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Theodore Stanton: an American Editor, Syndicator, and Literary Agent in Paris, 1880-1920

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Theodore Stanton: an American Editor, Syndicator, and Literary Agent in Paris, 1880-1920 Theodore Stanton: An American Editor, Syndicator, and Literary Agent in Paris, 1880-1920 by Shelley Selina Beal A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of French Studies University of Toronto © by Shelley Selina Beal 2009 Theodore Stanton: An American Editor, Syndicator, and Literary Agent in Paris, 1880-1920 Shelley Selina Beal Doctor of Philosophy Graduate Department of French Studies University of Toronto 2009 Abstract Theodore Stanton’s career as a literary middleman exemplifies several of the intermediary professions in book and periodical publishing that were being created and tested in the late nineteenth century in response to expanded publishing opportunities in France, Great Britain, the United States, and Canada. The need for professional middlemen between writers and publishers developed differently in each country, thus their roles and activities, the literary agent’s in particular, varied according to regional demands. Different interpretations of intellectual property in copyright laws determined the balance of power between creators and producers of texts. In turn, writers’ relative ability to control copyrights shaped the middleman’s field of endeavour. The range of professional middleman specializations is described. A case study of some American publications of Émile Zola’s novels shows the legal and logistical difficulties of transatlantic publishing in practice. In chapter 3, Stanton’s beginnings as an American newspaper correspondent in Paris precede his middleman role as ii editor of the European Correspondent, a weekly galley-proof service printed in English in Paris and syndicated to American newspaper editors. Stanton’s work as a European sub- editor of the North American Review and other magazines is detailed in chapter 4. As the Paris representative of Harper & Brothers from 1899, Stanton presented previously unpublished writings of Honoré de Balzac, Victor Hugo, Émile Zola, and others to American readers, also co-operating with French publishers. Case studies portray the challenges and successes of a middleman position within a large, complex enterprise. In chapter 5, a more independent Stanton arranges the simultaneous, posthumous publication of the memoirs of Eugénie, ex-Empress of France, by D. Appleton and Company in New York and London, and in four European translations. Count Maurice Fleury compiled and authored the two- volume work, which was not published in France. The manuscript took a circuitous path to publication through Stanton’s efforts to ensure authenticity, maintain exclusivity, and protect copyright. Methodological approaches of correspondence editing, bibliography, and textual criticism reveal both the processes and the results of Stanton’s mediation and illuminate how the participation of literary middlemen shaped the way French culture was received and understood in North America. iii Acknowledgements The painter Keith R. Jones, retired from Rutgers University Libraries, is Theodore Stanton’s first biographer. With Dr. Fernanda H. Perrone, Jones indexed and cross-referenced the large trove of correspondence, manuscripts, monographs, photographs, and souvenirs deposited by Stanton in the 1920s. After collecting hundreds of Stanton’s published articles, he established a chronology of Stanton’s life and an overview of his many professional pursuits. My work would not have been possible without the previous efforts and ongoing generosity of Jones and Perrone. Thanks as well to the staff of Special Collections and University Archives at the Archibald S. Alexander Library, Rutgers University, New Brunswick, New Jersey. I am also grateful to the staff of the Thomas Fisher Rare Book Library, University of Toronto Libraries, who worked efficiently with Jane Lynch at Interlibrary Loan Services on my behalf. Research staff at the Bibliothèque de l’Institut de France, the Bibliothèque nationale de France, and the Archives nationales in Paris, the Institut Mémoires de l’édition contemporaine (IMEC) at the Abbaye d’Ardenne in Normandy, the Centre for 19th Century French Studies at the University of Toronto, the New York Public Library, and Cornell and Columbia University Libraries were all very helpful. A great debt of gratitude is owed to Master John Fraser of Massey College, University of Toronto, who provided me and other members of the Graduate Collaborative Program in Book History and Print Culture with a stimulating interdisciplinary intellectual environment, life-sustaining creature comforts, and a quiet study space. Massey’s generous supporters funded research excursions to the libraries mentioned above, allowing me to bring to light the archival material presented here. Sincere thanks must also go to University College and the School of Graduate Studies, University of Toronto, for research funding. iv Table of Contents 1. Introduction 1.a. Theodore Weld Stanton: A Life in Transatlantic Literary Work ......