Literary scams and pitfalls(1906)

Found in The Fingerpost: A Guide to Professions for Educated Women, with Information as to Necessary Training (Central Bureau for the Employment of Women. 1906) an article called 'Literary Catchpennies' which outlines various scams played on would be writers of the time. Some of these scams, often for bigger stakes, are still with us on the web.

Literary Catchpennies

The perennial literary advertisement trick is, perhaps, the most specious of all. A "Publishing Firm" will offer to consider MSS. sent to Box so-and-so at the offices of the paper in which the advertisements appears. Or the advertisement asks for some specified requires a fee; sometimes he merely swallows all the MSS. sent to him and is heard of no more. A plausible gentleman, with an office in London, extracted from a struggling authoress of my acquaintance a fee of 10s. 6d. for the purpose of making copies of a little tale of hers for the American Press.

Thomas Augustus Trollope—the famous novelist’s forgotten brother

While many admirers of Anthony Trollope are busy celebrating the great novelist’s bicentenary, spare a thought for his older brother, Thomas Augustus Trollope (1810 - 92), who was always in his shadow, but who as a novelist, prolific travel writer and biographer in his own right, may have eclipsed Anthony in the word stakes.

In a long literary career Thomas published around sixty books, having begun a writing partnership with his mother while still at Oxford? In addition, he was a prodigious contributor to magazines. His friendship with Dickens, for instance, led to a long association with Household Words. Much of his work was achieved while living in some style in Italy. He moved to Florence in 1843, creating with his first wife a salon for expatriates at the Villino Trollope, which was expertly decorated and whose  sumptuous furnishings included a library of 5,000 books.

James Greenwood (1832-1929) A Janus of Journalism

Found at the front of a book catalogue ('Chat Dept.') of  J.J. Rigden from the Haining collection this well researched piece on Victorian journalist James Greenwood.

James Greenwood (1832-1929) A Janus of Journalism

This author is now a little better known than he was a few years ago. He contributed to the world of boy's books, some exciting, though bloodthirsty works of fiction that can still be avidly read today.

Relying on his experience as a sensational journalist, he leaned heavily on the plot. His charters were not much more than 'cardboard cut-outs', and to a certain extent, he seemed to be obsessed with lycanthropy. 'The Bear King' 1868, 'Purgatory of Peter the Cruel' 1868, 'Adventures of Seven Footed Foresters' 1865… all have shape-changing as a major theme. His descriptions of blood-letting in various forms were highly coloured, leaving very little to the imagination.

Yet, this was the man, who in 1874, published a vitriolic attack on the penny-dreadfuls, their publishers, authors and distributors, (Wilds of London, Chatto 1974). He described the papers as 'penny packets of poison', corrupting the minds of the young and laying the prevalence of all types of crime at their door… (Much the same today with horror films and comics, does nothing change?) As to the distributors, he was at pains to point out that they were greedy and unscrupulous.

The Literary Cranks of London - The Cemented Bricks

I came across this oddly named literary coterie quite recently in a catalogue by the august bookseller and writer John Saumarez Smith in a scholarly note about one of its members - the writer (anthologist) Robert Maynard Leonard (1869 - 1941) who among other things was secretary to the Anti-Bribery League, which sounds like something from a G K Chesterton short story. Members of the 'Cemented Bricks' included Richard le Gallienne, Walter Jerrold, Sir John Parsons, Lord Amulree and Joseph Knight. The web yields very little about them except this page from The Sketch of 13/2/1895 bought for the price of a mocha latte on eBay. It remains unknown to Google books and even Brewster Kahle (praise his name) has not archived it... At the same time we bought another in the series of 'Literary Cranks of London' on 'The Vagabond Club' which will follow later.


The Literary Cranks of London.

The Cemented Bricks.

The Cemented Bricks.! Who or what are they? Is it a new order of Hod-fellows, or is it a building society?

That question, or series of questions, was put to me by a lady three years ago. This article will supply the answer.

