The Librarian Lion: Constructing Children’s Literature Through Connections, Capital, and Criticism (1906–1941) Marianne Martens Kent State University, School of Library and Information Science, P.O. Box 5190, 314 University Library, Kent, OH 44240. Email: [email protected]

While much has been written about the pioneering children’s librarian Anne Carroll Moore, little has been written about her role as a de facto literary agent. As such, Moore was an innovator not only in children’s librarianship, but also in the field of children’s publishing. This paper analyzes Moore’s letters at the Manuscripts and Archives Divi- sion of the and uncovers evidence of her agenting role. Letters written to Moore from authors and illustrators like Greville Macdonald, Walter de la Mare, Leonard Leslie Brooke, Dorothy Lathrop, Florence Crannell Means, and Beat- rix Potter demonstrate Moore’s involvement—from previewing manuscripts, to placing them with editors, to reviewing finished books, and finally, to selecting works for the library’s children. Moore’s innovative mentoring work with authors defines her as a leader whose reach stretched from the library to the world of publishing, as she helped shape the burgeoning genre of children’s literature. Keywords: Historical research, children’s librarianship, children’s publishing, agenting, Anne Carroll Moore

Introduction and Context Moore’s “The Three Owls” column in The New York Herald Tribune, and was con- sing the Anne Carroll Moore Papers sidered to be an entity powerful enough Uat the Manuscripts and Archives Di- to shape children’s minds. Publishers re- vision of the New York Public Library, alized that the cultural capital inherent in this paper focuses on the formative pe- children’s literature could be exchanged riod in the history of children’s librarian- for economic capital, and formed chil- ship and publishing during Anne Carroll dren’s departments as part of their edito- Moore’s reign at the New York Public Li- rial programs starting with editor Louise brary (1906–1941), and on Anne Carroll Seaman Bechtel at Macmillan’s children’s Moore herself, a key player in the estab- department in 1919. lishment of a burgeoning field, who served In that context, this paper focuses on as children’s librarian, critic, and men- the “Librarian Lion,” Anne Carroll Moore, tor and advisor—and as virtual literary who was a central figure during that foun- agent—to authors and illustrators. During dational period, rising from librarian to that time, children’s literature was begin- primary gatekeeper in the field of chil- ning to acquire what Bourdieu (1984) dren’s literature, determining through her refers to as “cultural capital.” Children’s reviews and criticism which books were books were nearly on par with literature worthy of inclusion in the canon of qual- for adults as objects containing cultural ity children’s literature, and serving as a value. Children’s literature was reviewed gatekeeper, connecting would-be authors and criticized, starting with Anne Carroll and illustrators with editors at publishing J. of Education for Library and Information Science, Vol. 54, No. 4—(Fall) October 2013 ISSN: 0748-5786 © 2013 Association for Library and Information Science Education 307 308 JOURNAL OF EDUCATION FOR LIBRARY AND INFORMATION SCIENCE houses (several of whom she had initially also to increase the author’s cultural capi- trained as children’s librarians). Moore’s tal and ensuing economic capital. An as- partnerships with authors, illustrators, sociation with Anne Carroll Moore did the publishers, editors, trade organizations, same for children’s authors and illustrators booksellers, and other librarians, at home of this period. Letters written to Moore and abroad, and her role as one of the first over her career, especially from Greville critics and reviewers of children’s litera- MacDonald, Walter de la Mare, and Les- ture, posited her at the center of a sphere lie Brooke, speak of the intense level of of influence. In her role as mentor, inter- involvement that she had with their work, mediary, and eccentric shaper-of-culture from pre-viewing their manuscripts, to (evidenced through letters from authors recommending editors and publishers, to and illustrators written to her wooden doll writing reviews of their published works, “Nicholas”), she played a strategic role in and finally to purchasing finished copies connecting authors and illustrators with for the New York Public Library system. editors, and consulting with those authors Moore’s reach transcended international and illustrators at every stage of the liter- borders, and several of her relationships ary process, from manuscript to finished with both British and American authors book, to critical reception and awards. and illustrators will be examined here, fo- Based on the large number of authors and cusing primarily on the three case studies illustrators who corresponded with her of this paper, but also with supporting evi- who went on to win major awards, Anne dence from other authors and illustrators. Carroll Moore might even have played a subtle role in influencing award recogni- Progressive Era Values and tion. For example, award committee mem- Children’s Literature in America bers might have paid special attention to books that received favorable reviews by At the turn of the 20th century, chil- Moore. And Moore championed those dren’s literature in the United States was whose work she liked. not considered a genre separate from lit- This paper analyzes letters written to erature for adults. According to Clark Moore from authors, illustrators, editors, (2003), between 1865 and 1914, there and publishers and uncovers patterns that was no real distinction between literature reveal her role as a de facto (albeit unpaid) for adults and literature for children, and literary agent. In her work on the rise of bestsellers were as likely to be Madame the field of agenting, Mary Ann Gillies Bovary as Alice’s Adventures in Wonder- (2007) writes that by the 1870s, the pro- land. By the 1920s, thanks to Progressive fessionalization of the author in Britain Era ideals and John Dewey’s work on had created the need for a middleman. childhood, children were considered to