APPENDIX ALCOTT, Louisa May. American. Born in Germantown, Pennsylvania, 29 November 1832; daughter of the philosopher Amos Bronson Alcott. Educated at home, with instruction from Thoreau, Emerson, and Theodore Parker. Teacher; army nurse during the Civil War; seamstress; domestic servant. Edited the children's magazine Merry's Museum in the 1860's. Died 6 March 1888.

PUBLICATIONS FOR CHILDREN

Fiction

Flower Fables. , Briggs, 1855. The Rose Family: A . Boston, Redpath, 1864. Morning-Glories and Other Stories, illustrated by Elizabeth Greene. , Carleton, 1867. Three Proverb Stories. Boston. Loring, 1868. Kitty's Class Day. Boston, Loring, 1868. Aunt Kipp. Boston, Loring, 1868. Psyche's Art. Boston, Loring, 1868. Little Women; or, Meg, Jo, Beth, and Amy, illustrated by Mary Alcott. Boston. Roberts. 2 vols., 1868-69; as Little Women and Good Wives, , Sampson Low, 2 vols .. 1871. An Old-Fashioned Girl. Boston, Roberts, and London, Sampson Low, 1870. Will's Wonder Book. Boston, Fuller, 1870. Little Men: Life at Pluff?field with Jo 's Boys. Boston, Roberts, and London. Sampson Low, 1871. Aunt Jo's Scrap-Bag: My Boys, Shawl-Straps, Cupid and Chow-Chow, My Girls, Jimmy's Cruise in the Pinafore, An Old-Fashioned Thanksgiving. Boston. Roberts. and London, Sampson Low, 6 vols., 1872-82. Eight Cousins; or, The Aunt-Hill. Boston, Roberts, and London, Sampson Low. 1875. Rose in Bloom: A Sequel to "Eight Cousins." Boston, Roberts, 1876. Under the Lilacs. London, Sampson Low, 1877; Boston, Roberts, 1878. Meadow Blossoms. New York, Crowell, 1879. Water Cresses. New York, Crowell, 1879. Jack and Jill: A Village Story. Boston, Roberts, and London, Sampson Low. 1880. Proverb Stories. Boston, Roberts, and London. Sampson Low, 1882. Spinning- Wheel Stories. Boston, Roberts, and London, Sampson Low, 1884. Jo 's Boys and How They Turned Out: A Sequel to "Little Men." Boston, Roberts, and London, Sampson Low, 1886. Lulu's Library: A Christmas Dream, The Frost King, Recollections. Boston, Roberts, and London, Sampson Low, 3 vols .. 1886--89. A Garland for Girls. Boston, Roberts, and London, Black.ie, 1888. A Round Dozen: Stories, edited by Anne Thaxter Eaton. New York, Viking Press, 1963. Glimpses of Louisa: A Centennial Sampling of the Best Short Stories, edited by Cornelia Meigs. Boston, Little Brown, 1968. Louisa's Wonder Book: An Unknown Alcott Juvenile, edited by Madeleine B. Stern. Mount Pleasant, Michigan, Clarke Historical Library, 1975.

PUBLICATIONS FOR ADULTS

Novels

Moods. Boston, Loring, 1865; London, Routledge, 1866; revised edition, Boston, Roberts, 1882.

1391 ALCOTT CHILDREN'S WRITERS

The Mysterious Key and What It Opened. Boston, Elliott Thomes and Talbot, 1867. V. V.; or, Plots and Counterplots (as A.M. Barnard). Boston, Elliott Thomes and Talbot, 1871. Work:A Story q{Experience. Boston, Roberts, 1873; London, Sampson Low, 2 vols., 1873. Beginning Again, Being a Continuation of" Work." London, Sampson Low, 1875. A Modern Mephistopheles (published anonymously). Boston, Roberts, 1877. A Modern Mephistopheles, and A Whisper in the Dark. Boston, Roberts, 1889. Behind a Mask: The Unknown Thrillers, edited by Madeleine B. Stern. New York, Morrow, 1975. Plots and Counterplots: More Unknown Thrillers, edited by Madeleine B. Stern. New York, Morrow, 1976; London, W.H. Allen, 1977.

Short Stories

On Picket Duty and Other Tales. Boston, Redpath, 1864. Silver Pitchers, and Independence: A Centennial Love Story. Boston, Roberts, 1876; as Silver Pitchers and Other Stories, London. Sampson Low, 1876.

Plays

Comic Tragedies Written by "Jo" and "Meg" and Acted by the "Little Women." edited by A.B. Pratt. Boston, Roberts, and London, Sampson Low, 1893.

Other

Hospital Sketches. Boston, Redpath, 1863; revised edition, as Hospital Sketches and Camp and Fireside Stories, Boston, Roberts, 1869. Nelly's Hospital. , D.C., Sanitary Commission, 1868. Something to Do. London, Ward Lock, 1873. A Glorious Fourth. Boston, The Press, 1887. What It Cost. Boston, The Press, 1887. Jimmy's Lecture. Boston, The Press, 1887. : Her Life, Letters, and Journals, edited by Ednah D. Cheney. Boston, Roberts, and London, Sampson Low, 1889. Recollections qf My Childhood's Days. London, Sampson Low, 1890. A Sprig qf Andromeda: A Letter on the Death qf Henry David Thoreau. New York, Pierpont Morgan library, 1962.

Bibliography: in Louisa's Wonder Book, edited by Madeleine B. Stern, Mount Pleasant, Michigan, Clarke Historical library, 1975.

Critical Studies: Louisa May Alcott by Madeleine B. Stern, Norman. University of Oklahoma Press, 1950, London, Peter Nevill, 1952; Miss Alcott o.fConcord by Marjorie Worthington, New York, , 1958; Louisa May Alcott and the American Family Story by Cornelia Meigs, London, Bodley Head, 1970. New York, Walck, 1971.

In 1868 when, at the request of Thomas Niles of Roberts Brothers, Louisa May Alcott sat down to write a household story for girls, the domestic as evolved by Susan Warner, Maria Cummins, Ann Stephens and Mrs. E.D.E.N. Southworth consisted of commonplace episodes worked into a trite plot involving pious and insipid characters. Bronson Alcott's opinion of juvenile literature, recorded in his diary for 1839, had, in the generation that followed, been given no cause for alteration. In 1868 it was still true that the "literature of 1392 CHILDREN'S WRITERS ALCOTI childhood" had not been written. If such extraordinarily moral tales as The Wide, Wide World, the Rollo books, the Lucy books, and the first of the Elsie books became unbearable, there was compensation for a youthful reader only in grave-and-horror stories, Hawthorne's legendary tales or "Peter Parley's" edifying descriptions of natural wonders. were ripe for Louisa Alcott and she was well equipped to fill the gap in domestic literature. With the publication of Little Women ( 1868-1869) she created a domestic novel for children destined to influence writers in that genre for generations to come. Responding to her publisher's request, she drew her characters from those of her own sisters, her scenes from the New where she had grown up, and many of her episodes from those she and her family had experienced. In all this she was something of a pioneer, adapting her autobiography to the creation of a juvenile novel and achieving a realistic but wholesome picture of family life with which young readers could readily identify. The literary influence of Bunyan and Dickens, Carlyle and Hawthorne, Emerson, Theodore Parker and Thoreau can be traced in her work, but primarily she drew upon autobiographical sources for her plot and her characters, finding in her family and neighbors the groundwork for her three-dimensional characters. Her perceptively drawn adolescents. the Marches, modeled upon her sisters and herself, were not merely lifelike but alive. Her episodes, from the opening selection of a Christmas gift to the plays in the barn, from Jo March's literary career to Beth's death, were thoroughly believable for they had been lived. The Alcott humor which induced a chuckle at a homeiy phrase was appreciated by children. The Alcott poverty was sentimentalized; the eccentric Alcott father was an adumbrated shadow; yet, for all the glossing over, the core of the domestic drama was apparent. Reported simply and directly in a style that obeyed her injunction "Never use a long word, when a short one will do as well," the narrative embodied the simple facts and persons of a family and so filled a gap in the literature of childhood. Louisa Alcott had unlatched the door to one house, and "all find it is their own house which they enter." 20th-century writers for children who aim at credibility and verisimilitude in their reconstructions of contemporary family life are all, in one way or another, indebted to Louisa May Alcott. By the time she created Little Women she had served a long apprenticeship and was already a professional writer. She had edited a juvenile monthly. Merry's Museum, and produced several books aimed at a juvenile readership: her first published book, Flower Fables. "legends of faery land"; The Rose Fami(v: A Fairy Tale; and Morning-Glories and Other Stories, readable short stories in which autobiographical details were combined with nature lore and moral tidbits. Alcott had also written in a variety of genres for a wide range of adult readers. weaving stories of sweetness and light, dramatic narratives of strong-minded women and poor lost creatures, realistic episodes of the Civil War. and blood-and-thunder thrillers of revenge and passion whose leading character was usually a vindictive and manipulating heroine. From the exigencies of serialization for magazines she had developed the skills of the cliff-hanger and the page-turner. Her first full-length novel. Moods, was a narrative of stormy passion and violence, death and intellectual love in which she attempted to apply Emerson's remark: "life is a train of moods like a string of beads." Off and on, she had worked at her autobiographical and feminist novel Success, subsequently renamed Work: A Story of Experience. By 1868. Alcott had run a gamut of literary experimentation from stories of virtue rewarded to stories of vice unpunished. She had attempted tales of escape and realism and stirred her literary ingredients in a witch's cauldron before she kindled the fire in a family hearth. With few exceptions - notably A Modern Mephistopheles in which she reverted to the sensational themes of her earlier blood-and-thunders - Louisa Alcott clung to that family hearth during the remainder of her career. Between 1868 when Part One of Little Women appeared and 1888 when she died, she produced in her so-called Little Women Series a string of wholesome domestic narratives more or less autobiographical in origin, simple and direct in style, perceptive in the characterization of adolescents. An Old-Fashioned Girl, Little Men, Eight Cousins, Rose in Bloom, Under the Lilacs, Jack and Jill, and Jo 's Boys are all in a sense sequels to Little Women though none of them quite rises to its level. An Old-Fashioned Girl is a domestic drama in reverse, exposing the fashionable absurdities of the Shaw home by

1393 ALCOTT CHILDREN'S WRITERS contrast with Polly, the wholesome representative of domesticity. The Campbell clan of Eight Cousins exalts the family hearth again. In Jack and Jill the author enlarges upon the theme of domesticity, describing the home life of a village rather than of a single family. Despite her experimentation with a diversity of literary techniques, despite the fact that she was a complex writer drawn to a variety of themes, Louisa Alcott has inevitably achieved fame as the "Children's Friend" and the author of a single masterpiece. Thanks to its psychological perceptions, its realistic characterizations and its honest domesticity, Little Women has become an embodiment of the American home at its best. Consciously or unconsciously all subsequent writers who have attempted the domestic novel for children have felt its influence for in Little Women the local has been transmuted into the universal and the incidents of family life have been translated to the domain of literature.

-Madeleine B. Stern

ALDRICH, Thomas Bailey. American. Born in Portsmouth, New , II November 1836. Attended school in Portsmouth. Married Lilian Woodman in 1865; twin sons. Clerk in New York, 1852-55. Staff member, Evening Mirror, 1855-56, Editor of Home Journal, 1856-59, Associate Editor, Saturday Press, 1858--60, and Editor, Illustrated News, 1863, all in New York; Editor, Every Saturday, Boston, 1866-74, and Atlantic Monthly, Boston, 1881-90. M.A.: Yale University, New Haven, , 1881; Harvard University, Cambridge, Massachusetts, 1896; LL.D.: University of Pennsylvania, Philadelphia, 1906. Died 19 March 1907.

PUBLICATIONS FOR CHILDREN

Fiction

The Story of a Bad Boy. Boston, Fields Osgood, 1869; London, Sampson Low, 1870.

Other

Translator, The Story of a Cat, by Emile de Ia Bedolliere. Boston, Houghton Osgood, 1879.

PUBLICATIONS FOR ADULTS

Novels

Daisy's Necklace and What Came of It: A Literary Episode. New York, Derby and Jackson, 1856. Out of His Head: A Romance. New York, Carleton, 1862. Pansy's Wish: A Christmas Fantasy with a Moral. Boston, Marion, 1870. Prudence Pa(frey. Boston, Osgood, and London, Routledge, 1874. The Queen of Sheba. Boston, Osgood, and London, Routledge, 1877. The Stillwater Tragedy. Boston, Houghton Miffiin, 1880; Edinburgh, Douglas, 1886. The Second Son, with Margaret and Wilson Oliphant. Boston, Houghton Mifflin, 1888. An Old Town by the Sea. Boston, Houghton Mifflin, 1893. 1394 CHILDREN'S WRITERS ALDRICH

Short Stories

Pere Antoine's Date-Palm. Privately printed, 1866. Marjorie Daw and Other People. Boston, Osgood, and London, Routledge, 1873. A Midnight Fantasy, and The Little Violinist. Boston, Osgood, 1877. Miss Mehetabel's Son. Boston, Osgood, 1877. A Rivermouth Romance. Boston, Osgood, 1877. Two Bites at a Cherry with Other Tales. Edinburgh, Douglas, and Boston, Houghton Mifflin, 1894. A Sea Turn and Other Matters. Boston, Houghton Mifflin, and London, Watt, 1902. For Bravery on the Field of Battle. London, Covent Garden Press, 1970.

Play

Judith of Bethulia, adaptation of his own poem Judith and Holofernes (produced New York, 1904). Boston, Houghton Mifflin, 1904.

Verse

The Bells: A Collection q{Chimes. New York, Derby, 1855. The Course of True Love Never Did Run Smooth. New York, Rudd and Carleton. 1858. The Ballad qf Babie Bell and Other Poems. New York, Rudd and Carleton. 1859. Pampinea and Other Poems. New York, Rudd and Carleton. 1861. Poems. New York, Carleton, 1863. The Poems qf . Boston. . 1865: revised edition, 1882; Boston, Houghton Mifflin. 1885, 1897. Cloth qf Gold and Other Poems. Boston, Osgood, and London. Routledge. 1874. Flower and Thorn: Later Poems. London, Routledge. 1876: Boston, Osgood. 1877. Baby Bell. London, Routledge. 1878. Friar Jerome's Beaut(ful Book and Other Poems. Boston. Houghton Mifflin. and London. Sampson Low, 1881. XXXVI Lyrics and XII Sonnets. Boston, Houghton Mifflin. 1881. Baby Bell and Other Poems. Glasgow. Bryce. 1883. Mercedes and Later Lyrics. Boston, Houghton Mifflin. 1884. Wyndham Towers. Edinburgh, Douglas. 1889: Boston. Houghton Mifflin. 1890. The Sisters' Tragedy and Other Poems, Lyrical and Dramatic. Boston. Houghton Mifflin, and London, Macmillan. 1891. Unguarded Gates and Other Poems. Boston. Houghton Mifflin. 1895. Later Lyrics. Boston, Houghton Mifflin. and London. Lane. 1896. Judith and Holo{ernes. Boston, Houghton Mifflin, 1896. A Book qf Songs and Sonnets. Boston. Houghton Mifflin. 1906.

Other

Jubilee Days: An Illustrated Dai(v Record qfthe Humorous Features qfthe World's Peace Jubilee. with . Boston. Osgood. 1872. From Ponkapog to Pesth. Boston, Houghton Mifflin, 1883. The Works q{Thomas Bailey Aldrich. Boston. Houghton Mifflin. 8 vols .. 1896: vol. 9. 1907. Ponkapog Papers. Boston, Houghton Mifflin, 1904.

Editor, with E.C. Stedman, Cameos Selected from the Works qf Walter Savage Landor. Boston, Osgood, 1874. 1395 ALDRICH CHILDREN'S WRITERS

Critical Studies: The Life of Thomas Bailey Aldrich by Ferris Greenslet. London, Constable, and Boston, Houghton Mifflin. 1908; Thomas Bailey Aldrich by Charles E. Samuels, New York, Twayne, 1966.

Although Thomas Bailey Aldrich first achieved literary renown as a poet in the mid-I 9th century, it is as a and writer that he is chiefly remembered today. His short stories, like his poems, many of which still retain their distinction, are impeccably crafted, disciplined, restrained, sparse. precise, and refined. Throughout Aldrich's works. there is artistic integrity, a subtle blending of sentiment and wit, and, ever present, a blithe young spirit that led to remark that he was tired of waiting for Aldrich to grow old. What does remain eternally, innocently childlike is his autobiographical novel, The Story ofa Bad Boy. Aldrich wished to distinguish his young Tom, "an amiable, impulsive lad ... and no hypocrite ... from the faultless young gentlemen who generally figure in narratives of this kind." His somewhat idealized story parallels the actual events of his own boyhood: early years in , schooling in in preparation for Harvard until the death of his father precluded college, completing his education in Portsmouth (Rivermouth in the book). Aldrich recalls these years affectionately, amusingly, nostalgically. On his arrival in Boston from the South, he was surprised to see no Indians on Long Wharf-either they "were early risers" or "they were away just then on the warpath." And, "speaking of the Pilgrim Fathers," why was there never any "mention of the Pilgrim Mothers." Gently, he satirized the "old Puritan austerity" that cropped out on Sundays in the Nutter household where in the oppressive atmosphere of that one day a week, they ate "a dead cold dinner" that was "laid out yesterday." He vowed ever after to make Sundays cheerful days. The most haunting, poignant memory - a wholly fictitious happening - was the tragedy of poor little Binny Wallace who drifted out to sea in a gale and now sleeps in the Old South Burying Ground. One of the early regional novels, the story glows with local color, characteristic eccentricities, and traditions. In that old declining privateer port of Rivermouth, boys cruised down the river, island-hopping on excursions and learning about the sea and ships; they presented amateur theatricals in the barn, celebrated holidays properly, and not so properly burned an old stage coach, jumped jail, and waged frigid snow fights on Slater's Hill. To Ferris Greenslet, Aldrich's official biographer and an editorial alumnus of Month(v. the book "marked an epoch in the history of juvenile literature." One of the first critics to discern that Aldrich had "done a new thing ... in American literature" was William Dean Howells, then editor of the Atlantic. Howells' review appeared in the January 1870 issue: "No one else seems to have thought of telling the story of a boy's iife with so great desire to show what a boy's life is, and with so little purpose of teaching what it should be; certainly no one has thought of doing this for the American boy !" Howells noted that the story of Aldrich's boyhood had suggested similar books, including his own A Boy's Town, Charles Dudley Warner's Being a Boy, Mark Twain's Tom Sawyer and Huckleberry Finn. Not so, declared Bernard DeVoto, one of Twain's fellow Westerners and an historian ever alert to catch any misconceptions concerning Twain. DeVoto deemed it idle to speculate over the origins of Tom Sawyer, and whether Aldrich had had any influence on it, for when Mark Twain had come around to writing Tom Sawyer, he had "at last arrived at the theme that was most harmonious with his interest, his experience, and his talents . . . Mark Twain was predestined to this work." Well, perhaps: but Howells was there! He was Twain's friend and editor. He read Tom Sawyer in manuscript, at Twain's request. By deleting some of the profanity and toning down the section where Becky tears a page of the teacher's book of anatomy, Howells may have slanted the story toward the juvenile market- Twain had intended it for adults. "It is not a boy's book at all," he had written to Howells. Also, by 1871, Twain and Aldrich had become friends. Twain must have been aware that what Aldrich had done for the waning years of New England Puritanism, he would do for the early years of Western frontier life. While one is genteel and polite, the other is rugged and lusty, but both 1396 CHILDREN'S WRITERS BALLANTYNE cover much the same kind of boyish pranks and activities: climbing out of windows in the dead of night, running away, camping out, falling miserably in love. Aunt Polly is to one, what Grandfather Nutter is to the other: Injun Joe was starved "entirely to death in the cave" (incidentally, he ate candle wax in his struggle to survive just as, in Aldrich's story "A Struggle for IJfe," Philip Wentworth had in the tomb) for the same kind of heightened literary effect that Aldrich had used in letting Binny Wallace float helplessly out to sea. In his autobiography, Twain praised Aldrich's brilliance and wit, but referred blisteringly to Aldrich's prose as "diffuse, self-conscious, barren of distinction ... ,"grudgingly conceding that "his fame as a writer ... is based on half a dozen small poems which are not surpassed in our language for exquisite grace and beauty and finish." The poem that Aldrich had written in honor of Longfellow's centennial- a poem that was read one month later at Aldrich's funeral - is also a fitting tribute to his boyhood story: "They do not die who leave their thoughts/ Imprinted on some deathless page./ Themselves may pass; the spell they wrought/ Endures on earth from age to age." The Story ofa Bad Boy wrought a spell that has wound its way down the years from Lucretia Peabody Hale to Sarah Orne Jewett, from Laura Ingalls Wilder to Maureen Daly, from Esther Forbes to Jack Schaefer, from J.D. Salinger to John Donovan.

-Mary Silva Cosgrave

BALLANTYNE, R(obert) M(ichael). British. Born in Edinburgh, 24 April 1825. Educated at Edinburgh Academy, 1835-37, and privately. Married Jane Dickson Grant in I 866; four sons and two daughters. Apprentice clerk, Hudson's Bay Company, in . 1841-47; clerk, North British Railway Company. Edinburgh. 1847-49; staff member. Alexander Cowan and Company, paper-makers. Edinburgh, 1849; junior partner. Thomas Constable and Company. printers. Edinburgh. 1849-55. Lecturer and free-lance writer after 1855. Member. 1858. Ensign, 1859. and Captain. 1860. Edinburgh Volunteers. Lived in Harrow, . after 1883. Died 8 February 1894.

PUBLICATIONS FOR CHILDREN

Fiction

Snowflakes and Sunbeams: or, The Young Fur Trader: A Tale of the Far North. illustrated by the author. London and New York. Nelson. 1856. Three Little Kittens (as Comus). illustrated by the author. London and New York. Nelson, 1856. Ungava: A Tale of Esquimeaux-Land, illustrated by the author. London and New York, Nelson, 1857. The Coral Island: A Tale of the Pacific Ocean. illustrated by the author. London and New York, Nelson. 1857. Mister Fox (as Comus), illustrated by the author. London and New York. Nelson. 1857. My Mother (as Comus), illustrated by the author. London and New York. Nelson. 1857; as Chit-Chat by a Penitent Cat. 1874. The Butter:fly 's Ball and the Grasshopper ·s Feast (a:; Comus), illustrated by the author. London and New York. Nelson. 1857. The Life qf a Ship from the Launch to the Wreck. London and New York, Nelson, 1857. The Robber Kitten (as Comus). London and New York. Nelson. 1858.

1397 BALLANTYNE CHILDREN'S WRITERS

Martin Rattler; or, A Boy's Adventures in the Forests of Brazil, illustrated by the author. London and New York, Nelson, 1858. The World Qf Ice: or, Adventures in the Polar Regions. London and New York, Nelson, 1859. Mee-a-ow! or, Good Advice to Cats and Kittens, illustrated by the author. London and New York. Nelson, 1859. The Dog Crusoe: A Tale Qf the Western Prairies. London and New York, Nelson, 1861; as The Dog Crusoe and His Master, 1869. The Gorilla Hunters: A Tale Qf the Wilds of . London and New York, Nelson, 1861. The Golden Dream; or, Adventures in the Far West. London, Shaw, 1861; New York, Nelson, 1878. The Red Eric; or, The Whaler's Last Cruise: A Tale, illustrated by Coleman. London, Routledge Warne, 1861; New York, Burt, n.d. The Wild Man of the West: A Tale Qf the Rocky Mountains, illustrated by J. B. Zwecker. London, Routledge Warne, 1862; Boston, Crosby and Nichols, 1864. Gascoyne, The Sandal- Wood Trader: A Tale of the Pacific. London, Nisbet, 1863; New York, Lovell, n.d. Fighting the Whales; or, Doings and Dangers on a Fishing Cruise. London, Nisbet, 1863; Philadelphia, Porter and Coates, n.d. Away in the Wilderness; or, Life among the Red Indians and the Fur-Traders. London, Nisbet, 1863; Philadelphia, Davis Porter, 1865. Fast in the Ice; or, Adventures in the Polar Region. London, Nisbet, 1863; Philadelphia, Davis Porter, 1865. The L(feboat: A Tale of Our Coast Heroes, illustrated by the author. London, Nisbet, 1864; Boston, Lee and Shepard, 1866. Chasing the Sun: or, Rambles in Norway. London, Nisbet, 1864. Freaks on the Fells; or, Three Months' Rustication, and Why I Did Not Become a Sailor. London, Routledge Warne, 1864; Philadelphia, Porter and Coates, 1865. The Lighthouse, Being the Story Qf a Great Fight Between Man and the Sea, illustrated by the author. London, Nisbet, 1865. Sh(fting Winds: A Tough Yarn. London, Nisbet, and Philadelphia, Porter and Coates, 1866. Fighting the Flames: A Tale Qf the London Fire Brigade. London, Nisbet, 1867; Philadelphia, Lippincott, 1868. Silver Lake: or, Lost in the Snow. London, Jackson Walford and Hodder, 1867; Philadelphia, Lippincott, 1868. Deep Down: A Tale Qfthe Cornish Mines. London, Nisbet, and New York, Burt, 1868. Erling the Bold: A Tale Qf the Norse Sea-Kings, illustrated by the author. London, Nisbet, 1869; New York, Burt, n.d. Sunk at Sea: or, The Adventures Qf Wandering Will in the Pac(fic. London, Nisbet, 1869. Lost in the Forest; or, Wandering Will's Adventures in South America. London, Nisbet, 1869. Over the Rocky Mountains; or, Wandering Will in the Land of the Red Skin. London, Nisbet, 1869. Saved by the L(feboat: A Tale Qf Wreck and Rescue on the Coast. London, Nisbet, 1869. The Cannibal Islands; or, Captain Cook's Adventures in the South Seas. London, Nisbet, 1869. Hunting the Lions; or, The Land of the Negro. London, Nisbet, 1869. Digging for Gold; or, Adventures in Cal(fornia. London, Nisbet, 1869. Up in the Clouds; or, Balloon Voyages. London, Nisbet, 1869. The Battle and the Breeze; or, The Fights and Fancies Qf a British Tar. London, Nisbet, 1869.

1398 CHILDREN'S WRITERS BALLANTYNE

The Floating Light qf the Goodwin Sands: A Tale, illustrated by the author. London, Nisbet, and Philadelphia, Porter and Coates, 1870. The Iron Horse; or, L(fe on the Line: A Tale qf the Grand National Trunk Railway. London, Nisbet, 1871. The Pioneers: A Tale qf the Western Wilderness, Illustrative qf the Adventures and Discoveries of Sir Alexander Mackenzie. London, Nisbet, 1872. The Norsemen in the West; or, America Before Columbus: A Tale. London, Nisbet, and New York, Nelson, 1872. L(fe in the Red Brigade. London and New York, Routledge, 1873. Black Ivory: A Tale of Adventure among the Slavers qf East Africa. London, Nisbet. and New York, Nelson, 1873. The Pirate City: An Algerine Tale. London, Nisbet, and New York, Nelson, 1874. Rivers qf Ice: A Tale Illustrative of Alpine Adventure and Glacier Action. London, Nisbet, 1875. The Story qfthe Rock; or, Building on the Eddystone. London, Nisbet, 1875. Under the Waves; or, Diving in Deep Waters: A Tale. London, Nisbet, 1876. The Settler and the Savage: A Tale q{Peace and War in South Africa. London, Nisbet. 1876; New York, Nelson, 1877. In the Track qf the Troops: A Tale qf Modern War. London, Nisbet, 1878. Jarwin and CuJJY: A Tale. London, Warne, and New York. Scribner. 1878. Philosopher Jack: A Tale qf the Southern Seas. London, Nisbet, 1879. The Lonely Island; or, The Refuge qfthe Mutineers. London, Nisbet. and New York. Nelson, 1880. Post Haste: A Tale qf Her MaJesty's Mails. London, Nisbet. and New York. Nelson. 1880. The Red Man's Revenge: A Tale qf the Red River Flood. London. Nisbet, 1880. My Doggie and I. London, Nisbet, 1881. The Giant qfthe North; or, Poking Around the Pole. London. Nisbet. and New York. Nelson, 1881. The Battery and the Boiler; or, Adventures in the Laying qf Submarine Electric Cables, illustrated by the author. London, Nisbet, and New York. Nelson. 1882. The Kitten Pilgrims; or, Great Battles and Grand Victories. illustrated by the author. London, Nisbet, 1882. Dusty Diamonds Cut and Polished: A Tale q{City-Arab L(fe and Adventure. London, Nisbet, and New York, Nelson, 1883. Battles with the Sea; or, Heroes qf the Lifeboat and Rocket. London. Nisbet. 1883. The Thorogood Family. London, Nisbet, 1883. The Madman and the Pirate. London, Nisbet, 1883. The Young Trawler: A Story qf Life and Death and Rescue on the North Sea. London, Nisbet, 1884. Twice Bought: A Tale qf the Oregon Gold Fields. London, Nisbet. 1884. The Rover qfthe Andes: A Tale qf Adventure in South America. London. Nisbet. and New York, Nelson, 1885. The Island Queen; or, Dethroned by Fire and Water: A Tale qf the Southern Hemisphere. London, Nisbet, 1885. Red Rooney; or, The Lastqfthe Crew. London, Nisbet. and New York. Nelson. 1886. The Prairie Chi~{: A Tale. London, Nisbet, 1886. The Lively Poll: A Tale qf the North Sea. London, Nisbet. 1886. The Big Otter: A Tale qfthe Great Nor'west. New York and London, Routledge, 1887. The Fugitives; or, The Tyrant Queen q{Madagascar. London. Nisbet, and New York, Nelson, I 887. Blue Lights; or, Hot Work in the Soudan: A Tale qf Soldier Life in Several qf Its Phases. London, Nisbet. and New York, Nelson, 1888. The Middy and the Moors: An Algerine Story. London, Nisbet, 1888; as Slave qf the Moors, London, Latimer House, 1950.