About five years ago, four young men in London were drawn together by a certain similarity of journalist-literary tastes and aspirations. They had gravitated together from various places; one from a chemist's shop, via a Hull newspaper; another from a newspaper office in the West of England; the third from a similar centre of 'light and lending' in Lancashire; while the fourth would be penman and present writer was chained, as Lamb puts it, to the "desk's dead wood" in a counting-house near the Strand.

The Dutch Sensitivists

An excellent introduction by Edmund Gosse to Louis Couperus's 1891 novel
Footsteps of Fate ('Noodlot') translated from the Dutch by Clara Bell. Gosse corresponded with Couperus but he wrote well informed  introductions similar to this to every book in Heinemann's long series of European novels. They show great scholarship and an enthusiasm for the emerging movements in writing in the last decade of the 19th century. While Britain had its aesthetic 1890s movement and the Celtic Twilight and the French their decadent writers the Dutch had the 'Sensitivists'…There are interesting references to the Dutch Browning (the poet Potgieter) also resident in Florence and also to Netscher the Dutch George Moore, a singular honour.

THE DUTCH SENSITIVISTS

In the intellectual history of all countries we find the same phenomenon incessantly recurring. New writers, new artists, new composers arise in revolt against what has delighted their grandfathers and satisfied their fathers. These young men, pressed together at first, by external opposition, into a serried phalanx, gradually win their way, become themselves the delight and then the satisfaction of their contemporaries, and, falling apart as success is secured to them, come to seem lax, effete and obsolete to a new race of youths, who effect a fresh aesthetic revolution.

Vampires in Literature 2

The second and last part of this extract from The Vampire in Literature: a Critical Bibliography (edited by Margaret L. Carter, Ann Arbor, Michigan, U.S.A.: Umi Research Press 1989.) The types of vampire literature are broken down into categories. An amazing and comprehensive work that will probably be much longer if they bring it up to date.

In - Inanimate object, e.g., a house or a car, acts as a a vampire.
Examples: Benson, Edward Frederic. 'The Room in the Tower'. 1912.
Bloch, Robert. 'The Hungry House'. 1951.

J - Juvenile fiction.
Examples: Schoder, J. 'The Bloody Suckers'. 1981.
Scott, R. C. 'Blood Sport'. 1984.

L - Character functions a s vampire while still living, without passing through any form of death.
Examples: Giles, Raymond. 'Night of the Vampire'. 1969.

MN - Movie novelization. I note this fact wherever I am aware of it.
Examples: Johnson, Ken. 'Hounds of Dracula'. 1977.
Burke, John. 'Dr. Terror's House of Horrors'. 1965.

Hallucinations of Shakespeare

When English tourists abroad are accosted by foreigners on trains it is now more likely to be about Manchester United or Downton Abbey. According to the writer Maurice Baring, in his time it was often about Shakespeare, as in this intriguing account in his Lost Lectures (London, 1932):

Over and over again it has been my fortune to be told about English literature by foreign high-brows in trains, and to be initiated in the secrets of the literature of my country. I once met a Serbian professor who told me that he had written a book about Shakespeare. He spoke French (not Shakespeare—the Serb). Shakespeare was a well known case, he said, of self-hallucination. He knew, because he was a mind doctor. Hamlet was a well-known case of a man who thinks he sees ghosts.
“But”, I said, “the other people in the play saw the ghost.” “They caught his infection,” he said.
“But they saw it first,” I objected.
“It was Suggestion,” he said; “it often happens. The infection comes from the brain of the man who thinks he sees a ghost before he has seen the ghost, and his coming hallucination infects other brains. Shakespeare hallucinated, or he could not have described the case so accurately. All his characters hallucinated—Macbeth, King Lear, Brutus (he saw a ghost).”
I said enough things had happened to King Lear to make him go mad. “Not in that way,” he said. “Ophelia is mad; Lady Macbeth is mad; Othello is mad; Shylock is mad; Timon of Athens is very mad; Antonio is mad; Romeo is mad. The cases are all accurately described by one who has the illness himself.”
“Was Falstaff mad?” I asked.
“Falstaff,” said the doctor, “is a case of what we call metaphenomania.