be According to Gillies, the future agent a population in need of adult protection. A.P. Watt launched his career by connect- A core component of Moore’s work was ing (free-of-charge) his struggling writer using children’s literature to shape and friend George MacDonald with publish- improve children’s minds, which clearly ers. Gillies (2007) defines the primary reflected Dewey’s ideals, and there is evi- role of an agent to “recognize a work that dence that they were at least acquainted—a would sell” (p. 30) and acting as an “as- letter from Dewey thanks Moore for send- sessor and purveyor of literature, which ing Marie Shedlock, a famed storyteller meant that [Watt] assumed the position of and children’s librarian at the New York house critic for his author clients” (p. 30). Public Library, to his house to tell Hans An association with a literary agent served Christian Andersen stories to his children. both to professionalize the author and le- A burgeoning group of librarians and gitimize his or her standing as a writer, and (soon thereafter editors, too) considered The Librarian Lion: Constructing Children’s Literature 309 themselves the official arbiters of taste ell (2009), in 1879 Hewins was “the first for youth, who would be responsible for woman to speak at an ALA conference” reforming gauche reading habits, and for (p. 285), and, according to Wayne Wie- shaping the minds of all children, includ- gand (1986), in 1891 she became the first ing children of immigrants. As we know woman Vice President of the American from Sherry B. Ortner’s (1972) work, Library Association. women traditionally were seen as those Wiegand (1986) describes Hewins as naturally best suited to take care of chil- an innovator in children’s librarianship, dren, which served to confine women “to who hosted children’s story-related events the domestic family group” (p. 17). Such at the library; compiled annotated reading essentialist views on women made them lists of recommended children’s litera- (in the eyes of men) experts in the care of ture such as the 1882 guide Books for the children, and understanding of children’s Young: A Guide for Parents and Children, needs, and naturally suited for any and all which became “staple fare for building work directly related to children. Subse- library collections” (p. 36); and, in 1904, quently, women were able to carve out the established a children’s room at the Hart- terrain for themselves, and establish a con- ford Library in Connecticut. Hewins, born trolling matriarchy (Hearne, 1996) within in 1846, was twenty-five years older than a separate field of children’s librarianship Moore, but became her close friend and and publishing, in an arena where they mentor, addressing the formidable “Miss could even assume leadership positions. Moore” in her letters as “Dear little An- Mentored by librarian Caroline He- nie.” wins, Moore was considered along with Moore had studied librarianship at Pratt, Minerva Sanders and Lutie Sterns as one and her first job upon graduating was chil- of the first children’s librarians in America dren’s librarian at the Free (Lundin, 2004). Moore’s 45-year career Library, where she worked from 1896– from 1896–1941 included ten years at the 1906. In 1906, she was made Supervisor Public Library and thirty-five of Work with Children at the New York at New York Public Library where she Public Library (Miller & Mucci, 2004), worked as the first Supervisor of Work of which there were 36 branches (Miller, with Children (Miller & Mucci, 2004). 2003) and directed the children’s room at The earliest children’s rooms had begun the Fifth Avenue Branch from 1906 until to be formed in libraries around the turn her retirement in 1941. Prior to Moore’s of the twentieth century by librarians reign in New York, children were not al- such as Hewins from the Hartford Public lowed in libraries, and Moore established Library in Connecticut, who established children’s rooms in every branch. new precedents in an emerging field. Kate Moore extended her career as a chil- McDowell (2009) describes Hewins’ sys- dren’s librarian by working to establish tematic use of survey research, a technique Children’s Book Week and by becoming that was only minimally used in libraries a renowned critic of children’s literature. at the time. This enabled her to support She was instrumental in the creation of claims about the benefits of library ser- the first (and still to this day the two most vice for the young with solid, empirical prominent) American awards for chil- research, thereby professionalizing the dren’s literature: the first field and generating support for her work was awarded in 1922, and the first Calde- from a largely male audience. In doing so, cott Medal was awarded in 1938. The she helped move the field of children’s Newbery Medal, named after 18th century librarianship from the fringe and into the British bookseller John Newbery, awards mainstream. With her demonstrated lead- the “author of the most distinguished ership in the field, according to McDow- contribution to American literature for 310 JOURNAL OF EDUCATION FOR LIBRARY AND INFORMATION SCIENCE children” (ALSC, “Welcome to the New- literature, presiding at the center of a “web bery”). The , named after of influence” (Lundin, 2004, p. 28) just as nineteenth-century British illustrator Ran- both fields were developed in America. dolph Caldecott, awards “the artist of the Because of her social networking skills, most distinguished American picture book Moore rose from librarian to becoming for children” (ALSC, “Caldecott Medal”). a key gatekeeper in this emerging field The advent of awards in children’s litera- of children’s literature. Looking at Darn- ture, given by librarians, “confirmed the ton’s Communication Circuit (Darnton, reputation of children’s librarians as crit- 1989), Moore’s web of influence included ics,” (Lundin, 2004, p. 49), and served as relationships with people at virtually ev- a “critical prerogative that exerted their ery level of the Circuit, perhaps with the authority in the field and established chil- exception of printers, shippers, and sup- dren’s books as high literary fare” (p. 49). pliers. She formed lasting friendships and Prestigious