1399 BALLANTYNE CHILDREN'S WRITERS

The Crew of the Water Wagtail: A Story of Newfoundland. London, Nisbet, 1889. The Eagle Cl(/f: A Tale of the Western Isles. London, Partridge, 1889. Blown to Bits: or, The Lonely Man of Rakata: A Tale ofthe Malay Peninsula, illustrated by the author. London, Nisbet, 1889. The Garret and the Garden: or, Low L(fe High Up, and Jeff Benson: or, The Young Coastguardsman. London, Nisbet, 1890; New York, Dodd Mead, n.d. Charlie to the Rescue: A Tale of the Sea and the Rockies, illustrated by the author. London, Nisbet, 1890. The Bu.lfa/o Runners: A Tale ofthe Red River Plain, illustrated by the author. London, Nisbet, and New York, Nelson, 1891. The Coxwain 's Bride: or, The Rising Tide: A Tale ofthe Sea, and Other Tales, illustrated by the author. London, Nisbet, 1891; New York, Dodd Mead, n.d. The Hot Swamp: A Romance of Old Albion. London, Nisbet, and New York, Nelson, 1892. Hunted and Harried: A Tale qf the Scottish Covenanters. London, Nisbet, 1892; Boston, Bradley, 1893. The Walrus Hunters: A Romance qf the Realms qf Ice. London, Nisbet, 1893. Reuben's : A Tale qf the Wild North. London, S.P.C.K., 1896.

Other

The Northern Coasts of America, and the Hudson's Bay Territories: A Narrative qf Discovery and Adventure, by Patrick Fraser Tytler, with continuation by R.M. Ballantyne, illustrated by Birket Foster after sketches by R.M. Ballantyne. London, Nelson. 1853. Discovery and Adventure in the Polar Seas and Regions, by Sir John Leslie and Hugh Murray, with continuation by R.M. Ballantyne. London and New York, Nelson, 1860. Man on the Ocean. London and New York, Nelson. 1862; revised edition, 1874. The Ocean and Its Wonders. London and New York, Nelson, 1874.

Editor. Naughty Boys; or, The Sufferings qf Mr. De/tei/, by Champfleury, translated by Jane Ballantyne, illustrated by R.M. Ballantyne. Edinburgh, Constable, 1855.

PUBI.ICATIONS FOR ADULTS

Other

Hudson's Bay: or, Every-Day L(fe in the Wilds qf North America . . . .. Edinburgh, Blackwood, 1848. Handbook to the New Gold Fields: A Full Account of the Richness and Extent qf the Fraser and Thompson River Gold Mines .. . .. Edinburgh, Strahan, 1858. Environs and Vicinity of Edinburgh. London, Nelson, 1859. Ships: The Great Eastern and Lesser Crafts. London, Nelson, 1859. The Lakes qf Killarney. London, Nelson, 1859. How Not to Do It: A Manual for the Awkward Squad; or, A Handbook of Directions Written for the Instruction qf Raw Recruits in Our Rifle Volunteer Regiments (published anonymously). Edinburgh, Constable. 1859. The Volunteer Levee; or, The Remarkable Experiences of Ensign Sopht (published anonymously), illustrated by the author. Edinburgh, Constable, 1860. Ensign Sopht 's Volunteer Almanack for /861 (published anonymously). Edinburgh, Nimmo. 1861. Photographs of Edinburgh, with Archibald Burns. Glasgow. Duthie, 1868. Our Seamen: An Appeal. Privately printed, 1873. 1400 CHILDREN'S WRITERS BALLANTYNE

Six Months at the Cape; or, Letters to Periwinkle from South Africa. London, Nisbet, 1878; New York, Dodd Mead, n.d. The Collected Works qf Ensign Sopht, Late of the Volunteers. London, Nisbet, 1881. Personal Reminiscences in Book-Making. London, Nisbet, 1893.

Bibliography: R.M.Ballantyne: A Bibliography qf First Editions by Eric Quayle, London, Dawsons, 1968.

Critical Study: Ballantyne the Brave: A Victorian Writer and His Family by Eric Quayle, London, Hart Davis, 196 7.

In his own lifetime R.M. Ballantyne gained the distinction of being identified in the minds of his young readers with the bravest of the deeds performed by the manly characters in the fictional tales he wrote. His photographs, which showed him as a handsome, bearded figure with the shoulder-length hair of a typical North American trapper, complete with long­ barrelled gun and powder-horn across his knees, went far to confirm this impression. His autobiographical experiences as a youth employed by the Hudson's Bay Company were related in his first book, Hudson's Bay: or, Every-Day L(fe in the Wilds qfNonh America, and his early life in Rupert's Land formed the background to many of his tales. His first fictional work for the young appeared in 1856 as Snowflakes and Sunbeams: or, The Young Fur Trader; but it was The Coral Island ( 1857) that made his name as a juvenile novelist. This was the book which acknowledged as the formative influence of his own love of the South Seas, a work which later led to his writing the immortal classic , with its dedicatory allusion to "Ballantyne the Brave." Ballantyne was one of the first writers of fictional adventure tales for the young to apply himself seriously to the background research so necessary to render the stories realistic. Unlike G.A. Henty, who wrote fictional tales set against historical backgrounds in the manner of Sir , Ballantyne almost without exception set himself the task of living and often working for weeks or months in the geographical location where he meant to set his story. Thus for The Lifeboat he lived at Deal with the lifeboat crew; for The Lighthouse he spent several weeks on the Bell Rock Lighthouse; for Fighting the Flames he was with the London Fire Brigade waiting for days on end for the bells to signal a fire; for Deep Down: A Tale qf the Cornish Mines he lived with the tin-miners of St. Just for over three months. The same could be said for The Floating Light ofthe Goodwin Sands, for which he endured weeks of sea-sickness on the Gull Lightship, and for The Iron Horse: or, L(fe on the Line, for which he acted as fireman on board the tender of the London-to-Edinburgh express. The result of all these and countless other expeditions both at home and abroad was a series of well over 80 full-length juvenile novels embodying a realism never before seen in works for teenage boys. He was the hero of Victorian youth; but his weakness lay in his being straitjacketed by his puritanism. Unlike Stevenson, he was unable to write a romantic and exciting story of adventure that was unmoralised and unashamed. Too often the action in Ballantyne's tales was braked by the gum of piety and the evangelistic soliloquising of the often bloodthirsty young characters he made his heroes. They lightheartedly slaughtered the fauna and the natives of the islands and jungles where they found themselves marooned with an impartial vigour, before falling on their knees to thank God for His infinite mercy and a successful day's sport. The Gorilla Hunters is a typical example of unrelenting cruelty by young teenagers that passed without comment in the mid-19th-century. He wrote, as we all do, for the age in which he lived. Nevertheless, Ballantyne opened for the sons of the rapidly expanding literati of middle­ and working-class families an exciting new vista of a world spiced with romance and danger which lay waiting for the young men of Britain to grow up and explore. He projected into lives which were often drab and humdrum a realistically coloured image, mirroring his readers in the figures of his heroes, and leaving them tantalised with the knowledge that they, 1401 BALLANTYNE CHILDREN'S WRITERS too, could equally well have overcome the fearful odds against which Ralph, Jack, and Peterkin grappled so bravely. He employed what was soon a well-tried formula, by giving full rein to youthful emotions within the strict bounds for what then passed as Christian morality, while leading his readers through dramatically bloody chapters of shipwreck, slaughter, capture and escape, to the inevitable happy ending of a wealthy and pious old age. He portrayed a world where the good were terribly good, and the bad were terribly bad, and the British were terribly British - and worth ten of any foreigners alive, by Jingo! For any writer of his time to dare to suggest otherwise would have been considered the blackest heresy by the young men of Victoria's England. For these were the boys who, in their turn, were to become the soldiers and sailors, the explorers and trail-blazers, the missionaries and merchant adventurers, the exploiters, the Word-spreaders, the successes and failures of the great on which the sun would never set.

-Eric Quayle

CARROLL, Lewis. Pseudonym for Charles Lutwidge Dodgson. British._ Born in Daresbury, , 27 January 1832. Educated at school in Richmond, , 1844-46; , Warwickshire, 1846-49; Christ Church, (Boultor Scholar, 1851 ), B.A. 1854, M.A. 1857. Fellow, and Master of the House, 1855, Sub-Librarian, 1855, Bostock Scholar, 1855, teaching staff member, 1856-81, and Curator of the Common Room, 1882-92, Christ Church, Oxford. Ordained, 1861. Died 14 January 1898.

PUBLICATIONS FOR CHILDREN

Fiction

Alice's Adventures in Wonderland, illustrated by . London, Macmillan, 1865; New York, Appleton, 1866; revised edition, 1886, 1897. Through the Looking-Glass, and What Alice Found There, illustrated by John Tenniel. London and New· York, Macmillan, 18 71 ; revised edition, 1897. Alice's Adventures Underground, illustrated by the author. London, and New York, Macmillan, 1886. The Nursery Alice. London and New York, Macmillan, 1889. The "Wonderland" Postage-Stamp-Case. Oxford, Emberlin, 1890.

Verse

Phantasmagoria and Other Poems. London and New York, Macmillan, 1869. The Hunting Q{the Snark: An Agony in Eight Fits, illustrated by Henry Holiday. London, Macmillan, and Boston, Osgood, 1876. Rhyme? and Reason?, illustrated by Arthur B. Frost and Henry Holiday. London, Macmillan, 1883; New York, Macmillan, 1884. Sylvie and Bruno, illustrated by Harry Furniss. London and New York, Macmillan, 1889. Sylvie and Bruno Concluded, illustrated by Harry Furniss. London and New York, Macmillan, 1893. Three Sunsets and Other Poems, illustrated by E. Gertrude Thomson. London and New York, Macmillan, 1898. The Collected Verse Q{ , edited by J.F. McDermott.' New York, Dutton, 1929; London, Macmillan, 1932.

1402 CHILDREN'S WRITERS CARROLL

For the Train: Five Poems and a Tale, edited by Hugh J. Schonfield. London, Archer, 1932. The Humorous Verses ofLewis Carroll, edited by J.E. Morpurgo. London, Grey Walls Press, 1950. Useful and Instructive , edited by Derek Hudson. London, Bles, 1954. The Poems qf Lewis Carroll, edited by Myra Cohn Livingston. New York, Crowell, 1973.

Other

A Tangled Tale: A Series qf Mathematical Questions, illustrated by Arthur B. Frost. London and New York, Macmillan, 1885. Symbolic Logic, part/. London and New York, Macmillan. 1895. The Lewis Carroll : A Selection from the Unpublished Writings and Drawings, edited by Stuart Dodgson Collingwood. London. Unwin. 1899; as Diversions and Digressions, New York, Dover, 1961. Further Nonsense Verse and Prose, edited by Langford Reed. illustrated by H.M. Bateman. London. Unwin. and New York. Appleton. 1926. The Lewis Carroll Book. edited by Richard Herrick. New York. Dial Press. 1931. The Book of Nonsense. edited by . London. Dent. 1956. Symbolic Logic, parts 1-2. edited by W.W. Bartley. III. New York. Clarkson N. Potter. 1977.

Editor. The Rectory Magazine. Austin. University of Texas Press. 1976.

PUBLICATIONS FOR ADULTS (as C.L. Dodgson)

Other

The Fifth Book qf Treated Algebraically .... Oxford. Parker. 1858: revised edition, 1868. A Syllabus of Plane A/gebraica/ Geometry ..... part I. Oxford. Parker. 1860. Notes on the First Two Books qf Euclid. Oxford. Parker. 1860. Notes on the First Part of Algebra. Oxford. Parker. 1861. The Formulae qf Plane Trigonometry . . . . Oxford, Parker. 1861. An Index to "In Memoriam·· (published anonymously). Oxford. Edward Moxon. 1862. The Enunciation qfthe Propositions and Corollaries with Questions in Euclid, Books I and 2. London. . 1863: revised edition. 1873. A Guide to the Mathematical Student ....• part I. Oxford. Parker. 1864. Notes by an OJ{{ord Chief (published anonymously) (includes The Dynamics Q{ a Particle, with an Excursus on the New Method Q{ E1•a/uation as Applied to Pi: Facts, Figures, and Fancies Relating to the Elections to the Hebdomadal Council .... : The New Be(frey qf Christ Church, Oxford: The Vision Q{ the Three T's: A Threnody; The Blank Cheque: A Fable). Oxford. Parker. 5 vols .. 1865-74. An Elementary Treatise on Determinants.... London. Macmillan. 1867. Algebraic Formulae for Responsions. London, Oxford University Press. 1868. Algebraic Formulae and Rules. London. Oxford University Press. 1870. Enunciations, Euclid, 1-4. London. Oxford University Press. 1873. Preliminary Algebra, and Euclid, Book 5. London, Oxford University Press. 1874. Suggestions as to the Best Methods of Taking Votes.... Oxford. Hall and Stacy. 1874. Some Popular Fallacies about Vivisection (as Lewis Carroll). Privately printed. 1875. Doublets: A Word Puzzle. London. Macmillan. 1879. Euclid and His Modern Rivals. London. Macmillan. 1879: revised edition. 1885. 1403 CARROLL CHILDREN'S WRITERS

Lawn Tennis Tournaments: The True Method of Assigning Prizes . . . . London, Macmillan, 1883. Twelve Months in a Curatorship, by One Who Has Tried. Privately printed, 1884; revised edition, 1884. The Principles of Parliamentary Representation. London, Harrison, 1884. Three Years in a Curateship. Privately printed, 1886. The Game of Logic (as Lewis Carroll). London and New York, Macmillan, 1886. Curiosa Mathematica. London, Macmillan, 2 vols., 1888-93. Feeding the Mind (as Lewis Carroll). London, Chatto and Windus, 1907. Some Rare Carro/liana. Privately printed, 1924. Six Letters by Lewis Carroll. Privately printed, 1924. Novelty and Romancement. Boston, B.J. Brimmer, 1925. Tour in 186 7. Privately printed, 1928. Two Letters to Marion. Bristol, D. Cleverdon, 1932. The Rectory Umbrella, and Misch-Masch. London, Cassell, 1932. A Selection from the Letters of Lewis Carroll ... to His Child-Friends, edited by Evelyn M. Hatch. London, Macmillan, 1933. Logical Nonsense, edited by Philip C. Blackburn and Lionel White. New York, Putnam, 1934. The Russian Journal and Other Selections from the Work ofLewis Carroll, edited by J.F. McDermott. New York, Dutton, 1935. The Complete Works. New York, Random House, and London, Nonesuch Press, 1937; revised edition, 1949. How the Boots Got Left Behind. Privately printed, 1943. The Diaries of Lewis Carroll, edited by Roger Lancelyn Green. London, Cassell, 2 vols., 1954; New York, Oxford University Press, 1954. The Works ofLewis Carroll, edited by Roger Lancelyn Green. London, Hamlyn, 1965. Lewis Carroll Observed: A Collection of Unpublished Photographs, Drawings, Poetry, and New Essays, edited by Edward Guiliano. New York, Clarkson N. Potter, 1976.

Editor, Euclid, Books 1-2. Oxford, Parker, 18 7 5; revised edition, London, Macmillan, 1882.

Critical Studies: L(fe of Lewis Carroll by Langford Reed, London, Foyle, 1932; Lewis Carroll by Derek Hudson, London, Constable, 1954; Lewis Carroll by Roger Lancelyn Green, London, Bodley Head, 1960, New York, Walck, 1962; The Annotated Alice, edited by Martin Gardner, New York, Clarkson N. Potter, 1960, London, Blond, 1964; The Annotated Snark, edited by Martin Gardner, New York, Clarkson N. Potter, I 962; The Lewis Carroll Handbook by Roger Lancelyn Green, 1962; Lewis Carroll and His World by John Pudney, London, Thames and Hudson, and New York, Scribner, 197 6; Lewis Carroll: Fragments ofa Looking-Glass by Jean Gattegno, New York, Crowell, 1976, London, Allen and Unwin, 1977. * Little that is not general knowledge can be said about the Rev. Charles Lutwidge Dodgson whose books for children were published over the pseudonym of Lewis Carroll. After the and Shakespeare, he is probably the most quoted author in the English language, and nearly every character from Alice's Adventures in Wonderland and Through the Looking­ Glass and What Alice Found There is known and recognised almost universally. At the time of his death wrote that Carroll was, "With the possible exception of Thackeray and Hans Andersen, the most successful writer of stories for children that the world has ever seen. Alice's Adventures and Through the Looking-Glass are books of which a child with an active mind never tires. They are equally full of imagination and humour. They suggest so much more than they say, that those who have grown up with them have found more in them every year." 1404 CHILDREN'S WRITERS CARROLL

The appearance and popularity of Alice (we may consider it as a single unity in two volumes, like Sylvie and Bruno towards the end of his life) brought about the greatest revolution so far in the literature of childhood. Apart from a few volumes of fairy tales - Perrault, Grimm, Andersen, in various forms- and The Rose and the Ring, which appeared ten years before Wonderland -the books a child might read (other than adult works like the Waverley Novels) were still of an improving or moralistic kind, however well writers like Charlotte Yonge, or Mrs. Craik might manage to transcend their limitations. But, in spite of Thackeray and Ruskin, whose inspiration overcame the moral and indeed turned it to their own use, Alice was something completely new. It was, as Harvey Darton wrote in 1932, "the coming to the surface, powerfully and permanently, the first unapologetic, undocumented appearance in print, for readers who sorely needed it, of liberty of thought in children's books. Henceforth fear had gone, and with it shy disquiet. There was to be in hours of pleasure no more dread about the moral value, the ponderable, measured quality and extent, of pleasure itself. It was to be enjoyed and even promoted with neither forethought nor remorse." It is possible to a certain extent to understand how the circumstances of his life and character made Dodgson the author of Alice. He grew up as an elder brother in a large family with girls predominating, and living in parsonages remote and self-contained. From an early age he was accustomed to the society of children younger than himself, and to entertaining them in various ways, the writing (and probably telling) of stories and verses being one of the chief ways in which he did this. While still an undergraduate at Christ Church, Oxford he was telling stories to children whom he met during "reading holidays" and writing nonsense letters to his youngest sister and brother, who were still children. The fact that instead of growing out of these pastimes with children he pursued them more and more eagerly was due in a considerable extent to the fact that he suffered all his life from a stammer- which left him in the company of children, and of little girls in particular. Consequently he spent more and more time with his child-friends and achieved an understanding of them and their outlook which has probably never been equalled by any other author. Chance - and a particularly good story out of many - caused him to write out Alice's Adventures Underground for Alice Liddell and another chance caused the novelist to pick up and read Alice's manuscript copy. and urge Mrs. Liddell to persuade the author to publish it. Chance again made Dodgson. doubtful of the story's appeal to children other than those for whom it was written. lend his own copy to George MacDonald. himself an outstanding writer for the young, to be read to his children - whose response was so enthusiastic that Dodgson at once began revising the story and adding other incidents from his retentive memory - from which rich source came also most of the incidents in Through the Looking-Glass a few years later. All this might have produced only some glorified variant in The Rose and the Ring genre. had not Dodgson been a professional mathematician and logician - and already an accomplished manipulator of the English language. The exact logician making use lightheartedly of the illogicalities of daily speech - and occasionally making "portmanteau" words by weaving together two other words in an exactly balanced synthesis - was able to follow where fancy led, but always in strict obedience to the discipline which he seems to have evolved spontaneously. In fact Lewis Carroll. the adult writer who was able to look at life through a child's eyes, and C.L. Dodgson, the academic lecturer on mathematics and logic, formed the perfect union from which Alice could be born. They were still in harmony when The Hunting ofthe Snark- the only real nonsense-epic in existence- came into being; but the marriage of two minds was falling apart when Sylvie and Bruno was being forced into existence: the don was imposing his will consciously upon the dreamer - and the result was what Derek Hudson has so aptly called "the most interesting failure in English literature." Though not itself numinous, Alice once and for all flung wide the "magic casement opening on the foam of perilous seas in faery lands forlorn" : she was the ancestor of all the great children's books that were to follow her. however different in kind they may seem -of The Midnight Folk and The Lion. The Witch and the Wardrobe as well as more obvious descendants such as The Just So Stories and Winnie the Pooh. But unlike most progenitors.

1405 CARROLL CHILDREN'S WRITERS

Alice is in no danger of growing old or being forgotten: she is as fresh and vivid today as she was a hundred years ago, and an everlasting delight to readers of all ages.

-Roger Lancelyn Green

COOLIDGE, Susan. Pseudonym for Sarah Chauncy Woolsey. American. Born in Cleveland, Ohio, 29 January 1835. Educated at private schools, Cleveland; Mrs. Hubbard's Select Family School for Young Ladies, Hanover. New Hampshire. Did hospital work and helped organize nursing service during the Civil War. Consulting Reader for Roberts Brothers, publishers. Boston. Died 9 April 1905.

PUBLICATIONS FOR CHILDREN

Fiction

The New Year's Bargain, illustrated by Addie Ledyard. Boston, Roberts, and London, Warne, 1872. What Did. illustrated by Addie Ledyard. Boston, Little Brown, 1872; London, Ward, 1873. What KatyDid at School. Boston. Roberts, and London, Ward, 1874. Little Miss Mischief and Other Stories, illustrated by Addie Ledyard. London, Ward. 1874. Mischief's Thanksgiving and Other Stories, illustrated by Addie Ledyard. Boston, Roberts, 1874; London, Routledge, 1875. Nine Little Goslings. Boston, Roberts, 1875. For Summer Afternoons. Boston, Roberts, 1876. Eyebright. Boston, Roberts, and London, Routledge, 1879. A Lily; or, How the F~ud Was Healed. Boston, Roberts, 1881. A Round Dozen. Boston. Roberts, 1883. A Little Country Girl. Boston, Roberts, 1885. What KatyDid Next, illustrated by Jessie McDermot. Boston, Roberts, 1886; London. Ward, 1887. Clover, illustrated by Jessie McDermot. Boston, Roberts, 1888. Just Sixteen. Boston, Roberts, 1889. In the High Valley. Boston, Roberts, 1891; London, Blackie, 1959. The Barberry Bush and Eight Other Stories about Girls for Girls. Boston, Roberts, 1892. Not Quite Eighteen. Boston, Roberts, 1894. An Old Convent School in and Other Papers. Boston, Roberts, 1895. Curly Locks. Boston, Little Brown, 1899. A Little Knight of Labor. Boston, Little Brown, 1899. Little Tommy Tucker. Boston, Little Brown, 1900. Two Girls. Boston, Little Brown, 1900. Uncle and Aunt. Boston, Little Brown, 1900. The Rule of Three, illustrated by Joseph Johnson Ray. Philadelphia, Altemus, 1904. A Sheaf of Stories, illustrated by J.W.F.Kennedy. Boston, Little Brown, 1906.

Verse

Rhymes and Ballads for Boys and Girls, illustrated by Harriet Roosevelt Richards and others. Boston, Roberts, 1892.

1406 CHILDREN'S WRITERS COOLIDGE

Other

Cross-Patch and Other Stories, illustrated by Elleh Oakford. Boston, Roberts, and London, Bogue, 1881. Little Bo-Peep. Boston, Little Brown, 190 I.

Editor, The Day's Message. Boston, Roberts, I 890: London, Methuen, 1911.

PUBLICATIONS FOR ADULTS

Verse

Verses. Boston, Roberts, 1880. A Few More Verses. Boston, Roberts, 1889. Last Verses. Boston, Little Brown, 1906.

Other

A Short History of the City of Philadelphia from Its Foundation to the Present Time. Boston, Roberts. 1887.

Editor, The Autobiography and Correspondence of Mrs. Delany. Boston. Roberts. 2 vols., 1879. Editor, The Diary and Letters of Frances Burney, Mrs. D 'Arblay. Boston. Roberts. 2 vols., 1880. Editor, Letters of . Boston. Roberts. 1892.

Susan Coolidge gained her reputation from the Katy books. although she had some contemporary success as a critic. At first reading What KatyDid appears to be in the main­ stream of Victorian children's fiction -the motherless family "mothered" by the heroine. the general religious ambiance and the moral retribution for wrong-doing - but a closer inspection reveals that Susan Coolidge was in fact the forerunner of the 20th-century genre of British girls' school stories. her literary influence being greater in the than in her native United States. Figuratively speaking. she may be placed midway between the piety of L.T. Meade's A World qfGirls with its sanctimonious principal dispensing sweetness and light to the pupils of Lavender House. and the feuds and frolics in the works of . Very probably Susan Coolidge took her inspiration from Louisa May Alcott. Certainly Katy embodies some ofthe foibles of the outspoken Jo March. Like Jo. Katy endeared herself to her readers by her very human faults and spontaneous behaviour: like Jo. she was immediately popular. with her followers demanding a sequel : like Jo 's. her popularity was not confined to her compatriots. and English girls readily identified with her. Susan Coolidge received (in The Independent) the curious and confusing accolade that she was on her way to becoming a second .. Aunt Jo." That Jo was a recognizable self-portrait of Louisa Alcott has to account for the mixed reference to the real and the fictional ladies. Susan Coolidge seems to have "written out" her Victorianism in What KatyDid. Her own upbringing and the expectations of teachers. ministers and parents demanded a stereotyped "good angel" figure and it is significant that the author did not select her heroine for the role but a somewhat peripheral character. crippled Cousin Helen. Katy had disobeyed authority and used the garden swing. In the Victorian tradition she had to be "punished" and became bedridden from the consequent fall. Instead of saintly suffering. Katy demonstrated untidiness, irritable temper and general misery. It was left to the visiting cousin to fulfil the moral function. "God is going to let you go to his school." Cousin Helen explained to Katy when she complained. 1407 COOLIDGE CHILDREN'S WRITERS

"But what is the school?" asked Katy. "It is called The School of Pain," replied Cousin Helen, with her sweetest smile. "There's the lesson of Patience. That's one of the hardest studies ... and there's the lesson of Cheerfulness. And the lesson of Making the Best of Things .... "

Cousin Helen helped Katy to see her condition in a new light, and thus motivated the plot, but her formal utterances give a note of unreality to an otherwise natural and lively account. This must have occurred to Susan Coolidge, for Cousin Helen made no other real contribution, and by the end of the sequel volume, What Katy Did at School, she does not even appear, merely sending two illuminated religious texts for Katy and her sister Clover on their homecoming: "The girls thought they had never seen anything so pretty." So much for Cousin Helen, the symbol of perfect behaviour, the model for the aspiring Victorian child. What Katy Did at School is the most significant book in the series (What Katy Did Next, Clover and In the High Valley followed) since it predates the entire output of girls' school stories which virtually dominated the reading of British middle-class girls until the 1940's. Adult books (such as Jane Eyre) might cast aspersions on the teaching profession, but for the youthful reader authority was irreproachable. There is a chasm between the approach of L.T.Meade to the pious principal Mrs. Willis and Susan Coolidge's ironic appraisal of Mrs. Aorence, who lost interest in her pupils once she had decided to leave the school, and made no real effort to mete out justice. Susan Coolidge's own experiences at Mrs. Hubbard's in Hanover, New Hampshire, had given her insight into both staff-room and dormitory and the economic strategy behind the school meals. Rebellion among the pupils at "The Nunnery," the nickname given to Hillsover by Katy's companions, was seen from the point of view of the girls, and the character of Rose Red (real name Rosamund Redding) reappeared in various guises in almost every 20th-century from Angela Brazil's American Gipsy Latimer in The Leader of the Lower School to 's heroine of The Naughtiest Girl in the School. Always defiant, ultimately likable, struggling against the system which may or may not be just, these girls form a continuous thread throughout girls' fiction, together with a casual use of slang which gives a sparkling spontaneity to the dialogue. Susan Coolidge's schoolgirls were as iconoclastic over "correct" speech as they were over behaviour. With Katy as president of the Society .for the Suppression o.fUnladylike Conduct, a title bestowed with conscious mockery, established precepts were overthrown. One of the main aims was to have a good time combined with the pursuit of virtue. Victorian writers for children would have considered that a contradiction in terms.

