the bulb whenever we switched it on. We
went on thinking 'naturally' in terms of space and
time despite the fact that physicists had told us
that space and time were rigid concepts which didn't
describe matter at all. Not that matter existed
either.
Clearly we had a lot of thinking to do but we're
busy people and the fact is we aren't guided by
thought in our daily lives. At least not that kind of
thought, which knocks out some of our key words
(space, time, fact, matter) without so much as a
thank you.
So we continued not only to think in a straight
line but live on one. As we had always done anyway.
This was. (and is) a frantic inner time-belt that
hurtles past the past to get to the future before you
can even say the word 'present'. What a life, as


McLuan said more than once. No time for experience,
it dies in a non-stop unquiet grave.
So the past becomes a dead zone. Yet my book
shows that the human carries around with him 99% past
rather as he does water, and that without it he would
have neither the power to act nor the power to think.
He can hardly carry the future round with him because
it hasn't happened, and never will happen. As for the
present it disappears instantly into the past and the
future. Not a very sensible way of organizing one's
experience.
It is the time-belt we have to get rid of. Which
is very easy to say but not to do,' especially as,
like the non-animal theory, that time-belt underpins
our science, our disciplines and human perception
globally. The history of how that happened needs to
be shown.
Living on a time-belt that hurtles forward
before we can grasp where we are going and why
creates what we sometimes call floating anxiety. In
truth this is floating self. Among the million's of
lives on earth, infinitely more numerous than humans,
we cannot find a place for ourselves.
A self that floats, that lives in an abstract
non-animal persona with a crazy time-theory gets
depressed and has panic attacks. It can be seen in
other animals when they are oppressed by similar
conditions).
So how much influence beyond thought did world-
view books have? Did the remarkable The Decline of
the West prevent a second world war? And if the West
was in decline (which two global wars would seem to
argue, at least to another animal) why didn't the
politicians and generals and financial corporations,
not to say the newspapers and their readers, agree?
In fact they talked about progress and 'the finest
civilization the world has ever seen' more than ever.
It is the effect wars have. A BBC series called The
Rise of Man described animals as 'a mere mark on the
landscape'. The writer/narrator was a Man of Science.
Nevertheless the non-linear world McLuan tried
to show us did go. on encroaching on our old, stale
ways of thought, the ineffectuality of which craved
war as the only practical solution, (source of
change).
But still nothing happened in the way we
perceived. And this is what counts. However many


thoughts we may have, however conclusively we can
reveal a fall or decline or change in thought,
nothing more than words can result; until our actual
perceptions change, namely the way, we see, hear,
feel; smell.
And while we are masquerading within those
perceptions as a detached non-animal such a change is
impossible. The physicists can talk until they are
blue in the face but their findings fail even to
change their perceptions! Einstein was still talking
about God in the space-time terms he had ushered out
of existence! So is Hawkins.
But what is this world of 'perception'? Until we
know how our perceptions come into being we can
hardly be expected to be able to change them. This I
regard as the key function of my book, to explain the
process.
McLuan's book began from the 'physics
revolution'. Physicists (Werner Heisenberg's The
Physicist's Conception of Nature, Hutchinson London
1958, Louis de Broglie The Revolution in Physics, New
York 1953, Sir Edmund Whittaker Space and Spirit,
Hinsdale Ill., Regnery 1948., had found themselves
staring themselves in the face while observing
apparently objective phenomena.
A quote by McLuan: 'The word atom or electron is
not used as, the name of a piecé [of matter]. It is
used as part of the description of the observations
of physicists. It has no.meaning except as used by
people who know the experiments by which it is
revealed'.
Physics was the first in the field with this
awareness because of the lack of any human (animal)
traces in space or time. It was therefore a perfect
mirror in .which to see one's own hypotheses, just as
the Pythagoreans in Greece found numbers to be the
first things in nature.
This is why my book describes science as
'autobiographical' and 'an extended-tools industry'.
'The evolution of weapons begins with the teeth and
the fist and ends with the atom bomb' (Edward T.
Hall's The Silent Language, Doubleday 1959). Science
fulfils a menu of human needs and is energized, not
only financed, by these needs.
It is why Einstein said Ifirst the theory, then
the fact'.