awards helped bestow cul- strategic partnerships with authors and il- tural capital on the field of children’s lit- lustrators, booksellers, librarians, library erature. The French sociologist Pierre users, children’s publishers and editors, Bourdieu (1986) wrote about different and these connections enabled her role as forms of capital, defining “cultural capi- a de facto literary agent. tal” as that which is connected to one’s educational qualifications, and describing The Arbiters of Taste how those qualifications can be exchanged for power and status. As publishers real- As the self-appointed arbiters of taste ized that the cultural capital of children’s within children’s literature, the new chil- literature could be traded for economic dren’s librarians included criticism of capital (Squires, 2007), they created chil- children’s literature as part of their job dren’s departments within their houses. description. Moore was instrumental in Macmillan hired Louise Seaman Bechtel, establishing the field of criticism of chil- the first children’s editor, in 1919 (Miller, dren’s literature, writing and reviewing for 2003 and Eddy, 2006). Bechtel, a Vassar The Bookman, a monthly magazine, from graduate, had worked as a teacher for sev- 1918–1926 The ensuing reviews were col- eral years before leaving to work at Mac- lected in three books: Roads to Childhood: millan. Views and Reviews of Children’s Books Many future children’s editors were (1920); New Roads to Childhood (1923); initially trained as children’s librarians and Cross Roads to Childhood (1926). (including Margaret McElderry who was Moore also had a weekly column called trained by Anne Carroll Moore at the New The Three Owls in the New York Herald York Public Library), and this provided Tribune from 1924–1930. This column for an important discourse and partner- later moved to The Horn Book Magazine. ship between the publishing house and So powerful was Moore’s opinion that The the library, still prevalent today. Addition- Three Owls column in the New York Her- ally, “this network of women—including ald Tribune was called the “yea or nay of editors, critics, and librarians—supported all children’s literature” (Josiah Titzell in [each other’s] aesthetic commitment in Miller, 2003, p. 167). vocal and powerful ways” (Hearne, 1996, Moore expanded her influence beyond p. 757). A study of this connection informs New York by working with national li- the formative period of the genre of chil- brary associations such as the American dren’s literature in the United States, at the Library Association, and her reach ex- center of which was Moore herself. Anne tended to England, Sweden, and France, Carroll Moore was a seminal figure both in where she joined the American Commit- children’s librarianship and in children’s tee for Devastated France after World The Librarian Lion: Constructing Children’s Literature 311 War I. These relationships enabled her to field of children’s literature in America. discover authors and illustrators abroad, At the time, like others who have written especially in England, as demonstrated by about Moore (Eddy, 2006; Jagusch, 1990; the case studies of this paper. Lepore, 2008; Sayers, 1989), I became in- Moore’s personality was not without trigued by her enormous contribution to eccentricity. In addition to candlelight and the field—and by her quirky reputation. At comfortable furniture, characters from Rutgers, in Dr. Marija Dalbello’s History children’s books were part of the cozy de- of the Book course, I used an assignment cor of the children’s room at the New York requiring original research as an opportu- Public Library. Moore’s own wooden doll nity to read the Anne Carroll Moore papers named Nicholas Knickerbocker “lived’ in at the New York Public Library. Evidence the children’s room at the library, and be- of Moore’s agenting activities emerged came a personality who “wrote” letters on quickly, and were documented in an excel his own stationery (Eddy, 2006), and was spreadsheet which included the letter writ- even featured in two books by Moore. Be- er’s name, date of letter, and quotes copied cause of her considerable power, the files verbatim. Strike-throughs, British spell- are filled with letters from authors and il- ings, and misspellings are rendered faith- lustrators respectfully addressing Nicholas fully in this paper as in the original letters. (whether or not they are secretly mock- I visited the archive twice—first in Fall ing), either by writing to him directly, or 2008, and again in Fall 2012. Moore’s let- by extending greetings to him in corre- ters occupy seven boxes (three linear feet) spondence. Despite her seemingly child- in the Manuscripts and Archives division like attributes, as a pioneer in the profes- of the library. Access is provided to re- sion, Moore could not afford to be meek. searchers by appointment upon prior writ- , who succeeded ten request. Most of the content is from Moore at the New York Public Library, 1920–1960, and the portion I was most called her a “torment and delight” (Say- interested in included letters, telegrams, ers, 1989). Margaret McElderry describes and drawings from authors and illustrators Moore’s tenacity as follows: “ACM, like from Robert McCloskey to , any woman of that generation, had had to and from noted contemporary figures such fight hard to be recognized, to have this as the poet Carl Sandburg, first lady - El kind of work recognized, and she won her eanor Roosevelt, and publisher Alfred A. battle. It was deathly serious to her, and Knopf. While many authors and illustra- ACM’s word was law and God forbid that tors, whose letters comprise the collection, anyone should cross her . . . she was a stern described Moore’s agent-like activities on taskmaster who could strike terror into their behalf, her de facto agenting activi- one’s heart” (McElderry in Hearne, 1996, ties were especially prominent in the cor- p. 762). The ability (and inherent struggle) respondence of three authors and illustra- to balance traditional feminine qualities tors: (1) author Dr. Greville MacDonald; with the type of power accompanying the (2) author and poet Walter de la Mare; type of career typically reserved for men and (3) illustrator