----Gillian Freeman

DODGE, Mary Mapes. American. Born in , 26 January 1831. Educated privately. Married William Dodge in 1851 (died, 1858); two sons. Helped her father edit The Working Farmer magazine, 1847; Home-Making Editor, Hearth and Home magazine, 1870-73; Founding Editor, St. Nicholas magazine, 1873-1905. Recipient: French Academy Montyon Prize. Diet! 21 August /905.

PUBLICATIONS FOR CHILDREN

Fiction

The Irvington Stories, illustrated by F.O.C.Darley. New York, James O'Kane, 1865; revised edition, Chicago, Donohue, 1898. 1408 CHILDREN'S WRITERS DODGE

Hans Brinker; or, The Silver Skates: A Story of Life in Holland, illustrated by F.O.C.Darley and Thomas Nast. New York, James O'Kane, 1865; as The Silver Skates, London, Sampson Low, I 867. Donald and Dorothy. Boston, Roberts, and London, Warne, 1883. The Land of Pluck. New York, Century, 1894. The Golden Gate. Chicago, Donohue, 1903. Po-no-kah: An Indian Tale qf Long Ago. Chicago, Donohue, 1903.

Verse

When L(fe Is Young. New York, Century, 1894.

Other

Editor, Baby Days. New York, Scribner, 1877. Editor, Baby World: Stories, Rhymes, and Pictures for Little Folks. New York, Century, 1884. Editor, A New Baby World: Stories, Rhymes, and Pictures for Little Folk. New York, Century, 1897. Editor, The Children's Book of Recitation. New York. De Witt. 1898.

PUBLICATIONS FOR ADULTS

Verse

Rhymes and Jingles. New York. Scribner Armstrong, 1874; London. Gay and Bird. 1904. Along the Way. New York. Scribner, 1879; as Poems and Verses. New York. Century. 1904.

Other

A Few Friends and How They Amused Themselves. Philadelphia, Lippincott. 1869. Theophilus and Others. New York, Scribner Armstrong, and London. Sampson Low. 1876.

With the publication of her Irvington Stories, Mary Mapes Dodge was widely recognized in the United States as a promising new writer of literature for children. Reviewers and readers praised the eight tales. which derived from American colonial history and from stories told in the author's family, for their blend of realistic detail. engaging humor. and appropriate moral tone. Encouraged by the book's success. Mrs. Dodge's publisher. James O'Kane, urged her to begin a second work and. with the Civil War approaching an end. suggested a timely theme - a boy leaving his family to enlist in the Union Army. Unenthusiastic about the idea, Mrs. Dodge turned instead to notes she had retained from her reading of Motley's Story qf the Dutch Republic years before as well as to stories she had heard from Dutch immigrant neighbors and began work on a story set in Holland. Reluctantly, O'Kane agreed to publish the completed manuscript. Han Brinker and the Silver Skates. An outstanding commercial success from the start. Hans Brinker quickly established itself as a classic children's book. As in the ln•ington Stories there is an abundance of closely observed detail, abstracted from her sources (Mrs. Dodge did not visit Holland until years after the book was written) and combined with a clear moral purpose. Not notably inventive or original. Mrs. Dodge drew heavily on familiar popular conventions for the structure of the story. Hans Brinker and his sister Gretel are the impoverished but virtuous

1409 DODGE CHILDREN'S WRITERS children of a dike engineer, a mute, uncomprehending invalid since he was injured ten years before the events of the story take place. This premise, the incapacitation of a family's father and breadwinner and the subsequent suffering, however salutary, of his dependents, was one of the stock conventions of late 19th -century children's literature. For good measure, the plot involves a missing sum of money, a mysterious watch, and a father estranged from his son, as well as the ice skating race that gives the book its title - all familiar devices to create suspense in what is essentially a static book- a series of set pieces, detailing the characteristic and distinctive scenes, social types, customs, dress, and culture of Holland: the festival of St. Nicholas, the windmills and canals, the cities of Haarlem, Leyden, and the Hague. The central chapters of Hans Brinker-and much the longest narrative sequence -detail a skating expedition undertaken by five of Hans' friends, boys from wealthier families who can afford the diversion. As a consequence, Hans and sister disappear from the story entirely. In order to get the necessary Anglo-American perspective on Dutch culture, Mrs. Dodge makes one of the five boys an English visitor, and it is through his eyes that the reader sees the charming peculiarities of the Dutch. Enlivened somewhat by differences in temperament among the boys and by an occasional adventure - they capture a robber at one point - the expedition provides Mrs. Dodge with the means and justification for a close, sympathetic, sometimes condescending description of Dutch life. In the final third of the book, the focus returns to the Brinker family. The father is restored to health by the leading surgeon in Holland, whom Hans has chanced to meet early in the story. With his reason restored, Hans' father recalls hiding the family savings as well as the circumstances surrounding his possession of the mysterious watch. The young man from whom he had received it turns out to be the estranged son of the eminent surgeon. The Brinker family, tested by ten years of poverty, is restored to comfortable affluence, and the surgeon is reconciled with his son - and to his son's legitimate desire to have a vocation different from his father's. A conventional final chapter describes the fate of the several children introduced in the story, apportioning happiness and success to the virtuous, especially Hans and Gretel whose fortitude, perseverance, faith, and selfless devotion through years of poverty and care exemplify character at its best. In its affectionate and detailed description of foreign peoples and places, Hans Brinker was a distinct improvement over the earlier travelogues of "Peter Parley" and a harbinger of greater attention to realistic detail in American fiction for children in the late 19th century. Its moral values, however, are quite representative of much children's literature written from the I 8 30's to the end of the century and beyond. Although Mrs. Dodge was the pre-eminent children's periodical editor of her generation, she cannot be said to have made a very notable contribution to children's literature, Hans Brinker excepted. The Irvington Stories are deservedly forgotten, except by a few specialists, and The Land of Pluck, while testifying to her affection for Holland, represents no improvement on the similar sketches in Hans Brinker; many of her stories are simply cautionary tales of a kind indistinguishable in style or sentiment from the mass of homiletic narrative to be found in many a late 19th-century children's periodical - even the justly praised St. Nicholas.

-R. Gordon Kelly

EWING, Juliana Horatia. British. Born in Ecclesfield, Yorkshire, 3 August 1841; daughter of the children's writer Margaret Gatty. Married Alexander Ewing in 186 7. Associated with her mother and sister in editing Aunt Judy's Magazine, 1866-85. Died 13 May 1885. 1410 CHILDREN'S WRITERS EWING

PUBLICATIONS FOR CHILDREN

Fiction

Melchior's Dream and Other Tales, edited by Mrs. Gatty, illustrated by M.S.G. London, Bell and Daldy, 1862; Boston, Roberts, 1886. Mrs. Overtheway's Remembrances, illustrated by J.A. Pasquier and J. Wolf. London, Bell and Daldy, 1869; Boston, Roberts, 1881. The Brownies and Other Tales, illustrated by . London, Bell and Daldy, 1870; New York, Hurst, 1901. A Flat Iron for a Farthing; or, Some Passages in the L(fe of an Only Son. London, Bell and Daldy, 1872; Boston, Roberts, 1884. Lob Lie-by-the-Fire; or, The Luck of Lingborough and Other Tales, illustrated by George Cruikshank. London, Bell. 1874; New York, Young, 1875. Six to Sixteen. London, Bell, and Boston, Roberts, 1875. Jan o.f the Windmill: A Story of the Plains, illustrated by Helen Allingham. London. Bell, 1876; Boston, Roberts, 1877 . .-1 Great Emergency and Other Tales. London, Bell, and Boston, Roberts, 1877. We and the World. London, S.P.C.K., and New York, Young, 1880. Old Fashioned Fairy Tales, illustrated by A.W. Bayes and . London. S.P.C.K., 1882; Boston, Little Brown, n.d. Brothers ofPity and Other Tales ofBeasts and Men. London, S.P.C.K., and New York. Young, 1882. The Story of a Short Life, illustrated by Gordon Browne. London, S.P.C.K .. and New York, Young, 1882. Jackanapes, illustrated by . London, S.P.C.K.. and New York. Young, 1884. Daddy Darwin's Dovecot: A Country Tale, illustrated by Randolph Caldecott. London. S.P.C.K., and New York, Young, 1884. Grandmother's Spring, illustrated by R. Andre. London, S.P.C.K .. and New York. Young, 1885. Mary's Meadow, and Letters from a Little Garden. illustrated by Gordon Browne. London, S.P.C.K., and New York. Young. 1886. Dandelion Clocks and Other Tales. illustrated by Gordon Browne and others. London. S.P.C.K., and New York. Young, 1887. The Peace Egg, and A Christmas Mumming Play. illustrated by Gordon Browne. London, S.P.C.K .. and New York. Young. 1887. Snapdragon: A Tale qf Christmas Eve, and Old Father Christmas: A11 Old-Fashioned Tale qf the Young Days of a Grumpy Old Godfather. illustrated by Gordon Browne. London, S.P.C.K., and New York. Young. 1888. Last Words: A Final Collection qf Stories. Boston. Roberts. 1891. The Ewing Book: Scenes from the Tales. edited by E.M. Allsopp. London. Bell. 1930.

Verse (illustrated by R. Andre)

Blue and Red; or, The Discontented Lobster. London. S.P.C.K .. and New York. Young, 1883. A Soldier's Children and Five Other Tales in Verse. London. S.P.C.K .. and New York. Young. 1883. The Blue Bells on the Lea and Ten Other Tales in Verse. London. S.P.C.K.. and New York. Young, 1884. Mother's Birthday Reviews and Seven Other Tales in Verse. London. S.P.C.K., and New York, Young, 1888. 1411 EWING CHILDREN'S WRITERS

Other

Collected Works. London, S.P.C.K.. 18 vols., 1894-96. Works. Boston, Little Brown, II vols., 1909(?).

Critical Studies: Mrs. Gatty and Mrs. Ewing by Christabel Maxwell, London, Constable, 1949; Mrs. Ewing, Mrs. Molesworth, and Mrs. Hodgson Burnett by , London, Barker, 1950; Mrs. Ewing by Gillian Avery, London, Bodley Head, 1961, New York, Walck, 1964.

Mrs. Ewing succeeded, better than any other Victorian writer for the young, in conveying the high spirits of childhood, and remembering its laughter and sheer enjoyment of life. She did not fall into the trap of presenting children's happiness as undiluted. She herself pointed out that "it is probably from an imperfect remembrance of their nursery lives that some people believe that the griefs of one's childhood are light, its joys uncomplicated, and its tastes simple." But she recorded light and shadow, rough and smooth, without moral reflections on their implication to the child that experienced them. It was a style very different from her mother, Mrs. Gatty, who, in the manner of her generation, had felt obliged to improve the occasion whenever she could. The early Victorian writers for the young could never forget their role as governess. Mrs. Ewing, though no conscious innovator, did forget. She used much the same material as her mother - large, happy families; she was fundamentally just as serious-minded, but she was fortunate in being born into a generation that saw no harm in enjoying writing for children. No one could ever doubt the seriousness of her religious faith, but, perhaps because it was so strong, it was rarely directly stated, though one senses its influence in all she wrote. She could allow herself the occasional frivolous comment, poking gentle fun at the child who had morbid notions about sickbed piety; she could even be flippant about that sacred cow of the Victorians, Sabbath observance. She criticized the way that parents and 'teachers treated children; once she even so far forgot herself as to introduce an elopement into the beginning of a story. (Charlotte Yonge advised those reading Jackanapes aloud to omit this incident.) She sympathized with the boisterous rough ways of boys, even defended them, and, in We and the World, could take their side against their father- a unique occasion in Victorian children's literature. She was equally convincing when she presented a very different type of boy in A Flat Iron for a Farthing, a motherless only child, quaint but never muffish, who takes himself rather too seriously (though the author never does). Perhaps she was at her best when writing of the Yorkshire scenes from which it was such anguish for her to be parted (none of the Gatty children ever wanted to live anywhere else in the world but the vicarage at Ecclesfield where they had been brought up) and of the exuberant life that young Victorians lived when families were large enough to mount private theatricals, to run their own journals and societies; when houses had space to accommodate a mass of different hobbies, and everybody could have his separate plot in the garden and a pet of his own. Her forgetfulness of her readers sometimes transformed books for a specific class- such as Victorian publishers then produced- into books beyond their reach. Lob Lie-by-the-Fire and Daddy Darwin's Dovecot, which set out to be the sort of book about the poor boy who became a steady, decent artisan (a type produced by the ton by Anglican wives and daughters for the consumption of children in church schools), finished as exquisitely worked miniatures of Victorian social life. Some of her longer works tend to sprawl and suffer from a plethora of sub-plot and too many ideas (the result of their being originally written in serial form for her mother's magazine, Aunt Judy's) but all of them are beautifully and fastidiously written. She was possibly the most literary of all the Victorian writers of the juvenile domestic tale, and the only one whose works were gathered into a complete edition. Many writers have testified to

1412 CHILDREN'S WRITERS HALE their affection for her, Kipling and Arthur Ransome among them; authors as various as and Angela Brazil have lifted (perhaps unconsciously) whole episodes from her books; A Great Emergency is the precursor of E. Nesbit's Bastable stories. If one had to remember her by a single work then one might choose the short story "Our Field," so much admired by Ruskin. The plot turns on the efforts of a family of children to save enough for a dog licence, but though their anxiety about this is the shadow, during the day the children forget it because they have found a field where nobody goes, where they can play undisturbed. The field has everything, a stream with freshwater shrimps, a hollow oak, bluebells, cowslips, blackberries. The fact that there are holly berries on the bushes and daisies in the grass at the same season does not matter; Mrs. Ewing is describing an earthly paradise that only a child could know.

-Gillian Avery

HALE, Lucretia P(eabody). American. Born in Boston, Massachusetts. 2 September 1820; sister of the writer Edward Everett Hale. Educated at Susan Whitney's, Miss Peabody's, and George B. Emerson's schools. Taught for a correspondence school. and private history tutor. Member of the Boston School Committee, 1874. Died 12 June 1900.

PUBLICATIONS FOR CHILDREN

Fiction

The Peterkin Papers, illustrated by the author. Boston. Osgood. 1880; Kingswood. Surrey, World's Work, 1964. Alone in . Rome, Gould Memorial Home. 1883. The Last of the Peterkins, with Others ~f Their Kin. Boston. Roberts. 1886. Sunday School Stories for Little Children on the Golden Texts ofthe lmernational Lessons of 1889, with Mrs. Bernard Whitman. Boston, Roberts. 1889. Stories for Children, Containing Simple Lessons in Morals. Boston. Leach Shewell and Sanborn, 1892. The Queen ~(the Red Chessmen. New York. Happy Hour Library. n.d.

PUBLICATIONS FOR ADULTS

Novels

The Struggle for Life. Boston. Walker Wise. 1861. An Uncloseted Skeleton, with Edwin Lassetter Bynner. Boston. Ticknor. 1888. The New Harry and Lucy: A Story ~f Boston in the Summer of 1891. with Edward Everett Hale. Boston. Roberts, 1892.

Other

The Lord's Supper and Its Observance. Boston. Walker Fuller. 1866. The Art of Knitting. Boston, Tilton. 1881. Three Hundred Decorative and Fancy Articles for Presents, Fairs, etc. etc., with Margaret E. White. Boston, Tilton, 1885. Fagots for the Fireside ... (games). Boston. Ticknor. 1888; revised edition. Boston. Houghton Mifflin. 1894.

1413 HALE CHILDREN'S WRITERS

Editor, Seven Stormy Sundays. Boston, American Unitarian Association, 1858. Editor, The Service of Sorrow. Boston, American Unitarian Association, 1867. Editor, Art Needlework, by Eliza Savage. Boston, Tilton, 5 vols., 1879.

As a children's writer, Lucretia P. Ha1e is known principa11y for The Peterkin Papers, a collection of humorous sketches that had previously appeared in the children's periodicals Our Young Folks and its distinguished successor St. Nicholas. A sequel, The Last of the Peterkins, was far less popular than the Papers. which made the Peterkins a household word. The Peterkin Papers consists of 22 sketches of the ludicrous and improbable misadventures of the Peterkins, an astonishingly inept family consisting of pere and mere, together with their six children: Agamemnon ("who had been to college"), Elizabeth Eliza, Solomon John, and three unnamed little boys, chiefly notable for the rubber boots which they seem incessantly to be putting on and taking off. The sketches, which tend to be repetitive in form, begin with a problem that grows more formidable the more the family's collective wisdom is invoked to solve it: what to do with a cup of coffee into which Mrs. Peterkin has stirred salt instead of sugar; how to make the family wise; what to do about a piano placed with its keyboard against a window so that it can only be played by standing on the porch and reaching through the window; what to do with a Christmas tree that is too tall for the back parlor. Once the premise is established, the rest of the sketch recounts the efforts of the family, attempting to work in concert and sometimes with the advice of neighbors, to remedy the situation. In the case of the salted coffee, the loca1 chemist is consulted and tries to counter the presence of the salt with an array of chemica1s. Miss Hale is at her comic best cataloguing his inspired - but, alas, futile - efforts: "Then he tried, each in turn, some oxalic, cyanic, acetic, phosphoric, chloric, hyperchloric, sulphuric, boracic, silicic, nitric, formic, nitrous nitric, and carbonic acids. Mrs. Peterkin tasted each and said the flavor was pleasant, but not precisely that of coffee." In this instance, as in most of the sketches, the Peterkin's comic fixation with a futile strategem is broken finally by the cool common sense of their friend Mrs. Leslie, "the lady from Philadelphia," who sensibly suggests throwing out the offending coffee and making a new cup -or moving the piano so that its keyboard faces into the room. Although she is not present to suggest sawing a foot or two from the overly large Christmas tree, and Mr. Peterkin will not accept the carpenter's advice to do so but has him raise a portion of the ceiling instead, the thoughtful lady does provide the Peterkins with a box of Christmas ornaments, for which, with characteristic improvidence, they had neglected to plan. The sequel, The Last of the Peterkins, seems, in retrospect, to be distinctly inferior to the earlier sketches. Convinced, perhaps, that she had explored most of the domestic difficulties likely to beset even a family as impractical as the Peterkins, Miss Ha1e shifts her focus from the family as a whole to its several members and from the narrowly local setting to one that, in the end, is internationa1. In the first episode of The Last of the Peterkins, Elizabeth Eliza prepares and delivers a paper on "The Sun" to the local women's cultura1 society, the Circumambient Club. Such a setting provides ample scope for Miss Hale's gentle satire. In successive episodes, the family undertakes travel - first to grandfather's for maple syrup but eventually to and the Middle East. Increasingly, the sketches describe the fragmentation of the family as, not surprisingly, travel connections are missed, baggage goes astray, and messages are misunderstood. In the fina1 chapter, the family are briefly reunited, but, with the exception of the three little boys, each has seen enough of the world to have a different dream. Elizabeth Eliza marries a Russian; Agamemnon is last heard of bound for Madagascar; and Mr. and Mrs. Peterkin are headed for Yakoutsk. Their misadventures as a family are over, and even the lady from Philadelphia could not retrieve them from the far ends of the earth, to which Miss Hale consigns them. The Peterkin Papers and its sequel enjoyed a considerable popularity with children and a measure of critical approval as well. Most of the sketches proceed from such obvious premises that children doubtless relished the absurd antics of the Peterkins, secure in

1414 CHILDREN'S WRITERS HARRIS knowing precisely what the lady from Philadelphia would prescribe when she should eventually appear on the scene. Despite the labored quality of the humor, on occasion, and the repetitious form of the episodes, Miss Hale is often a clever and acute observer of human foibles. In contrast to much of the earnest moralizing characteristic of late I 9th-century American children's literature, The Peterkin Papers is delightful nonsense -virtually the first example that we have. Moreover, it is humor, however gentle and affectionate, at the expense of the family, the institution then widely regarded as the fundamental social unit Miss Hale's mildly satirical view of the claustrophobic togetherness that was one aspect of Victorian family life marked a refreshing and popular alternative to the solemnity with which her contemporaries treated the family in books for children.

-R. Gordon Kelly

HARRIS, Joel Chandler. American. Born near Eatonton, Georgia, 9 December 1848. Educated at local schools. Married Esther LaRose in I 87 3 ; three daughters and two sons. Printers' devil and typesetter, The Countryman weekly, published at the Turnwold Plantation. 1862-66; staff member, Macon Telegraph, Georgia, 1866, New Orleans Crescent Monthly, 1866--67, Monroe Advertiser, Forsyth, Georgia, 1867-70, Savannah Morning News. Georgia, 187Q-76, and Atlanta Constitution, 1876-1900. Founder, with his son Julian, Uncle Remus's Magazine, later Uncle Remus - The Home Magazine. 1907--Q8. Member. American Academy of Arts and Letters, 1905. Died 2 July 1908.

PUBLICATIONS FOR CHILDREN

Fiction

Uncle Remus: His Songs and His Sayings: The Folklore of the Old Plantation. illustrated by Frederick Church and J.H. Moser. New York. Appleton. 1881; as Uncle Remus and His Legends ofthe Old Plantation. London. Bogue. 1881 ; as Uncle Remus: or, Mr. Fox, Mr. Rabbit, and Mr. Terrapin. London. Routledge. 1881 ; revised edition. Appleton, and London, Osgood. 1895. Nights with Uncle Remus: Myths and Legends of the Old Plantation. illustrated by Frederick Church. Boston, Osgood, 1883; London. Routledge. 1884. Daddy Jack the Runaway and Short Stories Told after Dark. illustrated by E.W. Kemble. New York. Century, and London. Unwin. 1889. Uncle Remus and His Friends: Old Plantation Stories, Songs, and Ballads, with Sketches of Negro Character. illustrated by A.B. Frost. Boston. Houghton Miffiin. 1892; London. Osgood, 1893. Little Mr. Thimblefinger and His Queer Country: What the Children Saw and Heard There, illustrated by Oliver Herford. Boston. Houghton Miffiin. and London. Osgood. 1895. Mr. Rabbit at Home. illustrated by Oliver Herford. Boston. Houghton Mifflin. and London. Osgood, 1895. The Story of Aaron (So Named), The Son of Ben Ali, Told by His Friends and Acquaintances, illustrated by Oliver Herford. Boston. Houghton Miffiin. and London. Osgood, 1896. Aaron in the Wildwoods, illustrated by Oliver Herford. Boston. Houghton Miffiin. and London, Harper, 1897. The Chronicles of Aunt Minervy Ann. illustrated by A.B. Frost. New York. Scribner. and London. Dent. 1899. 1415 HARRIS CHILDREN'S WRITERS

Wally Walderon and His Story-Telling Machine. illustrated by Karl Moseley. New York, McClure, 1903; London, Richards, 1904. Told by Uncle Remus: New Stories qf the Old Plantation, illustrated by A.B. Frost and others. New York and London, Mcaure, 1905. Uncle Remus and Brer Rabbit. New York, Stokes, 1907. The Bishop and the Boogerman ... , illustrated by Charlotte Harding. New York, Doubleday, and London, Murray, 1909. The Shadow Between His Shoulder-Blades . ... Boston, Small Maynard, 1909. Uncle Remus and the Little Boy. Boston, Small Maynard, 1910; London, Richards, 1912. Uncle Remus Returns. Boston, Houghton Mifflin, 1918. The Witch Wolf: An Uncle Remus Story. Cambridge, Massachusetts, Bacon and Brown, 1921. Stories from Uncle Remus, edited by Mrs. Joel Chandler Harris. Akron, Ohio, Saalfield, 19 34. Seven Tales qfUncle Remus, edited by Thomas H. English. Atlanta, Emory University Library, 1948. The Favorite Uncle Remus, edited by George Van Santvoord and Archibald C. Coolidge. Boston, Houghton Mifflin, 1948. The Complete Tales qf Uncle Remus, edited by Richard Chase. Boston, Houghton Mifflin, 1955. Verse

The Tar-Baby and Other Rhymes qf Uncle Remus. illustrated by A.B. Frost and E.W. Kemble. New York, Appleton. 1904.

PUBLICATIONS FOR ADULTS

Novels

A Plantation Printer: The Adventures qf a Georgia Boy During the War. London, Osgood, 1892; as On the Plantation: A Story ofa Georgia Boy's Adventures During the War, New York. Appleton, 1892. Sister Jane, Her Friends and Acquaintances . . . . Boston, Houghton Mifflin. 1896; London. Constable, 1897. Gabriel Tolliver: A Story of Reconstruction. New York. McClure, 1902. A Little Union Scout: A Tale qfTennessee During the Civil War. New York, McClure. 1904; London. Duckworth, 1905. Qua: A Romance of the Revolution, edited by Thomas H. English. Atlanta, Emory University Library, 1946.

Short Stories

Mingo and Other Sketches in Black and White. Boston, Osgood, and Edinburgh, Douglas. 1884. Free Joe and Other Georgian Sketches. New York, Scribner, 1887; London, Routledge, 1888. Balaam and His Master and Other Sketches and Stories. Boston, Houghton Mifflin, and London, Osgood. 1891. Stories qfGeorgia. New York, American Book Company, 1896; revised edition, 1896. Tales of the Home Folks in Peace and War. Boston, Houghton Mifflin. and London, Unwin, 1898. Plantation Pageants. Boston. Houghton Mifflin, and London, Unwin, 1899. On the Wings qfOccasions .... New York, Doubleday, and London, Murray, 1900. The Making qf a Statesman and Other Stories. New York, McOure, 1902. 1416 CHILDREN'S WRITERS HARRIS

Other

Editor and Essayist: Miscellaneous Literary, Political, and Social Writings, edited by Julia C. Harris. Chapel Hill, University of North Carolina Press, 1931.

Editor, Life of Henry W. Grady, Including His Writings and Speeches: A Memorial Volume. New York, Cassell, 1890. Editor, The Book ofFun and Frolic. Boston, Hall Locke, 190 I ; as Merrymaker, 1902. Editor, World's Wit and Humor. New York, Doubleday, 1904.

Translator. Evening Tales, by Frederic Ortoli. New York, Scribner, 1893.

Manuscript Collection: Emory University Library, Atlanta.

Critical Study: Joel Chandler Harris: A Biography by Paul M. Cousins, Baton Rouge, Louisiana State University Press, 1968.