……..… 1 1.b. The New Middleman Professions of the Nineteenth Century ...........……..… 7 1.c. Theoretical Approaches to the Middleman’s Role …………............……..… 18 2. Professional Middlemen in Publishing in France, Great Britain, The United States, and Canada around 1900 2.a. The Need for Middlemen between Writers and Publishers .……...........….. 34 2.b. Copyright, Authorship, and the Middleman’s Field France …………...............................................................................……….……. 40 Great Britain .................................................................……………….................. 64 The United States and Canada ..............................................……………….……. 84 2.c. International Copyright in Practice: Zola aux États-Unis …………....…….. 103 3. Theodore Stanton, Foreign Correspondent and Syndicator 3.a. Transatlantic Journalism ………...………………..…………….……..…..….. 121 3.b. The European Correspondent. A Newspaper for Newspapers …….…..…. 131 3.c. “Copyright T.S.” …………………………………………………….……….… 151 4. Theodore Stanton, Editor in partibus and Publisher’s Representative 4.a. The North American Review and Other Magazines …………....………..… 161 4.b. Literary Scouting in Paris: Case Studies Vicomte Charles de Spoelberch de Lovenjoul: An Unpublished Essay by Honoré de Balzac ...………………………………………………………..……. 177 Paul Meurice: Unpublished Letters and Drawings by Victor Hugo …….…….... 191 An Exclusive Original Essay by Émile Zola ………………………………….... 201 Labor. The Harper & Brothers Edition of Émile Zola’s Travail ......................... 220 5. Theodore Stanton, Literary Agent …………….………………..………………..…. 233 5.a. Comte Maurice Fleury and Memoirs of the Empress Eugenie …...........…. 237 v Conclusions ….…………………………………………………………………................…… 280 Appendices A. French Fiction Translated for the European Correspondent ……...……..…... 284 B. Comparison of the Dictated and Corrected Versions of Émile Zola’s Typescript, “La Guerre” ………………………………….………………………. 285 C. Manuscript and Published Versions of “La Guerre” / “Sur la guerre” / “War” .... 288 Works Cited …………………………………......…………………………………………....… 289 vi Chapter 1. Introduction 1.a. Theodore Weld Stanton: A Life in Transatlantic Literary Work “M. Theodore Stanton, Correspondant du Harper’s Weekly.”1 1 “Français d’Amérique et Américains de France, 1781-1902,” Figaro (24 May 1902): 2. 2 Theodore Weld Stanton (1851-1925) received a Master of Arts degree from Cornell University (Ithaca, New York) in 1877, after having spent two of his undergraduate years in Paris, from 1873 to 1875, studying French history and literature at the Collège de France and the Sorbonne. Stanton’s father, Henry Brewster Stanton (1805-1887), had practised law before becoming a full-time journalist and political columnist for the New York Sun under editor Charles Dana. Known for his abolitionist views, he was a New York State Senator for a time, and well connected in political and journalism circles. As a member of the American Anti-Slavery Society, Henry Stanton had been a great admirer of its founder Theodore Dwight Weld (1803-1895), to whom Theodore Stanton’s name is a tribute. Theodore’s mother was at least her husband’s equal as an activist and orator: Elizabeth Cady Stanton (1815-1902) dedicated her life to women’s suffrage after organizing, with Susan B. Anthony, the first women’s rights convention at Seneca Falls, New York in 1848, which marked the beginning of the American feminist movement. For Theodore Stanton, women’s and minority suffrage, universal human rights, and the fostering of international understanding through education and art would be important themes in his career both as a writer and editor and as an intermediary between writers and publishers of such views in newspapers, magazines, and books. His writing and publishing pursuits bridged the topical and artistic aspects of contemporary life. He was equally at home running a telegraphic news agency as he was writing a regular column of American literary news and criticism for the Paris journal Mercure de France, for which he was awarded the academic honour of Officer of Public Instruction by the French Government in 1919.2 2 For biographical details of the Stantons and an account of Theodore Stanton’s early career, I am indebted to Keith R. Jones and Dr. Fernanda H. Perrone for their “Guide to the Collection of Theodore Stanton 1851-1925,” [unpublished, ca. 1995], Special Collections and University Archives, Rutgers University Libraries, New Brunswick, NJ. 3 Stanton began his professional career as a foreign correspondent
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