And these needs provide us with an elaborate
historical picture (spanning nearly three millennia)
of what this animal was threatened by, who were his
enemies, real or configured.
McLuan also quotes from Abbot Payson Usher's
important A History of Mechanical Inventions, Beacon
Press, Boston, 1959: 'The cultures of antiquity do
not fit the patterns of the linear. sequences of
social and economic evolution developed by the German
Historical Schools... ..If linear concepts of
development are abandoned and... civilization is
viewed frankly as a multilinear process much can be
done toward the understanding of Western culture'.
My book has much to say about civilizations,
especially the Christian one, but I never make a
frontal or theoretical, attack on linear - or any other
type of thinking. I simply show the variety of the
civilizations we now, since 1880, know about,
especially those in the Tigris and Euphrates valleys.
They followed no consistent lines, no (linear)
'development' or 'progress', however close to each
other they were.
A neighbor civilization, the Minoan in Crete,
had different hair styles S:and haute couture from any
of them; these were more similar to Parisian styles
at the end of the nineteenth century (the belle
époque) than they were to anything Assyrian or
Babylonian or even, close at hand, Egyptian!
We perhaps need to know what religions and
civilizations are, what their meanings have been to
varied worlds and epochs, what their functions are
for the human. Continuing to use the terms as if we
were blindfold can't work any more.
Simply my.evidence reveals the absurdity of
dèvelopment or progressive terms like 'medieval',
'renaissance', 'dark' ages, 'industrial revolution'
'ancient', Greece and Rome, 'modern' and 'pre-
historic' times. That is all an ideological abstract
which has been deposited on millennia of people and
things.
Even William Ivins Jnr. In his books Art and
Geometry, A Study. in Space Intuitions, Harvard
University Press 1946, and Prints and Visual
Communiçations, Routledge, London 1953 (these were
perhaps the first articulate sallies against the
linear), remained linear in his surprise that the
Greeks were but a step away from modern geometry and


didh't take it, and that 'relative' was an unknown
word for them.
Why their trepidation, he asked, why So profound
an ignorance amid So much wisdom? 1 the
Greeks... .went right up to the door of modern geometry
but......they were never able to open that door and pass
out into the great open spaces of modern thought'.
The Greeks didn't need to. 'Open spaces' was the
reverse of the kind of thing that inspired them. So
was the relativeness. of one. thing to another.
But the time-belt forbids us to see that, though
Greek texts are clamoring to open our prison doors!
On the contrary, human needs differ from habitat
to habitat, and from epoch to epoch within that
habitat. All animals navigate the habitat all the
time. Human navigation of the habitat is constant
like a series of pot-shots in the dark.
Our 'modern' pot-shots are no different from any
of the other pot-shots in history. My book examines
the biological necessity for these pot-shots. It
examines the extraordinary fervor which supplied the
energy for them, and always must and will do. My
evidence is available to all and every one of us.
No historical terms are properly speaking
'absurd'. I am much more interested in the changed
circumstances that make it possible for me to call
them absurd. It is easy for me to call dead terms
absurd because neither I nor anybody else lives by
the ideology those words once captured.
That is, my intelligence is free to range only
over what has been discarded in life (though not yet
discarded in the perceptions).
Terms like 'medieval' and 'renaissance' had no
relevance to historical evidence. They were part of a
visionary program just as 'detachment' and
'objectivity' were. But professional historians were
still writing within this program in the 1950s and
1960s, and most scholars continue to do so today,
calling Greece and Rome 'pagan', Greek mathematics
primitive' compared with 'advanced' mathematics etc.
In my chapters about civilization I wouldn't get
anywhere if I tried to look at it 'from, the outside'.
Far from being bricks and mortar, or the artifacts
therefrom, civilization means inner consensus. The
'dark' ages in Europe looked to the eye and sounded
to the ear exactly the same as the former Roman
empire and exactly the same as the future medieval