Joel Chandler Harris was twelve years old when the Civil War- the War Between the States - broke out in 1860. He was sixty when he died in 1908. Born somewhere near Eatonton, Georgia, his southern plantation background is better understood today by people north of the Mason-Dixon line than it was in 1880, when Uncle Remus: His Songs and His Sayings, in cotton-pickers' dialect, was published. Better still, most northerners in 1977 suddenly knew a great deal about one typical small Georgian town than their forebears had known in 1880, or they themselves as late as 1976. thanks to President Jimmy Carter. Eatonton, it seems, lies but a hundred miles or so from Plains. Georgia. as the crow (but not the circling buzzard) flies over my open atlas. The circling buzzard? "Tooby sho! W'y dat's Brer Tukkey Buzzard hisse 'f." And with these words we are into the first and. with Nights with Uncle Remus. by far the best of the nine volumes of Uncle Remus stories which stretched. in publication. across sixty­ eight years (188Q-1948) to the varying benefit of eight different American publishers. In 1955 The Complete Tales of Uncle Remus appeared, with the original black and white illustrations of five different artists. After sixty-five years. I clearly see now. as I thought then. that the best ofthese artists- best by all odds- was A.B. Frost. The spirit of the language and the animals was on him as it was not with any generous magic on the others. He was and is as Tenniel to Carroll. as Shepard to Milne. It was Frederick Church who illustrated the first Uncle Remus in 1880; but Frost took over the new and revised edition of 1896: did the fourth and parts of the fifth and eighth books as well. How those marvellous pictures stick in the mind: rabbit. fox, coon, possum, wolf. bear. Sis Cow. the mice (Miss Meadows en de gals): roughly dressed in well-worn pants, shirt, and suspenders: sometimes a vest. sometimes a tail coat flying in the wind. Long dresses for the females. Shoes never. Frog. terrapin. birds generally as is. "All de creeturs, horn. claw. and wing." And always old black Uncle Remus in his cabin -no Uncle Tom's Cabin, mind you! - half-soling a pair of shoes. perhaps: blowing the ashes from a smoking yam. weaving long strips of "wahoo" bark into horse-collars. or scratching his head with the point of his awl. telling the little white boy - Miss Sally's little boy - from the big house those wondrous animal fables long after and mostly unconnected with Grimm. Andersen. or LaFontaine. as well as long before them, but almost certainly in essence somewhere out of Africa. Mysterious to me as a young boy: and still mysteriously unchanged today as are the deepest of the Negro Spirituals which, apart from original New Orleans jazz, survive unwearied as the New World's one unequalled contribution to music. "Among the unforgettable books of American literature," says the Dictionary of American Biography. So then, what makes Uncle Remus, the work of a sometime casual and untroubled country journalist, undistinguished in his other quite orthodox books. so hauntingly alive. so 1417 HARRIS CHILDREN'S WRITERS enchantingly memorable? Humor, of course; but also ingenuity of plot and situation; perfect rhythmic pacing -though one nervous nerveless rabbit paradoxically is he who seems to set it. "What brevity is to wit," said Desmond MacCarthy, speaking ofMaupassant, "concision is to the art of story-telling." No stories in any collected series I can think of approach the concision of these; not even those in Maugham 's Cosmopolitans; and they, of course, aren't woven with a common thread. Then, too, Brer Rabbit's infinite resourcefulness, his crafty small talk, the dependable gullibility of his friends and enemies; the quiet anthropomorphic satire sometimes present but often overlooked in the almost total absence of human characters and human tension. And above all -what I could not appreciate when young -the enormous dignity as a human being of Uncle Remus, the story-teller, himself. Uncle Remus who has, as Harris tells us in 1880, "all the prejudices of caste and pride of family that were the natural results of the system." Over the centuries, who among the myriad devotees of Horace has rejected in Carminum Liber, I, 38, "Percosis odi, puer, apparatus .... " simply because puer (the boy) was a slave? To be sure, Uncle Remus was most certainly a slave before 1865; but this is 1880, still a long way from civil rights. Yet here he is, an old unbittered man in the evening of life; and in the actual evening of day after Georgian day, patiently mending those shoes, smoking his pipe, reflecting on the past, since "ole times is about all we got lef." But on what sort of past? On whose "ole times"? Not his. Not really any man's, black or white, with two or three quite casual exceptions, but on his other talkative active world of Brer Rabbit, Brer Fox, Brer Tukkey Buzzard, Brer Tarrypin, Sis Cow, Miss Meadows en de gals (the mice), viewed in animal isolation. And always the comic side of it; of predator and prey outsmarting and outsmarted, outdoing and outdone; but every bit of it in word and deed of mythical concept beyond man's crazier conflict world of violence, cruelty, and bloodshed. Mean, unbloody deaths sometimes occur; but the dead are usually resurrected later on. Off to one side, the role of Uncle Remus is that of the Stage Manager in Wilder's Our Town, a one-man Greek Chorus. And if his is not the voice of Anselm, the Christ-like lion figure in Lewis's Narnia, it remains no less a voice as philosophical, patient, persuasive, and neutral in reaction as any story-teller's should be. Here is a sample of that voice recorded in the famous "Wonderful Tar-Baby Story":

"Brer Rabbit come prancin' 'long twel he spy de Tar-Baby, en den he fotch up on his behime legs like he wuz 'stonished. De Tar-Baby, she sot dar, she did, en Brer Fox, he lay low. "'Mawnin'!' sez Brer Rabbit, sezee- 'nice wedder dis mawnin',' sezee. "Tar-Baby ain't sayin' nothin', en Brer Fox, he lay low. "'How duz yo' sym'tums seem ter segashuate?' sez Brer Rabbit, sezee. "Brer Fox, he wink his eye slow, en lay low, en de Tar-Baby, she ain't sayin' nothin'. "'How you come on, den? Is you deaf?' sez Brer Rabbit, sezee. 'Kaze if you is, I kin holler louder,' sezee. "Tar-Baby stay still, en Brer Fox, he lay low. "'You er stuck up, dat's w'at you is,' says Brer Rabbit, sezee, 'en I'm gwine ter kyore you, dat's w'at I'm gwine ter do,' sezee. "Brer Fox, he sorter chuckle in his stummick, he did, but Tar-Baby ain't sayin' nothin'. " 'I'm gwine ter lam you how ter talk ter 'spectubble folks ef hit's de las' ack,' sez Brer Rabbit, sezee. 'Ef you don't take off dat en tell me howdy, I'm gwine ter bus' you wide open,' sezee. "Tar-Baby stay still, en Brer Fox, he lay low. "Brer Rabbit keep on axin' 'im, en de Tar-Baby, she keep on sayin' nothin', twel present'y Brer Rabbit draw back wid his tis', he did, en blip he tuck 'er side er de head. Right dar's whar he broke his merlasses jug. His tis' stuck, en he can't pull loose. De tar hilt 'im. But Tar-Baby, she stay still, en Brer Fox, he lay low. "'Efyou don't Iemme loose, I'll knock you agin,' sez Brer Rabbit, sezee, en wid 1418 CHILDREN'S WRITERS HENTY

dat he fotch 'era wipe wid de udder han', en dat stuck. Tar-Baby, she ain't sayin' nothin', en Brer Fox, he lay low. "'Tu'n me loose, fo' I kick de natchul stuffin' out'n you,' sez Brer Rabbit, sezee, but de Tar-Baby, she ain't sayin' nothin '. She des hilt on, en den Brer Rabbit lose de use er his feet in de same way. Brer Fox, he lay low."

What, I would ask, does the average citizen of the United Kingdom make of this language of Uncle Remus? There is nothing even approximate in tone or inflection in Punch's weekly version of southern accent in "Miz Lillian Writes" (summer of 1977). In Uncle 'Remus we are listening to black plantation talk transferred to animals and birds. And young Harris, sometime and long -time staff member of the famous Atlanta Constitution, possessed the true alembic to distill the last least syllable accurately heard and poetically remembered. To the average American London cockney even when written can be difficult in spots; so can the lovely west country dialect poems of William Barnes; so can the local Aberdonian speech of my ancestors as I myself have heard it. Well, James Stephens once said to me in London, after reciting "The County Mayo" in Gaelic: "You don't learn French. You take it in through the pores." Likewise with the language of Uncle Remus: tricky, but not too difficult since the spelling is phonetic, full of sibilants, and reliably consistent. A few words out of Uncle Remus were coin of the realm of my youth: talk biggity, smole a smile, turkentime (for turpentine); Eave­ dropper; bobby-cue; low-register English-Greek frog talk such as "knee deep, knee deep; wade in, wade in"; start naked for stark naked; swivel up and die; the now fading but still beautiful verb segashuate: "How duz yo' sym'tums seem ter segashuate?": "Is I'm a tale, or is de tale me?"; "so he ain't kin run"; /'shmuns (for Irishmen); etc. So he ain't kin run! Can anyone possibly miss the liquefaction of such? A couple of glossaries in the collected Uncle Remus are sadly incomplete. To speak of another Harris book for children, Little Mr. Thimble/inger and His Queer Country, in the wake (1895) of Uncle Remus (1880) is somewhat like looking into Melville's The Confidence Man after emerging from Moby Dick. But Mr. Thimblefinger had some success in its day. Carefully illustrated with a certain grotesque charm by the gifted Oliver Herford, it is just another children's venture into a Never-Never Land: this time down through a spring and under water to a lower middle earth. These adventures were written. said Harris apologetically, "in the midst of daily work on a morning newspaper" - the Atlanta Constitution. "Some," he explains, "are Middle Georgia folklore, and no doubt belong to England." I cannot begin to assess this statement. But occasional references to Uncle Remus - the tar baby, for example - and the fact that Miss Meadows is now Mrs. Meadows somehow fail to enchant. The book is composed largely in straight English. with characters named Sweetest Susan, Chickamy Crany Crow. Tickle-My-Toes, and so on. Drusela the Negro nurse is something of a tonic, yet she talks rather like a Brer Rabbit reject. But Uncle Remus today deserves true immortality. The great Spirituals have it: but music under and over them carries the lovely poetic language. Can the unforced, undying humor of Uncle Remus carry it in this diminishing world now, a cappela?

-David McCord

HENTY, G(eorge) A(lfred). British. Born in Trumpington, Cambridgeshire, 8 December 1832. Educated at Westminster School, London, 1847-52; Caius College, Cambridge, 1852. Served in the Hospital Commisariat and the Purveyor's Department during the Crimean War; helped organize Italian hospitals, I 8 59 ; served in and Portsmouth : Turkish Order of the Medjidie. Married Elizabeth Finucane in 1858, two sons and two daughters; Bessie Keylock. Crimean War Correspondent. Morning Advertiser, London; Staff 1419 HENTY CHILDREN'S WRITERS

Correspondent, in Europe, Africa. Asia, and North America, The Standard, London, 1865-76. Editor, magazine, London, 188Q--83, and Beeton's Boy's Own Magazine, London, 1888--90, and later annuals, 1890--93. Died 16 November 1902.

PUBLICATIONS FOR CHILDREN

Fiction

Out on the Pampas; or, The Young Settlers, illustrated by J.B. Zwecker. London, Griffith and Farran, 1871; New York, Dutton, 1872(?). The Young Franc-Tireurs and Their Adventures in the Franco-Prussian War, illustrated by R.T. Landells. London, Griffith and Farran, 1872; New York, Burt, n.d. The Young Buglers: A Tale of the Peninsular War, illustrated by John Proctor. London, Griffith and Farran, and New York, Dutton, 1879. Seaside Maidens, illustrated by Harry Furniss. London, Tinsley, 1880. In Times of Peril: A Tale of India, illustrated by Frank Feller. London, Griffith and Farran, and New York, Dutton, 1881. The Cornet of Horse: A Tale of Marlborough's Wars, illustrated by H. Petherick. London, Sampson Low, I 881 ; New York, Burt, n.d. Winning His Spurs: A Tale ofthe Crusades. London, Sampson Low, 1882; as The Boy Knight, New York, Burt, 1883; as Fighting the Saracens, Boston, Brown, 1892. Facing Death; or, The Hero of the Vaughan Pit: A Tale of the Coal Mines, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1882. Under Drake's Flag: A Tale of the Spanish Main, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1882. With Clive in India; or, The Beginnings of an Empire, illustrated by Gordon Browne. London, Blackie, 1883; New York, Burt, n.d. By Sheer Pluck: A Tale ofthe Ashanti Wars, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1883. Jack Archer: A Tale of the Crimea. London, Blackie, 1883; Boston, Roberts, 1884; as The Fall of Sebastopol, Boston, Brown, 1892. Friends, Though Divided: A Tale ofthe Civil War. London, Griffith and Farran, 1883; New York, Dutton, 1885. True to the Old Flag: A Tale of the American War of Independence, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1884. In Freedom's Cause: A Story of Wallace and Bruce, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1884. St. George for England: A Tale of Cressy and Poitiers, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1884. The Lion of the North: A Tale of the Times of Gustavus Adolphus and the Wars of Religion, illustrated by John Schonberg. London, Blackie, 1885; New York, Burt, n.d. The Young Colonists. London and New York, Routledge, 1885. The Dragon and the Raven; or, The Days of King A(fred, illustrated by C.J. Staniland. London, Blackie, and New York, Scribner, 1885. For Name and Fame; or, Through the Afghan Passes, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1885. Through the Fray: A Tale of the Luddite Riots, illustrated by H.M. Paget. London, Blackie, and New York, Scribner, 1885. Yarns on the Beach: A Bundle o.f Tales, illustrated by J.J. Proctor. London, Blackie, and New York, Scribner, 1885. With Wo(fe in Canada; or, The Winning of a Continent, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1886.

1420 CHILDREN'S WRITERS HENTY

The Bravest of the Brave; or, With Peterborough in Spain, illustrated by H.M. Paget. London, Blackie, and New York, Scribner, 1886. A Final Reclwning: A Tale of Bush Life in , illustrated by W.B. Wollen. London, Blackie, and New York, Scribner, 1886. The Young Carthaginian; or, A Struggle for Empire, illustrated by C.J. Staniland. London, Blackie, and New York, Scribner, 1886. Bonnie Prince Charlie: A Tale of Fontenoy and Culloden, illustrated by Gordon Browne. London, Blackie, 1887; New York, Scribner, 1890(?). For the Temple: A Tale of the Fall of Jerusalem, illustrated by Solomon J. Solomon. London, Blackie, and New York, Scribner, 1887. In the Reign qf Terror: The Adventures of a Westminster Lad, illustrated by John Schonberg. London, Blackie, and New York, Scribner, 1887. Sturdy and Strong; or, How George Andrews Made His Way, illustrated by Robert Fowler. London, Blackie, 1887; New York, Burt, n.d. The Cat of Bubastes: A Tale of Ancient , illustrated by J.R. Weguelin. London. Blackie, and New York, Scribner, 1888. The Lion qf St. Mark: A Tale of Venice, illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1888. Captain Bayley's Heir: A Tale qf the Gold Fields of California, illustrated by H.M. Paget. London. Blackie, and New York. Scribner. 1888. Orange and Green: A Tale of the Boyne and Limerick, illustrated by Gordon Browne. London, Blackie, and New York, Scribner. 1888. One qf the 28th: A Tale of Waterloo, illustrated by W.H. Overend. London, Blackie. and New York, Scribner, 1889. By Pike and Dyke: A Tale qf the Rise qf the Dutch Republic. illustrated by Maynard Brown. London, Blackie, and New York. Scribner. 1889. Camps and Quarters, with Archibald Forbes and Charles Williams. London and New York, Ward Lock, 1889. Tales qf Daring and Danger. London, Blackie. and New York. Scribner. 1889. The Plague Ship. London, S.P.C.K .. and New York. Young, 1889. With Lee in Virginia: A Story qf the . illustrated by Gordon Browne. London. Blackie. and New York. Scribner. 1889. By Right of Conquest; or. With Cortez in Mexico, illustrated by W.S. Stacey. London. Blackie, and New York, Scribner, 1890. By England's Aid; or, The Freeing qfthe Netherlands(/ 585-1604). illustrated by Alfred Pearse. London, Blackie. and New York. Scribner. 1890. A Chapter qf Adventures; or. Through the Bombardment qf Alexandria. illustrated by W.H. Overend. London, Blackie, and New York, Scribner. 1890; as The Young Midshipman: A Story qf the Bombardment qf Alexandria, New York. Street and Smith, 1902. Maori and Settler: A Story of the New Zealand Wars. illustrated by Alfred Pearse. London, Blackie. and New York. Scribner, 1890. Redskin and Cowboy: A Tale qf the Western Plains. illustrated by Alfred Pearse. London, Blackie, and New York. Scribner. 1891. The Dash for Khartoum: A Tale qf the Nile Expedition. illustrated by Joseph Nash and John Schonberg. London, Blackie. and New York, Scribner. 1891. Held Fast for England: A Tale qf the Siege qf Gibraltar (/ 779-1883), illustrated by Gordon Browne. London, Blackie, and New York, Scribner, 1891. In Greek Waters: A Story qfthe Grecian War qf/ndependence(/821-1827), illustrated by W.S. Stacey. London, Blackie. and New York. Scribner, 1892. Beric the Briton: A Story ofthe Roman Invasion, illustrated by W. Parkinson. London. Blackie, and New York, Scribner, 1892. Condemned as a Nihilist: A Story qf Escape from Siberia. illustrated by Walter Paget. London, Blackie, and New York, Scribner, 1892. The Ranche in the Valley. London. S.P.C.K .. and New York. Young, 1892. 1421 HENTY CHILDREN'S WRITERS

A Jacobite Exile, Being the Adventures of a Young Englishman in the Service of Charles XII ofSweden, illustrated by Paul Hardy. London, Blackie, and New York, Scribner, 1893. Tales from the Works of G.A. Henty. London, Blackie, 1893; as Tales from Henty, 1925. St. Bartholomew's Eve: A Tale of the Huguenot Wars, illustrated by H.J. Draper. London, Blackie, and New York, Scribner, 1893. Through the Sikh War: A Tale of the Conquest of the Punjaub, illustrated by Hal Hurst. London, Blackie, and New York, Scribner, 1893. In the Heart of the Rockies: A Story of Adventure in Colorado, illustrated by G.C. Hindley. London, Blackie, and New York, Scribner, 1894. When London Burned: A Story of Restoration Times and the Great Fire, illustrated by T. Finnemore. London, Blackie, and New York, Scribner, 1894. Wulf the Saxon: A Story of the Norman Conquest, illustrated by Ralph Peacock. London, Blackie, and New York, Scribner, 1894. The Tiger of Mysore: A Story of the War with Tippoo Saib, illustrated by W.H. Margetson. London, Blackie, and New York, Scribner, 1895. A Woman of the Commune: A Tale of the Two Sieges of Paris, illustrated by Hal Hurst. London, White, 1895; as Cuthbert Hartington: A Tale of the Siege of Paris, London, Partridge, 1899; as A Girl ofthe Commune, New York, Fenno, n.d.; as Two Sieges of Paris,. or, A Girl of the Commune, Fenno, n.d. A Knight of the White Cross: A Tale of the Siege of Rhodes, illustrated by Ralph Peacock. London, Blackie, and New York, Scribner, 1895. Through Russian Snows: A Story of Napoleon's Retreat from Moscow, illustrated by W.H. Overend. London, Blackie, and New York, Scribner, 1895. On the Irrawaddy: A Story of the First Burmese War, illustrated by W.H. Overend. London, Blackie, and New York, Scribner, 1896. At Agincourt: A Tale ofthe White Hoods ofParis, illustrated by Walter Paget. London, Blackie, and New York, Scribner, 1896. Bears and Decoits and Other Stories. London, Blackie, 1896. With Cochrane the Dauntless: A Tale ofthe Exploits ofLord Cochrane in South American Waters, illustrated by W.H. Margetson. London, Blackie, and New York, Scribner, 1896. In Battle and Breeze: Sea Stories, with George Manville Fenn and W. Clark Russell. London, Partridge, 1896. With Moore at Corunna: A Tale of the South African War, illustrated by . London. Blackie, and New York, Scribner, 1897. A March on London, Being the Story of Wat Tyler's Insurrection, illustrated by W.H. Margetson. London, Blackie, and New York, Scribner, 1897. With Frederick the Great: A Story of the Seven Years' War, illustrated by Walter Paget. London, Blackie, and New York, Scribner, 1897. Among Malay Pirates. New York, Hurst, 1897; as Among the Malays, Chicago, Donohue, I 900( ?). At Aboukir and Acre: A Story of Napoleon's Invasion of Egypt, illustrated by William Rainey. London, Blackie, and New York, Scribner, 1898. Both Sides the Border: A Tale of Hotspur and Glendower, illustrated by Ralph Peacock. London, Blackie, and New York, Scribner, 1898. Under Wellington's Command: A Tale of the Peninsular War, illustrated by Walter Paget. London, Blackie, and New York, Scribner, 1898. The Golden Cation. New York, Mershon, 1899. No Surrender! A Tale of the Rising in La Vendee, illustrated by Stanley L. Wood. London, Blackie, and New York, Scribner, 1899. On the Spanish Main. London, Chambers, 1899. Won by the Sword: A Tale of the Thirty Years' War, illustrated by Charles M. Sheldon. London, Blackie, and New York, Scribner, 1899. 1422 CHILDREN'S WRITERS HENTY

In the Irish Brigade: A Tale of War in Flanders and Spain, illustrated by Charles M. Sheldon. London, Blackie, and New York, Scribner, 1900. In the Hands ofthe Cave-Dwellers. New York and London, Harper, 1900. With Buller in Natal: or, A Born Leader, illustrated by William Rainey. London, Blackie, and New York Scribner, 1900. Out with Garibaldi: A Story of the Liberation of Italy, illustrated by William Rainey. London, Blackie, and New York, Scribner, 1900. A Roving Commission; or, Through the Black Insurrection of Hayti, illustrated by William Rainey. London, Blackie, and New York, Scribner, 1900. The Sole Survivors. London, Chambers, 190 I. With Roberts to Pretoria: A Tale of the South African War, illustrated by William Rainey. London, Blackie, and New York, Scribner, 1901. At the Point Q{ the Bayonet: A Tale of the Mahratta War. illustrated by Walter Paget. London, Blackie, and New York, Scribner, I 90 I. John Hawke's Fonune: A Story ofMonmouth's Rebellion. London, Chapman and Hall. 1901. To Herat and Cabul: A Story Q{ the First Afghan War, illustrated by Charles M. Sheldon. London, Blackie, and New York, Scribner, 190 I. With Kitchener in the Soudan: A Story ofAtbara and Omdurman. illustrated by William Rainey. London, Blackie, and New York, Scribner, 1902. With the British Legion: A Story of the Car/ist Wars. illustrated by Walter Paget. London, Blackie, and New York, Scribner, 1902. The Treasure of the Incas: A Tale Q{ Adventure in Peru, illustrated by Walter Paget. London, Blackie, and New York. Scribner. 1902. With the Allies to Pekin: A Tale of the Relief of the Legations. illustrated by Walter Paget. London, Blackie, and New York, Scribner. 1903. Through Three Campaigns: A Story of Chitral, Tirah, and Ashantee, illustrated by Walter Paget. London, Blackie. and New York, Scribner. 1903. By Conduct and Courage:A Story Q{Nelson's Days, edited by C.G. Henty. illustrated by William Rainey. London. Blackie. and New York. Scribner. 1904. Gallant Deeds, illustrated by Arthur Rackhcim and W. Boucher. London. Chambers. 1905. In the Hands Q{the Malays and Other Stories, illustrated by J. Jellico. London. Blackie. 1905. Redskins and Colonists; or, A Boy's Adventures in the Early Days Q{ Virginia; Burton and Son; The Ranche in the Valley; Sole Survivors. New York. Stitt. 1905. A Soldier's Daughter and Other Stories. illustrated by Frances Ewan. London. Blackie. 1906.

Other

Editor, Yule Logs. London and New York. Longman. 1898. Editor, Yule-Tide Yarns. London and New York. Longman. 1899.

PUBLICATIONS FOR ADULTS

Novels

A Search for a Secret. London, Tinsley, 3 vols., 1867. All But Lost. London, Tinsley. 3 vols .. 1869. Gabriel Allen, M.P. London, Spenser Blackett, 1888. The Curse Q{ Carne's Hold: A Tale Q{ Adventure. London, Spenser Blackett and Hallam. 2 vols., 1889; New York. Lovell. 1889. A Hidden Foe. New York. United States Book Company, 1890; London, Sampson Low, 2 vols .• 1891.

1423 HENT't' CHILDREN'S WRITERS

Rujub. The Juggler. London, Chatto and Windus, 3 vols., 1893; as In the Days qf the Mutiny: A Military Novel, New York, Taylor, 1893. Dorothy's Double. London, Chatto and Windus, 3 vols., 1894; as Dorothy's Double: The Story of a Great Deception, Chicago, Rand McNally, 1895. The Queen's Cup. London, Chatto and Windus, 3 vols., 1897; New York, Appleton, 1898. Colonel Thorndyke's Secret. London, Chatto and Windus, 1898; as The Brahmin 's Treasure; or, Colonel Thorndyke's Secret, Philadelphia, Lippincott, 1899. The Lost Heir. London, James Bowden, 1899; New York, Hurst, n.d.

Other

The March to Magdala. London, Tinsley, 1868. The March to Coomassie. London, Tinsley. 1874. Those Other Animals. London, Henry, 1891. The Sovereign Reader: Scenes from the Life and Reign qf . London, Blackie, 188 7; revised edition, as Queen Victoria: Scenes from Her Life and Reign, 1901.

Editor, Our Sailors ... , by William H.G. Kingston, continued by G.A. Henty. London, Griffith Farran. 1882. Editor. Our Soldiers ... , by William H.G. Kingston, continued by G.A.Henty. London, Griffith Farran, 1886. Editor, Famous Travels. Boston, Hall and Locke, 1902.

Bibliographies: Bibliography qfG.A. Henty and Hentyana by R.S. Kennedy and B.J. Farmer, London, B.J. Farmer, 1956; G.A. Henty: A Bibliography by Robert L. Dartt, Cedar Grove, New Jersey, Dar-Web, and Altrincham, Cheshire, John Sherratt and Son, 1971.

Critical Study: George A(fred Henty: The Story qf an Active L(fe by G. Manville Fenn. London, Blackie, 1907.

G.A. Henty belongs to that class of authors whose influence has far outstripped their literary achievement. His biographer and contemporary, Manville Fenn, claimed that he "taught more lasting history to boys than all the schoolmasters of his generation." It was a limited conception of history, but Henty's enthusiasm certainly infected his young readers and brought the past to life for them. His influence was in fact three-fold: besides making history palatable to boys, he inspired numerous imitators and set the adventure-story in a mould that was not broken until long after his death, while the ideology he propounded-the cult of "manliness" and the British Empire - had a far-reaching effect which rates consideration in a more than purely literary context. It has been argued that Henty and his followers helped to produce the type of adventurous young man who (wrote Edgar Osborne) "went overseas and did much towards building up our present Commonwealth of Nations." Less friendly critics have expressed this differently. Nearly 40 years after Henty's death, George Orwell complained: "Boys' fiction is sodden in the worst illusions of 1910." Henty was of course the epitome of Victorianism, being born just five years before the queen 's accession and outliving her by little more than a year. A delicate child, bullied at public school, he took lessons in "the noble art of self-defence" and had good reason thereafter to believe in the efficacy of Christian manliness, expressed in a straight left to the jaw. As a war correspondent on innumerable campaigns, he found it easy to identify himself with the conquering Empire-builders. In later life, as a popular London clubman, he had little cause to question the current assumptions of his class. His success sprang from his ability to take a colourful theme, whether from recent or from 1424 CHILDREN'S WRITERS INGELOW remote history, and then, helping out the facts with invented incident and character, spin what approving parents and pedagogues called "a rattling good yarn." He worked to a formula, as his titles show- With Clive in India, With Wolfe in Canada, With Kitchener in the Soudan, or, for variation, Facing Death, True to the Old Flag, and Held Fast for England. His young heroes ran similarly to type, manly, middle-class, and intellectually unremarkable. The great adventurers of real history, Ralegh and Burton and T.E. Lawrence, would have fitted less comfortably into his stock-size frame. Many of his books were based on first-hand observation. He walked the field of Inkerman among the unburied Russian dead, and the Crimean story he eventually wrote, Jack Archer, is one of his most vivid. He reported the Franco-Prussian War: within a year he had written The Young Franc-Tireurs. He accompanied Garibaldi in Italy, the Turks in their savage Balkan wars, and British expeditions into West Africa and Abyssinia. None of the slaughter he witnessed dimmed his vision of military glory. Even in his posthumously published story of the Boxer rising, With the Allies to Pekin, there is undiminished gusto in his account of two intrepid lads who, caught in a confined space with a dozen murderous Chinese, use their magazine-loading rilles to wipe out their adversaries in a few moments. Henty was a methodical worker. He would lie on a sofa in his weapon-festooned study, dictating to a male secretary - and then never look at the story again until he corrected the proofs. In a six-hour day he could produce over 6000 words. In the last 33 years of his life he packed something like fourteen million words into about 90 fat volumes. It would be optimistic to seek, in such a mass, either striking originality of ideas or fastidious use of language. He at least achieved English which, if not quite as "good" as admiring schoolmasters declared it, never fell below a certain level. It was the prose of the period. rather too wordy for our own taste. and betraying his habit of unrevised dictation. Characters, after being "for a minute or two speechless with indignation." would then immediately plunge into paragraph-long speeches of advice or explanation. Even when handling themes outside his own experience. Henty could invest his narrative with a good deal of verisimilitude. thanks to the analogous events in which he had participated. Occasionally he was lazy. His Cortez story, By Right of Conquest, reads like paraphrased Prescott. He makes only a feeble attempt to create his own characters and plot inside the historical framework. His conventional English boy hero, Roger -so implausibly present at the conquest of Mexico - is often forgotten for several pages at a time. Henty set a pattern which many lesser writers adapted to the 1914 war and other themes. but by the mid-20th century his values were unfashionable. and, as the general quality of improved, it became less heretical to criticise his literary weaknesses. Today his books are rather "collected" as Victoriana than read by boys. They have not won a place upon the shelf with the children's classics that are loved from generation to generation.

--

INGELOW, Jean. British. Born in Boston. Lincolnshire. 17 March 1820. Educated at home. Lived in London after 1850. Editor, Youth Magazine. 1855. Died 20 July 1897.

PUBLICATIONS FOR CHILDREN

Fiction

Tales Q{Orris (published anonymously). Bath, Binns and Goodwin, 1860; as Stories Told to a Child, London. Strahan. 1865; Boston, Roberts. 1866. 1425 INGELOW CHILDREN'S WRITERS

Studies for Stories (published anonymously). London, Strahan, 2 vols., 1864; Boston, Roberts, 1865. A Sister's Bye-Hours. London, Strahan, and Boston, Roberts, 1868. Mopsa the Fairy. London, Longman, and Boston, Roberts, 1869. The Little Wonder-Horn. London, King, 1872. The Little Wonder Box. London, Griffith Farran, 6 vols., 1887. Very Young, and Quite Another Story. London, Longman, 1890. Quite Another Story. New York, Lovell, 1890. The Black Polyanthus and Widow Maclean. London, Wells Gardner, 1903.