The Dynamiter - first punk mag?

At a revolutionary printing office*

Found - a review in a 'monthly magazine of bibliography' Book Lore (1886) of  a new magazine The Dynamiter : a record of literary bombshells, books old and new, flung into the camp of the orthodox [London : Printed and published for the proprietor by Thomas Shore**, Jun.,] WorldCat shows that it  went to just one issue. The only copy in world libraries is at the British Library in Euston. Amazon list it as 'currently unavailable' assigning it the ASIN number ASIN: B0000EF989. The publisher, and probably the author, seems to have been a minor John Camden Hotten style publisher of the curious, seditious & the scabrous. WorldCat lists another work almost certainly by  by him:

Men V. Machinery. Suggestive Facts and Figures, urging National Control of National Powers of Production. By Thomas Shore. With Preface by H. Halliday Sparling. 20 pp., price 2d. 

This hints at quite advanced, possibly revolutionary, political views and brings to mind the world of Conrad's The Secret Agent and nihilists in blue-tinted glasses... Shore's 1886 periodical was eight pages in length and printed on red paper rendering it hard to read. It may have been a simple bookish curiosity about strange and outlandish books, not uncommon at the time. However the Book Lore review mention of "oatmeal upon which to cultivate literature and revolution" and "blood red paper" suggests a more provocative, contrarian purpose and it may have a place in a completist collection of punk literature (along with Wyndham Lewis's puce monster BLAST also 'flung into the camp of the orthodox' 28 years later.) The review in Book Lore reads thus: [We have left in the news item that follows it suggesting John Ruskin was a graffiti artist.]

No. I of The Dynamiter, which is said to be "a record of Literary Bombshells, books old new, flung into the camp of the orthodox," consists of eight quarto pages, printed on blood-red  paper, and the editor says that since "every man has to pay rent, rates, and taxes, as well as buy food and clothing, it is a farce to talk about working wholly and solely for love of a cause."  The information supplied by this engaging print is not, judging from the solitary number before us, of any value;

John Hayward---‘the most malicious man in London’

This photo, which is inscribed on the reverse, 'Rose Macaulay (centre) and John Hayward' was found amongst a large collection of press photographs that included a number of other shots of celebrated British cultural figures from the forties and fifties. Judging from the physical condition of the identified figures, it must date from the mid fifties. Hayward had suffered from muscular dystrophy since his twenties and eventually became wheelchair- bound. I suspect that the other two individuals in the shot were his ‘carers’, although observant Jotwatchers may know better. Even though Hayward was said to be light in weight, I can’t imagine the spindly Rose  having the energy to propel him across the grass. Incidentally, does Rose come into the category of Very Tall British Female Novelists**, along with Virginia Woolf ?

The photo makes Hayward, with his thick lips and mischievous mien, resemble top notch Modernist Wyndham Lewis. Nor were these facial features the only attributes they held in common. Both were disabled, though Lewis only became blind in his late sixties. Both were close to T. S. Eliot, though the much younger Hayward was more of a literary groupie than the intellectual equal of the poet, though his various editions of poetry gave him a certain cachet.  In 1926, while still an undergraduate at Cambridge, he had met Eliot for the first time. They got on well and Hayward developed the friendship with letters and invitations to the lonely Eliot to visit him at his home.

Wickham Steed

Wickham Steed
(Bibliotheque Nationale Francaise)

[L.R. Reeve* writes:] Somewhere in the world of books there must surely be a biography of the late Wickham Steed. He would have been an eminent man if only for his vast knowledge of foreign languages: a knowledge which could be acquired only after months and years of intense application to his studies and excellent hours.

