Collection comprises Kingsolver's re-issued, two-volume, comb-bound typescript (485 pages) of PRODIGAL SUMMER, which had been first published in 2000. Includes photo-reproduced cover. Kingsolver reworked more than a dozen passages to remove any mention of mushrooms, and presented the resulting manuscript to her friend Margaret Randall. Includes an autographed postcard transmitting the gift, laid-in, along with the box Kingsolver used to mail the volumes to Randall in December 2002.

David Mamet, b. 30 Nov., 1947, Chicago; was a writer, director, producer, and actor; sometimes credited as Richard Weisz. Collection comprises the bound typescript of Mamet's 1999 play Boston Marriage, which uncharacteristically focused on female leads, and was set at the turn of the 20th century. The manuscript is 137 pages, printed on rectos only, bound in printed yellow cardstock with the Rosentone Wender Agency address in NY. Inscribed by Mamet: "To Gwen. For a loyal friend of the A.R.T. [American Repertory Theater] -- some merchandise for your loyalty. May it amuse you, provoke your ire, shim up a chair, or start a fire. Love - David Mamet." With an additional doodle (of the author wearing an A.R.T. baseball cap) and his Mamet stamp, which also appears on the front cover. The script has a print date of December 1998, more than six months before the play premiered. The inscription has a date of June 3, 1999, about two weeks before the June 16 premiere at A.R.T. The recipient was on the Advisory Board of the theater and also a major donor to it. In a folding chemise and custom clamshell case.

Collection comprises the bound typescript of Mamet's 1999 play Boston Marriage, which uncharacteristically focused on female leads, and was set at the turn of the 20th century. The manuscript is 137 pages, printed on rectos only, bound in printed yellow cardstock with the Rosentone Wender Agency address in NY. Inscribed by Mamet: "To Gwen. For a loyal friend of the A.R.T. [American Repertory Theater] -- some merchandise for your loyalty. May it amuse you, provoke your ire, shim up a chair, or start a fire. Love - David Mamet." With an additional doodle (of the author wearing an A.R.T. baseball cap) and his Mamet stamp, which also appears on the front cover. The script has a print date of December 1998, more than six months before the play premiered. The inscription has a date of June 3, 1999, about two weeks before the June 16 premiere at A.R.T. The recipient was on the Advisory Board of the theater and also a major donor to it. In a folding chemise and custom clamshell case.

Virginia Woolf was an English writer and publisher, and one of the foremost modernists of the twentieth century. Collection contains a letter from Virginia Woolf to Quentin Bell. Topics include her cook's operation; distractions during the letter writing process, "How any woman with a family ever put pen to paper I cannot fathom;" how Vanessa Bell produced an old French lady to replace the cook; and relates the incident of lost keys to the [Gordon Square] flat. She informs Quentin that "We are now at Rodmell for Whitsun, and the Austrians are gliding over our heads like gulls. Yes, this is a fact. They have tents on the downs and prove that one can fly up and down Asheham Hill without an engine. As I never doubted it myself, I take little stock of it." This is in reference to very enthusiastic and popular Sussex gliding, or sail plane, club. After a bit of village business, she adds that the family cocker spaniel has had five pups and that "Julian [Bell, Quentin’s older brother] is coming to Charleston with a troupe next week." She also reports that the senior tutor of Kings College has been shot by one of his students. Woolf fills Quentin in on the further doings of the Keyneses, Roger Fry and his Aunt Vanessa with regard to a troublesome art show, from which Fry has resigned, and looks forward to each friend bringing her up to speed on the outcome. She tells Quentin that Vita Sackville-West's book is selling so well "that Leonard and I are hauling in money like pilchards from a net. We sell about 800 every day. The Edwardians it is called." Woolf asks her nephew if he is at his family's French retreat in Cassis, and asks for a letter from him describing his "life from the inside." In closing, she laments she hasn't actually said what she wanted to say, and that the "snap-snap of the typewriter frightens me as the snap of a turtle frightens fish. So good bye." Also contains a black-and-white photograph of Virginia Woolf and Quentin Bell, undated, but probably around 1930.

Collection contains a letter from Virginia Woolf to Quentin Bell. Topics include her cook's operation; distractions during the letter writing process, "How any woman with a family ever put pen to paper I cannot fathom;" how Vanessa Bell produced an old French lady to replace the cook; and relates the incident of lost keys to the [Gordon Square] flat. She informs Quentin that "We are now at Rodmell for Whitsun, and the Austrians are gliding over our heads like gulls. Yes, this is a fact. They have tents on the downs and prove that one can fly up and down Asheham Hill without an engine. As I never doubted it myself, I take little stock of it." This is in reference to very enthusiastic and popular Sussex gliding, or sail plane, club. After a bit of village business, she adds that the family cocker spaniel has had five pups and that "Julian [Bell, Quentin’s older brother] is coming to Charleston with a troupe next week." She also reports that the senior tutor of Kings College has been shot by one of his students. Woolf fills Quentin in on the further doings of the Keyneses, Roger Fry and his Aunt Vanessa with regard to a troublesome art show, from which Fry has resigned, and looks forward to each friend bringing her up to speed on the outcome. She tells Quentin that Vita Sackville-West's book is selling so well "that Leonard and I are hauling in money like pilchards from a net. We sell about 800 every day. The Edwardians it is called." Woolf asks her nephew if he is at his family's French retreat in Cassis, and asks for a letter from him describing his "life from the inside." In closing, she laments she hasn't actually said what she wanted to say, and that the "snap-snap of the typewriter frightens me as the snap of a turtle frightens fish. So good bye." Also contains a black-and-white photograph of Virginia Woolf and Quentin Bell, undated, but probably around 1930.