PUBLICATIONS FOR ADULTS

Novels

Allerton and Drieux; or, The War of Opinion (published anonymously). London, Wertheim, 2 vols., 1857. O.tfthe Skelligs. London, King, 4 vols., 1872; Boston, Roberts, 1872. Fated to Be Free. London, Tinsley, 3 vols., 1875; Boston, Roberts, 1875. Sarah de Berenger. London, King, and Boston, Roberts, 1879. Don John. London, Sampson Low, 3 vols., 1881; Boston, Roberts, 1881. John Jerome, His Thoughts and Ways: A Book Without Beginning. London, Sampson Low, and Boston, Roberts, 1886. A Motto Changed. New York, Harper, 1894.

Verse

A Rhyming Chronicle of Incidents and Feelings, edited by Edward Harston (published anonymously). London, Longman, 1850. Poems. London, Longman, and Boston, Roberts, 1863. Songs qf Seven. Boston, Roberts, 1866. The Complete Poems. Boston, Roberts, 1869. A Story qf Doom and Other Poems. London, Longman, and Boston, Roberts, 186 7; as Poems, Second Series, Longman, 1874. The Monitions of the Unseen, and Poems ofLove and Childhood. Boston, Roberts, 1871. One Hundred Holy Songs, Carols, and Sacred Ballads. London, Longman, 1878. High Tide on the Coast of Lincolnshire 1571. Boston, Roberts, 1883. Poems, Third Series. London, Longman, 1885. Poems qf the Old Days and the New. Boston, Roberts, 1885. Lyrical and Other Poems. London, Longman, 1886. Poetical Works. London, Longman, 1898. Poems. London, Muses library, 1906. Poems, edited by Andrew Lang. London and New York, Longman, 1908. Poems, 1850-1869. London, Oxford University Press, 1913.

Critical Study: Jean lngelow: An Appreciation by Eustace A. Stedman, London, Chiswick Press, 1935.

One novel and a handful of anthology poems keep Jean lngelow's name alive today; but these works are not negligible. They can suggest why, in her time, she was something of a celebrity,both as adult novelist and poet; why her work was admired by such fellow writers as Tennyson, Edward Fitzgerald, the Rossettis. She was even thought a possible Laureate when the post fell vacant in 1892, but admittedly this was a very thin time. More pointed is the fact that, 16 years after her death, she rated an Oxford edition of her poems. They tend to be ballad-like and reverberating, with sharp and haunting cadences and a mysterious thread 1426 CHILDREN'S WRITERS INGELOW of narrative; their appeal is not hard to understand. High Tide on the Coast of Lincolnshire, where the energy of the theme absorbs the sentiment, is one of the best examples. Still, most of her poetry is for the private discoverer or devotee; so too are her shorter mildly didactic tales for the young, written in a good brisk readable style but lacking the power of flight to travel far. Very few, indeed, are accessible now, though one charming tale, "My Grandmother's Shoe," has been revived in one of Gillian Avery's collections. Jean lngelow's one long work for the young, her remarkable novel Mopsa the Fairy, is a different matter. Written within that short and dazzling period when so many leading Victorian authors experimented in children's fantasy, it remains, in its genre, a major achievement, one of those single, odd yet memorable works that make up so much of English literature. Influences? Certainly. Take the most Carrollian passage in Mopsa, when a ballad sung by Jack includes the lines: And the lark said, give us glory ! And the dove said, give us peace ! "A very good song indeed," said the dame at the other end of the table, "only you made a mistake in the first verse. What the dove really said was, no doubt, 'Give us peas.' " "It isn't peas, though," said Jack. However, the court historian was sent for to write down the song ... as the dame said it ought to be.

Flamingoes stand on military guard; there is an oddly macabre episode in which a gypsy's baby turns out to be a bundle of clothes with a turnip head. A further Caqollian echo surely sounds in Jack's disputation with the ravens:

"Why," said Jack, "I see a full moon lying down there among the water-flags, and just going to set, and there is a half-moon overhead plunging among those great grey clouds, and just this moment I saw a thin crescent moon peeping out between the branches of that tree." "Well," said all the ravens at once. "did the young master never see a crescent moon in the men and women's world?" "Yes, of course," said Jack, "but they are all the same moon. I could never see all three of them at the same time." The ravens were very much surprised at this.

But the voice and the detail are essentially Ingelow's. Even the book's opening. which has been likened to the opening of Alice. sheers off at once in its own direction. A boy, Jack, is going through a meadow of buttercups. He leans against a hollow tree while eating a slice of plum cake, hears a twittering and climbs inside. Up above is a nest of white wool and moss. It is a nest of very young fairies; one is "creeping about rather like an old baby, and had on a little frock and pinafore." An albatross arrives, and off they fly to Fairyland. the fairies in Jack's pocket. "We are going the back way," says the albatross. "You could go in two minutes by the usual route; but these young fairies want to go before they are summoned. and therefore you and I are taking them." Does this flight echo George MacDonald? At the Back ofthe North Wind was being serialized when Mopsa was published. though it would not appear as a book until the following year. Another episode, where they come to a great bay of becalmed ships, where the wind never blows. recalls another contemporary. How did the ships come to be there? asks Jack.

Some of them had captains who abused their cabin-boys, some were pirate ships and others were going out on evil errands .... Many ships which are supposed by men to have foundered lie becalmed in this quiet sea. Look at these five grand ones with the high poops ... they were part of the Spanish Armada; and the open boats with blue sails belonged to the Romans. they sailed with Caesar when he invaded Britain. 1427 INGELOW CHILDREN'S WRITERS

Kingsley, certainly. Westward Ho! had been published in 1855, The Water Babies in 1863. Yet even this probable debt has its own sea-change in Mopsa. A visit made to a very different writer, , at Shanklin in March 1868 illuminates a further episode. Jack and Mopsa land at a border country where horses, cruelly used in the human world, cab horses, race horses, are allowed to grow back to their youth, carefully tended by clockwork people. Why clockwork? It is not the only occasion in the book where one feels that the author's unconscious symbolism is rather more interesting than she could have known. But the voice that speaks on the ill-used horses is so remarkably like the voice of Black Beauty's author that the episode could have been written almost immediately after the meeting. Black Beauty itself was not published until 9 years later. And nowhere in Jean lngelow's writing does the subject recur. But the real originality of the tale is increasingly evident. Whatever you can do in this fairyland, you may do, Jack is told. But can has also its rules. It is a place that even holds the occasional human, like the apple-woman, who stays, still keeping a little stall with cherries on sticks and a few dry nuts. She could wish herself back into the world but has not the courage. "It would come into my head that I should be poor or that my boys would have forgotten me, or that my neighbours would look down on me, and so I always put off wishing for another day." Invention does not flag. Jack and Mopsa, in flight from certain primitive beasts, reach their boat and are offered the protection of a Craken 's coils, arch after arch, endlessly reaching away. The water drips about them; the boat trembles "either because of its great age, or because it felt the grasp of the coil underneath." Then, as they sail on, they perceive the arches closing in; soon they have to crouch down in the boat. C.S. Lewis must have recalled this scene in The Voyage of the "Dawn Treader." The next arch almost touched the water. "No! that I cannot bear," cries Jack. "Somebody else may do the rest of the dream!" "Why don't you wake?" says Mopsa, as if amused. But Mopsa is no ordinary fairy. She and Jack escape by night, crossing over the purple mountain, so that she need not rule over the unknown deer-people; so that she need not rule at all, only stay with Jack. And yet, their journey takes them to where they were fleeing from; it is her kingdom after all; there is even a shadow Jack to keep her company. But the real Jack, a human boy, must go home. And here the book presents the basic difference between the real folk fairy tale and the invented kind, the Victorian sort especially. Jack remains a boy, delightfully so, throughout. But Mopsa, through human contact, gradually changes from child and girl, first pet, then playmate, ally in danger, to a mystical Pre-Raphaelite adult queen. From a child's view, this should not be. Morals work well enough, of the straight pragmatic kind, but emotions, no. Goosegirl and prince may turn, in time, into ageing Queen and King but essentially they are children still, playing at kingdoms. Perhaps a really good illustrator (which Mopsa has so far lacked) could solve the problem of Mopsa 's transformation. Indeed, older readers may find the end a necessary part ofthe whole experience. For experience it is. Victorian fantasy, rich as it is, offers few more remarkable journeys to any fairy tale reader.

-Naomi Lewis

LANG, Andrew. British. Born in Selkirk, , 31 March 1844. Educated at Selkirk High School; Edinburgh Academy, 1854-61 ; St. Andrews University (Editor, St. Leonard's Magazine), 1861-63; Glasgow University, 1863-64; Loretto School, Musselburgh, 1864; Balliol College, Oxford (Snell Exhibitioner), 1864-68, B.A. 1866. Married Leonora Blanche Alleyne in 1875. Fellow, Merton College, Oxford, 1868-75; free-lance writer after 1875. Gifford Lecturer, St. Andrews University, 1888; Ford Lecturer, Oxford University, 1904. General Editor, English Worthies series, Longmans, 18 8 5-8 7, and Bibliotheque de Corabas series, Nutt, 1887-96. LL.D.: St. Andrews University, 1885; Oxford University, 1904. Died 20 July 1912. 1428 CHILDREN'S WRITERS LANG

PUBLICATIONS FOR CHILDREN

Fiction

The Princess Nobody: A Tale of Fairyland, illustrated by Richard Doyle. London, Longman, 1884. The Gold of Fairnilee, illustrated by E.A. Lemann and T. Scott. Bristol, Arrowsmith, and New York, Longman, 1888. Prince Prigio, illustrated by Gordon Browne. Bristol, Arrowsmith, 1889; in My Own Fairy Book, 1895. Prince Ricardo of Pantoujlia, Being the Adventures of Prince Prigio 's Son, illustrated by Gordon Browne. Bristol, Arrowsmith, and New York, Longman. 1893. My Own Fairy Book (includes The Gold of Fairnilee, Prince Prigio, Prince Ricardo of Pantouflia), illustrated by Gordon Browne and others. Bristol, Arrowsmith, and New York, Longman, 1895. Tales of a Fairy Court, illustrated by A.A. Dixon. London, Collins, 1907. The Gold of Fairni/ee and Other Stories, edited by Gillian Avery. London, Gollancz, 1967.

Other

The Story of the Golden Fleece. London, Kelly, and Philadelphia, Altemus, 1903. The Story of Joan of Arc. London, Jack, and New York, Dutton, 1906. Tales of Troy and , illustrated by H.J. Ford. London and New York, Longman, 1907. Old Friends among the Fairies. London, Longman, 1926. The Rose Fairy Book, illustrated by Vera Bock. New York, Longman. 1948; London, Longman, 1951. Fifty Favourite Fairy Tales, edited by Kathleen Lines. illustrated by Margery Gill. London, Nonesuch Press, 1963; New York, Watts, 1964. More Favourite Fairy Tales, edited by Kathleen Lines, illustrated by Margery Gill. London, Nonesuch Press, and New York, Watts. 1967.

Editor, Perrault's Popular Tales. Oxford, Clarendon Press, 1888. Editor, The Blue [Red, Green, Yellow, Pink, Grey, Violet, Crimson, Brown. Orange, Olive, Lilac] Fairy Book, illustrated by H.J. Ford and others. London and New York, Longman, 12 vols., 1889-1910. Editor, The Blue Poetry Book, illustrated by H.J. Ford and Lance lot Speed. London and New York, Longman, 1891. Editor, The True Story Book, illustrated by H.J. Ford and others. London and New York, Longman, 1893. Editor, The Red True Story Book, illustrated by H.J. Ford. London and New York, Longman, 1895. Editor, The Animal Story Book, illustrated by H.J. Ford .. London and New York, Longman, 1896. Editor, The Nursery Rhyme Book. illustrated by L. Leslie Brooke. London and New York, Warne, 1897. Editor, The Arabian Nights Entertainments. London, Longman, 1898. Editor, The Red Book of Animal Stories, illustrated by H.J. Ford. London and New York, Longman, 1899. Editor, The Book of Romance, illustrated by H.J. Ford. London and New York, Longman, 1902. Editor, The Red Romance Book, illustrated by H.J. Ford. London and New York, Longman, 1905.

1429 LANG CHILDREN'S WRITERS

Editor, The Book of Princes and Princesses, by Leonora Lang, illustrated by H.J. Ford. London and New York, Longman, 1908. Editor, The Red Book of Heroes, by Leonora Lang, illustrated by A. Wallis Mills. London and New York, Longman, 1909. Editor, The All Sorts of Stories Book, by Lepnora Lang, illustrated by H.J. Ford. London and New York, Longman, 1911. Editor, The Book of Saints and Heroes, by Leonora Lang, illustrated by H.J. Ford. London and New York, Longman, 1912. Editor, The Strange Story Book, by Leonora Lang, illustrated by H.J. Ford. London and New York, Longman, 1913.

Translator, Johnny Nut and the Golden Goose, by Charles Deulin, illustrated by A. Lynen. London, Longman, 1887.

PUBLICATIONS FOR ADULTS

Novels

Much Darker Days (as A Huge Longway). London, Longman, 1884; revised edition, 1885. That Very Mab (published anonymously), with May Kendall. London, Longman, 1885. The Mark of Cain. Bristol, Arrowsmith, and New York, Scribner, 1886. He, by the Author of It ... , with W.H. Pollock. London, Longman, 1887; as He, A Companion to She ... , New York, Munro, 1887. The World's Desire, with H. Rider Haggard. London, Longman, and New York, Harper, 1890. A Monk of F({e: A Romance qf the Days qf Jeanne d'Arc . . . . London and New York, Longman, 1895. Parson Kelly, with A.E.W. Mason. London and New York, Longman, 1899. The Disentanglers. London and New York, Longman, 1901.

Short Stories

In the Wrong Paradise and Other Stories. London, Kegan Paul, and New York, Harper, 1886.

Plays

The Black Thief Privately printed, 1882. The New Pygmalion. Privately printed, 1962.

Verse

Ballads and Lyrics q{Old , with Other Poems. London, Longman, 1872. XXII Bal/ades in Blue China. London, Kegan Paul, 1880. XXII and X: XXXII Ballades in Blue China. London, Kegan Paul, 1881 ; revised edition, 1888. Helen q{Troy. London, Bell, and New York, Scribner, 1882. Rhymes a Ia Mode. London, Kegan Paul, 1884; New York, Longman, 1907. Ballades and Verses Vain, edited by Austin Dobson. New York, Scribner, 1884. Lines on the Inaugural Meeting of the Shelley Society, edited by Thomas J. Wise. Privately printed, 1886. Grass qf Parnassus: Rhymes Old and New. London and New York, Longman, 1888; revised edition, as Grass of Parnassus: First and Last Rhymes, 1892. 1430 CHILDREN'S WRITERS LANG

Ban and Arriere Ban: A Rally ofFugitive Rhymes. London and New York, Longman, 1894. The Young Ruthven. Privately printed, 1902. New Collected Rhymes. London and New York, Longman, 1905. Ode on a Distant Memory of "Jane Eyre," edited by Clement K. Shorter. Privately printed, 1912. The Poetical Works ofAndrew Lang, edited by Leonora Lang. London and New York, Longman, 4 vols., 1923. (Poems). London, Benn, 1926.

Other

Oxford: Brief Historical and Descriptive Notes . . . . London, Seeley, 1880; New York, Macmillan, 1890. The Library. London and New York, Macmillan, 1881. Notes on a Collection of Pictures by Mr. J.E. Millais . . . . London, J.S. Virtue, 1881. Custom and Myth. London, Longman, 1884; New York, Harper, 1885; revised edition, Longman, 1885. The Politics of Aristotle: Introductory Essays. London, Longman, 1886. Letters to Dead Authors. London, Longman, and New York. Scribner, 1886; revised edition, as New and Old Letters to Dead Authors, London and New York, Longman. 1907. Books and Bookmen. New York, G.J. Coombes, and London, Longman, 1886. Myth, Ritual, and Religion. London, Longman, 2 vols., 1887. Pictures at Play; or, Dialogues of the Galleries by Two Art-Critics (published anonymously), with W.E. Henley. London, Longman, 1888. Letters on Literature. London and New York, Longman, 1889. Lost Leaders, edited by Pett Ridge. London, Kegan Paul, and New York. Longman. 1889. Old Friends: Essays in Epistolary Parody. London and New York. Longman. 1890. How to Fail in Literature (lecture). London, Field and Tuer, 1890. L!fe, Letters, and Diaries ofSir Stafford Northcote, First Earl oflddesleigh. Edinburgh. Blackwood, 2 vols., 1890. Angling Sketches. London and New York, Longman, 1891. Essays in Little. London, Henry, and New York, Scribner. 1891. The Tercentenary of lzaak Walton. Privately printed, 1893. and the Epic. London and New York. Longman. 1893. St. Andrews. London and New York, Longman, 1893. Cock Lane and Common-Sense. London, Longman. 1894. The Voices qf Jeanne d'Arc. Privately printed, 1895. The L!fe and Letters qf John Gibson Lockhart . . . . London, J.C. Nimmo, and New York, Scribner, 2 vols., 1896. Modern Mythology. London and New York, Longman, 1897. The Book qf Dreams and Ghosts. London and New York. Longman, 1897. Pickle the Spy; or, The Incognito ofPrince Charles. London and New York. Longman. 1897. The Making of Religion. London and New York, Longman, 1898. The Companions of Pickle. London. Longman, 1898. Prince Charles Edward Stuart. London and New York, Goupil, 1900; revised edition. London and New York, Longman, 1903. A History qf Scotland from the Roman Occupation. Edinburgh, Blackwood. and New York, Dodd Mead, 4 vols., 190(}-07. Notes and Names in Books. Privately printed, 1900. The Mystery qfMary Stuart. London and New York. Longman. 190 I ; revised edition, 1904. 1431 LANG CHILDREN'S WRITERS

Alfred Tennyson. Edinburgh, Blackwood, and New York, Dodd Mead, 190 I. Magic and Religion. London and New York, Longman, 190 I. Adventures among Books. Privately printed, 190 I. Bibliomania. Privately printed, 1902. James VI and the Gowrie Mystery. London and New York, Longman, 1902. Social Origins. with Primal Law, by J.J. Atkinson. London and New York, Longman. 1903. The Valet's Tragedy and Other Studies in Secret History. London and New York, Longman, 1903. Historical Mysteries. London, Smith Elder, 1904; New York, Longman, 1905. The Puzzle of Dickens's Last Plot. London, Chapman and Hall, I 905; Folcroft, Pennsylvania, Folcroft Editions, 1976. The Secret of the Totem. London and New York, Longman, 1905. Adventures among Books (collection). London and New York, Longman, 1905. The Clyde Mystery: A Study in Forgeries and Folklore. Glasgow, MacLehose, 1905. John Knox and the Reformation. London and New York. Longman, 1905. Homer and His Age. London and New York, Longman, 1906. L({e of Sir Walter Scott. London, Hodder and Stoughton. and New York, Scribner, 1906. Portrait and Jewels of Mary Stuart. Glasgow. MacLehose, 1906. The King over the Water, with Alice Shield. London and New York, Longman, 1907. The Origins of Religion and Other Essays. London, Watts, 1908. The Maid ofFrance, Being the Story ofthe L({e and Death ofJeanne d'Arc. London and New York, Longman. 1908. The Origin o{Terms o{Human Relationship. London, Oxford University Press, 1909. Sir George MacKenzie, King's Advocate of Rosehaugh: His L({e and Times, /636(?)-1691. London and New York, Longman, 1909. La "Jeanne d'Arc" de M. Anatole France. Paris. Perrin, 1909. The World o.fHomer. London and New York, Longman, 1910. Sir Walter Scott and the Border Minstrelsy. London and New York, Longman, 1910. Method in the Study ofTotemism. St. Andrews, St. Andrews University, 1911. A Short History o.f Scotland. Edinburgh, Blackwood, and New York. Dodd Mead, 1911. Shakespeare, Bacon, and the Great Unknown. London and New York, Longman, 1912. A History o.fEnglish Literature from "Beowu({" to Swinburne. London and New York, Longman, 1912. Highways and Byways in the Border, with John Lang. London, Macmillan, 1913. (Essays). London, Harrap, 1926. Andrew Lang and St. Andrews: A Centenary Anthology, edited by J.B. Salmond. St. Andrews, St. Andrews University, 1944.

Editor, The Poems o.f Edgar Allan Poe. London, Kegan Paul, 1881. Editor, Ballads of Books. London and New York, Longman, \888. Editor, Euterpe, Being the Second Book of the Famous History o.f Herodotus, translated by Barnaby Rich. London, Nutt, 1888. Editor, The Str({e o.f Love in a Dream, by Francesco Colonna. London, Nutt, 1890. Editor, Selected Poems, by Robert Burns. London, Kegan Paul, 1891. Editor, The Lyrics and Ballads o.f Sir Walter Scott. London, Dent, 1894. Editor, Border Ballads. London and New York, Laurence and Bullen-Longman, 1895. Editor, Poetical Works, by Sir Walter Scott. London, Black, 2 vols., 1895. Editor, The Compleat Angler, by Izaak Walton. London, Dent, 1896. Editor, The Poems and Songs of Robert Burns. London, Methuen, 1896. Editor, A Collection of Ballads. London, Chapman and Hall, 1897. 1432 CHILDREN'S WRITERS LANG

Editor, Selections from the Poets: Wordsworth, Coleridge. London, Longman, 2 vols., 1897-98. Editor, The Gowrie Conspiracy: Confessions of George Sprot. London, Roxburghe Oub, 1902. Editor, The Apology for William Maitland of Lethington, /610. Edinburgh, Scottish History Society, 1904. Editor, Poets· Country. London, Jack, 1907. Editor, Poems, by Jean lngelow. London and New York, Longman, 1908. Editor, Poems and Plays, by Sir Walter Scott. London, Dent, 2 vols., 1911. Editor, The Annesley Case. Edinburgh, Hodge, 1912. Editor, Moliere's Les Precieuses Ridicules. Oxford, Clarendon Press, 1926.

Translator, The Odyssey ofHomer. Book 6 (published anonymously). Privately printed, 1877. Translator, Specimens of a Translation of Theocritus. Privately printed, 1879. Translator, with S.H. Butcher, The Odyssey of Homer. London and New York, Macmillan, 1879. Translator, with Walter Leaf and Ernest Myers, The Iliad ofHomer. London and New York, Macmillan, 1883. Translator, Theocritus, Bion and Moschus. London, Macmillan, 1880; New York, Macmillan, 1889. Translator, Aucassin and Nicolette. London, Nutt, 1887; as The Song-Story of Aucassin and Nicolette, New Rochelle, New York, Elston Press, 1902. Translator, The Dead Leman and Other Tales from the French. London. Swan Sonnenschein, and New York, Scribner, 1889. Translator, The Miracles of Madame Saint Katherine of Fierbois. by J.J. Bourasse. Chicago, Way and Williams, 1897. Translator, The Homeric Hymns: A New Prose Translation and Essays. London. Allen. and New York, Longman, 1899. Translator. In Praise of Frugality, by Pope Leo XII. Privately printed. 1912. Translator, Ode to the Opening Century, by Pope Leo XII. Privately printed. 1912.

Critical Studies: Andrew Lang: A Critical Biography, Leicester. Ward, 1946. and Andrew Lang, London, Bodley Head, and New York. Walck. 1962. both by Roger Lancelyn Green.

Writing in 1889 in The Child and His Book, Mrs. E.M. Field stated that "At the present moment the fairy-tale seems to have given way entirely in popularity to the child's story of real life. the novel of childhood. in which no effort is spared to make children appear as they are." But just before the publication of the book early in 1891. she added a note: "Since the above was written eighteen months ago. the tide of popularity seems to have set strongly in the direction of the old fairy stories." These two quotations epitomise Andrew Lang's most important contribution in the development of the literature of childhood : and this came about largely because of the scholarly interest in folklore which made him one of the most important of the folklorists and anthropologists of his age. From the point of view of the folklorists. Andrew Lang first became notable for his essay "Mythology and Fairy Tales" in 1873. his introduction to Mrs. Hunt's complete translation of the Grimm's Miirchen in 1884, and his two books, Custom and Myth (1884) and Myth, Ritual, and Religion (1887). the second of which contained a long section on folk-tales and fairy lore generally. His writings for children began rather tentatively in 1884 with the short fairy story The Princess Nobody which he constructed most ingeniously to fit a large number of illustrations by Richard ("Dicky") Doyle which had appeared in 1869 to accompany (but not illustrate) poems by William Allingham. This charming tale was constructed on the lines of a 1433 LANG CHILDREN'S WRITERS traditional fairy tale: issued in an edition of I 0,000 copies it did not, however, reach a second edition, and was buried in oblivion until 1955 when it was included in Modern Fairy Stories in Dent's Illustrated Children's Classics, edited by Roger Lancelyn Green, since when it has been reprinted in various forms. He followed this with The Gold of Fairnilee, a tale based on the &:ottish Ballads and the fairy lore of the Border Country which was his home from his birth in 1844 until 1868. As a boy he and his brother and several others from his home-town of Selkirk were accustomed to meet every Saturday evening in a barn to hear local folk tales and legends told by an old shepherd. Lang wrote that people in the Border Country believed in fairies "even when my father was a boy," and it is to the Fairyland, "which paid a fiend to Hell," that Randal of Fairnilee is carried by the Fairy Queen, even as Thomas the Rhymer had been, and from which Jean rescues him as Janet had rescued Tamlin in the ballad - in time to find the legendary Gold of Fairnilee for which Lang and his brother John had so often searched in vain. The Fairyland of traditional belief did not prove popular, though of the few literary expeditions thither Lang's is outstandingly the best Perhaps for this reason his next venture was into the realm explored by the ladies of the Cabinet des Fees and so brilliantly exploited by Thackeray in The Rose and the Ring. Prince Prigio and its slightly less successful sequel, Prince Ricardo, make an outstanding contribution to the literary fairy story as opposed to the traditional type, and seems to be accepted now as a classic in its own particular genre. In both these books Lang's knowledge of the Marchen of the world is given brilliant play, accepting the "rules" of the typical literary Fairyland with absolute gravity and following them to their logical conclusions. The humour and a tang of underlying irony make them two books which can be enjoyed by adults as well as children. Prince Prigio certainly illustrates C.S. Lewis's dictum that "a children's book which is enjoyed by children only is a bad children's book: the good ones last." Lang turned back once more to Prigio 's Kingdom of Pantouflia in Tales of a Fairy Court, but with little of his earlier success. though in one or two of the stories the magic touch is still visible. But good though the best of his original stories are, their excellencies have, from the start, tended to be eclipsed by the series of traditional tales which he chose, edited and occasionally retold, of which the first volume, The Blue Fairy Book, appeared in time for the same Christmas of 1889 as Prince Prigio; and it was on account of the unexpected popularity of this and its first sequel, The Red Fairy Book, the following year that Mrs. Field felt herself obliged to add the foot-note quoted above. The Blue Fairy Book was a complete gamble which Lang must have persuaded his friend and publisher, Charles Longman. to undertake- and which Longman probably risked on the strength of Lang's name, which was still very high in the literary world of the day. It appeared in an edition of 5,000 copies, and its success was instantaneous. By the time The Yellow Fairy Book (the fourth) appeared in 1894, the first edition was of 15,000. The series finally consisted of twenty-five annual volumes, twelve of which were Fairy Books. But several others such as The Arabian Nights, two Romance books and the final Strange Story Book come almost within the category of Fairy Stories. And a volume outside the series, Tales of Troy and Greece, presents the greatest of the ancient Greek stories entirely in Lang's own retelling, and is still rivalled only by Kingsley's The Heroes (1856). This also has been reprinted recently, besides the major portion of it as The Adventures ofOdysseus in Dent (and Dutton)'s series of Children's Illustrated Classics. In the preface to the last of the actual Fairy Books (the Lilac) Lang wrote: "My part has been that of Adam, according to Mark Twain, in the Garden of Eden. Eve worked, Adam superintended; I find out where the stories are, and advise, and, in short, superintend. I do not write the stories out of my own head. The reputation of having written all the fairy books (a European reputation in nurseries and the United States of America) is 'the burden of an honour unto which I was not born' .... " But Lang's vast knowledge of the wide world's folk-lore and his magic touch in preparing the work of others for publication (and helped by the superbly complementary

1434 CHILDREN'S WRITERS LEAR accompaniment of H.J. Ford's illustrations), make classics of these unrivalled collections, and, even more than his outstanding contribution to the history of Fairyland, ensure him a high place in the history of children's literature.

