Schulson Autographs Archives - inBiblio
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Schulson Autographs

Have Gun Will Travel." Outstanding group consisting of an Autograph Letter Signed

Have Gun Will Travel." Outstanding group consisting of an Autograph Letter Signed, on personalized printed stationery, 4to, North Hollywood, Aug. 15 n.y. but most likely 1958; Typed Document (Contract) Signed for "Have Gun Will Travel" theme music; with "Wire Paladin" Calling Card

HERRMANN, BERNARD Herrmann composed the popular music for the TV classic, "Have Gun Will Travel," which aired from 1957-63 on CBS. The show’s main character, Paladin, was a well mannered mercenary gunfighter. In our letter, Herrmann writes about music rights noting the "Have Gun Will Travel" composition purchased by CBS. "Enclose [sic] are the contracts – as follows I to VI are radio music – which C.B S owned radio rights and in 57 purchased all rights . 7 to 14 – are works of mine from my own files that I reworked for T. V. use and which C. B. S. purchased.15 – is theme written for Have Gun Will Travel." He signs, "Bernard." The letter shows a smudged date stamped at the top near the address indicating receipt by the recipient, dated Aug. 18, 1958. The contract accompanying this letter on "CBS Television" stationery consists of 4 separate 4to pages, January 18, 1957. The contract engages Herrmann to "compose.an original musical composition, including full orchestral score.as theme music in connection with the production of a filmed television series. tentatively entitled HAVE GUN WILL TRAVEL." Herrmann signs in full on page 4 above his typed name and with initials on page 3 in the margin of a deleted paragraph. A scarce "Have Gun Will Travel Wire Paladin San Francisco" business card with the iconic knight chess piece accompanies the letter and contract. The card measures in inches 1.75 x 3.50. Condition: The letter shows browning in upper left corner possibly from a rusted paper clip, a slight browned chip at left edge and slightly larger browned chip at right edge, midway in both instances; margin folds apparent and some overall wrinkling. Contract shows rusted paper clip stains on each page and some rust around staple in upper left, otherwise in good condition. The card shows tape stains on each edge.
Scarce Autograph Letter Signed

Scarce Autograph Letter Signed, 3 separate 4to pp, Montgomery St., Sept. 5 (1922?)

DIXON, MAYNARD Dixon writes about his wife, photographer Dorothea Lange (1895-1965). Lange is best known for her iconic images of Depression era rural poverty in America. Dixon and Lange married in 1920 and divorced in 1935. Lange established herself as a photographer during the course of their rocky marriage. At the end of 1935, Lange married economist Paul Taylor. Here, Dixon worries about Lange and seeks insight from Blanche Partington, a local Christian Science practitioner in San Francisco where Dixon and Lange lived. The letter suggests that Partington was some sort of spiritual counselor. Dixon apologizes for writing "somewhat gropingly, so you had better read it with reservations. There seems to be something all amiss with Dorothea. She is casework, tired, steadily losing weight, and there’s an indefinable sadness about her." Dixon surmises that Lange’s desire for a child may account for her "sadness". He describes their different dispositions. ".she is of a strongly spiritual nature; she has the ‘great faith.’