One wonders whether his obvious passion for other tongues began at the Sudbury Grammar School. Did he learn from an enthusiastic and efficient French teacher, or was his enthusiasm inborn in spite of an apathetic form master?  No matter. His enthusiasm and obvious genius could never develop so remarkably without both inherent ability and uncommon will power. No indolent man could have achieved so much. His long arduous apprenticeship abroad began, I fancy, at the Sorbonne, in Paris. When he spoke to a large audience on foreign languages at Essex Hall, Strand, he told us of a Parisian who informed him that he spoke French like a Frenchman: a testimony which all students would like to hear.

D.H. Lawrence & Rananim - the lost plans

In our researches in the Glenavy papers in various books and online we came across  traces of D.H. Lawrence's plans for a Utopian community to be called Rananim. At one point it appears that Lady Glenavy had Lawrence's actual plans for the community…

Painting by D.H. Lawrence

22/1/17 Lawrence wrote to Baron Glenavy (Gordon Campbell):

 I hope, in the long run, to find a place where one can live simply, apart from this civilisation, on the Pacific, and have a few other people who are also at peace and happy and live, and understand and be free…

A little later he wrote to Gordon Campbell :

 You see for this thing which I stutter at so damnably I want us to form a league - you and Murry and me and perhaps Forster - and our women - and any one who will be added on to us…as long as we are centred around a core of reality, and carried on one impulse.

Earlier (1915) he had written to E.M. Forster:

 …in my island I wanted people to come without class or money, sacrificing nothing, but each coming with all his desires,  yet knowing that his life is but a tiny section of a Whole : so that he shall fulfil his life in relation to the Whole. I wanted a real community, not built out of abstinence or equality, but out of many fulfilled individualities seeking greater fulfilment. But I can't find anybody. Each man is so bent on his own private fulfilment…'

Campbell's wife, Lady Beatrice Glenavy writes in her memoir Today We Will Only Gossip (Constable 1964):

About 1915..Lawrence  begin to formulate his ideas about  an Isle of the  Blest which he had named Rananim, a name which he got out of one of *Kot's Hebrew songs.  He had written out a long draft of the constitution of this island and given it to Gordon to study, hoping to get him interested and involved, believing him to have the organising capacity and the capital to work the scheme. Gordon put the papers away

Matthew Arnold letter - a football injury

Found tipped into the front of Poems of Matthew Arnold (London, 1853) an unpublished  handwritten signed letter from the poet to his French friend the writer and anglophile Edmond Schérer.

PAINS HILL COTTAGE, COBHAM, SURREY*. Oct 13th '76

My dear Mr. Scherer


My boy slipped down and was trodden upon at football last March, and was very ill afterwards from some injury to the back. He got well, however, but when I wrote to you we had been disturbed by a sudden return of his pain.  We have taken him to Prescott Hewitt** a great surgeon, who says that he must lie in bed till the pain has entirely gone,  this upsets the arrangements of a small cottage, as we have to give our invalid the one spare room we have, that he may have more air  and  space than in his own little room.  So we are unable to receive any guests in the house while he is ill, and therefore I was obliged, to my very great regret, to put you off.  I fear it will be still a week before we cease to be a  hospital but – do let me know what you are doing and how long you stay in England.  I cannot easily give up the hope of seeing you here. At any rate I shall meet you at the Athenaeum, I trust;  for next week I begin inspecting*** again and shall be in London every day. I have so much to say to you and to hear from you. Most sincerely yours Matthew Arnold.

* Printed at head of notepaper. This was in the beautiful private landscaped park Painshill Park and Arnold rented the cottage from 1873 to 1888.

** In Dickens's Dictionary of London, by Charles Dickens , Jr., (1879) under 'Doctors' Prescott G. Hewitt is noted as Consulting Surgeon at the  Evelina Hospital for Sick Children (Southwark Bridge Road.)

***Matthew Arnold  was appointed, in April 1851, one of Her Majesty's Inspector of Schools, a job which he worked at until 1886. He once described it as 'drudgery.'