Europe. Same roads, same inns on the way, same
transport, same towns, same names.
And I have Ivins's support here when he says
that the 'dark' ages' still had a technology and even
a logic superior to- ancient Rome's. But neither did
even Rome disappear into the earth. It is inner life
that changes. Little physical does, little habitual.
What did happen in these various epochs was that
sometimes the consensus fragmented (imperial Rome,
the 'dark' ages) and sometimes it was solid
(republican Rome, the 'middle' ages). Consensus is as
important for humans as it is for sheep. A shepherd
will tell us that if he (actually a she shepherd in
the south of France is my informant) leads the flock
across a difficult and rocky area before finding
pasture both the flock and, resultantly, the shepherd
will be out of sorts..for the rest of the - day.
The human has this kind of collective
sensitivity. Chronicles and gazettes developed into
daily newspapers in the nineteenth century as
consensus crumbled seriously. Newspapers revive
consensual awareness, if only for the moment of
reading. I -am not talking about 'instinct' here. It
is too vague a word to use about animals. Sheep don't
like a certain route because of precise physiological
goals of comfort and repose. As in humans the nervous
system continues to react to the earlier situation
for sometimes hours afterwards. It. is a form of
shock.
Today the kind of world-view book we have to put
up with is the 'scientist' overview composed of the
idlest Hawkins-type speculation. The Madness of Adam
and Eve, How Schizophrenia Shaped Humanity by David
Horrobin, published a few days ago, is a good
example, It was excited into being by the Oxford
news-flash last year that somewhere in human genes
lies a peculiar mutation, -which indicates deep-laid
incompetence (in the psychiatric sense).
My book takes this mutation as a given, known
and accepted five hundred years BC at least, a
mutation that simply defines - the word 'human'
biologically.
Far from running to our safe-haven systems like
psychiatry for in-house interpretations we have to
reappraise madness as the key distinguishing mark of
the human primate, introduced by him into the animal
community. Unless we approach it that way we miss out


all his ingenious methods of forestalling, containing
and (favorite word of 1930s psychology) 'canalizing'
I discuss how madness can arise in all animals
in my chapter Monkey Wars. Instead of discussing it
as a closed-system human. problem of 'deranged
thought' I cite a.monkey enclosure at the London ZOO
in the Thirties of the last century to show how
madness is born, and what it is. This at once throws
insight on the human scene, more particularly as the
men who ran the ZOO (the head one was a bright
intellectual Huxley) caused orgies' of disembowelment
and rape and then exacerbated them.
That chapter shows how it is that our predations
of thè habitat recoil on us in the form of low auto-
immunity and sickness, and how this in turn increases
the survival-need for predations. (My use of the word
'survival' has nothing to do with the 'survival of
the fittest' canard, still prevalent in researches).
The only biological discipline that studies the
behavior of animals (including people) is Ethology.
Which, as its ethos-root implies, is about the
character of animals, generally. But no character can
be studied without a knowledge of the self within it.
So an excellent book like Robert A. Hinde's,
Ethology, OUP 1982, is continually confronting
perplexities, like how did the erosion of sensuality
in certain insect populations, notably the termites,
happen?
But the moment this same phenomenon is studied
in humans the picture clears.
One last word about my approach. I don't discuss
humans 'as if' they were animals. I study religions,
civilizations, doctrines and modes' of thought and
wars and pogroms and the ubiquitous 'enemy! that
pervades the human mind as an animal performance in
the sense that the lion's life and the bee's life are
an animal performance that demonstrate conclusively
the lion and the bee.
Most of what has been said by the disciplines on
behalf of other animals' intelligence (an outstanding
example is Dr. Rupert Sheldrake's delightful Dogs
That Know When Their Owners Are Coming Home and other
unexplained powers of animals, Hutchinson London,
1999) seems aware that differences of intelligence
between species are specific and not status
differences. Sheldrake is. a bio-chemist (Cambridge,