.my observations, experience and meditations have.led me steadily away from this. So somehow I feel that deep down, underneath all outward signs, the fault must be mine. I daily perceive there must be maladjustment between us in this regard. Perhaps hard experience has made me less kindly or less tolerant than I should be." Dixon writes about his own philosophic changes. "I find much of the ideal in men’s proclamations & but little in their actions; nor do I find the ‘faith’ that I once sought in books, religious or philosophical. I have reverence for the force I see in nature – the Power that moves the universe, – but cannot see that as we humanly understand, it is either moral or beneficent – it simply IS." He makes clear that he does not seek advice about how to understand or cope with Lange, but asks that Partington "would investigate it professionally for me" if she thinks his presentation "is a fair statement." Dixon ends the letter noting confidentiality. "In writing to you I have not consulted Dorothea – I don’t want her to add my perplexity to hers.she was intending to consult you on her own account." Dixon offers two phone numbers and signs in full, "Maynard Dixon.". The conflict within Lange during the early years of their marriage may also have been a reaction to Dixon’s "difficult" ten-year old daughter who came to live with them shortly after they were married. During the first few years of their marriage, Dixon’s work blossomed while Lange looked after the house and their now three-person family. She was trying to be a working woman in a world not yet ready for such things with a man not quite understanding of her needs as he somewhat realizes in this letter. He left all care of Constance Dixon, his daughter known as Consie and household responsibility to Lange who was, in actuality, the breadwinner for the family. Consie was an abused product of divorced parents, with a mother who suffered from either alcoholism or mental illness, or perhaps both. Consie treated Lange very badly, demanding her attention while she was trying to work and run the house. [Much of this information above and below from "Dorothea Lange: A Life Beyond," by Linda Gordon]. Lange began to resent Dixon’s lengthy traveling, leaving her without consulting her. Apparently, he cheated on her while away. Whether this bothered Lange or not is hard to say as some sources claim that it was part of the reason their marriage sustained fifteen years. [source in bh history] (2012 – in which Dorothea Lange attempts matrimony – by Ellen Copperfield] In 1922, the year Dixon likely penned this letter, (and again for a time in 1923), Consie was "placed out" as it was called then for four months while Lange and Dixon stayed on a Navajo reservation in Arizona. It is reasonable to suggest that this letter could have been written before Lange and Dixon went on their four-month journey to Arizona, escaping the stresses of looking after Consie and the house while building a career. It does not appear that as Dixon says in this letter, Lange was unhappy at not having a child of her own. She was consciously on birth control for the first five years of her marriage until she decided to have a child. Daniel was born in 1925. Our letter offers insight into the personal lives of two important twentieth century artists during the time they were husband and wife.
Rare Typed Letter Signed on illustrated "Tesla Laboratory