The Briar Rose -- exhibited August 1890

Found in a slim volume of verse from 1891 'printed for private circulation' - this poem about The Briar Rose - a series of 4 related paintings by the Pre-Raphaelite artist Edward Burne Jones. These were first exhibited at Agnew's Gallery in Bond Street, London in 1890. The paintings depict a moment in the story of Sleeping Beauty, the title of the series coming from the version presented by the Brothers Grimm in their collection of 1812. The book was called Thoughts by the Way / Sicily by S.A. Thompson Yates. He was the son of Henry Yates Thompson (1838 -1928) a wealthy British newspaper proprietor and collector of illuminated manuscripts. He was known as the Reverend S. A. Yates Thompson and was the brother of Henry Yates Thompson also a major book collector.

After seeing Mr Burne-Jones picture, 'The Briar Rose.' (August 1890)

Love comes at last with sad and serious face,
A pale, armed youth with sharpened sword in hand,
To pierce the briar-rose hedge, which can withstand
The arms of hate or lust. It is disgrace
To let such through. But, that true love's embrace
Should give all life again, the burly band 
Of sleeping sentinels will not demand
The watchword, as should guardians of the place.
Here all are sleeping. King and council sit, 

In years and wisdom ripe; next maidens
While busy with their housework. All, asleep,
Await the kiss of love, which, as is fit,
The warrior gives, yet sadly, half afraid
To rouse the loved one from her slumbers deep.

Interview with Robin Cook aka Derek Raymond

Found - loosely inserted in a copy of his novel A State of Denmark this typescript of an interview with Robin Cook aka Derek Raymond. At one point he says he is 60 which dates it at 1991. It does not appear to have been published. Many of the typos have been cleared up. It was probably transcribed from a tape recorded in a noisy pub with a break in a Chinese restaurant and back to the pub. Robin Cook, cult novelist and author of The Crust on Its Uppers was also known as Derek Raymond. He had to change his name as it was the same as the best selling author of schlock medical thrillers (Coma etc.,).

Dead man upright. Chap still walking around who really oughtnt to be.
Bit like your nameless policeman.
Yea, lots of policemmen like that esp the busted ones. All driving minicabs. What can you do after being a bent policeman? and you know London well what can you do next/
Dont do research with police. Had lunch once . Id rather do it from imagination. Better relations with French police. How to beat people up with a telephone book.
Known a lot of busted ones in my time, disciplinary reasons, sex casess, bisexual ones.
Back in West Hampstead. Been there a year until I finish the book.
Memoirs out next month
BBC series. Kenneth Trodd. Scriptwriter is a man called William Golding. The man in charge is Kenneth Trodd. First met him years agao back in 1962 when he wanted to make a film of Crust on its Uppers, used to have endless talks. He did singing tec with Dennis Potter. So its in as good hands as it could be. Three 50min episodes, they will draw on all 4 books.
Tom Bell, I thought of him.

Some curious changes in book titles

Found - an article by Ellery Queen -Some curious changes in book titles in the omnibus Carrousel for bibliophiles, a treasury of tales, narratives, songs, epigrams and sundry curious studies relating to a noble theme by William Targ (Duschnes, New York 1947.) The book is a late example of one of those bibiophilic tomes that were published in such numbers at the end of the 19th century (Love Affairs of a Bibliomaniac, Autolycus of the Book-Stalls, Shadows of the Old Booksellers, The Souls of Books, Book Song, Behind my Library Door, The Romance of Book Collecting etc., etc.,) and are now almost unknown. Queen's article is about changes of title of British editions of (mostly) detective fiction when published in America.