-Roger Lancelyn Green

LEAR, Edward. British. Born in London, 12 May 1812. Studied at Sass's School of Art, London, 1835, 1849; Royal Academy, London, 185D-52; studied painting with Holman Hunt. Free-lance artist after 1827, and teacher after 1830; assistant to the artists Prideaux Selby and ; illustrated the animals at the home of the Earl of Derby, 1832-37; lived in Rome, 1837-45; gave drawing lessons to Queen Victoria, 1846; lived in Italy and the Mediterranean, 1846-49, and in San Remo, Italy, 1868-88. Died 29 January 1888.

PUBLICATIONS FOR CHILDREN (illustrated by the author)

Verse

A Book of Nonsense (published anonymously). London, Thomas Maclean. 1846; revised edition, as , London, Routledge, 1861 ; Philadelphia. Hazard. 1863. Nonsense Songs, Stories, Botany, and Alphabets. London, Bush. 1870. More Nonsense, Pictures, Rhymes, Botany, etc. London. Bush. 1871. Laughable Lyrics: A Fourth Book of Nonsense, Poems, Songs, Botany, Music, etc. London, Bush, 1876. Nonsense Songs and Stories. London, Warne. 1894. Queery Leary Nonsense, edited by Lady Strachey. London. Mills and Boon. 1911. The Complete Nonsense Book. edited by Lady Strachey. New York, Duffield, I 912. The Lear Omnibus, edited by M.L. Megroz. London and New York. Nelson. 1938; as A Book of Lear, London, Penguin, 1939. The Complete Nonsense, edited by Holbrook Jackson. London. Faber. 1947; New York, Dover, 1951. Teapots and Quails and Other New Nonsense. edited by Angus Davidson and Philip Hofer. London, Murray, and Cambridge, Massachusetts. Harvard University Press, 1953. A Book of Bosh: Lyrics and Prose. edited by Brian Alderson. London. Penguin. 1975. Lear in the Original. edited by Herman W. Liebert. New York. Kraus. 1975.

Other

The Lear Coloured Bird Book for Children. London. Mills and Boon. 1912.

PUBLICATIONS FOR ADULTS

Other

Illustrations of the Family of Psittacidae, or Parrots . . . . Privately printed. 1832. Views in Rome and Its Environs. London, Thomas Maclean, 1841. Gleanings from the Menagerie and Aviary at Knowsley Hall, Knowsley. Privately printed, 1846. Illustrated Excursions in Italy. London, Thomas Maclean, 2 vols., 1846.

1435 LEAR CHILDREN'S WRITERS

Journal of a Landscape Painter in , etc. London. Richard Bentley, 1851. Journal of a Landscape Painter in S. , etc. London, Richard Bentley, 1852. Views in the Seven Ionian Islands. Privately printed, 1863. Journal of a Landscape Painter in Corsica. London, Bush, 1870. Tortoises, Terrapins, and Turtles, with James de Carle Sowerby. London, Southeran Baer. 1872. Letters, and Later Letters, edited by Lady Strachey. London, Unwin, 2 vols., 1907-11. Lear in ... , May-July 1847. edited by Granville Proby. London, Duckworth, 1938. Journals: A Selection, edited by Herbert Van Thal. London, Barker, and New York, Coward McCann, 1952. Indian Journal: Watercolours and Extracts from the Diary (/873-1875), edited by Ray Murphy. London and New York, Jarrolds, 1953. Lear's Cor:fu, edited by Lawrence Durrell. Corfu, Corfu Travel, 1965. Critical Studies: Edward Lear: Landscape Painter and Nonsense Poet by Angus Davidson. London. John Murray, 1938; Edward Lear: The L(fe of a Wanderer by Vivien Noakes, London, Collins, 1968, Boston, Houghton Mifllin, 1969.

Illustrator: A Century of Birds from the Himalayan Mountains, 1831, A Monograph of the Ramphastidae, or Family of Toucans, 1834, and Birds of Europe, 1837, all by John Gould; The Gardens and Menageries of the Zoological Society Delineated, edited by E.T. Bennett. 1831 ; Illustrations ofBritish Ornithology, 1834; Transactions ofthe Zoological Society, vol. I, 1835; The Zoology ofCaptain Beechey's Voyage, 1839; The Zoology of the Voyage of H.M.S. Beagle, 1841 ; Pigeons and Parrots, in The Naturalist's Library by William Jardine. 1843; The Genera of Birds by G.R. Gray, 1849; Poems of Alfred, Lord Tennyson. 1889.

When Edward Lear was a young man, he went to live at Knowsley Hall, the home of the Earls of Derby. At this time he was a illustrator, and he had been commissioned to paint the birds and animals in Lord Derby's menagerie. At Knowsley he met "half the fine people of the day," but did not altogether like them. He wrote to a friend: "The uniform apathetic tone assumed by lofty society irks me dreadfully, nothing I long for half so much as to giggle heartily and to hop on one leg down the great gallery - but I dare not." Instead, he began to write his limericks:

There was an old person of Shoreham, Whose habits were marked by decorum; He bought an Umbrella, and sate in the cellar, Which plea..<:ed all the people of Shoreham.

As apathy denied life. so also did the improving tale, for it disclaimed children as they were in favour of children as they ought to be:

There was an old man of Hong Kong, Who never did anything wrong; He lay on his back, with his head in a sack, That innocuous old man of Hong Kong.

With the decorous and perfectly innocuous safely hidden away, Lear's real people could indulge in amiable excess :

There was a Young Girl of Majorca, Whose aunt was a very fast walker; She walked seventy miles, and leaped fifteen stiles, Which astonished that Girl of Majorca. 1436 CHILDREN'S WRITERS LEAR

Their standards were so essentially worthwhile:

There was an old person of Bray, Who sang through the whole of the day To his ducks and his pigs, whom he fed upon figs, That valuable person of Bray.

Beyond the restraints of propriety were those imposed by life itself. "There's something in the world amiss will be unravelled by and by," Lear would quote in his diary. In his own case, epilepsy imposed an isolating barrier which he never broke down. In his writing such anomalies might cause embarrassment: they could also be the source of real suffering. In the Pelican Chorus, the apparent affiiction suffered by the King of the Cranes is politely ignored. With the Daddy Long-Legs and the Fly, however, it is all far more serious and distressing. Each to the other seems fine and composed, and yet ... "Why," asks Mr. Daddy Long-Legs, "do you never come to court?"

"0 Mr. Daddy Long-legs," Said Mr. Floppy Fly, "It's true I never go to court, And I will tell you why. If I had six long legs like yours, At once I'd go to court! But oh ! I can't, because my legs Are so extremely short. And I'm afraid the King and Queen (One in red, and one in green) Would say aloud, 'You are not fit, You Fly, to come to court a bit!'"

Mr. Daddy Long-legs also has his secret sadness. He. who once sang so beautifully, can no longer do so:

For years I cannot hum a bit, Or sing the smallest song : And this the dreadful reason is. My legs are grown too long ! My six long legs, all here and there. Oppress my bosom with despair: And if I stand, or lie, or sit, I cannot sing one single bit !

But there is a remedy: they can escape to a land where none of this will matter any more:

Then Mr. Daddy Long-legs And Mr. Floppy Fly Rushed downward to the foamy sea With one sponge-taneous cry: And there they found a little boat, Whose sails were pink and gray : And off they sailed among the waves, Far. and far away. They sailed across the silent main And reached the great Gromboolian plain : And there they play for evermore At battlecock and shuttledoor.

1437 LEAR CHILDREN'S WRITERS

This is where Lear takes his children. Together they set out on their long and difficult journey. You must have courage to go to sea in a sieve, or indeed to sail away for a year and a day, but this courage is rewarded. There is no chance of the fainthearted following you. Critical, unimaginative adults are left behind. When the Jumblies returned home,

... every one said, "'If we only live, We too will go to sea in a Sieve, - To the hills of the Chankly Bore!"

but we know perfectly well that they will not. Of course, you may discover, when you reach the sunset isles of Boshen, that you have moved from loneliness into loneliness : neither the Yonghy Bonghy Bo nor the Dong could redeem their isolation. There is sadness even here. But, in the end, it is all a game, perhaps of battlecock and shuttledoor, certainly of words and of the imagination. This is what gives it its safety. "'There only remains a general, but very strong, pervading sense of well-being and innate rectitude from the standpoint of eight years," a child friend said of Lear. "'I knew he was 'safe' and that I was safe and that we were all safe together, and that suspicions might at once be put aside." In a potentially alien world, Lear made children feel secure:

How pleasant to know Mr. Lear! Who has written such volumes of stuff! Some think him ill-tempered and queer, But a few think him pleasant enough.

His mind is concrete and fastidious, His nose is remarkably big; His visage is more or less hideous, His beard it resembles a wig.

As a child you may feel yourself to be strange and different, you know you can never be perfect; but there is no need to worry, for in an imaginary world where people have unlikely noses and legs and weird modes of expression, where they seek out oddities with whom they can identify themselves, and where they find kindness and spontaneity, you are never likely to feel alone. It is in this that we find Lear's influence on the children's writers who came after him.

-Vivien Noakes

MacDONALD, George. British. Born near Huntly, Aberdeenshire, I 0 December 1824. Educated at King's College, University of Aberdeen, 1840-45, M.A. 1845; Highbury Theological College, London, 1848-50. Married Louisa Powell in 1850 (died, 1902); eleven children. Private tutor, 1845-48. London; Minister of Trinity Congregational Church, Arundel, Sussex. 185G-53; lecturer and preacher in , 1853-56, Hastings, 1857-59, and London after 1859. Received Civil List pension, 1877. Lived in Bordighera. Italy for over 20 years. Editor. with Norman MacLeod, Good Words for the Young magazine, 1870-72. LL.D.: University of Aberdeen, 1868. Died 18 September /905. 1438 CHILDREN'S WRITERS MacDONALD

PUBLICATIONS FOR CHILDREN

Fiction

Dealings with the Fairies, illustrated by Arthur Hughes. London, Strahan, 1867; New York, Routledge, 1891. At the Back of the North Wind, illustrated by Arthur Hughes. London, Strahan, 1870; New York, Routledge, 1871. Ranald Bannerman's Boyhood, illustrated by Arthur Hughes. London. Strahan, and New York, Routledge, 1871. The Princess and the Goblin, ilh1Strated by Arthur Hughes. New York, Routledge, 1871; London, Strahan, 1872. Gutta-Percha Willie, The Working Genius, illustrated by Arthur Hughes. London, King, and Boston, Hoyt, 1873. The Wise Woman: A Parable. London, Strahan, 1875; as A Double Story, New York, Dodd Mead, 1876; as The Lost Princess, London, Wells Gardner Darton. 1895. Sir Gibbie. London, Hurst and Blackett, 3 vols., 1879; Philadelphia, Lippincott, 1879. The Princess and Curdie, illustrated by James Allen. Philadelphia, Lippincott. 1882; London, Chatto and Windus, 1883. A Rough Shaking, illustrated by W. Parkinson. New York, Routledge, 1890; London. Blackie, 18 91. The Fairy Tales ofGeorge MacDonald, edited by Greville MacDonald. London, Fifield. 5 vols., 1904. The Light Princess and Other Tales of Fantasy, edited by Roger Lancelyn Green. London, Gollancz. 1961. The Gifts of the Child Christ: Fairy Tales and Stories for the Childlike, edited by Glenn Edward Sadler. Grand Rapids, Michigan, Eerdmans, 2 vols .. 1973.

PUBLICATIONS FOR ADULTS

Novels

Phantastes: A Faerie Romance for Men and Women. London. Smith Elder. 1858; Boston, Loring, 1870. David Elginbrod. London, Hurst and Blackett, 3 vols .. 1863; New York. Munro. 1879. Adela Cathcart. London, Hurst and Blackett. 3 vols .. 1864; New York. Munro. 1882. The Portent: A Story qfthe Inner Vision qfthe Highlanders, Commonly Called the Second Sight. London. Smith Elder, 1864; New York, Munro, 1885. Alec Forbes qf Howglen. London. Hurst and Blackett. 3 vols .. 1865; New York. Harper, 1872. Annals qf a Quiet Neighbourhood. London, Hurst and Blackett. 3 vols .. 186 7; New York. Harper, 1867. Guild Court. London, Hurst and Blackett, 3 vols .. 1867; New York. Harper. 1868. Robert Falconer. London. Hurst and Blackett. 3 vols .. 1868; Boston. Loring. n.d. The Seaboard Parish. London. Tinsley, 3 vols .. 1868; New York. Routledge. 1868. The Vicar's Daughter: An Autobiographical Story. Boston. Roberts. 1871; London. Tinsley, 3 vols .. 1872. Wilfrid Cumbermede. London. Hurst and Blackett. 3 vols .. 1872; New York. Scribner. 1872. Malcolm. London. King, 3 vols .. 1875; Philadelphia. Lippincott. 1875. St. George and St. Michael. London. King. 3 vols .. 1876; New York. Ford. 1876(?). Thomas Wingfold, Curate. London. Hurst and Blackett. 3 vols .. 1876; New York. Munro. 1879. The Marquis of Lassie. London. Hurst and Blackett. 3 vols.. 1877; Philadelphia. Lippincott. 18 77. 1439 MacDONALD CHILDREN'S WRITERS

Paul Faber, Surgeon. London, Hurst and Blackett, 3 vols., 1879; Philadelphia, Lippincott, 1879. Mary Marston. London, Sampson Low, 3 vols., 1881; Philadelphia, Lippincott, 1881. Warlock o' Glen Warlock. New York, Harper, 1881; as Castle Warlock: A Homely Romance, London, Sampson Low, 3 vols., 1882. Weighed and Wanting. London, Sampson Low, 3 vols., 1882; New York, Harper, 1882. Donal Grant. London, Kegan Paul, 3 vols., 1883; New York, Harper, 1883. What's Mine's Mine. London, Kegan Paul, 3 vols., 1886; New York, Harper, 1886. Home Again. London, Kegan Paul, and New York, Appleton, 1887. The Elect Lady. London, Kegan Paul, and New York, Munro, 1888. There and Back. London, Kegan Paul, 3 vols., 1891; Boston, Lothrop, n.d. The Flight of the Shadow. London, Kegan Paul, and New York, Appleton, 1891. Heather and Snow. London, Chatto and Windus, 2 vols., 1893; New York, Harper, 1893. Lilith: A Romance. London, Chatto and Windus, and New York, Dodd Mead, 1895. Salted with Fire. London, Hurst and Blackett, and New York, Dodd Mead, 1897.

Short Stories

The G(fts of the Child Christ and Other Tales. London, Sampson Low, 2 vols., 1882; New York, Munro, 1882; as Stephen Archer and Other Tales, Sampson Low, 1883; Philadelphia, McKay, n.d. Far above Rubies. New York, Dodd Mead, 1899.

Verse

Within and Without: A Dramatic Poem. London, Longman, 1855; New York, Scribner, 1872. Poems. London, Longman, 1857. A Hidden L(fe and Other Poems. London, Longman, 1864; New York, Scribner, 1872. The Disciple and Other Poems. London, Strahan, 1867. Dramatic and Miscellaneous Poems. New York, Scribner, 2 vols., 1876. A Book of Strife, in the Form of the Diary of an Old Soul. Privately printed, I 880. A Threefold Cord: Poems by Three Friends, with John Hill MacDonald and Greville Matheson, edited by George MacDonald. Privately printed, 1883. The Poetical Works ofGeorge MacDonald. London, Chatto and Windus, 2 vols., 1893. Rampolli: Growths from a Long-Planted Root, Being Translations Chiefly from the German, Along with a "Year's Diary of an Old Soul." London, Longman, 1897.

Other

Unspoken Sermons. London, Strahan and Longman, 3 vols., 1867, 1886, 1889; New York, Routledge, n.d. England's Antiphon. London, Macmillan, 1868; Philadelphia, Lippincott, n.d. The Miracles of Our Lord. London, Strahan, and New York, Randolph, 1870. Works of Fancy and Imagination. London, Strahan, I 0 vols., 1871. Orts. London, Sampson Low, 1882; as The Imagination and Other Essays, Boston, Lothrop, I 8 8 3 ; revised edition, as A Dish of Orts, Sampson Low, I 89 3. The Tragedie of Hamlet, Prince of : A Study of the Text of the Folio of 1623. London, Longman, 1885. The Hope of the Gospel (sermons). London, Ward Lock, and New York, Appleton, 1892. The Hope of the Universe. London, Victoria Street Society for the Protection of Animals from Vivisection, 1896. 1440 CHILDREN'S WRITERS MacDONALD

George MacDonald: An Anthology, edited by C.S. Lewis. London, Bles, 1946; New York, Macmillan, 1947. Editor, A Cabinet of Gems, Cut and Polished by Sir Philip Sidney, Now for the More Radiance Presented Without Their Setting. London, Elliot Stock, 1892. Translator, Twelve of the Spiritual Songs of Nova/is. Privately printed, 1851. Translator, Exotics: A Translation of the Spiritual Songs of Nova/is, The Hymn Book of Luther, and Other Poems from the German and Italian. London, Strahan, 1876. Bibliography: A Centennial Bibliography of George MacDonald by John Malcolm Bullock, Aberdeen, University Press, 1925. Critical Studies: George MacDonald and His Wife by Greville MacDonald, London, Allen and Unwin, 1924; The Golden Key: A Study of the Fiction of George MacDonald by R.L. Wolfe, New Haven, Connecticut, Yale University Press, 1961.

George MacDonald was a singular 19th-century writer whose outstanding talent for crossing literary types and age barriers makes critical discussion of his writings difficult. More than any of his time, he understood the symbolic richness of the traditional fairytale and worked to expand its dimensions. As a teller of fanciful tales, he is unequalled. It is his unusual mastery of the parable form, converting it, as he did, into a sort of allegorical fantasy, called afairyta/e, which continues to attract modem writers of children's books to his stories. He possessed a fully integrated genius, whereby the creations of faerie lore and the realities of his own childhood were one ; and it is this feature that characterizes him best. Typical of his lifelong experimentation with the parable-fairy-tale form. or as he later designated it, "the double story," is his first and quite successful prose narrative. Phantastes. Into it, he put a multifarious assortment of lyrics, chivalric Spenserian ballads. frame-stories and imaginative beings related to his reading of Hoffmann's Golden Pot. Novalis. and Fouque's Undine, his favorite fairytale. In type, Phantastes defies strict classification; it is in subject-matter most like the vo/ksmiirchen: an episodic string of nature-parables focusing around the youthful hero Anodos and his lessons of self-renunciation. What the plot lacks in consistency of design, it compensates for by its symbolic depth. Contained in this story and its later companion, Lilith, are passages of double parable-writing - for example the tale of Cosmo- which place MacDonald, unrivalled in this form, with Bunyan and Spenser. During the 1870's MacDonald did most of his best writing for children. He edited Good Words .for the Young and serialized At the Back ofthe North Wind in it. following with a story of his boyhood reminiscences, Ranald Bannerman's Boyhood. And in 1872 he published his second classic, The Princess and the Goblin, and The Wise Woman: A Parable, three years later. In these books - not originally limited to any certain age - MacDonald fully demonstrated his craft as a writer of children's books. All of his stories have in them the moral fabric of parables. Educational in thrust. each tale contains a basic plot - Diamond, the coachman's son, takes up with Mistress North Wind who becomes his flying tutoress (At the Back of the North Wind); Princess Irene and Curdie, the miner's son, rid the royal city of Gwyntystorm of its corruptors (The Princess and Curdie books); and in The Wise Woman, his most lucid and long parable, Princess Rosamond and a shepherd's daughter are taught by a beatific old woman in a cottage in the woods. Simple contrasts are readily made between rich and poor, greed and charity, beauty and ugliness, youth and age, selfishness and true obedience - popular lessons of fairyland. Cannily the reader learns that appearances are not everything ("Little Daylight"), that true knowledge comes by acceptance of self-sacrifice and dependency on another ("The History of Photogen and Nycteris"), and, finally, in the best symbolic tale, "The Golden Key," that the source of all desire (imagination?) itself is found in a cosmic search up into the rainbow. But in spite of the teasing enchantment and obvious didacticism at work in the stories, there is always - most critics contend - something more than allegorical meaning in them. 1441 MacDONALD CHILDREN'S WRITERS

As a writer MacDonald claimed that his "aim" was to bring about "logical conviction" in his readers by creating a .. mood-engendering" sensation: "The best thing you can do for your fellow, next to rousing his conscience, is- not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself." Transparency of thought and feeling is what one reacts to most in his stories. Like the Princess and Curdie, as they stand before the youthful but wise grandmother, the reader continually asks:

"What does it all mean, Grandmother?" she sobbed and burst into fresh tears. "It means, my love, that I did not mean to show myself. Curdie is not yet able to believe some things. Seeing is not believing - it is only seeing."

Meaning in all stories is linked up, at one point, with an attitude of childlikeness, his lifelong theme and concern. There is throughout his writings a philosophical preoccupation with the conversion of evil into goodness and death into life. Graphically he sketches- in his best work- Phantastes, At the Back of the North Wind, The Princess books, "The Golden Key," The Wise Woman, Sir Gibbie, and Lilith- his own reformed picture of Scottish Calvinism transposed into fairytale language and scenes. This he does by placing the child in the center; predestination, for instance, becomes the prodding voice of North Wind, who explains to Diamond that he is limited only by what he really wants to do, which is the best way home. Good and Evil are no longer absolutes in his parables, as they are in most fairytales, but take part in the living process of getting better, of recovering from the illness of self. One mounts repeatedly in his fantasies the narrow stairs of curious submission that leads to the grandmother's garret room of rebirth and instruction. All of this is to say that MacDonald's strong beliefs and cosmic vision of the role of the child in the universe quite naturally led him to select the fairytale-parable as the ideal form : in it he found poetic liberty of expression, symbolic regularity, and a disregard for age levels which allowed him to retell many of his childhood dreams and discoveries in Huntly, where he had known the art of castle-building as well as harsh discipline. As he grew older, he used the ordinary fairytale to convey, through his own sacramental symbolism in Lilith, his visionary romance of growing old, what C.S. Lewis defined as "good Death": the happy ending. The word "homesickness" can be applied to all of MacDonald's books. His children's classics have in them crystal, descriptive and cosy passages of interlacing filial relationships which are in their beauty and provocative strength unsurpassed by any other author of the period. And with the recent return to the family unit in many modern children's books and revival of interest in the fairytale, it can safely be predicted that MacDonald will go on being rediscovered as the patriarch of the child and of the Victorian household.

--Glenn Edward Sadler

MOLESWORTH, Mary Louisa. British. Born in Rotterdam, Netherlands, 29 May 1839; grew up in Manchester, England. Attended school in , ; attended classes given by William GaskelL Married Richard Molesworth in 1861 (separated, 1879); seven children. Lived in France and , and in London after 1884. Died 20 July /92 I.

PUBLICATIONS FOR CHILDREN

Fiction Tell Me a Story (as Ennis Graham), illustrated by . London and New York, Macmillan, 1875. 1442 CHILDREN'S WRITERS MOLESWORTH

Carrots: Just a Little Boy (as Ennis Graham), illustrated by Walter Crane. London, and New York, Macmillan, 1876. The Cuckoo Clock (as Ennis Graham), illustrated by Walter Crane. London, Macmillan, and New York, Caldwell, 1877. Grandmother Dear, illustrated by Walter Crane. London and New York, Macmillan, 1878. The Tapestry Room: A Child's Romance, illustrated by Walter Crane. London and New York, Macmillan, 1879. A Christmas Child: A Sketch of a Boy-Life, illustrated by Walter Crane. London, Macmillan, 1880; New York. Macmillan. 1896. Hermy: The Story of a Little Girl. illustrated by Mary Ellen Edwards. London and New York, Routledge, 1880. The Adventures ofHerr Baby, illustrated by Walter Crane. London, Macmillan, 1881; New York, Macmillan, 1886. Hoodie, illustrated by Mary Ellen Edwards. London, Routledge, 1881. Rosy, illustrated by Walter Crane. London and New York, Macmillan. 1882. The Boys and I, illustrated by Mary Ellen Edwards. London and New York. Routledge, 1882. Summer Stories for Boys and Girls. London and New York. Macmillan. 1882. Two Little Wa(/S. illustrated by Walter Crane. London and New York. Macmillan. 1883. Christmas-Tree Land, illustrated by Walter Crane. London and New York. Macmillan, 1884. The Little Old Portrait, illustrated by W. Gunston. London. S.P.C.K., and New York. Young, 1884; as Edmee: A Tale of the French Revolution. London. Macmillan. 1916. Lettice, illustrated by Frank Dadd. London, S.P.C.K.. and New York. Young, 1884. Us: An Old-Fashioned Story, illustrated by Walter Crane. London and New York. Macmillan, 1885. A Charge Fu(filled, illustrated by R. Caton Woodville. London. S.P.C.K .. and New York. Young, 1886. Silverthorns. illustrated by J. Noel Paton. London. Hatchards. 1886; New York. Dutton. n.d. Four Winds Farm. illustrated by Walter Crane. London and New York. Macmillan. 1886. The Palace in the Garden, illustrated by Harriet M. Bennett. London. Hatchards. and New York, Whittaker, 1887. Little Miss Peggy: Only a Nursery Story, illustrated by Walter Crane. London and New York, Macmillan, 1887. The Abbey by the Sea. illustrated by Frank Dadd. London. S.P.C.K .. 1887. A Christmas Posy, illustrated by Walter Crane. London and New York. Macmillan. 1888. Five Minutes' Stories. illustrated by Gordon Browne and others. London. S.P.C.K.. and New York. Young, 1888. The Third Miss St. Quentin. London. Hatchards. and New York. Whittaker. 1888. Neighbours. illustrated by Mary Ellen Edwards. London. Hatchards. 1889; New York. Whittaker. 1890. A House to Let, illustrated by W.J. Morgan. London. S.P.C.K .. 1889. The Old Pincushion; or, Aunt Clotilda's Guests. illustrated by Mrs. Adrian Hope. London. Griffith and Farran. 1889; New York. Dutton. 1890. The Rectory Children, illustrated by Walter Crane. London and New York. Macmillan. 1889. Nesta; or, Fragments of a Little Life. London. Chambers. 1889. Great Uncle Hoot-Toot. illustrated by Gordon Browne and others. London. S.P.C.K .. 1889.

1443 MOLESWORTH CHILDREN'S WRITERS

Twelve Tiny Tales, illustrated by W.J. Morgan. London, S.P.C.K., and New York, Young, 1890. Family Troubles, illustrated by W.J. Morgan. London, S.P.C.K., and New York, Young, 1890. The Children of the Castle, illustrated by Walter Crane. London and New York, Macmillan, 1890. Little Mother Bunch, illustrated by Mary Ellen Edwards. London, Cassell, 1890; New York, Burt, 1903. The Green Casket and Other Stories, illustrated by Robert Barnes and W.J. Morgan. London, Chambers, 1890. The Story of a Spring Morning and Other Tales, illustrated by Mary Ellen Edwards. London and New York, Longman, 1890. The Red Grange, illustrated by Gordon Browne. London, Methuen, and New York, Whittaker, 1891. The Bewitched Lamp, illustrated by Robert Barnes. London, Chambers, 1891. The Lucky Ducks and Other Stories, illustrated by W.J. Morgan. London, S.P.C.K., 1891. Nurse Heatherdale's Story, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1891. Sweet Content, illustrated by William Rainey. London, Griffith and Farran, and New York, Dutton, 1891. Imogen; or, Only Eighteen, illustrated by Herbert A. Bone. London, Chambers, and New York, Whittaker, 1892. An Enchanted Garden: Fairy Stories, illustrated by W.J. Hennessy. London, Unwin, and New York, Cassell, 1892. The Girls and/, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1892. Farthings: The Story of a Stray and a Waif, illustrated by G.M. Broadley. London, Gardner Darton, and New York, Young, 1892. The Man with the Pan-Pipes and Other Stories, illustrated by W.J. Morgan. London, S.P.C.K., and New York, Young, 1892. Robin Redbreast, illustrated by Robert Barnes. London, Chambers, and New York, Whittaker, 1892. The Next-Door House, illustrated by W. Hatherell. New York, Cassell, 1892; London, Chambers, 1893. Studies and Stories, illustrated by Walter Crane. London, A.D. Innes, 1893. The Thirteen Little Black Pigs and Other Stories, Illustrated by W.J. Morgan. London, S.P.C.K., 1893; New York, Burt, 1901. Mary: A Nursery Story for Very Little Children, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1893. Blanche, illustrated by Robert Barnes. London, Chambers, 1893; New York, Whittaker, 1894. Olivia, illustrated by Robert Barnes. London, Chambers, 1894; Philadelphia, Lippincott, 1895. My New Home, illustrated by L. Leslie Brooke. London, Macmillan, 1894; New York, Macmillan, 1898. The Carved Lions, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1895. Opposite Neighbours and Other Stories, illustrated by W.J. Morgan. London, S.P.C.K., and New York, Young, 1895. Sheila's Mystery, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1895. White Turrets, illustrated by William Rainey. London, Chambers, and New York, Whittaker, 1895. Friendly Joey and Other Stories, illustrated by W.J. Morgan. London, S.P.C.K., 1896.