Rare Typed Letter Signed on illustrated "Tesla Laboratory, Long Island, N.Y." stationery, showing the Tesla Tower and Laboratory in 1904, 4to, October 9, 1908

TESLA, NIKOLA Tesla writes to Bernard A. Behrend (1875-1932), electrical engineer, author of "The Induction Motor" (1901), and important friend. "I am writing to tell you that you will hear from one of my business friends with reference to the order for the 220 volt motor. I trust that you will be able to deliver it immediately." He signs, "N. Tesla." Condition: Fine condition, horizontal center fold visible, normal aging to paper. Tesla’s Wardenclyffe project, known as the Tesla Tower pictured on the stationery of our letter, was his costly and prescient concept to develop wireless transmission of electrical power. Tesla explained in an interview that electrical energy would be generated using a conductor rather than through wires. ["The Future of the Wireless Art: Wireless Telegraph and Telephony," by Walter W. Massie and Charles R. Underhill, 1908, page 67-71] The project’s laboratory and tower were designed by architect Stanford White, Tesla’s friend. The tower was the tallest structure on Long Island at the time rising 18 stories high (187 feet) and erected in a 120 foot foundation. [contact us for source.] After the project had come to a halt in 1906 (ca), Tesla continued trying to improve upon his ideas, but he lost the funding of J.P. Morgan who had enabled the project from the outset. The Tesla Tower was dismantled in 1917, but the laboratory building remained. Tesla then moved his offices to 165 Broadway in Manhattan, the address typed in our letter, and tried to raise funds which would never fully materialized. The Tesla Tower concept formed the basis for global wireless telecommunications developed throughout the twentieth century and continuing. Its representation on the letterhead adds not only to the visual appeal of our letter but also to its historical importance. At the time of this letter, 1908, Tesla was working on a few plans, any one of which would require him purchasing a 220 volt motor similar to the one he is asking Behrend for in this letter. One was wireless transmissions, one was airplanes and in regard to that, bladeless turbines. He had been working on developing wireless transmission of electrical power from the 1890s through until about 1906 or 1908, even though Marconi had successfully transmitted a message in 1901. At the same time, 1908, Tesla wrote a letter to the New York Times, published on June 8, 1908 which had the heading "Little Aeroplane Progress." Tesla discusses the probability of flying machines propelled by their own power and how provision needs to be made for "maintaining it in the air in a downward current. and the perfect balance independently of the navigator’s control is absolutely essential to the success of the heavier-than-air machine. These two improvements I am myself endeavoring to embody in a machine of my own design." *[Tesla Research on line from Tesla Society] And, at this time, he was also working on a bladeless turbine. On his 50th birthday, in 1906, "Tesla demonstrated a 200 horsepower (150 KW) 16,000 rpm bladeless turbine" which he patented in 1913. He licensed the idea to a precision instrument company and it found use in the form of luxury car speedometers and other instruments. [Cheney, Uth & Glenn: Tesla – Master of Lightning, 1999, p. 115]. It is known that in 1906 Tesla suffered a nervous breakdown, based no doubt on his financial struggles. After the breakdown he needed to raise funds for his projects so he "shifted his creative efforts from electricity to mechanical engineering.[taking up] his old dream of flying." He turned his attention to bladeless turbines. His first patent for this turbine was in October of 1909. From about 1914 to 1924 "Tesla worked on his turbine with engineers at Pyle National in Chicago, Allis-Chambers in Milwaukee." Behrend worked at Allis-Chambers at that time. Bernard Behrend to whom Tesla writes our brief but significant letter, was "probably in [Tesla’s] confidence to a greater extent than anyone else." [Carlson, p. 211] Behrend was one of the first electrical engineers to "grasp the tremendous significance of Tesla’s alternating-current discoveries and their far-reaching importance." Behrend started publishing articles in 1896 on the simple mathematical technique he developed called the circle diagram which enabled one to work out problems of designing alternating-current machinery with ease. But, he did not meet Nikola Tesla until 1901 "when Tesla requested a particular type of motor for his World Wireless plant being built in Wardencliff, L.I.[sic] and the task of designing it was assigned to the engineering department of a manufacturing company of which Behrend was in charge. After Tesla and Behrend met, a very close personal friendship developed. ." [See: Carlson, W. Bernard: Tesla, Inventor of the Electrical Age, 2013, page 201]. Behrend acknowledged his appreciation of Tesla’s discoveries which added to his own further developments. In 1916, Behrend, then Senior Westinghouse engineer on the nominating committee for the American Institute of Electrical Engineers, nominated Tesla to receive the Edison Medal. Tesla did not want to accept the award, feeling that he would be ridiculed for not having made any discoveries for so many years, but Behrend pushed him to accept, proclaiming to the membership that none of their discoveries could have been made without Tesla’s efforts. Behrend stated, "Were we to seize and eliminate from our industrial world the results of Mr. Tesla’s work, the wheels of industry would cease to turn." [Prodigal Genius: The Life of Nikola Tesla by John J. O’Neil (1944), page 236.] Tesla received the award in 1917. Behrend published "The Induction Motor" in 1901, but the 1921 revised and enlarged edition contained a dedication to his friends, and included Nikola Tesla. Bernard Behrend worked for Oerlikon Co. in Switzerland in 1896 on the development and design of alternating current and direct current electrical machinery and the design of the Jungfrau Railway. In 1898, he
Welles plans to produce two unknown plays but feels overlooked by reviews of Ionesco's "Rhinoceros." Typed Letter Signed

Welles plans to produce two unknown plays but feels overlooked by reviews of Ionesco’s "Rhinoceros." Typed Letter Signed, with a doodle, 4to, on Hotel Esplanade stationery, Zagreb, Yugoslavia, n.d., ca.1960