Thomas Burke. The Pleasantries of Old Quong (Constable 1931) became A Tea-Shop in Limehouse (Little Brown 1931)

W. W. Jacobs. Sea Urchins (Methuen 1899) became
More Cargoes (Copp, Clark 1899)

R.Austin Freeman. Dr. Thorndyke's Casebook (Hodder 1923) became The Blue Scarab (Dodd, Mead 1924)

Arthur Morrison The Green Eye of Goona (Eveleigh Nash, 1904) became The Green Diamond (Page, 1904)

J.S. Fletcher Paul Campenhaye: Specialist in Criminology (Ward, Lock 1918) became, 21 years later, The Clue of the Artificial Eye (Hillman-Curl 1939)

E.W. Hornung The Black Mask (Grant Richards 1901) became
Raffles:Further Adventures Of The Amateur Cracksman (Scribner's Sons, New York, 1901)

E. Phillips Oppenheim The Game of Liberty (Cassell 1915) became An Amiable Charlatan (Little, Brown 1916)

Baroness Orczy The Old Man in the Corner (Greening 1909) became The Man in the Corner (Dodd Mead 1909). A change of which Ellery Queen says "only a slight change…but to those  who cherish the memory of the first true armchair detective of detective literature that 'slight' change makes all the difference in the world."

Edgar Wallace The Mind of Mr J.G. Reeder (Hodder 1925) became The Murder Book of J.G. Reeder (Doubleday 1929)- another lamentable change according to EQ as  it emphasises sensationalism which is not actually in the book and a 'phase' of writing at which Wallace " was - surprisingly - inept."

Arthur B. Reeves The Black Mask (Eveleigh Nash 1912) was published, slightly  earlier, in America as The Silent Bullet (Dodd, Mead 1912)- demonstrating that British publishers were not immune to sensationalism.

'Waters' (William Russell) Recollections of a Detective Police Officer (Brown, 1856) rated by John Carter as 'the most important of the early yellowbacks' became in an America re-issue The Secret Detective: or One Night in a Gambling House.

Books in Shakespeare's plays

Browsing Ayscough's An Index to the Remarkable Passages and Words made use of by Shakspeare ; Calculated to Point Out the Different Meanings to Which the Words are Applied (Thomas Tegg, London 1827) I checked out its dozen or so entries under 'books'. It is fairly comprehensive (Samuel Ayscough was known as 'The Prince of Indexers') but at about 500 pages is not  a 'concordance' and  its intention was somewhat different, as stated in the title. Henry IV (Part 2) seems to be the play with the most bookish references

Books 

Burn but his books. Tempest, Act 3, Scene 2.
Drown my books.  Ibid, Act 5, Scene 1.
The gentleman is not in your books. Much Ado About Nothing, Act 1, Scene 1. 
Tire the hearer with a book of words. Ibid, Act 1, Scene 1. 
These trees shall be my books. As You Like It, Act 3, Scene 2.
I have unclasp'd to thee the book of my secret soul. Twelfth Night, Act 1, Scene 4.
By what time shall our book, I think be drawn. 1 Henry IV, Act 3, Scene 1.
By this our book is drawn; we will but seal and then to horse immediately. Ibid, Act 3, Scene 1.
Turning your books to graves, your ink to blood, your pens to lances. 1 Henry IV, Act 4, Scene 1.
Blotting your names from books of history.  2 Henry IV, Act 1, Scene 1.
Our fore-fathers had no other books, but the score and the tally. Ibid, Act 4, Scene 7.
Made him my book, wherein my soul recorded the history of all her secret thoughts. Richard III, Act 3, Scene 5.
I have been the book of his good acts. Coriolanus, Act 5, Scene 2.
A book! O rare one! be not as is our fangled world, nobler than that it covers. Cymbeline, Act 5, Scene 4.
That book in many's eyes doth share the glory, that in gold clasps locks in the golden story. Romeo and Juliet, Act 1, Scene 3.
Was ever book, containing such vile matter, so fairly bound. Ibid, Act 3, Scene 2.

Booked

Let it be booked with the rest of the day's deeds - 2 Henry IV, Act 4, Scene 3.

Bookish

Though I am not bookish, yet I can read waiting-gentlewoman in the scape. Winter's Tale, Act 3, Scene 3.
I'll make him yield the crown, whose bookish rule hath pull'd fair England down. 2 Henry IV, Act 1, Scene 1.

Book-Mates

One that makes sport to the prince, and his book-mates.  Love's Labour Lost, Act 4, Scene 1.