Leonard Leslie Brooke. contributed to Moore’s success. While clearly they each had a close per- sonal friendship with Moore (especially de Methodology la Mare and Brooks), it was also clear that these relationships were based on business This paper began in 2006 as an inde- as well. Such evidence will be provided in pendent study project with Professor Bet- the next section. Gillies (2007) documents sy Hearne at GSLIS (Illinois), about the that agenting emerged as a profession in Grandes Dames of librarianship and pub- the 1870s, but was largely restricted to au- lishing during the formative years of the thors of books for adults. But what Moore 312 JOURNAL OF EDUCATION FOR LIBRARY AND INFORMATION SCIENCE provided, from the center of her powerful performed on multiple levels for those sphere of influence, duplicated the work of whom she mentored. She pre-viewed professional literary agents and extended it manuscripts before they were sold to edi- to the realm of children’s literature, except tors, recommended publishers, reviewed that her work was provided free-of-charge. works critically, and then bought finished copies for the libraries. As such, Moore’s The Case Studies: ACM and endorsement was invaluable to literary Her Mentees creators and to their publishers. Accord- ing to Gillies (2007), one of British agent According to Gillies (2007), “author- A.P. Watt’s first clients was the writer ship” became recognized as a profession George MacDonald, and by coincidence, in 1870s England. By the 1920s, as Ameri- his son, Greville MacDonald, a physician can publishers hired children’s editors, and and children’s book author, was mentored children’s literature became professional- by Moore. His relationship with Moore is ized, the business of authorship extended described in the next section. into this new realm. “Agents were better versed in the inner workings of different Case Study#1: De facto client Greville planes than publishers; thus their expertise MacDonald (1856–1944), 8 letters provided an important advantage for writ- between 1923–1931. ers. A good agent . . . could increase an author’s income simply by placing mate- MacDonald’s relationship with Moore rial in the right market, in the right format, indicates that he thought he would have with the right publisher and at the right more success as an author in the United time” (Gillies, 2007, p. 26). In addition, States than in England. In a letter of No- having an agent increased a writer’s social vember 8, 1923, MacDonald praised the status. superior literary taste of Americans: According to Moore’s successor, Fran- I am afraid literary taste amongst the peo- ces Clarke Sayers, the Central Children’s ple here is far inferior to that in the States. Room of the New York Public Library You have only to look at the innumerable served as a “Mecca for artists, editors, magazines of fiction published here every writers, designers, and educators of that month to realize how inferior the material day and time” (Sayers, 1989, p. 748). An is to that of the same sort of publications in association with Moore provided status, America. reinforcement of taste—and credibility as a professional writer for children. Because On January 26, 1925, MacDonald asks Moore herself operated within many strata to send Moore a copy of a fairy tale he of the field, a good relationship with her had written, again an indirect solicitation provided a cumulative snowball effect that for this children’s literature expert’s opin- extended beyond what British agent A.P. ion. He apologizes for not coming to see Watt afforded his clients in terms of social her (and it is not clear if he meant while status. Gillies (2007) identifies an agent’s Moore was in England, or while he was in primary role as being able to identify what the United States): “It is a loss to me that I would sell, and here Moore was the reign- cannot run over and shake hands with you: ing expert. Her dual roles, first as a librar- we should, I know, be good friends. But I ian who was responsible for collection am old now and very deaf, which forbids development and programming with chil- me all the usual social pleasures.” dren, and second as a professional chil- On December 30, 1925, MacDonald dren’s literature critic and reviewer, meant thanks her for a copy of her review column, that she knew best—and controlled what The Three Owls, and asks if she would like would sell. The letters reveal that Moore him to send copies of Billy Barnicoat to The Librarian Lion: Constructing Children’s Literature 313 children’s libraries in New York. He also that perhaps she might help him secure mentions that he has a sequel to Billy Bar- an American publishing contract. Moore nicoat, and asks for Moore’s feedback: was at least familiar with his father, as MacDonald wrote “. . . I have still a very I have in the stocks, and [sic] well-ad- large correspondence consequent upon the vanced, a further story of Billy Barnicoat, recent celebrations of my father’s Cente- quite independent of the other and very nary, your delightful message to which different in plot and central idea. Before I shall never forget.” As Gillies (2007) completing it I want you to be so uncom- writes, agenting spans the economic and monly kind as to give me some advice, the social realms, and Moore’s relation- seeing that the book may possibly secure ships with her authors and illustrators did a public in the States even though again the same. failing here. Even with only eight letters in the Mac- He asked if he should remove Cornish Donald collection, evidence of Moore’s vernacular language from the text, and if he de facto agenting is present. An even more should consider submitting it straight to an lucrative relationship is explored next in American publisher: “The fact that Messrs Moore’s 33-year correspondence with E.P. Dutton & Co have themselves reprint- Walter de la Mare. ed in the States a second edition of Billy Barnicoat makes me ask the question.” He Case Study #2: De facto client Walter de even asked Moore for political advice on la Mare (1873–1956), 47 pieces between switching illustrators. Although he want- 1921–1954. ed to use the illustrator Willy Pogany, he did not want to disappoint his