WELLES, ORSON In this exceptional letter, Welles writes to Leonard Lyons, the New York Post critic, and long time friend. "Dearest Lennie, Here’s our news: Paola, Beatrice and Rebecca are in the Austrian Alps. As soon as I’m done with this dreadful picture we’re joining up for a few weeks in Spain. We’ll be following Ordonez [bull fighter], which means the south for the first ten days of September. I was in Valencia for the feria and for a few more of Antonio’s dates after that.After Spain–? Probably London. Somebody sent me a really good play from America called ‘The Guide’, and I expect to be producing it in London either before or just after the pantomime season. Also, there’s a play of my own called ‘Brittle Glory’. If I can cast it right, I’ll be doing that, too. For the past few months I’ve been in a light but lingering sulk over your repeated references to ‘Olivier’s ‘Rhinoceros’. (no mention of yr. obt. servt.) Well, now you can fix all that: Kerz has offered me the job of directing his N.Y. production, and in mentioning that I’ve turned it down you can right a great wrong, and finally associate me with this play! Much love to all of you always," and he signs in bold black ink, "Orson" with a doodle of a star and circle next to it. Condition: slight chipping at top right margin. At this time of his life, Welles had returned to Europe to live and work. He refers to Eugene Ionesco’s important play, "Rhinoceros" starring Lawrence Olivier, with whom he did not get along. Welles staged and designed the play performed in London in 1960 and apparently wanted to be noticed for his efforts. The play moved to the Strand after opening at London’s Royal Court Theater. References to other plays especially his never produced title make this an exceptional letter.
Ginsberg tries to get help for Russian poet Yevgeny Yevtushenko in this letter to fellow Beat poet Ira Cohen. and proclaims

Ginsberg tries to get help for Russian poet Yevgeny Yevtushenko in this letter to fellow Beat poet Ira Cohen. and proclaims, "I am not a Marxist" in his typed letter to friend and fellow Beat poet, . Typed Letter Signed, 2pp on an aerogramme, Varanasi, India, April 29, 1963

GINSBERG, ALLEN Proclaiming, "I am not a Marxist," Ginsberg expresses his views on communism as part of his request to Ira Cohen (1935-2011) to help Yevtushenko (1932-2017). Ginsberg thought that a declaration about Yevtushenko’s influence on turning Westerners towards communism would loosen the Kremlin’s travel ban on the poet whom the Russians sometimes favored and sometimes censored. Ginsberg starts his dense letter on a personal note complaining about not writing and needing to settle someplace to "unscramble what I can." In the second paragraph he begins his discourse on communism, Yevtushenko and more. "I am not a Marxist because present practice of Marxism everywhere seems to involve bureaucratic state monopoly control of art.if the bureaucracy is so far off in its evaluation of associational poetry, Jazz, abstract art, dodecaphonic music, general human thinking & feeling processes etc[sic] there’s no guarantee the same mistakes aren’t being made in agriculture horticulture physical culture etc. It is the very nature of the rationalistic thinking processes involved which is either a byproduct [sic] or built into or a misinterpretation of Marxism. I’m not read enough in Marxism to know. It’s the moralism involved which is so objectionable, the self righteousness [sic], usually by-product of petty thinking." He refers to a previous letter in which he addressed the same topics: "two points 1)Jazz is negro common peoples social protest folk music so it should by theory be kosher marxist 2) the effect of Yevtushenko’s visit to NY was to mobilize pro-marxist pro communist pro russian [sic] pro cuban [sic] feelings among the younger intelligentsia that I knew ,and so Sholokov’s [sic] statement that Yev was bad propagandist is inaccurate." Mikhail Sholokhov (1905-84) was a Russian novelist awarded the 1965 Nobel Prize in Literature. Ginsberg asks Cohen to ask their friends to, "write privately" to people they may know to help "the situation." "They’re misjudging there on basis of mass media [reports] rather than delicate knowledge of the actual scene.large public statements will only confuse the situation but some private factual communication explaining that Yev was good commie propagandist & catalysed political activity among certain previously a-political scum beatniks, might help. In fact a public declaration that Yevtushenko turned everyone to Marxism if it were gentle & Funny (not ironic) enough might alleviate some of the misery." Ginsberg suggests that Yevtushenko could represent a positive example of Marxism, a system which produced, "such fine human beings.& such good poetry.to disabuse ourselves of the evils of the Capitalist system, and catalysed in many of us.defense of the Cuban experiment.so we submit that the misinformation or mal impression created by the inaccuracies of mass media is Hereby corrected by our testimony of the direct effect on us of Yevtushenko’s visit." He ends the letter declaring, that Yevtushenko is the best Propagandist for Russian communism that we in our postwar lifetimes ever encountered." and a second time asks Cohen to "do anything organized in this direction." Then he writes in pencil in his hand, "Peter [Orlovsky] signed above also." A final typed sentence requests, "Well maybe you can publish this paragraph of manifesto." He also signs in pencil, "Allen." Ginsberg wrote from Varanasi (Benares), India, where he had been living from early 1962 to July of 1963 while Cohen was living in Tangier, Morocco from about 1961-1964. Our research has not indicated that a declaration on behalf of Yevtushenko followed. Condition: Typed on an aerogramme showing the frayed edges from opening. Ginsberg was accused of being a member of the Communist party but was not as he clearly writes here. At varying times, the Soviet government censored Yevtushenko’s poetry then at other proclaimed his greatness. At this particular moment, Ginsberg sought to help him out with a statement about the pro-communist influence of Yevtushenko’s work. While a few Beatniks may have been converted, it was not enough to sway the Soviet government from banning his work. Yevtushenko could not leave the Soviet Union between 1963 and 1965.
Correspondence between Houdini and mentalist Julius Zancig about mind reading with illustration: 1- Zancig Typed Letter unsigned