Book-Oath

I put thee now to thy book-oath; dry it if thou canst. 2 Henry IV, Act 2, Scene 1.

Book of Sport

Or like a book of sport thou'lt read me o'er. Troilus and Cressida, Act 4, Scene 5. 

And from The Tempest these fine lines - 'My library was dukedom large enough'...

Eric Parker, Country Writer, Bird Lover & Sportsman

This press-cutting of an obituary was loosely inserted in a copy of Highways and Byways in Surrey (Macmillan, London 1919). It is dated 14/2/55 and was probably cut from The Times. He is so far unknown to the all knowing Wikipedia despite having written many books. A recent article about him  in The Guildford Dragon News is headlined Eric Parker, Who He? In the second hand book world however he is not forgotten on account of his many books, still mostly quite saleable...

Writer on Sport and Countryside

Mr. Eric Parker, a well-known writer on field sports and the countryside and an active campaigner for the protection of wild birds, died at his home near Godalming yesterday at the age of 84. He was editor of the Lonsdale Library and a former editor-in-chief of the 'Field'.


Frederic Moore Searle (Eric) Parker was born at The Grange, East Barnet, in 1870, the eldest son of Frederick Searle Parker and Elisabeth, daughter of William Wilkieson, of Woodbury Hall, Bedfordshire. He was a King's Scholar at Eton and a Postmaster at Merton College, Oxford. He took a second class Hon. Mods. in 1891, and a fourth class in Lit. Hum. in 1893. He entered journalism in 1900, when he became junior assistant editor to Theodore Cook on the 'St. James Gazette'. While still on the staff of the 'St. James's' he started to write for the 'Spectator' under St. Loe Strachey, and when St. Loe Strachey bought the 'Country Gentleman' Parker was appointed editor of that paper, coupling it with regular writing for the 'Spectator'.

The 'Country Gentleman' ceased publication in 1907. By that time Parker has written one book, 'The Sinner and the Problem', and illustrated another, A. K. Collett's 'British Inland Birds. He was always a great Surrey man, and lived in that county for most of his life, and so it was fitting that he should than have been asked to contribute the volume on Surrey to the Highways and Byways series of Messrs. Macmillian. He had a thoroughly enjoyable, thought strenuous, time in prowling about the nooks and crannies of the county, and the result, illustrated by Hugh Thomson, was by no means the least attractive of an attractive series. 

College at Eton

In 1911 he became shooting editor of the 'Field'

Authors most in demand in 1924

How fashions in literature have changed in 90 years. Look at  this list compiled by ‘FMG’ for the Autumn 1924 issue  of The First Edition and Book Collector. Of the top 20 authors whose first editions were asked for by collectors in July and August 1924 only Lewis Carroll, Arthur Machen, Conan Doyle and perhaps Trollope could be said to be collected avidly today. Moreover, look at the specific popularity of each author signified by the number of requests made by collectors. Rudyard Kipling had 181, Michael Arlen, an amazing 98, Norman Douglas 68 and John Masefield 50.
this list compiled by ‘FMG’ for the Autumn 1924 issue  of
Then inspect the lower half of the draw. Both Oscar Wilde and Thomas Hardy come in at a paltry 38, only just ahead of Stanley Weyman, Rafael Sabatini and the now neglected Edgar Saltus! Poor Henry James, who has been fashionable in academic circles for many decades, was far less highly regarded in the era of the flapper. Only 36 collectors asked for him, as opposed to the 52 who fancied the work of George Moore.

Then there are the missing names. Unless you count Conrad as one, there is not a single modernist in the list, despite the fact that many had been selling books for 14 years. Look in vain for D. H. Lawrence (debut 1911), T. S. Eliot (debut 1917), Ezra Pound ( debut 1908), Wyndham Lewis (debut 1918), Joyce ( debut 1904) and most astonishing of all, Virginia Woolf ( debut 1915). The absence of the latter is particularly hard to explain when we consider the role in art and literature of the Bloomsbury  Set in this period, and the fact that Hogarth Press titles were hand-printed. It was to take thirty or more years before such modern masters were collected—by which time it was certainly the end of the road for the likes of Belloc, Moore, Masefield, Weyman et al.