friend F.D. Letters from Walter de la Mare to Moore Bedford who illustrated the earlier edition substantiate her position at the center of a (and on a practical note, Pogany was a lot sphere spanning the field of production less expensive than Bedford, according to of children’s literature including author, MacDonald), so he asked Moore: “Do you editor, librarian, and critic. The de la Mare think it essential that [the book] should be file is stuffed with letters (handwritten illustrated? . . . I hope you won’t think I and typed) and Western Union Cable- am presuming too much in asking this ad- grams such as the following in which he vice. One of the penalities of kindness is acknowledged a personal relationship with that more is sure to be asked! Believe me Moore by sending Christmas greetings to Yours sincerely Greville MacDonald.” In her and, of course, also to Nicholas: this note, MacDonald acknowledged that December 20, 1926 not only was he asking for Moore’s pro- fessional advice and guidance in preparing 47 1E MAIDENHEAD 22 a manuscript for submission in the United WLT MISS ANNE CARROLL MOORE States, but he was also cautious of burden- PUBLIC LIBRARY NEWYORK. ing her. Across the letters from MacDon- ald (as with other letters in the collection), (5th Avenue & 42nd Street) there is never any discussion of a fee for WE ALL WISH YOU AND NICHOLAS her services, even though advice from A VERY HAPPY CHRISTMAS AND Moore was almost certain to lead to suc- cessful sales, especially when backed by NEW YEAR, Moore and her instruments of review and DELAMARE. promotion. Additionally, MacDonald attempted Throughout their correspondence, de la to get Moore interested in his biography Mare humors Moore by writing many let- of his father, George MacDonald, hinting ters directly to Nicholas and Ann Carraway 314 JOURNAL OF EDUCATION FOR LIBRARY AND INFORMATION SCIENCE (Nicholas’s “owner” in the Nicholas book, a hint of when (as a reviewer) she should and most likely a pseudonym for Anne look for his books. Throughout the let- Carroll Moore). For example, upon publi- ters, it is clear that de la Mare sent drafts cation of Moore’s first Nicholas book, he of work to Moore and that she responded acknowledged Moore’s power, and subse- with editorial comments. Besides condon- quently also the importance of Nicholas ing Nicholas, like many other authors and as he wrote: “Has Nicholas indulged in illustrators, de la Mare was clearly be- the same pursuit—story-writing? How on holden to Moore, and anxious about not earth did he get into the Times?” Another insulting her or behaving inappropriately letter of December 23, 1927 closed: “We in any way, whether this meant addressing all send our love and best wishes for the including Nicholas as one would address New Year. Would A.C. (please pass these a human child, or asking forgiveness for on to N. and would N. please pass them typing, or apologizing for a late reply to a back to A.C.). letter or cable from Moore. One such ex- While the letters provide evidence of a ample is a letter from January 4, 1933: “I strong friendship between Moore and the am so sorry that somehow or other I didn’t de la Mare’s, filled with social news about write to thank you for my copy of the new the arrival of de la Mare’s grandchildren, Three Owls . . .” or visits (actual and proposed) between Because of her influence, many of those them, it is also obvious from the content whom Moore supported had successful ca- that a parallel purpose of de la Mare’s let- reers. On December 8th, 1937, de la Mare ter writing is business, such as the exam- thanked Moore for choosing his book This ple below from July 3, 1923, which was Year, Next Year as a selection in her Chil- typed, and thereby indicative of a more dren’s Books Suggested as Holiday Gift business-like style of correspondence: pamphlet. In the same letter, he gossips about the publishing industry, expressing “Dear Miss Carroll Moore, concerns about Henry Holt, and the com- As I said in my last letter, I am very sorry mercialization of publishing: that negotiations with Harcourt broke But what you say concerning Holt’s is dis- down, but it seemed to me that it was quieting. I knew that, until recently at any imperative that if the book is to appear in rate, it was one of the best old-established America at all, it should be set up there. I firms in America; and we have always know how precarious the system of sup- been on the best of terms. I don’t know plying by sheets is. The present arrange- how far the general commercialisation ment is that Alfred Knopf will be publish- [sic] of books has gone in America, but ing it. Do let me know what you think of it there are symptoms enough that it is fairly when it appears.” rampant in England. Far too many books are published; it is largely a question of In the letters, he described in great de- quick returns, and in consequence the bet- tail his issues with publishers, from the ter kinds of books are apt to be neglected. status of publications, to problems with Nevertheless, I feel sure there are many delays, such as in a letter from November more potential readers—the Public Librar- 16, 1927, in which he complained about ies prove that. Also the sales of such a Knopf’s failure to publish his story collec- series as the Penguins. It is the people who tion in time for the holiday season, despite can easily afford to buy books who, by and the fact that he delivered his work on time, large, seem impervious to the decoys of the and wrote “I wonder what you will think advertiser. (8th December 1937). of the illustrations; also, indeed, the tales themselves.” By keeping her up-to-date Clearly, de la Mare was concerned with publication delays, he also provided about quality and establishing value, and The Librarian Lion: Constructing Children’s Literature 315 above all, his reserve and sense of propri- or indeed which way to look as I read all ety in his relationship with Moore is clear. the nice things you say about me. And Despite the fact that they corresponded about my work—the descriptions of me as together for sixteen years, the letter dated I know I’m not but would be delighted to December 8, 1937 marks the first time he be and the planning of my books on