Steinbeck (John) The Cup of Gold, Being The Life of a Pirate, With Occasional Historic Accuracies...

Steinbeck (John) The Cup of Gold, Being the Life of a Pirate, with Occasional Historic Accuracies, original typescript, signed by the author with inscription "If for no other reason, the typographical errors on the title page would convince me that this is the original MMS of this—John Steinbeck", with another note additionally initialled by the author "I don't know whose comments these are in the margins. / J.S.", both on title, 235 pp. including title, occasional corrections in Steinbeck's hand, additional annotations in red and black pencil, likely by Steinbeck's Stanford writing teacher, Edith Mirrielees, and another unidentified hand, pages loose, typed on rectos, some fading or finger-soiling marks, some margins nicked and frayed, heavier to title, [?Lake Tahoe], [1928].*** Annotated typescript of Steinbeck's first novel, Cup of Gold, featuring the seeds of his later literary achievements. The work follows the life of Henry Morgan, a Welsh youth who becomes Captain on the Spanish Main and is plagued by the elusive Cup of Gold and desire to win the heart of the elusive La Santa Roja. The work blends allegorical fantasy and historical reimagination, narrative styles which Steinbeck would later depart from in his iconic novels of Grapes of Wrath and East of Eden. Yet the seeds of his quintessential characterisation and epic breath of narrative feature here with startling force for an early novel. Further resonances with his later oeuvre also register: themes of ambition, illusion, and the unattainable would become a Steinbeckian trademark in the following years. This typescript remarkably bears many of the hallmarks of its genesis. Completed in early 1928 after strenuous labour, it passed through the hands of two significant figures in Steinbeck's early life: Kate Beswick and Carol Henning, the latter of whom would become his wife. This draft copy is believed to be the Henning typescript, exhibiting substantial revisions and linguistic refinements that align it more closely with the final, published version. The pages also demonstrate the candid reactions of contemporary readers, with their annotations offering a window into the novel's reception. These marginalia, ranging from commendations to critical assessments (the author’s description of a “bloated sun” on p.148 is deemed “not good” by a ruthless reader) comment particularly on the portrayal of La Santa Roja and the novel's climactic moments. Of great interest are the annotations by Steinbeck himself, scattered throughout the manuscript (featured on pp.146-159, 162-163, 165, 171, 174-175, and 177) which reveal the meticulous care with which he sculpted his narrative, on both semantic and grammatical levels. Both these reviewing comments and genetic revisions elucidate the evolving nature of Steinbeck's craft.The manuscript is further distinguished by a personal inscription from Steinbeck to David Heyler, likely in the 1950s. On the title page, Steinbeck’s handwritten notes reflects his wry acknowledgement of the manuscript’s authenticity, citing typographical errors as irrefutable evidence. The original title with the definite article, along with a variant subtitle, is indicative of the work-in-progress.This unique offering represents not only a significant literary document, but a poignant artifact which embodies the start of Steinbeck’s illustrious career.Provenance: The Mary Steinbeck Dekker Family Collection.