1444 CHILDREN'S WRITERS MOLESWORTH

The Oriel Window, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1896. Philippa, illustrated by J. Finnemore. Philadelphia, Lippincott, 1896; London, Chambers, 1897. Stories for Children in Illustration of the Lord's Prayer, illustrated by Gordon Browne and others. London, Gardner Darton, 1897. Meg Langholme; or, The Day after Tomorrow, illustrated by William Rainey. London, Chambers, and Philadelphia, Lippincott, 1897. Miss Mouse and Her Boys, illustrated by L. Leslie Brooke. London and New York, Macmillan, 1897. Greyling Towers, illustrated by Percy Tarrant. London, Chambers, 1898. The Magic Nuts, illustrated by Rosie M.M. Pitman. London and New York, Macmillan, 1898. The Grim House. illustrated by Warwick Goble. London, Nisbet, 1899; New York. Whittaker, 1900. This and That: A Tale of Two Tinies, illustrated by Hugh Thomson. London and New York, Macmillan. 1899. The Children's Hour. London, Nelson, 1899; New York. Nelson. 190 I. The Three Witches, illustrated by Lewis Baumer. London, Chambers. and Philadelphia, Lippincott, 1900. The House That Grew, illustrated by Alice B. Woodward. London and New York. Macmillan, 1900. The Wood-Pigeons and Mary, illustrated by H.R. Millar. London and New York. Macmillan. 190 I. "My Pretty" and Her Little Brother "Too," and Other Stories, illustrated by Lewis Baumer. London, Chambers, and New York. Whittaker, 190 I. The Blue Baby and Other Stories, illustrated by Maud C. Foster. London. Unwin. 1901; New York, Dutton, 1904. Peterkin, illustrated by H.R. Millar. London and New York. Macmillan. 1902. The Mystery of the Pinewood. and Hollow Tree House. illustrated by A.A. Dixon. London, Nister, 1903. The Ruby Ring, illustrated by Rosie M.M. Pitman. London and New York. Macmillan. 1904. The Bolted Door and Other Stories. illustrated by Lewis Baumer. London. Chambers. 1906. Jasper, illustrated by Gertrude Demain Hammond. London and New York. Macmillan, 1906. The Little Guest, illustrated by Gertrude Demain Hammond. London and New York. Macmillan, I 907. Fairies - of Sorts, illustrated by Gertrude Demain Hammond. London. Macmillan. 1908. The February Boys, illustrated by Mabel Lucie Atwell. London. Chambers. and New York, Dutton, 1909. The Story of a Year. illustrated by Gertrude Demain Hammond. London. Macmillan. 1910. Fairies Afield, illustrated by Gertrude Demain Hammond. London. Macmillan. 1911. Stories, edited by Sidney Baldwin. New York. Duffield. 1922. Fairy Stories, edited by Roger Lancelyn Green. London. Harvill Press. 1957; New York, Roy, 1958.

Other

Stories o.f the Saints for Children. London and New York, Longman. 1892. 1445 MOLESWORTH CHILDREN'S WRITERS

PUBLICATIONS FOR ADULTS (as Ennis Graham)

Novels

Lover and Husband. London, Skeet, 3 vols., 1869. She Was Young and He Was Old (published anonymously). London, Tinsley, 3 vols., 1872. Not Without Thorns. London, Tinsley, 3 vols., 1873; Boston, Osgood, 1873. Cicely: A Story of Three Years. London, Tinsley, 3 vols., 1874. Hathercourt Rectory. London. Hurst and Blackett. 3 vols .. 1878; as Hathercourt, New York, Holt, 1878. Miss Bouverie. London, Hurst and Blackett, 3 vols., 1880; New York, Harper, 1880. Marrying and Giving in Marriage. London, Longman, and New York, Harper, 1887. Leona. London and New York, Cassell, 1892. The Laurel Walk. London, Isbister, and Philadelphia, Biddle, 1898.

Short Stories

Four Ghost Stories. London and New York, Macmillan, 1888. That Girl in Black, and Bronzie. London, Chatto and Windus, 1889; New York, Lovell, 1899. Uncanny Tales. London, Hutchinson, and New York, Longman, 1896. The Wrong Envelope and Other Stories. London and New York, Macmillan, 1906.

Other

French Life in Letters. London and New York, Macmillan, 1889.

Critical Studies: Mrs. Ewing, Mrs. Molesworth, and Mrs. Hodgson Burnett by Marghanita Laski, London, Barker, 1950; Mrs. Molesworth by Roger Lancelyn Green, London, Bodley Head, 1961. New York, Walck, 1964.

On re-reading Mrs. Molesworth's stories after a long interval- or perhaps reading some of them for the first time ...:. one is immediately struck by the fact that they are indeed very readable. She was above all else a good teller of tales. Yet when we come to analyse the content of the stories themselves, there is little in the way of dramatic events to account for this. The drama. and thereby the interest ofthe story, comes from the life of the characters in what is largely an everyday setting. Her stories-the best ones at any rate, for she was uneven in the quality of her writing - pick up the characters at a particular period in their lives, usually between about 5 and I 2 years old. But we feel that each one had a life of his own before the story started and will continue to develop after the book has closed, whereas the events in so many children's books appear to exist in their own world, without a past or a future. Perhaps one of the most noticeable characteristics of Mrs. Molesworth's books is their ordinariness. Her children are all very "genteel," and even if they are poor they tend to have a middle-class background. For the most part the stories are set in the comfortably solid world of nurseries and nannies, of brothers and sisters in plenty, and loving mothers (who may alas often have to go to India, or, as in Carrots, to Algeria). The daily routing is firmly sketched and indeed provides a useful social study of the upper-middle-class child-world of the latter I 9th century. Even the names given to the children are redolent of class and period: Hermione, Rosalys, Mavis. In the case of Four Winds Farm, where she is dealing with a boy from a .farm, she gives him the improbable name of Gratian, to show his "difference." Magic does of course come into a number of her stories, especially the more successful 1446 CHILDREN'S WRITERS PYLL ones like The Cuckoo Clock and The Tapestry Room. but for the most part even here it is everyday life which provides the frame of the story, though some at least of the magic comes from the twilight world between reality and fantasy. It is the insight into the child's mind, with its inability to distinguish between actuality and imagination, which sets Mrs. Molesworth apart from so many of her contemporaries. Behind many of her characters are careful observations of real children, their speech, their behaviour, and, even more important, their minds. There is poor Carrots, who genuinely believes he has found a "yellow sixpenny piece," and in no way connects it with the missing half-sovereign - "sovereigns" is a game about kings and queens! And Hermy, in the book of the same name, has great problems as to what is meant by truth, as far as the adults in her life are concerned. Mrs. Molesworth is aware that such little things assume enormous proportions in the life of the very young. But there is one big difference at that age, in that time for the young is so relative. If you are only 5, last week can be as far away as yesterday, and next year, when you will be 6, is a lifetime away. In her descriptions of school life, Mrs. !vfolesworth is fair and understanding. Her school teachers. who cause so much trouble to the young (in The Carved Lions and Hermy, for example), are given their due, as if we should not find them so bad. For here. too, much of the trouble lies once more with the child's limited understanding of the grown-up world, and his own ability to explain a situation in everyday terms. We have all known the child for whom a toy, or even an invisible companion, were as real, if not more so, than the people around him, and the "untruths" arising from this state of affairs cannot be dealt with as with older children. It is to Mrs. Molesworth's credit that in the days before there was so much talk of child psychology, she saw and understood this aspect of child behaviour, and wrote about it as a normal part of growing up, with all its fears and confidences, and in a way that small children would understand and accept. Her world of magic, too, is gentle and charming, of the sort to banish fear, coming in the wind or with dreams. But she can also give her fairy characters a personality of their own: the North and East Winds in Four Winds Farm. the Raven in The Tapestry Room, and the Cuckoo in The Cuckoo Clock. are not always sweet and obliging, but can be cross and need humouring every bit as much as the kindliest adult in the real world. Perhaps Mrs. Molesworth's real fault lies in the amount she wrote. for some of her later books (and she lived until 1921) were repetitive. thin. and with a tendency to the sentimental. which the best of her books avoid. But her best is very good indeed. The merit of The Cuckoo Clock. The Carved Lions. The Tapestry Room. Us and many others is manifest in the fact that they can still be read and enjoyed by young children of today. because they are good straightforward stories still, even if the world of nannies has passed away with the Indian Empire to which parents were so conveniently banished.

-Joyce I. Whalley

PYLE, Howard. American. Born in Wilmington. Delaware. 5 March 1853. Educated at Friends' School and Clark and Taylor's School. Wilmington: Mr. Vander Weilen's school. Philadelphia, 1868-72. Married Anne Poole in 1881. Free-lance illustrator. for St. Nicholas Magazine, Harper's, and Harper's Young People. Taught at Drexel Institute. Philadelphia. 1894-1900, and at his own art school in Wilmington. 190o--to. Muralist. Died 9 No1•ember 1911.

PUBLICATIONS FOR CHILDREN (illustrated by the author)

Fiction

Pepper and Salt; or, Seasoning for Young Folks. New York. Harper, 1886. 1447 PYLE CHILDREN'S WRITERS

The Wonder Clock; or, Four and Twenty Marvellous Tales, Being One .for Each Hour of the Day, Embellished with Verses by Katharine Pyle. New York, Harper, and London, Osgood, 1888. Otto of the Silver Hand. New York, Scribner, and London, Sampson Low, 1888. Men of Iron. New York, Harper, and London, Osgood, 1892. The Story ofJack Ballister's Fortunes.... New York, Century, 1895; London, Osgood 1897. The Garden Behind the Moon: A Real Story of the Moon Angel. New York, Scribner, and London, Laurence Bullen, 1895. Twilight Land. New York, Harper, and London, Osgood, 1895. Stolen Treasure. New York, Harper, 1907.

Other

The Merry Adventures ofRobin qfGreat Renown in Nottinghamshire. New York, Scribner, and London, Sampson Low, 1883; shortened version, as Some Merry Adventures qf Robin Hood of Great Renown in Nottinghamshire, Scribner, 1902. The Story qfKing Arthur and His Knights. New York, Scribner, and London, Newnes. 1903. The Story of the Champions qf the Round Table. New York, Scribner, and London, Newnes, 1905. The Story of Sir Launcelot and His Companions. New York, Scribner, and London, Chapman and Hall, 1907. The Story qf the Grail and the Passing qf Arthur. New York, Scribner, and London, Bickers, 1910. Book qf Pirates: Fiction, Fact and Fancy Concerning the Buccaneers and Marooners of the Spanish Main, edited by Merle Johnson. New York and London, Harper, 1921. Book of the American Spirit: The Romance qf American History, Pictured by Howard Pyle, edited by Merle Johnson and Francis J. Dowd. New York and London, Harper, 1923.

PUBLICATIONS FOR ADULTS

Novels

Within the Capes. New York, Scribner, 1885. The Rose qf Paradise . . . . New York, Harper, 1888. A Modern Aladdin; or, The Wonderful Adventures qfO/iver Munier: An Extravaganza in Four Acts. New York, Harper, 1892. The Price of Blood: An Extravaganza qf New York L(fe in 1807. Boston, Richard G. Badger, 1899. Rejected qf Men: A Story of To-Day. New York, Harper, 1903. The Ruby of Kishmoor. New York, Harper, 1908.

Other

A Catalogue qfDrawings 1/lustrating the L(fe ofGeneral Washington and qfColonial L(fe Philadelphia, Drexel Institute of Art, 1897. (Paintings). New York, Peacock Press-Bantam, 1976.

Bibliography: Howard Pyle: A Record qf His 1/lustrations and Writings by WillardS. Morse and Gertrude Brinckle, Wilmington, Delaware, Wilmington Society of Fine Arts, 1921.

Manuscript and Archive Collections: Delaware Art Center, Wilmington; Free Library of Philadelphia. 1448 CHILDREN'S WRITERS PYLE

Critical Studies: Howard Pyle: A Chronicle by Charles D. Abbott, New York and London, Harper, 1925; Howard Pyle by Elizabeth Nesbitt, London, Bodley Head, and New York, Walck, 1966; Howard Pyle: Writer, lllustrator, Founder of the Brandywine 5chool by Henry C. Pitz, New York, Clarkson N. Potter, 1975.

Illustrator: Yankee Doodle, 1881; The Lady ofShalott by Alfred Lord Tennyson, 1882; The Story of Siegfried, 1882, and A Story of the Golden Age, 1887, by James Baldwin; Farm Ballads by Will Carleton, 1882; The History of New York by , 1886; The One Hoss Shay and Its Companion Poems, 1892, Dorothy Q... . , 1893, and The Autocrat of the Breakfast Table, 1894, all by Oliver Wendell Holmes; Stops of Various Quills by William Dean Howells, 1895; In Ole Virginia by Thomas Nelson Page, 1896; George Washington by , 1896; The First Christmas Tree by Henry Van Dyke, 1897; Evangeline by Henry Wadsworth Longfellow, 1897; Hugh Wynne, Free Quaker by S. Weir Mitchell, 1897; The Story of the Revolution by Henry Cabot Lodge, 1898; Old Chester Tales by Margaret Deland, 1899; The Man with the Hoe and Other Poems by Edwin Markham, 1900; The Bibliomania, or Book-Madness by Thomas Frognall Dibdin, 1903; The Line of Love, 1905, , 1909, and The Soul ofMelicent, 1913, all by James Branch Cabell; Saint Joan of Arc by Mark Twain, I 91 9.

Howard Pyle must be considered a giant in American literature for children. An innovative, vastly productive artist-writer-teacher, he was a modest man totally concerned with inspiring good artists and creating good books. But the term giant just might have appealed to him as a description, for his imagination was tuned in to the days of good knights and evil villains, heroes and dragons, magic stools and clever magicians, beautiful maidens and wicked queens, good boys, foolish men, and, surely among them, giants. And of course, King Arthur and Robin Hood. In his fifty-eight years he accomplished an amazing amount of enduring work. His importance as an artist as well as writer must be mentioned here for several reasons. First, his work spanned a period of vital change in children's books. It began in an era when moralistic stories had themes of illness, suffering, and death, and were usually illustrated by inept saccharine pictures; standards for writing and illustrating were low. It ended with his work. both words and pictures. having produced the highest standards for others to follow. The author-artist Robert Lawson, writing in Illustrators o.f Children's Books 1744-1945. stated. "It is small wonder that the clean-cut, healthy, joyous work of Howard Pyle came to ... children ... like a fresh breeze flooding a fetid sickroom." Second. his illustration and stories intertwined and enhanced each other, .growing equally from his concept of the subject undertaken, even though, to an extent rarely equalled by any other author-artist. each element is strong enough to stand alone. Third, any piece of artwork takes a great deal of time to produce. Thus to research, absorb. recreate and retell the Robin Hood ballads and the vast lore of King Arthur was a gigantic, time-consuming task. He was a truly prodigious worker. Although he could easily "see things in image-terms or in the continuity of words," as Henry C. Pitz describes his dual abilities. he was a deliberate craftsman. He actually experimented with various writing styles to achieve the effect of the archaic speech of Robin Hood's days and yet have it understandable to children. Reading it aloud today, now that we are even used to you taking the place of thee-and-thou in versions of the Bible, it sounds more unreal than ever to hear, "Now will I go too, for fain would I draw a string for the bright eyes of my lass, for so goodly a prize as that." or hear Pauline ask poor little Otto about his mother, "And didst thou never see her?" Such is thoroughness in setting scene. delineating character, and sweeping all action forward in a dynamic plot -particularly in his own stories such as Otto o.fthe Silver Hand, Men o.flron and his pirate tales- that one quickly accepts the language as another rich element of his writing skill. Although Merry Adventures of Robin Hood was his first book to be published, Pepper and Salt and The Wonder Clock contained stories and fables Pyle had written and illustrated for 1449 PYLE CHILDREN'S WRITERS children's magazines. Twilight Land was more influenced by Eastern folk tales. While at first he borrowed and retold old tales in different guises ("The Salt of Life" is the well-known Catskin motif of universal folk-lore), so steeped was he in folk and fairy lore that eventually he could turn his own rich imagination out into these forms to perfection, just as Andersen did. The Garden Behind the Moon, a long allegorical fantasy, is less derivative than his short stories and it contains such strong beautiful prose that it makes him a classic writer of fantasy. With the grim sad story of medieval revenge, Otto of the Silver Hand, and that of 15th­ century adventure, Men of Iron, and in his tales of Robin Hood and King Arthur, Pyle achieved new heights in literature for children: he gave them an immediate sense of their past, complete with authentic convincing details, replete with drama and pageantry, and taut with adventure. Elizabeth Nesbitt, commenting on Pyle in A Critical History of Children's Literature, mentioned that the era in which Pyle developed his work has been called the Golden Age of children's literature and that "It is difficult to do justice to his contribution to the shining quality of that era. The magnitude and diversity of his work elude definition."

-Lee Kingman

REED, Talbot Baines. British. Born in Hackney, London, 3 April 1852. Educated at Priory House School. London; School, 1864-68. Married Elizabeth Greer in 1876; two daughters and one son. Joined his father's London type-founding firm, 1868, managing director after 1881. Regular contributor to Boy's Own Paper, London, and Leeds Mercury. Co-Founder, and Secretary, 1892-93, Bibliographical Society. Fellow of the Society of Antiquaries. 1893. Died 28 November 1893.

PUBLICATIONS FOR CHILDREN

Fiction

The Adventures of a Three-Guinea Watch. London, Religious Tract Society, 1883. "Follow My Leader"; or, The Boys at Templeton, illustrated by W.S. Stacey. London, Cassell, 1885. The Fifih Form at St. Dominic's. London, Religious Tract Society, 1887; Chicago, Revell, 1891. The Willoughby Captains, illustrated by Alfred Pearse. London, Hodder and Stoughton, 1887. Parkhurst Sketches and Other Stories, edited by G. Andrew Hutchison. London, Religious Tract Society, 1889. My Friend Smith, illustrated by Gordon Browne. London, Religious Tract Society, 1889. Sir Ludar: A Story of the Days of the Great Queen Bess, illustrated by Alfred Pearse. London, Sampson Low, 1889. Roger lngleton, Minor, illustrated by J. Finnemore. London, Religious Tract Society, 1891. The Cockhouse at Fellsgarth. London, Religious Tract Society, 1893; as The House at Fellsgarth, Chicago, Revell, 1893. Reginald Cruden: A Tale of City L(fe. London, Religious Tract Society, 1894. A Dog with a Bad Name. London, Religious Tract Society, 1894. The Master of the Shell. London, Religious Tract Society, 1894. Tom, Dick, and Harry. London, Religious Tract Society, 1894. 1450 CHILDREN'S WRITERS REED

Kilgorman: A Story of in I 798. London and New York, Nelson, 1894. A Book of Short Stories. London, Religious Tract Society, 1897.

PUBLICATIONS FOR ADULTS

Other

A History of the Old English Letter Foundries . . . . London, Stock, and New York, Armstrong, 1887. John Baskerville, Printer (lecture). Privately printed, 1892.

Critical Study: : Author, Bibliographer, Typefounder by Stanley Morrison, privately printed, 1960.

It was perhaps appropriate that Talbot Baines Reed's first fictional published words were: "It was a proud moment in my existence when Wright, captain of our football club, came up to me in school one Friday and said, ·Adams, your name is down to play in the match against Craven tomorrow.' " This comprised the opening of the first of his series of sketches of sporting life at Parkhurst School, titled "My First Football Match" and appeared on the first page of the first issue of the famous Boy's Own Paper on 18 January 1879. It setthe style. tone and content for his many tales of public school life to come, most of which first ran as extremely popular serials in the Boy 's Own Paper. His earliest and shorter contributions to the magazine appeared anonymously. Then, in 1880. came his first full-scale serial, The Adventures of a Three-Guinea Watch, followed by a further ten serials. mainly about public schools, though some described life in the offices of the City of London. The included some of the most famous school stories ever written: The Fifth Form at St. Dominic ·s. The Willoughby Captains. The Master of the Shell and The Cockhouse at Fellsgarth. Although, ironically. Reed himself attended a day-school. his fine descriptions of public boarding-school life are generally agreed to be extremely accurate for their period. Although ' Tom Brown's Schooldays ( 1857) and 's Eric: or. Little by Little ( 1858) had virtually established the English public school story as a genre. it was undoubtedly Reed who shaped and developed this popular type of tale as readers later came to know and love it. Hughes and (especially) Farrar had dominated their stories with the dark side of Victorian boarding-school life (death. disgrace. bullying. sin and tears). allied with perhaps over-generous lashings of religion and prayer. Reed's boys tended to be much more extrovert, healthy. mischievous. and authentic -more "boy-like.'' in fact. He created superbly the essentially self-contained world of school. its rules and its traditions. But. if he was apt to concentrate upon the brighter side of the scholastic life. he by no means ignored the darker. There were, for instance. the bullies. cheats. and scoundrels. There was a certain amount of religion - and conversions of would-be or actual sinners. George Hutchinson. editor of the Boy's Own Paper during Reed's time. once referred to his personal background of "simple, cheerful Puritanism," and this is the quality that often comes to the foreground in Reed's writings. And it's none the worse for that. The Boy's Own Paper was. after all. published by the highly-respectable Religious Tract Society. and everything published in it was supposed to instil, in as entertaining and painless a way as possible. the right thoughts into its healthy, manly young Christian readers. It was Reed who really created and established many of the situations and character-types later to be copied by numerous succeeding boys· school story writers. There were the fine. upstanding heroes, the weak. easily-led boys, the "bounders" who broke out after lights-out to frequent gambling-dens or (dare it be said?) music-halls. the "swots." the sportsmen. the bullies. and the jokers. There were the inter-house rivalries. the school magazines. the sporting contests, the "town-versus-gown" feuds, the different types of masters (both sympathetic and un-sympathetic) the "fagging" and the dormitory midnight feasts. It was 1451 REED CHILDREN'S WRITERS generally a cosy world, later to become something of a formula and to be written about, in a variety of ways, by such successful school story writers as Harold Avery, R.S. Warren-Bell, Richard Bird, Hylton Cleaver, Gunby Hadath, Edwy Searles Brooks, and (most prolific of them all) Charles Hamilton. In his writing, Reed was an excellent story-teller, wrote good, realistic dialogue, had a fine descriptive flair and, most of all, made his characters come vividly to life.

-Brian Doyle

SEWELL, Anna. British. Born in Great Yarmouth, Norfolk, 30 March 1820; daughter of the poet Mary Sewell. Educated privately, and a school in Stoke Newington, London. Semi-invalid from youth. Lived in Brighton, 1836-45, and later in Sussex, Gloucestershire, Bath, and Norwich. Taught at the Working Man's Evening Institute, Wick, Gloucestershire, in the early 1860's. Died 25 April 1878.

PUBLICATIONS FOR CHILDREN

Fiction

Black Beauty, His Grooms and Companions: The Autobiography of a Horse, Translated from the Original Equine. London, Jarrolds, 1817; New York, Angell, 1878.

Critical Study: The Woman Who Wrote "Black Beauty": A Life of Anna Sewell by Susan Chitty, London, Hodder and Stoughton, 1971.

Black Beauty is the imaginary autobiography of a horse. We follow his career from its gentle beginning in the care of a farmer, up through society via the squirearchy to the nobility, and thence sadly downwards, finally pulling a cab for a sordid villain called Skinner. It is an unashamedly didactic book. Anna Sewell wrote that "its special aim" was "to induce kindness, sympathy, and an understanding treatment of horses." This, she believed, would "bring the thoughts of men more in harmony with the purposes of God on this subject." The model owner, Squire Gordon, upbraids a neighbour who is beating a pony with the words "By giving way to such passions you injure your own character as much, nay more, than you injure your horse, and remember, we shall all be judged according to our works, whether they be towards man or towards beast." The book's moral influence was enormous. It was adopted and distributed by The Royal Society for the Prevention of Cruelty to Animals. and by its American counterpart. Within a short time, the fashionable but cruel habit of pulling the horse's head up high with bearing­ reins was abandoned and the treatment of cab horses came under far closer scrutiny. Ignorance about the care and needs of horses is condemned as bitterly as plain brutality. The didacticism at some points goes further than the care of animals. Like many 18th and 19th century fictitious autobiographies, it surveys critically a variety of social strata and finds as much to abhor in the life of the aristocracy as in the baser world of the East End. One of the best chapters consists of a well-argued debate about the rights of cab drivers to have a day off on Sunday rather than drive the gentry off to church. And the supreme villainy of Skinner is that he not only abuses his own cab horses but that he renLS his cabs out to other drivers at appallingly high rates. One of the drivers, known as Seedy Sam, has to pay Skinner eighteen shillings a week for the use ofthe vehicle and also maintains and feeds the two horses, before 1452 CHILDREN'S WRITERS STEVENSON he can earn a penny for himself and his hungry family. Small wonder that his horses are broken with exhaustion and he himself suddenly dies of the strain. The phrase "economic exploitation" had not entered Anna Sewell's vocabulary, but that is what she meant. What makes Black Beauty unique among Victorian children's books is the breadth of its appeal after a century. A major national survey of British children's reading preferences published in 1977 records it as the clear number one favourite book for I 0 year-olds. The explanation may be two-fold: it is superbly written, and horses are extremely appealing characters. Anna Sewell's simple narrative style matches the straightforwardness of her moral intentions -as monosyllabic and as undecorated as the English language will allow. Plain but not naive. The technique of allowing the horse to tell its own tale in the first person, though absurd if one pauses to reflect on it, seems the most natural - in fact the only possible - way in which to convey the range of experiences that Black Beauty goes through. The horse describes what happens and how he feels with the articulate understanding of a human being -because it is a human view of his suffering that Anna Sewell is trying to promote. She is not concerned with the inner realities of a horse's mind - its natural instincts and stages of development. She merely explains evident emotional behaviour in response to various forms of human treatment. And a great strength of the book is the precise and detailed technical account of the processes of breaking in, harnessing, maintaining and riding horses. the means by which the horse's nature is changed by human beings for better and for worse. It is hard to imagine a horsey book of such emotional interest being written in a contemporary setting of Pony Club or racing stable. In Black Beauty's day, horses worked alongside humans to earn their keep and their careers had close affinities with those of working men in terms of exploitation and reward. This close resemblance between the life of man and beast in society may partly account for the intense concern that the reader has for Black Beauty. And we react with deep emotion to the revelation of human callousness and ingratitude. The end of the story is pleasing but improbable: the hero rediscovered by chance and restored to his former country background - a just reward for long suffering service to man.

-Aidan Warlow

STEVENSON, Robert Louis (Robert Lewis Balfour Stevenson). British. Born in Edinburgh, I 3 November 18 50. Educated at Edinburgh Academy; Edinburgh University. 1866-71 ; studied law in the office of Skene, Edwards and Gordon. Edinburgh: called to the Scottish Bar, I 87 5. Married Fanny Vandegrift Osbourne in I 8 80; two stepchildren. including the writer Uoyd Osbourne. Tubercular: lived in Davos. Switzerland. Hyeres, France. Bournemouth. England. and the South Seas. settling in Samoa. Died 3 December 1894.

PUBLICATIONS FOR CHILDREN

Fiction

Treasure Island. London, Cassell, 1883; Boston, Roberts, 1884. Kidnapped, Being Memoirs qf the Adventures of David Ba(four in the Year 1715 London, Cassell, and New York. Scribner. 1886. The Black Arrow: A Tale o{the Two Roses. New York. Scribner, and London, Cassell, 1888. Catriona: A Sequel to "Kidnapped".... London. Cassell, 1893; as David Balfour, New York, Scribner. 1893. 1453 STEVENSON CHILDREN'S WRITERS

Verse

Penny Whistles. Privately printed. 1883. A Child's Garden of Verses. London. Longman. and New York, Scribner, 1885.

Other

A Child's Robert Louis Stevenson, edited by Patrick Braybrooke. London. Cecil Palmer. 1929.

PUBLICATIONS FOR ADULTS

Novels

Prince Otto: A Romance. London. Chatto and Windus. 1885; Boston. Roberts, 1886. Strange Case ofDr. Jekyll and Mr. Hyde. New York, Scribner, and London, Longman, 1886. The Master of Ballantrae: A Winter's Tale. London. Cassell, and New York. Scribner. 1889. The Wrong Box, with Lloyd Osbourne. London, Longman. and New York, Scribner. 1889. The Wrecker, with Lloyd Osbourne. London, Cassell, and New York, Scribner. 1892. Weir of Hermiston. Chicago, Stone and Kimball. 1896; as Weir of Hermiston: An Unfinished Romance, London. Chatto and Windus, 1896. St. lves, Being the Adventures of a French Prisoner in England. completed by A.T. Quiller-Couch. New York. Scribner. and London. . 1897.