a level referred to her by her first name: “Dear with those of ‘the golden age.’” On Febru- Anne—says Jack [de la Mare’s own nick- ary 7, 1927, he thanked her for dedicating name], if he may be so bold . . .” And by an entire chapter to his work in her new the next letter, of May 6th, 1938, “Anne” book—which was most likely a collec- has become the even more familiar (and tion of her reviews called Crossroads to diminutive) “Dear Annie.” A mutual fond- Childhood, published in 1926. And Moore ness is apparent, even from the one-sided shows him perhaps the ultimate symbol exchange. of her respect (albeit it a bizarre one for De la Mare’s letters provide evidence those unfamiliar with the significance of of a long and fruitful relationship based on her doll) by sending Nicholas to stay with friendship and business, which is only ri- Brooke. On August 17, 1925, Brooke valed by the next case study: seventy-sev- wrote: “Nicholas—a most welcome visi- en letters from British illustrator Leonard tor—arrived here safely on Saturday—and Leslie Brooke. I know he will become both an honored and an entertaining guest.” Brooke obvi- Case Study #3: De facto client Leonard ously understood the significance of the Leslie Brooke (1862–1940), 77 letters doll’s visit. between 1921–1940 Despite this, much of the correspondence (which is one-sided in the file, as Moore’s The Brooke file spans seventy-seven voice is only reflected in Brooke’s letters) letters over nineteen years. Brooke’s let- is dedicated to business. In a letter from ters to Moore are long and chatty, filled September 2, 1928, he addressed Moore’s with details about his family: his wife and question about why his British books were her illnesses (migraines, jaw issues, need not dated, speculating that perhaps the for holiday and rest); his sons—one died publisher did not want to appear to be sell- in World War I, the other, Henry, married ing “old stock.” Across the letters, he often Barbara, had children, and went into poli- thanked her for sending him copies of pub- tics; about the weather; and about moving lications such as Publishers Weekly, The from the countryside to London. Not only Horn Book, Tribune Books, and Moore’s did Brooke correspond with Anne Car- own column, The Three Owls, as well as roll Moore, but there are 41 letters in the copies of recently published American collection from his wife Sybil, and two books (such as the 1930 Newbery Winner lengthy letters from his son Henry, and Hitty: Her First Hundred Years written one from Henry’s wife Barbara. Clearly, by Rachel Field and illustrated by Doro- the entire Brooke family was deeply in- thy Lathrop)—all of which helped educate vested in the relationship with Moore. him about American illustration styles, When Moore thought highly of an au- and connected him with other illustrators, thor or illustrator, she worked to promote such as the illustrator Dorothy Lathrop, such person, and those receiving her at- with whom he corresponded as a result. As tentions sent grateful thank you notes. In was the case for other authors and illustra- a letter from April 25, 1925, Brooke hum- tors, Brooke’s friendship with Moore was bly thanked Moore for an article about his perhaps the best possible promotional tool book Ring O’ Roses, which she had writ- he could have, as she promoted his work in ten about in The Horn Book. Modestly he her own articles, included his work in her wrote: “Really I don’t know what to say— collections, served as a liaison between 316 JOURNAL OF EDUCATION FOR LIBRARY AND INFORMATION SCIENCE him and his publishers, and most likely In the same letter, he asked her advice bought copies for the New York Public Li- about a publisher, who proposed publish- brary. Brooke was well aware of Moore’s ing a cheap edition of his bestseller Johnny influence, and in a letter of April 7, 1930, Crow in order to undercut a pirated edition in which he charmingly told her of a new for sale in the US: “I should very much like publication: “I have committed the indis- to know how much the American House cretion of a new picture book. The draw- is influenced by a desire to meet the- pi ings are now being engraved, and Mssrs. rate menace or it if is mainly by a desire to Warne [publisher: Frederick Warne] pro- have a chapter edition for its own purpos- pose to bring it out for the autumn season,” es!” Clearly, within the frame of a chatty he astutely acknowledged her power, and letter from a friend, Brooke asked Moore described her as: “. . . living at the very business-related questions, and while he pulse of the children’s book world, and be- realized that he might be burdening Moore ing in the confidences of all its publishers.” with his requests, he used her interest in Moore evidently felt the same way his work to justify them. Continuing the about Brooke, and in his letter of Novem- piracy conversation on May 29, 1932: ber 29, 1928, he thanked her for describing I think that the Warne’s American House him as: “Maker of Picture Books”; as “B is have told you of the threat of pirate Johnny for Brooke who drew Johnny Crow”; and Crows and of the endeavour to hang up for her kind reviews of his work, which the pirates by facing them with an edition she described as: “Just [striking] the right of the two J.C. books at a dollar each. . . note”; “charming”; and “very tactfully A word in the confidence of your private done.” ear! To bring the dollar edition out in good On April 18, 1931, in response to enough style, my royalty has had to suffer Moore’s letter telling him that her Three (and, as you now, these picture books in Owls column in the N.Y. Times & Tri- colour, of a cheaper type-unlike the large bune had ended, Brooke wrote that while Rackham & other expensive books, cannot she may have been happy to be relieved carry a high royalty at best). I shall get less of this responsibility, he felt that it was a than half of what I did, so more than dou- “a great convenience to you to have this ble will have to sell for me to get the same space ready to your hand each week for the result. On the other hand, I am to have spread of your teaching as writer or editor an increase on my former royalty on the [emphasis is mine].” In calling her “edi- original