Correspondence between Houdini and mentalist Julius Zancig about mind reading with illustration: 1- Zancig Typed Letter unsigned, to Houdini on "Zancig Studio" stationery explaining the mind reading trick "How to Thought Picture"; with envelope addressed to Houdini, postmarked Asbury Park, NJ., August 8, 1925. Zancig wrote "Private" on verso of this letter. 2- Written on behalf of Houdini, possibly by secretary Julie Sawyer, a holograph letter signed for him to mentalist Julius Zancig, in pencil, three separate 4to pages, August 17,1925; Julie Sawyer was the niece of Houdini’s wife Bess. 3- Typed Letter unsigned, 2 pp, to Zancig with a hexagram diagram Houdini likely drew, in ink, Aug. 21, 1925;

HOUDINI, HARRY The illusion of mind reading intrigued Houdini. Both he and Zancig had little to do with each other though both belonged to the Society of American Magicians. Houdini doubted mentalist Julius Zancig’s ability to self proclaimed ability. In this three piece correspondence Zancig reveals his trick. This correspondence began with Zancig’s Aug. 8 TLS to Houdini on "How to Thought Picture. here is the secret Harry nd (sic) no one lese (sic) has it but you up to this time.you promise not to Devulge (sic) it to any one here." Houdini replied first with a three page holograph letter including bold capital letters detailing what he did not understand about Zancig’s trick. The letter is not in is hand but is most likely a draft of the typed letter he sent to Zancig. The typed letter included in this group varies from the hand written letter and is very likely a copy of the typed letter Houdini did send. This copy contains a hexagram drawing in ink appearing to be in Houdini’s hand. He never believed the mind reading illusion had anything to do with a special mental ability. From the Aug. 17 holograph letter "I have gone over the Thought Picture sheet very carefully but must confess that it is not clear to my mind." The letter ends on the second page, with his name then crossed out and the letter continued onto a third page . "I really cannot put these things together and would appreciate your making it clearer–With best regards, yours, Houdini." This first closing and signature are struck out and followed on the last page with, "Do you really attempt to reproduce what is drawn by members of the audience, or confine your reproductions to your prepared list? If so what about identification by audience." At this point it is signed on his behalf, "With best regards, Houdini." The letter while not in Houdini’s hand expresses his views about Zancig. It is possible the letter was dictated as a first draft then redrafted into the typed copy here. Sir Arthur Conan Doyle declared in 1923 that Julius Zancig and his wife were genuine telepathists, contradicting Houdini”s belief that the Zancigs’ "mind-reading performances required no supernatural powers. Houdini purchased the explanation of the act from Julius Zancig in order to demonstrate the truth of his view to posterity." (Milbourne Christopher, Houdini, New York, 1969, p. 177)."
Important Autograph Letter Signed