U.K.) and a philosopher (Harvard). Writing as he does
from within a discipline he is still back in the
Steam Age trying to. prove that animals have an
intelligence at all! Never an attempt (but this is
universal) to define 'intelligence'.
My training is in philosophy and modern history
(Oxford degrees in-both). I was short-listed for a
fellowship in philosophy at Christ Church Oxford and
then deçided against an academic career because I
didn't wish to live in a closed system which could
only answer pre-set questions.
From Oxford I went to teach English literature
at Baghdad university and after a year settled in
Italy and began publishing my thoughts about that
still living cradle of- all our lives.
: The mentors of my youth were three. The first
was Donald: Mackinnon who- persuaded me to read
philosophy and specialize in that 'catastrophic
spider' (as Nietzsche called him) Immanuel Kant's
work, i.e. the philosophy of science.
Donald came from theology and without a
theological word infused me with great respect for it
as the origin of human thought and knowledge. He
published a book called Beyond Theology. He became
Regius professor of moral philosophy at both Oxford
and Cambridge.
My earliest mentor, at the age of fifteen, was
Norbert Elias, who at that time had only printed a
hundred or So pages of his The Civilizing Process,
and that solely in German. This book is now a world-
wide sociological 'classic'. He is said to be the
last of the sociologists who knew- how to write with
the clarity of his mentor, Sigmund Freud.
I disagreed with most everything he said.: By
sheer contradiction he taught me a marvelous lot.
Though his reputation (rightly) is for his use of
history in his sociology, he had no sense of it. As
for philosophy, which was important for certain
stages of his thought, he could make nothing ofit
and his treatment of Descartes is farcical.
But he did see that Descartes' I reflect
therefore I am created a very lonely picture of the
self. Norbert urges the idea in his many books of a
social self. But how that. works, how that comes into


being and what it is he simply couldn't say. My book
goes into that in great detail since it is here that
we understand how deeply (and loyally) we are within
the animal kingdom and fulfilling. our genes, So to
speak.
Norbert's chief weakness was that he saw all
religion and visionary experience as fantasy, in line
with his mentor. Like Freud he missed the fact that a
vision doesn't present itself as unreasonable in any
way. More often it comes as the truest and most vivid
experience of life, perceived with a cogency far
greater than that of daily perceiving. We know of no
civilization which wasn't started, formed and at
least in its early centuries administered ând
governed by-a religion. How Norbert missed that one I
cannot say. But then So did Freud miss it. They
adhered to the original meaning of the word
'civilization' when it was first spoken by French
thinkers in 1760 or so, namely a refinement of
manners from an 'earlier' or more 'primitive' model.
The human in a visionary state reaches the
utmost animal awareness, being closer to the habitat
than at any other time. A vision is the habitat
experienced as inner life.
My third mentor, though we knew each other only
for a few months, was Karl Polanyi. Like Elias he was
writing his great book. He used to cover his
handwritten script with insertions that spilled into
the margin and over the back and into new pages.
His The Great Transformation The Political and
Economic Origins of Our Time felt to: me, from his
talk, the boldest and most originàl book on the
industrial revolution ever written. Few wise men or
women would doubt that now. The book underwent a
sudden revival in recent years, notably in the USA
and Germany, and has now been reissued by the Beacon
Press, Boston.
With unfailing eye McLuan quotes at length from
Polanyi's book in his summing up at the end of
Gutenberg Galaxy, for Polanyi provides a moving
picture (despite an overload of abstraction) of what
happened to produce a world seemingly organized to
sever the human creature from the habitat.
Says McLuan in the last chapter of his book: 'At
this point [in the demise of the linear] The Great
Transforma tion by Polanyi, on "the Karl political and


economic origins of our time", assumes complete
relevance in the mosaic of The Gutenberg Galaxy.
My book leaves the reader to judge whether I
regard that Transformation as a strikingly manic
human mutation, and whether the current industry of
genetic self-modification is that mutation's very
final stage.
Karl Polanyi came to England specifically to
write his book because that great and terrible
Transformation, which was no less than a holocaust,
happened in England.
To have been so close to these three men, and
all by the time I was eighteen, was a great send-off
I must say.
In 1980 I developed a breath therapy which I
took to Berkeley and San Francisco over a long period
(1981-1992). My experience with hundreds of clients,
together with my experience as a free-lance writer,
kept me investigating and refining Manic Mutations
through those years.
I have published twelve books-in Britain with
Chatto and Windus, Heinemann, Harper Collins, Barrie
Books, Macmillan, Gollancz, Weidenfeld, Constable;
in the U.S. St. Martin's Press, Praeger, Putnam.
Six of these books were commissioned: Weidenfeld
(3), Collins (1), Constable (1), Macmillan (1). All
these commissions followed my submission of a
proposal. Four of the twelve were novels.
My Leonardo da Vinci, my Lorenzo dei Medici, my
The Fall of Venice (all Weidenfeld, in the U.S.
called The Silver Age of Venice), and my Spanish
Terror (Constable), gave me a strong historical
background in the periods before the modern' one of
my Oxford degree. I turned my Venice book into a 55-
minute docu-feature for BBC television.
My The Talking Dogs (Macmillan, London, 1979,
called Elke and Belam in the U.S.), an animal
intelligence book, was very formative of my study of
animals prior to my going to California. It was
serialized each day for a week in London's most
popular evening newspaper. I find that the findings
of my book are now accepted as given knowledge in
Sheldrake's 1999 book which I mention above. I am
interested that in the- Z-books or internet bookshop