style at 1.75—the strongly bound tor,” he acknowledged the role she played one, so that the chance of this having even in his work, and in a later letter from Janu- a moderate sale would mean much to me. ary 1, 1932, he even called her his “repre- The interest you have always shown in my sentative agent in America.” books is my excuse for telling you of these sordid details. You are rapidly becoming my represen- tative agent in America! When Messrs. After Brooke’s 1934 head injury (allud- Warne opened [?] to me some time ago the ed to, but not described in letters), on Feb- proposition of supplying a number of cop- ruary 2, 1934, he asked Moore to intervene ies of The Golden Goose Book at a special on his behalf with the American branch of rate to a certain firm I was wholly at a loss Frederick Warne, just as an agent would. how to form a judgment and felt then there As a result of accident, he felt “much was nothing to do but to agree—when the slower,” but would like her to give them sudden idea of you came and I made my an update on his behalf. agreement provisional on your approval. In June of 1934, Moore received proofs And you, with [illeg.] discretion, vetoed of his work—possibly from her role as a the whole thing & it has been abandoned. reviewer, as reviewers see advance proofs, The Librarian Lion: Constructing Children’s Literature 317 but perhaps also on Brooke’s request, and literature, American Florence Crannell Brooke wrote that he was pleased that Means wrote over forty books for children Moore has seen “the first proofs of the co- and young adults. On March 13, 1936, lour drawings—so you know all there is to Crannell Means wrote Moore asking for: tell about the book so far.” On September more details about what Moore had dis- 25, 1937, Brooke wrote: “I have not been liked about Dusky Day so that she could at Warne’s since our holiday, so I know consider this for her next book; Moore’s not what they may have ready. Please use feedback on comments she had received your discretion in inquiring-or not.” Also from an editor; and Moore’s opinion notable about this letter is that it veered of whether Crannell Means’ next book from Brooke’s usual salutations of “yours should be a novel or a story. In asking for sincerely,” “yours always,” “yours ever,” comments from Moore before progress- and instead closed on a far more affection- ing with her next project, it is clear how ate note: “With my love, yours always, L: deeply Crannell Means valued Moore’s Leslie Brooke.” opinion (and respected her power). From an initial interest in his work, to Moore established a friendship with a friendship, to a relationship in which British author and illustrator Beatrix Pot- Brooke eventually called Moore his “rep- ter, and there are 32 letters in the collec- resentative agent in America,” it is clear tion from 1921–1943. Potter wrote and that Moore’s relationship with authors and illustrated many best-selling children’s illustrators went far beyond a friendly in- titles including: The Tale of Peter Rab- terest in their work. Beyond the three case bit, The Tale of Squirrel Nutkin, and The studies of this paper, others benefitted Tale of Mrs. Tiggy-Winkle. Potter, too, hu- from their relationship with Moore, as is mored Moore about Nicholas, and sent her briefly explored next. a Christmas card of Peter Rabbit, tucked A 1949 letter from a discouraged Mar- into bed, with Nicholas perched on the cia Brown, who went on to win the 1955 wooden bed frame watching over him. In a Caldecott Award for illustration, illumi- Christmas letter from December 12, 1925 nates Moore’s influence: “Your confi- Potter wrote: dence in me at a time when I sorely needed it did so much to make that book possible” “Dear Miss Carroll Moore, (Hanson, n.d.). Dorothy Lathrop was an I do not know the home address of Nicho- American illustrator, whose most famous las: Peter and Flopsy want to wish him a work, Hitty, Her First Hundred Years: very Merry Christmas” The Story of a Doll, written by Rachel Field, won the Newbery Medal in 1930. Moore’s influence on Potter’s career She also won the first Caldecott Medal in extended posthumously, as Moore wrote 1938 for Animals of the Bible (1937). For the appreciation and introduction for The the work Moore provided to Lathrop, on Art of Beatrix Potter, which was published October 6, 1940, Lathrop asked Moore’s by Frederick Warne & Co. in 1955. permission to dedicate her book Presents for Lupe as follows: Conclusion “To Not only was Moore’s work for chil- Anne Carroll Moore dren appreciated by many, including au- whose enthusiasm for children’s thors, illustrators, and the child patrons of books is boundless and contagious the libraries, but her work was recognized and the inspiration of all who by prominent figures in the political arena make them” as well, as demonstrated by the following A pioneering author of multicultural telegram to Moore dated October 14, 1931: 318 JOURNAL OF EDUCATION FOR LIBRARY AND INFORMATION SCIENCE MISS ANN [SIC] CARROLL MOORE, mentoring work influenced the direction THE CHILDRENS ROOM of children’s literature as she shepherded NEWYORK PUBLIC LIBRARY 42 ST authors’ and illustrators’ works from story AND FIFTH AVE idea, to manuscript to finished book, then provided critical reviews of their work, MANY CONGRATULATIONS ON THE and finally as she purchased the books COMPLETING OF YOUR TWENTY for the New York Public Library system. FIVE YEARS OF SUCCESSFUL WORK Her work connecting authors and illustra- WITH CHILDREN MAY THE FUTURE tors with editors helped determine which BRING YOU HAPPY REWARDS AND books got published at a time when chil- MORE OPPORTUNITIES FOR USE- dren’s literature was first becoming pro- FULNESS fessionalized and established as a genre. ELEANOR ROOSEVELT MRS. FRANK- While her opinions did not always hold LIN D ROOSEVELT. (Marcus (1998) describes her famous dis- likes of Stuart Little by E.B. White or the In addition to the authors and illustra- Little House books by Laura Ingalls Wild- tors who wrote to Moore, she also received er, both of which became famous without letters from many appreciative publishers. Moore’s intervention and despite her dis- While she famously had contentious re- dain), nonetheless, she