A Son of Belial (Balliol)

Found in one of our old catalogues this curious satirical work by Martin Geldart describing the hell of his undergraduate years at Balliol College, Oxford.

Martin Geldart (writing as 'Nitram Tradleg') A SON OF BELIAL. Autobiographical sketches by Nitram Tradleg.  (Trubner, London 1882). 8vo. pp viii, 250. Autobiographical 'sketches.' Geldart was at Balliol with Gerard Manley Hopkins who is mentioned several times in the text as 'Gerontius Manley.' A witty satire of Balliol life,  in which Geldart refers to Hopkins as my 'ritualistic friend.'** Hopkins wrote to his mother that Geldart was 'the ugliest man I have ever laid eyes on', although he had been a friend and even stayed with Geldart's family in one Oxford holiday. The phrase 'Sons of Belial' was apparently used by Newman to refer to the orgies that took place at his college on Trinity Monday. Rev. Edmund Martin Geldart, M.A., disappeared from the tidal boat from Newhaven to Dieppe in 1889, aged 41. Apart from this book he wrote several works relating to the language and literature of Modern Greece, on which he was an acknowledged authority.

It appears to have been a slightly used copy and sold (not rapidly) for £120 in 2002.

** "Gerontius Manley and I had many talks on religion. He was quite at one with me on the hollowness of Protestant orthodoxy, but he had a simple remedy-the authority of the Church. The right of private judgment must in the long run inevitably lead to Rationalism."

Sons of Belial is now the name of a 'progressive death metal' band from the UK, aiming their music at  fans of Tesseract, Monuments, Ion Dissonance, Animals As Leaders. Album cover below...

Oliver Madox Brown's 'Gabriel Denver' - a rarity

Found - Oliver Madox Brown's novel Gabriel Denver (London: Smith, Elder 1873) - a late Victorian rarity with Pre Raphaelite Brotherhood connections. The binding was designed by the author's father, Ford Madox Brown and is said to be the only book cover he ever worked on. A loosely inserted catalogue clipping from about 1920 prices the book at 18/6 and states;

'...  a novel of great promise, the first and only production of the author, who died in his twentieth year. In A Birth Song Swinburne refers to him in the following lines:
 "High hopes and hearts requickening in thy dawn,
 Even theirs whose life-springs, child, 
 Filled thine with life and smiled,
 But then wept blood for half their own withdrawn."

70 years late in 1992 a slight used copy turned up at Christies New York (from the collection of librarian and poet Kenneth A Lohf) and made $1210. The cataloguer described it thus:

Original tan cloth, pictorially blocked in black, lettered in gilt and black ..binder's ticket of Leighton Son and Hodge at inside rear cover, fraying at ends of spine, rear cover slightly soiled, cloth slipcase. FIRST EDITION, published when the author was eighteen years old (he died tragically the following year); this is the only book cover his artist father designed. Fredeman 47.1 and Plate VII for illustration of the front cover; Robert Lee Wolff, Strange Stories (Boston, 1971), pp. 37-43 and illustration of the front cover. "The death at nineteen of this brilliantly versatile and precocious artist and novelist, son of Ford Madox Brown, and brother-in-law of William Michael Rossetti and Francis Hueffer, deeply distressed the boy's father and all the brethren of the Pre-Raphaelite movement. Both [this and The Dwale Bluth in the next lot] his books are rare ... By 1883, [Gabriel Denver] was already a rarity. Only 300 copies were sold and the rest pulped. See also a remarkable passage in George Moore's Vale (Hail and Farewell, III, 1914, pp. 47-51) in which Moore describes his friendship with Brown formed at art school. During the model's rest periods Brown read aloud from a novel of his which must have been Gabriel Denver..."The model was so entranced, she let her robe slip from her and listened quite naked"--Wolff 881.
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