Important Autograph Letter Signed, the first in the T. E. Lawrence and Henry Williamson correspondence; autograph letter in pencil on verso ofpartly faded typed letter in purple ink, 2pp on one large folio sheet, [Karachi], April 2, 1928. (Published in the Letters of T. E. Lawrence Edited by David Garnett.). Henry Williamson, (1895-1977) author of "The Pathway" (1928) and "Tarka the Otter" (1927) which won Hawthornden Prize in 1928

LAWRENCE, T. E. [LAWRENCE of ARABIA or T. E. Shaw] The friendship between Lawrence and Williamson began as a result of the literary critic, Edward Garnett, sending Lawrence a copy of the proofs for Henry Williamson’s "Tarka the Otter." Lawrence read it and replied to Garnett on January 20, 1928. Garnett then sent Lawrence’s letter to Williamson, a letter that held both praise and criticism for "Tarka." In that letter, Lawrence revealed his own view of himself as a writer. [From Lawrence’s letter to Garnett, January 20, 1928, in "T.E. Lawrence Correspondence with Henry Williamson, ed. Peter Wilson (Castle Hill Press, 2000)] The full text of the letter with explanatory notes is included. "Tarka was in itself an achievement.He [Williamson] will realise, if you send him this letter, that I’m not a verbal artist: but a fellow who thought for a long time about writing, and then found (not too late) that he couldn’t do it. Yet sometimes I fancy that it isn’t the success that teaches best, but the half-failure. I shouldn’t have written so much about the book if it was not, in my judgement, particularly worth writing about. If I might hazard a general opinion it is that the otter-subject did him much harm. All his good stuff clusters in the sidelines of the book. ." Williamson then wrote to Lawrence in response and in this April 2,1928 letter, Lawrence respond’s to Williamson directly and so begins a life long correspondence. Lawrence typed the first page of his letter with a purple ink ribbon, which has faded, noting that he hates typewriting. He switches to pencil on verso for the second page. He discusses his job in the RAF, then further on discusses Williamson’s book, "Tarka" and references his own "Seven Pillars." The typed portion ends with Lawrence writing about his Arab "business". "The Arab business was a freak in my living; and if I did the worders they ascribe to me, then, it was wholly by accident, for in normal times I’m plumb ordinary." The hand written pencil portion begins, "I wonder what you will do about money. Tarka will not have made much." This leads into his thoughts about writers that include references to Dickens, Tolstoy, and Balzac. He signs, "T. E. Shaw." The letter comes with a reprint from the Lawrence and Williamson correspondence, pages 46-48. Condition: The paper is evenly sunned, however the typed portion has faded substantially towards the bottom of the page and shows through somewhat on verso. The hand written portion on verso in pencil is clear and in good condition. In "T.E. Lawrence By His Friends," Williamson is quoted as saying that upon reading the first sentence of Lawrence’s "Seven Pillars of Wisdom," and comparing it to a sentence "of the same visual essence" in his "Tarka the Otter," that having read that opening sentence he "knew Lawrence of Arabia. I knew we saw many things alike. Perhaps he was the friend I had always longed for with whom even words would be superfluous." [See: on line archive T.E.Lawrence By His Friends].
Autograph Letter Signed "J. S."

Autograph Letter Signed "J. S.", 5 pp. on yellow lined pages, in pencil, Sag Harbor, June 30, 1965