greatly influenced lationships with editors including Ursula the course of children’s publishing. In ad- Nordstrom (Marcus, 1998) and Virginia dition to her work as a librarian and as a Kirkus (Eddy, 2006), most respected her critic, the unpaid service Moore provided work. A letter from publisher Alfred A. far exceeded the job requirements of the Knopf, on the occasion of Moore’s 25th “literary agent” as described by Gillies anniversary as Supervisor of Work with (2007), and positioned her at the center of Children in the New York Public Library, a sphere of influence. acknowledged Moore’s contribution to the field of children’s literature: Acknowledgements There is no one who has given more time, thought and energy to the cause of good With thanks to Dr. Betsy Hearne, with children’s books. As publishers we are whom this project began, to Dr. Marija happy to express our appreciation of your Dalbello, who encouraged me to complete fine service during all these years. You it, and to the staff at the Manuscripts and have adhered to high standards and the Archives Division of the NYPL. uncompromising belief that only the best is good enough for boys and girls. References Because of Moore’s work, children’s Anne Carroll Moore papers. Manuscripts and Ar- rooms in libraries went from being non- chives Division. The New York Public Library. existent in public libraries Astor, Lennox, and Tilden Foundations. Association for Library Service to Children (ALSC). to becoming integral parts of a library. The (1997–2012). Caldecott Medal Winners, 1938– fact that the first lady recognized and con- Present. Retrieved from http://www.ala.org/ala/ gratulated Moore on her work meant that mgrps/divs/alsc/awardsgrants/bookmedia/calde- her work had become an important part of cottmedal/caldecottwinners/caldecottmedal.cfm the public discourse on childhood. Association for Library Service to Children (ALSC). Moore’s work also helped establish a (1997–2012). Welcome to the Newbery Medal Home Page! Retrieved from http://www.ala.org/ matriarchy within the field of children’s alsc/awardsgrants/bookmedia/newberymedal/ literature, spanning librarians, critics, newberymedal booksellers, editors, and authors and illus- Bourdieu, P. (1984). Distinction: A social critique trators, which still exists today. Moore’s of the judgement of taste. (R. Nice Trans.). Cam- The Librarian Lion: Constructing Children’s Literature 319

bridge, MA: Harvard University Press and Rout- Maack, (n.d.). M. N. Frances Clarke Sayers (1897– ledge & Kegan Paul Ltd. 1989). Retrieved from http://www.gseis.ucla. Bourdieu, P. (1986). The forms of capital. (R. Nice edu/faculty/maack/Sayers.htm Trans.). In J.E. Richardson (ed.), (1986) Hand- Marcus, L. S. (Ed.). (1998). Dear genius: The let- book of Theory of Research for the Sociology of ters of Ursula Nordstrom (1st ed.). New York, Education (pp. 241–258). Westport, CT: Green- NY: Harper Collins. word Press. Retrieved from econ.tau.ac.il/papers/ McDowell, K. (2009). Surveying the field: The re- publicf/Zeltzer1.pdf search model of women in librarianship, 1882– Children’s book council. Retrieved from http:// 1898. The Library Quarterly 79(3), 279–300. www.bookweekonline.com/ Miller, J., & Mucci, J. (2004) Anne Carroll Moore: Clark, B. L. (2003). Kiddie lit: The cultural con- Our first supervisor of work with children. Re- struction of children’s literature in America. trieved from http://kids.nypl.org/parents/ocs_ Baltimore, M.D.: The Johns Hopkins University centennial_acm.cfm Press. Miller, J., & Mucci J. (2004). New York Public Li- Darnton, R. (1989). What is the history of books. brary, Humanities and Social Sciences Library, The kiss of Lamourette: Reflections in cultural Manuscripts and Archives Division. Finding aid: history (first ed., pp. 107–135). New York and Anne Carroll Moore Papers (1898–1960). Re- London: W.W. Norton & Company, Inc. trieved from http://www.nypl.org/archives/2154 Eddy, J. (2006). Bookwomen: Creating an empire Miller, M. L. (2003). Pioneers and leaders in in children’s book publishing, 1919–1939 (1st library services to youth: A biographical ed.). Madison, WI: The University of Wisconsin dictionary. Westport, CT: Libraries Unlim- Press. ited. Retrieved from http://books.google.com/ Florence Crannell Means. Retrieved from http:// books?id=JMH7RkYRh0gC www.unc.edu/~bflorenc/libraryladies/means. Moore, A.C. (1926). Cross-roads to childhood. html New York, NY: George H. Doran Company. Gillies, M. A. (2007). The professional literary Moore, A.C. (1923). New roads to childhood. New agent in Britain, 1880–1920 (1st ed.). Toronto, York, NY: George H. Doran Company. Canada: University of Toronto Press. Moore, A. C. (1920). Roads to childhood: Views Hanson McKnight, C. (n.d.). Of handsome princes and reviews of children’s books. New York, NY: and flying elephants. Retrieved from http://www. George H. Doran Company. albany.edu/feature/marcia_brown/ Moore, A. C. (1928). The Three Owls: Contempo- Hearne, B. (1996). Margaret K. McElderry and the rary criticism of children’s books (second book). professional matriarchy of children’s books. Li- New York, NY: Coward-McCann. brary Trends, 44, 755–775. Moore, A. C., & Van Everen, J. (1924). Nicholas: A Jagusch, S. A. (1990). First among equals, Caro- Manhattan Christmas story (1st ed.). New York, line M. Hewins and Anne C. Moore: Foundations NY & London, England: G.P. Putnam’s Sons: of library work with children. Unpublished PhD, The Knickerbocker Press. University of Maryland, College Park, (AAT 9030923). Sayers, F. C. (1972). Anne Carroll Moore: A biog- raphy. New York, NY: Atheneum. Lepore, J. (2008, July 21). The lion and the mouse: The battle that reshaped children’s literature. The Squires, C. (2007). Marketing literature: The mak- New Yorker. Retrieved from http://www.newy- ing of contemporary writing in Britain (1st ed.). orker.com/reporting/2008/07/21/080721fa_fact_ Houndmills, UK: Palgrave Macmillan. lepore Wiegand, W. (1986). The politics of an emerging Lundin, A. (2004). Constructing the canon of chil- profession: The American Library Association, dren’s literature: Beyond library walls and ivory 1876–1917. New York, NY, Westport, CT, Lon- towers. New York, NY: Routledge. don: Greenwood Press.