category my The Talking Dogs sells for more than any
of my others.
It is as if I had in the course of the last - -
fifteen years united these interests and researches
in one title.
My clients in Northern California were mostly
professionals, academics, fellow therapists. When I
presented my first unleavened ideas to them at my
workshops I found a fascinated audience. I was asked
again and again if I had a book ready on the subject.
This is why I am writing to you rather than to a
London agent. I feel that the book must first be
published where it is likely to arouse the most
immediate interest. Not that I'm against London
agents, I have one for my plays. Micheline Steinberg
is preparing my comedy GENES for the London
managements now.
Thank you for your attention. I enclose an SASE.
Yours sincerely
ttt


Bolt 80 Watson LTD AUTHORS AGENTS
8/12 Old Queen Street London SWI
Tel: 01-222 5378/9 Cables: Bandwag London SWI
Directors: David Bolt Sheila Watson
15th February 1980
Maurice Rowdon Esq.,
Casa Campardi,
San Gimignano,
Italy.
Dear Maurice,
Okay. I'm sad of course, because I think at best you are
a fine writer, and there aren't too many about. But of late
you've been, to me, on the wrong tack with your fiction; and
the journalistic pieces, though excellent in their way, aren't
the sort of work we handle best, and probably shouldn't handle
at all except for our own established authors.
All of which perhaps means only that we aren't at present
on the same wavelength, and I'm sure your decision is the
right one.
All the best, and good luck.
One point: I shall, needless I hope to say, expect to see
the European literature book through if it comes off!
Yours,
DLB/MYS
Aann
Reg. No. 1002046 London Registered Office 14/18 Finsbury Street Lôndon EC2Y9AQ VAT Reg. No. 238 5723 44
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto.


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Dear Miss Clausen,
I wonder if you would consider representing me . My London
agent David Bolt after long association with Georges Borchardt
jis taking hisi authoirs to other lists. HeHe propsed to take ma dna d
Clolin Wilson to Writers House but when I saw him in England a few day
ago I asked him if I could first approach you, as I had received a
Z strong recommendation to do So from ANOTHER AGENT IN New Yoprk wh
had read my work.
I would offer you in -the first instance two completed Mss and
a proposal: Thefirst Msis HOW TO STOP DYING IN CALIFORNIA,
Tegn e Conie hp uel aluk ta Chtonii delp hanmt iders
a humourous appraoch to the Californian zelf-transformation industry,
micl mer an cL aats
tite-seednd MY WIFE EMILY, a
Cesan
agidek
satireon seme-espects-pf
kiids
Californian-lifer 2) The proposal .is called BREAK BOOKS and-suggeste
a seriesof three books of exercises/for 15-minute breaks in the
day's working schedule. The STRETCH BREAKSBOOKwill be written by
whoisatyyou_may-know a prominent yoga teacher
Moueiges Bruk
and author
THE
Age674
SZEARS
RUNNERS GUUDE TO YOGA, gad.
who
is-one of, the most experienced dance movément teachers in northern
T Brelt Srele S 7 X
- rwou d
restosnisblefor-BREATH-BREAK-book.
DuvoMer
California,
will see
SEENES
you
in the enclosed resume I have been a-practitioner- teaclay
of my own breath process catted-OXYGENESIS for severeal years, and l
Rold
Eecrg
hople workshops for performing artists both here in-Catifornia and
lioelue 6
Europe. I atso enclose a txhrewaway advertising the ese workshops.
My Aublisicicity agent here is Bonnie Weiss who has much experience
in this field.
ISAF
I look forward to hearing from you.
Ran
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pojoct
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