STEINBECK, JOHN Writer John Steinbeck was a Land Rover enthusiast and in our letter to Howard Gossage (1917-69), famed advertising executive called "The Socrates of San Francisco" because of his appreciation for thinkers and writers. His office housed in a Firehouse became a meeting place intellectuals. Gossage confounded the Freeman, Mander and Gossage agency whose clients included Land Rover, the Sierra Club, Qantas Airways, and Petrofina Oil Company. Throughout the letter Steinbeck suggests changes for the Land Rover including air pollution controls. His last idea has to do with seat design to better accommodate a headrest. He seemed certain his words would not clearly convey his intention, thus, Steinbeck illustrates his proposal for head rests. Steinbeck first comments on the elegance of the car particularly the feel of its leather seats. "Sound is very important." He writes that he installed a "three toned boat whistle" which produced "a lovely chord." "Next is smell." He suggests "cakes of slowly releasing perfumes" be inserted into the air system, "Men who protest that they don’t like perfume are liars." He comments on adding musk for excitement. He notes the importance of air pollution controls suggesting Land Rover be the first auto maker to include emissions controls in the basic car rather than offer it as an option. Lastly, Steinbeck complains about the seats. "The reclining seats are wonderful except that your head hangs over the back." This disagreeable predicament leads Steinbeck to illustrate an improved seat with head rest. He signs this long, detailed letter with initials, "J. S." Full text: I sent the Land Rover to Grattan to be checked for any needed repairs and he left a new 2000 or MM for me to drive while LR is being fixed. And I must say it is an elegant little car. The Jaguar I used to have went buckety-buckety over the country concrete but not MM. It is remarkably agile actually a small dream car. Elaine [Steinbeck’s wife] complains that I can’t let anything alone. She says if I can’t improve on a thing, I cover it with leather. Perhaps she is right. Cars are, or try to have personality. And as with the girls who sell hair stuff, it’s always the same personality. But recognition of personality comes through all five senses. Why do people love leather seats. Of course it is more expensive but mostly it is because it feels good to the touch. All right – what you touch most often on a car is the steering wheel. I am fortunate in that my hands do not sweat, but most people have that trouble and the hard plastic or wood wheel then becomes slippery or sticky. The finest and best feeling and most easily gripped is cork. It is used on the handles of all sporting goods that require a firm non slippery surface. A layer of cork or synthetic cork on the steering wheel would feel very good. Another fine surface which would also be trés snob would be checking and knurling like that on a fine gun stock. But the "feeler" is very important to people even when they don’t know it. A second personality recognition is sound. Do you remember the high whistle of a Viscount? It may not have been pretty but you always know what kind of an air craft it was. Now they are selling silence in a car. That’s fine for rattles, but I don’t know a driver who doesn’t want to hear his engine. Now MM has a cute little panting mutter when idling that rises to a gentle whispering roar in the lower gears. Remember when the cut out was popular? Until it was made illegal. Last evening I tried something. I introduced a three toned boat whistle into the exhaust pipe. What came out was a lovely tuned chord., very satisfying. Such an orchestra would be very easy to make a part of the car so that in the lower three gears you got a low musical sound. By its tone you would also know what gear you were in. Sound is very important. Next is smell. People are greatly moved by smell, often unconsciously. Men who protest that they don’t like perfume are liars. I suggest that cakes of very slowly releasing perfumes be placed in the air system – something like Russian leather – not too obvious but having a little musk in it for excitement. The leather of the seats should also be impregnated with a quiet but persuasive odor. Let’s face it, people don’t smell good, even at their best. Now next, let us enter superstition. Just look at the symbols and talismans people hang in their cars. Some time ago I invented a talisman for metal cars – it was just a slab of beautifully polished wood with a magnet on the back to make it adhere to the dash board. It would be much better mounted in front of the driver’s seat – wood for touching. It should have carved on it "God willing" or "Deus Vult" or simply D.V. A small thing, but attractive and everyone touches if he can find it. There it is. I give it to you. Let it be the penate of the MM. All of these are very inexpensive changes but they would be effective. The horn of MM is too treble. It should be deep and masculine. It would do no harm to have a subliminal Bermuda bell. Do you remember that particularly nasty horn on Citroens some years back? Just to hear it made you mad. A day in Paris with those damn things going made you come out fighting. The horn is very important. It should be pleasant, courteous but with authority. I have my old bull horn on the Land Rover as a supplement and when I needed it, it really clears the road. Now one more thing. I don’t know whether I dreamed it or not but I believe I was told that our 3 litre has a device for eating its own pollutant gasses. If it has, not much was made of it and I don’t know whether MM has it and the engine bonnet seems to be locked. I can’t get it open. What I am getting at is this – Many states have bills pending which will require gas control to lessen the deadly air pollution. This will probably be followed by a federal law. When that happens and the law is tested, Detroit will reluctantly comply, charge it to the customer and take th