Short Stories

New Arabian Nights. London. Chatto and Windus. 2 vols., 1882; New York. Munro. 1882. More New Arabian Nights: The Dynamiter, with Fanny Stevenson. London, Longman, and New York, Holt, 1885. The Merry Men and Other Tales and Fables. London, Chatto and Windus, and New York. Scribner, 1887. The Misadventures of John Nicholson: A Christmas Story. New York. Munro. 1887. The Bottle Imp. New York, Munro, 1893 (?) Island Nights' Entertainments. New York. Scribner, 189 3; as Island Nights' Entertainments, Consisting of The Beach of Falesa, The Bottle Imp, The Isle of Voices, London. Cassell. 189 3. The Ebb-Tide: A Trio and Quartette, with Lloyd Osbourne. Chicago, Stone and Kimball. and London. Heinemann, 1894. The Body-Snatcher. New York. Merriam, 1895. The Amateur Emigrant from the Clyde to Sandy Hook. Chicago, Stone and Kimball. and London. Chatto and Windus, 1895. The Strange Case of Dr. Jekyll and Mr. Hyde, with other Fables. London, Longman. 1896. Fables. New York, Scribner, 1896. The Wa(f Woman. London. Chatto and Windus, 1916. When the Devil Was Well. Boston. Bibliophile Society, 1921.

Plays

Deacon Brodie; or, The Double L(fe: A Melodrama, with W.E. Henley (produced Bradford, 1882; London. 1884; New York, 1887). Privately printed, 1880; in Three Plays, 1892. 1454 CHILDREN'S WRITERS STEVENSON

Admiral Guinea: A Melodrama, with W.E. Henley (produced London, 1897). Privately printed, 1884; in Three Plays, 1892. Beau Austin, with W.E. Henley (produced London, 1890). Privately printed, 1884; in Three Plays, 1892. Macaire: A Melodramatic Farce, with W.E. Henley (produced London, 1900). Privately printed, 1885. The Hanging Judge, with Fanny Stevenson. Privately printed, 1887. Three Plays: Deacon Brodie, Beau Austin, Admiral Guinea, with W.E. Henley. London, Nutt, and New York, Scribner, 1892. The Plays of W.E. Henley and Robert Louis Stevenson (includes Deacon Brodie, Beau Austin, Admiral Guinea, Macaire). London, Heinemann, 1896. Monmouth, edited by Charles Vale. New York, Rudge, 1928.

Verse

Underwoods. London, Chatto and Windus, and New York, Scribner, 1887. Ticonderoga. Privately printed, 1887. Ballads. New York, Scribner, and London, Chatto and Windus, 1890. Songs of Travel and Other Verses. London, Chatto and Windus, 1895. Poems and Ballads. New York, Scribner. 1896; revised edition, 1913. Three Short Poems. Privately printed, 1898. Teui/a. Privately printed, 1899. Poems. London. Longman, 1913. Poetical Fragments. Privately printed, 1915. An Ode of Horace, Book 2, Ode 3. Privately printed. I 916. Poems Hitherto Unpublished, edited by George S. Hellman. Boston, Bibliophile Society, 2 vols .• 1916; as New Poems and Variant Readings. London. Chatto and Windus, 1918; additional volume. edited by GeorgeS. Hellman and William P. Trent, Bibliophile Society, 1921. Moral Emblems and Other Poems. London. Chatto and Windus. and New York. Scribner, I 921. Collected Poems, edited by Janet Adam Smith. London, Hart Davis. 1950.

Other

The Pentland Rising: A Page of History, 1666. Privately printed. 1866. The Charity Bazaar: An Allegorical Dialogue. Privately printed, 1871. An Appeal to the Clergy.... Edinburgh. Blackwood. 1875. An Inland Voyage. London. Kegan Paul. 1878; Boston, Roberts. 1883. Edinburgh: Picturesque Notes. London. Seeley, 1879; New York. Macmillan. 1889. Travels with a Donkey in the Cevennes. London. Kegan Paul. and Boston. Roberts, 1879. Virginibus Puerisque and Other Papers. London. Kegan Paul, 1881 ; New York. Scribner, 1887. Familiar Studies of Men and Books. London. Chatto and Windus. and New York. Scribner, 1882. The Silverado Squatters: Sketches from a Cal(fornian Mountain. London, Chatto and Windus, 1883; Boston, Roberts, 1884. Memories and Portraits. London, Chatto and Windus. and New York. Scribner, 1887. Thomas Stevenson, Civil Engineer. Privately printed, 1887. MemoirofFleemingJenkin. New York, Scribner, 1888; London. Longman. 1912. Father Damien: An Open Letter to the Reverend Dr. Hyde Q{ Honolulu. Privately printed, 1890. 1455 STEVENSON CHILDREN'S WRITERS

The South Seas: A Record of Three Cruises. Privately printed, 1890. Across the Plains, with Other Memories and Essays. London, Chatto and Windus, and New York, Scribner, 1892. A Footnote to History: Eight Years of Trouble in Samoa. London, Cassell, and New York, Scribner, 1892. The Works (Edinburgh Edition), edited by Sidney Colvin. London, Chatto and Windus, 28 vols., 1894-98. The Novels and Tales (Thistle Edition). New York, Scribner, 27 vols., 1895-1912. Vailima Letters, Being Correspondence Addressed to Sidney Colvin, November 1890- 0ctober 1894. Chicago, Stone and Kimball, 2 vols., 1895; London, Methuen, 1895. In the South Seas.... New York, Scribner, 1896; London, Chatto and Windus, 1900. Familiar Epistle in Verse and Prose. Privately printed, 1896. A Mountain Town in France: A Fragment. New York, Lane, 1896. The Stevenson Reader, edited by Lloyd Osbourne. London, Chatto and Windus, 1898. The Morality of the Profession of Letters. New York, Brothers of the Book, 1899. The Letters of Robert Louis Stevenson to His Family and Friends, edited by Sidney Colvin. London, Methuen, and New York, Scribner, 2 vols., 1899; revised edition, 4 vols., 1911. A Stevenson Medley, edited by Sidney Colvin. London, Chatto and Windus, 1899. The Best of Stevenson, edited by Alexander Jessup. Boston, Page, 1902. Some Letters. New York, Ingalls Kimball, 1902. Essays and Criticism. Boston, Roberts, 1903. Prayers Written at Vailima. New York, Scribner, and London, Chatto and Windus, 1903. Essays o.f Travel. London, Chatto and Windus, 1905. Essays in the Art of Writing. London, Chatto and Windus, 1905. Essays, edited by William Lyon Phelps. New York, Scribner, 1906. The Works (Household Edition). New York, Lamb, I 0 vols., 1906. The Works (Pentland Edition), edited by Edmund Gosse. London, Cassell, 20 vols., 1906-07. The Works (Autobiographical Edition). New York, Scribner, 31 vols., 1908-12. Lay Morals and Other Papers. London, Chatto and Windus, 1911. Selections. edited by Henry Seidel Canby and Frederick Erastus Pierce. New York, Scribner, I 91 I. The Works (Swanston Edition). London, Chatto and Windus, 25 vols., 1911-12. Records of a Family of Engineers. London, Chatto and Windus, 1912. Memoirs of Himse(f Privately printed, 1912. Some Letters o.f Robert Louis Stevenson, edited by Lloyd Osbourne. London, Methuen, 1914. On the Choice o.f a Pro.fession. London, Chatto and Windus, 1916. Diogenes in London. San Francisco, John Howell, 1920. Hitherto Unpublished Writings, edited by Henry H. Harper. Boston, Bibliophile Society, I 9 2I. Stevenson's Workshop, with Twenty-Nine MS. Facsimiles, edited by William P. Trent. Boston, Bibliophile Society, 1921. Confessions of a Unionist: An Unpublished "Talk on Things Current," Written in the Year 1888 .... ,edited by F.V. Livingston. Privately printed, 1921. [Works] (Vailima Edition), edited by Lloyd Osbourne and Fanny Stevenson. London, Heinemann, 26 vols., 1922-23. The Best Thing in Edinburgh (address), edited by Katharine D. Osbourne. San Francisco, John Howell, 1923. [Works] (Skerryvore Edition). London, Heinemann, 30 vols., 1924-26. [Works] (Tusitala Edition). London, Heinemann, 35 vols., 1924. [Works] (South Seas Edition). New York, Scribner, 32 vols., 1925. The Castaways o.f Soledad, edited by George S. Hellman. Privately printed, 1928. 1456 CHILDREN'S WRITERS STEVENSON

The Manuscripts qf "Records ofa Family ofEngineers": The Unfinished Chapters, edited by J. Christian Bat. Chicago, Walter M. Hill, 1930. Novels and Stories. London, Pilot Press, 1945. Selected Writings, edited by Saxe Commins. New York, Random House, 1947. The Stevenson Companion, edited by John Hampden. London, Phoenix House, 1950. Essays, edited by Malcolm Elwin. New York, Coward McCann, 1950. Tales and Essays, edited by G.B. Stern. London, Falcon Press, 1950. Silverado Journal, edited by J.E. Jordan. San Francisco, Book Club of California, 1954. RLS: Stevenson's Letters to Charles Baxter, edited by De Lancey Ferguson and M. Waingrow .. New Haven, Connecticut, Yale University Press, 1956. From Scotland to Silverado, edited by J.D. Hart. Cambridge, Massachusetts, Harvard University Press, 1966.

Manuscript Collections: Heinecke Collection, Yale University, New Haven, Connecticut; Huntington Library, San Marino, California.

Critical Studies: Voyage to Windward: The Life of Robert Louis Stevenson by J.C. Furnas, New York, Sloane, 1951, London, Faber, 1952: He Wrote Treasure Island: The Story of Robert Louis Stevenson by G.B. Stern, London, Heinemann, 1954; Portrait of a Rebel: The Life and Work of Robert Louis Stevenson by Richard Aldington, London. Evans. 1957; Robert Louis Stevenson by Dennis Butts, London, Bodley Head, and New York. Walck. 1966.

Nearly all Robert Louis Stevenson's mature fiction, with the exception of Dr. Jekyll, takes the form of the . Treasure Island, Kidnapped, Catriona, The Master qf Ballantrae, St. lves, and Weir qf Hermiston all fall into this category, with the action mainly taking place in 18th-<:entury Scotland. The two exceptions are The Black Arrow. which is set in the Middle Ages. and Treasure Island, which has an English and exotic background. The plots are nearly always concerned with long journeys, the search for treasure. or flight from capture, and they are usually fraught with great hazards- piracy, murder. intrigue­ against which the hero, normally a young person of some resourcefulness. struggles to survive. But Stevenson does not merely use the ingredients of the historical romance for dramatic effects; he also tries to integrate them into a design by which they throw light on various aspects of the human situation as he saw it. Many of the stories have not a single hero at the centre. but a pair. David and Alan in Kidnapped, Jim and Long John in Treasure Island. Dr. Jekyll and Mr. Hyde, are the best known examples, and they seem to achieve a kind of complementarity as if each partner compensates for the defects ofthe other. Many of the books also deal with conflicts between clearly defined sides, such as pirates versus honest sailors, English versus Scots. or York versus Lancaster. But there is usually a good deal of changing sides between these antagonists. Long John Silver, for example. begins as an apparently honest sea-cook, reveals himself as leader of the mutiny. then deserts the pirates. and finishes up by even jumping Captain Smollett's ship. Dick Shelton in The Black Arrow switches his allegiance from Lancaster to York. while Alan Breck actually deserts King George at the Battle of Prestonpans. James in The Master qf Ba/lantrae seems to have the best of both worlds. fighting for Bonnie Prince Charlie but spying for the other side. Finally. there is a good deal of intrigue and duplicity in the way Stevenson's characters behave. and physical disguises are frequently adopted. In Catriona the heroine pretends to be David's sister; in The Black Arrow Joanna passes herself off as a boy; and Dr. Jekyll's disguise is even more fundamental. Stevenson's use of the dual-hero, the changing of sides, and the adoption of disguises is not only appropriate to the kinds of stories he wrote. and adds to their dramatic effectiveness, but reveals his passionate concern with the problems of identity and morality. From Stevenson's biographers we know of the ambiguities of his own life, his troubled relations with his 1457 STEVENSON CHILDREN'S WRITERS parents. whom he adored, and with Scotland, which he worshipped from afar. It may be that his literary interests developed there, but, from the evidence of the fiction, it is clear that Stevenson saw man's nature as constantly shifting, and therefore all the more difficult to define and come to terms with. Dr. Jekyll, who can transform himself physically into a murderous villain, and Deacon Brodie, the clergyman who becomes a house-breaker at night-time, are simply extreme examples of such shifts. Long John Silver and Alan Breck are much more equivocal as their personalities and virtues fluctuate. Long John, for example, is a pirate, thief and murderer in Treasure Island, and, as such, quite ruthless in pursuit ofthe gold. But he is also cheerful, brave, witty, and above all kind to Jim, who has no father. In this way Stevenson is constantly challenging out responses. Who is good or bad? he seems to be saying. In your final judgement, do you find Long John sympathetic or not? Are these sorts of questions even relevant? David Balfour operates as a kind of moral censor of Alan Breck's behaviour in Kidnapped, but in the end, though he may be "right" in his quarrel with Alan in "The Flight in the Heather," he comes to see that their love complicates the whole matter of knowing who is right or wrong. Stevenson's influence on later writers is less specific, more pervasive. The historical romance, first established by Scott at the beginning of the 19th century, and then adapted for children by such authors as Marryat and Henty, went from strength to strength, until it reached its Victorian peak with Stevenson himself. Though the quality of many early 20th­ century historical novels deteriorated, honourable exceptions can be found in the work of and Geoffrey Trease, and from the 1950's the emergence of such writers as Leon Garfield, Cynthia Harnett and Rosemary Sutcliff has sparked a renaissance of the form. Though the influence of Stevenson on the specific narrative techniques of the adventure story is doubtful. the influence of his moral values issuing into literary attitudes is everywhere absolutely pervasive, even amongst those authors who would say they had never read him, and this for two reasons. First, he showed how it was possible to write books for children that were both thrilling in the most fundamental sense, and yet at the same time deeply serious. The loss of innocence- for example, by Jim Hawkins -is as prevalent in Stevenson's work as in that of , and the friendship of the two writers was, of course, very significant. And second, in his treatment of the complexities of human behaviour, in his refusal to compartmentalise characters as either "good" or "bad," his writing revealed a maturity which the best children's writers of today can only hope to emulate but not excel. It is significant that a novelist like Leon Garfield, whose stories of the 18th century differ so much from Stevenson's, should return time and again to the equivocal nature of human relationships, and the difficulties of distinguishing appearance from reality in exciting books such as Smith and Jack Holborn. Without the achievement of Stevenson so much of today's best writing would never have appeared.

-Dennis Butts

STOCKTON, Frank R. (Francis Richard Stockton). American. Born in Philadelphia, Pennsylvania, 5 April 1834. Educated at Zane Street School, 1840-48, and Central High School, 1848-52, both in Philadelphia. Married Mary Ann Tuttle in 1860. Apprenticed as a wood-engraver, 1852, and worked as an engraver until 1870. Assistant Editor, Hearth and Home, 1868-73, and St. Nicholas magazine, 1873-78. Regular contributor to Scribner's Magazine. Died 20 Apri/1902.

PUBLICATIONS FOR CHILDREN

Fiction

Ting-a-Ling. Boston, Hurd and Stoughton, 1870; London, Ward and Downey, 1889. 1458 CHILDREN'S WRITERS STOCKTON

What Might Have Been Expected. New York, Dodd Mead, 1874; London, Routledge, 1875. A Jolly Friendship. New York, Scribner, and London, Kegan Paul, 1880. The Floating Prince and Other Fairy Tales. New York, Scribner, and London, Ward and Downey, I 8 81. Ting-a-Ling Tales. New York, Scribner, 1882. The Story of Viteau. New York, Scribner, and London, Sampson Low, 1884. The Bee-Man ofOrn and Other Fanciful Tales. New York, Scribner, 1887; London, Sampson Low, 1888. The Queen's Museum. New York, Scribner, 1887. The Clocks ofRondaine and Other Stories. New York, Scribner, and London, Sampson Low, 1892. Fanciful Tales, edited by Julia E. Langworthy. New York, Scribner, 1894. Captain Chap; or, The Rolling Stones. Philadelphia, Lippincott, and London, Nimmo, 1896; as The Young Master of Hyson Hall, Lippincott, and London. Chatto and Windus, 1899. Kate . New York, Appleton, and London, Cassell. 1902. Stories ofthe Spanish Main. New York, Macmillan, 1913. The Poor Count's Christmas. New York, Stokes, 1927.

Other

Roundabout Rambles in Lands of Fact and Fancy. New York. Scribner. 1872. Tales Out of School. New York, Scribner, 1875. Personally Conducted. New York. Scribner, and London, Sampson Low, 1889. New Jersey, from the Discovery of the Scheytchbi to Recent Times. New York, Appleton, 1896; as Stories of New Jersey, New York. American Book Company, 1896. The Buccaneers and Pirates of Our Coasts. New York. Macmillan. 1898.

PUBLICATIONS FOR ADULTS

Novels

The Late Mrs. Null. New York, Scribner, and London. Sampson Low. 1886. The Hundredth Man. New York. Century. and London, Sampson Low. 1887. The Great War Syndicate. New York, Collier. and London. Longman. 1889. The Stories of the Three Burglars. New York. Dodd Mead. and London. Sampson Low, 1890. The Merry Chanter. New York, Century, and London. Sampson Low, 1890. Ardis Claverden. New York, Dodd Mead, and London. Sampson Low. 1890. The House of Martha. Boston. Houghton Mifflin, and London. Osgood. 1891. The Squirrel Inn. New York. Century. and London, Sampson Low. 1891. Pomona's Travels. New York, Scribner. and London. Cassell. 1894. The Adventures o.fCaptain Horn. New York, Scribner, and London. Cassell. 1895. Mrs. Cl(ffs Yacht. New York, Scribner. and London. Cassell. 1896. The Girl at Cobhurst. New York, Scribner. and London. Cassell. 1898. The Novels and Stories. New York, Scribner. 23 vols .. 1899-1904. A Bicycle in Cathay. New York. Harper, 1900. The Captain's Toll Gate, edited by Marian E. Stockton. New York. Appleton. and London, Cassell, 1903.

Short Stories

Rudder Grange. New York, Scribner, 1879; Edinburgh, Douglas. 1883. 1459 STOCKTON CHILDREN'S WRITERS

The Lady or the Tiger? and Other Stories. New York, Scribner, and Edinburgh, Douglas, 1884. The Transferred Ghost. New York, Scribner, 1884. The Casting Away ofMrs. Leeks and Mrs. Aleshine. New York, Century, and London, Sampson Low, 1886. A Christmas Wreck and Other Stories. New York, Scribner, 1886; as A Borrowed Month and Other Stories, Edinburgh, Douglas, 1887. The Dusantes. New York, Century, and London, Sampson Low, 1888. Amos Kilbright, His Adscititious Experiences, with Other Stories. New York, Scribner, and London, Unwin, 1888. The Rudder Grangers Abroad. New York, Scribner, and London, Sampson Low, 1891. The Watchmaker's W({e and Other Stories. New York, Scribner, 1893; as The Shadrach and Other Stories, London, W.H. Allen, 1893. A Chosen Few. New York, Scribner, 1895. A Story-Teller's Pack. New York, Scribner, and London, Cassell, 1897. The Great Stone of Sardis. New York and London, Harper, 1898. The Associate Hermits. New York and London, Harper, 1898. The Vizier of the Two-Horned Alexander. New York, Century, and London, Cassell, 1899. Afield and Afloat. New York, Scribner, 1900; London, Cassell, 190 I. John Gayther's Garden. New York, Scribner, 1902; London, Cassell, 1903. The Magic Egg and Other Stories. New York, Scribner, 1907.

Other

The of Frank R. Stockton, edited by Richard Gid Powers. Boston, Gregg Press, 1976.

Critical Study: Frank R. Stockton by Martin I.J. Griffin, Philadelphia, University of Pennsylvania Press, 1939 (includes bibliography).

One of the most prolific contributors to children's literature in the last third of the I 9th century, Frank R. Stockton is perhaps best remembered for such modern fairy tales as "Ting­ a-Ling," "The Griffin and the Minor Canon," "Old Pipes and the Dryad," and "The Queen's Museum." But taken as a whole, his work is richly varied. During his long association with the quality children's periodical St. Nicholas, first as assistant editor and later as a regular contributor, he wrote such realistic tales of adventure as What Might Have Been Expected, in which a brother and sister manage to provide economic security for their aged and feeble aunt. Personally Conducted is a collection of travel sketches originally written for St. Nicholas. Stockton also produced two juvenile histories: New Jersey, from the Discovery ofthe Scheyichbi tq Recent Times, an anecdotal account of some dramatic occasions in the state's history, and Buccaneers and Pirates of Our Coasts. Tales Out of School, like its predecessor Roundabout Rambles. consists of informative stories, mostly dealing with natural history. In The Story of Viteau, Stockton attempted a tale of medieval life that reveals his general inability to realize in his fiction a vivid sense of place. The same difficulty can be seen in What Might Have Been Expected, set in the American South. Unlike many Northerners, Stockton was familiar with life in the South (his wife was from South Carolina) and his Negro characters have a substantiality not often found in children's literature of the period; but he was less successful in rendering the South as a locale. His principal interest throughout his career as a writer was in delineating character and situation. As assistant editor of St. Nicholas, Stockton adopted two pseudonyms, Paul Fort and John Lewees, under which he wrote numerous informative articles and such slight moralistic sketches as "Tommy Hooper's Choice," which 1460 CHILDREN'S WRITERS STRETTON describes the mildly humorous difficulties encountered by the youngTommy when he tries to decide how to spend 25 cents- a magnificent sum to a child in the 1870's. Stockton's best work for children, and the most interesting, consists of his fairy tales, or "fanciful tales" as he liked to call them, beginning with the adventures of Ting-a-Ling, a diminutive elf, who first appeared in The Riverside Magazine in 186 7. Even as a student, Stockton had wanted to write fairy tales of a particular sort. Of his approach, he later commented: "I wanted the fanciful creatures who inhabited the world of fairy-land to act, as far as possible for them to do so, as if they were inhabitants of the real world. I did not dispense with monsters and enchanters, or talking beasts and birds, but I obliged these creatures to infuse into their extraordinary actions a certain leaven of common sense." Stockton's efforts to infuse "realism" into the traditional elements of the fairy tale had both a formal and a psychological dimension. He made no attempt to render the world of faery through archaic language, for example, but told his tales simply, directly, and matter-of­ factly, without archness. He was neither patronizing nor condescending to his audience. and his tales are remarkably free of the overt moralizing that often crept into the period's literature for children. Throughout the tales runs a strongly individualistic psychology - a contempt for dependence, authoritarianism, and timid conformity: a celebration of independence, sturdy self-reliance, and personal courage - that fits well with the ethic of individualism prominent in 19th-century American thought and evident in much post-Civil War literature for children. In his "fanciful tales," Stockton expressed a deft, sure touch. a gentle humor, a sweetness of temper that he rarely achieved in his other children's fiction. The publication in the 1880's of "The Bee-Man of Orn," "The Griffin and the Minor Canon," and similar tales, as well as a series of yearly Christmas stories for St. Nicholas, marked the high point of Stockton's juvenile writing. By 1885. he was writing increasingly for an adult audience, who had acclaimed his short story "The Lady or the Tiger?" and in that year he undertook the writmg of his first novel. Stockton produced little of note for children after the appearance in 1887 of "The Crooks of Rondaine" in St. Nicholas.

-R. Gordon Kelly

STRETTON, Hesba. Pseudonym for Sarah Smith. British. Born in Wellington. Shropshir.e. 27 July 1832. Educated at Old Hall Girls Day School. Wellington. Lived in Manchester, 1863-70, and in London after 1870. Co-founder of London Society for the Prevention of Cruelty to Children. Died 8 October 1911.

PUBLICATIONS FOR CHILDREN

Fiction

Fern's Hollow. London, Religious Tract. Society. 1864: Philadelphia. Presbyterian Board of Publication, n.d. The Children ofC/overley. London, Religious Tract Society. 1865: Boston, Hoyt. 1872. Enoch Roden's Training. London, Religious Tract Society, 1866. The Fishers of Derby Haven. London. Religious Tract Society. 1866: as Peter Killip 's King; or, The Fishers of Derby Haven, Boston. Hoyt. 187 3( ?). Pilgrim Street: A Story o.f Manchester L({e. London, Religious Tract Society, 186 7: Boston, Hoyt, 1875. Jessica's First Prayer. London, Religious Tract Society. 1867: New York. American Tract Society, 1868. Little Meg's Children. London, Religious Tract Society. 1868: Boston. Hoyt. 1869. 1461 STRETTON CHILDREN'S WRITERS

Alone in London. London, Religious Tract Society, and New York, American Tract Society, 1869. Max Kromer: A Story of the Siege of Strasbourg. London, Religious Tract Society, 1871; New York, Dodd Mead, 1873. Bede's Charity. London, Religious Tract Society, 1872; New York, Dodd Mead. 1874. The King's Servants. London, Religious Tract Society, and New York, Dodd Mead, 1873. Lost Gip. London, King, and New York, Dodd Mead, 1873. Cassy. London, Religious Tract Society, and New York, Dodd Mead, 1874. No Work No Bread. London, Partridge, 1875. Two Christmas Stories. London, King, 1875. Brought Home. Glasgow, Scottish Temperance League, and New York, Dodd Mead, 1875. Friends till Death and Other Stories. London, King, 1875. The Crew of the "Dolphin." London, King, and New York, Dodd Mead, 1876. A Night and a Day. London, King, and New York, American Tract Society, 1876. Michael Lorio's Cross and Other Stories. London. King, 1876. Old Transome. London, King, 1876. The Storm of Life. London, King, and New York, American Tract Society, 1876. The World of a Baby, and How Apple-Tree Court Was Won. London, King, 1876. A Man of His Word. London, Kegan Paul, and New York, American Tract Society, 1878. Mrs. Burton's Best Bedroom and Other Stories. London, Religious Tract Society, 1878. A Thorny Path. London, Religious Tract Society, and New York, American Tract Society, 1879. In Prison and Out, illustrated by R. Barnes. London, Isbister, and New York, Dodd Mead, 1879. Cobwebs and Cables, illustrated by Gordon Browne. London, Religious Tract Society, and New York, Dodd Mead, 1881. No Place Like Home. London, Religious Tract Society, 1881. Under the Old Roof London, Religious Tract Society, 1882. The Lord's Purse-Bearers. London, Nisbet, and Boston, Lothrop, 1882. Carola. London, Religious Tract Society, and New York, Dodd Mead, 1884. Her Only Son. Glasgow. Scottish Temperance League, and New York. Dodd Mead, 1887. Left Alone. London, Religious Tract Society, 1888. Only a Dog. London, Religious Tract Society, 1888. A Miserable Christmas and a Happy New Year. London, Religious Tract Society, 1888. Sam Franklin's Savings Bank. London, Religious Tract Society, 1888. The Christmas Child. London, Religious Tract Society, 1888. An Acrobat's Girlhood. London, S.P.C.K., 1889. Ha(f Brothers. London, Religious Tract Society, and New York, Cassell, 1892. Jessica's Mother. London, Religious Tract Society, 1893; Philadelphia, Altemus, 1896. The Highway o,(Sorrow at the Close o.fthe Nineteenth Century, with Stepniak. London, Cassell, and New York, Dodd Mead, 1894. Two Secrets, and A Man o,(His Word. London, Religious Tract Society. 1897. In the Hollow o.f His Hand. London, Religious Tract Society, 1897. The Soul o.f Honour. London, Isbister, 1898. Other The Sweet Story o.f Old .. .. London, Religious Tract Society, 1860; New York, Whittaker, 1886. The Wonder:ful L((e. London, Religious Tract Society, 1875; New York, American Tract Society, 1876; as The Life o.fChrist, Chicago, Monarch Book Company, 1895. The Parables of Our Lord. London, Religious Tract Society, 1903. 1462 CHILDREN'S WRITERS STRETTON

Editor, with H.L Synnot, Good Words from the Apocrypha. London, Skeffington, 1903.

PUBLICATIONS FOR ADULTS

Novels

The Clives of Burcot. London, Tinsley, 3 vols., 1866; New York, Routledge, 1867. Paul's Courtship. London, Wood, 3 vols., 1867. David Lloyd's Last Will. London, Religious Tract Society, 2 vols., 1869; New York, Dodd Mead, 1873. The Doctor's Dilemma. London. King, 3 vols .. 1872; New York, Appleton. n.d. Hester Morley's Promise. London, King, 3 vols., 1873; New York. Dodd Mead. 1873. Through a Needle's Eye. London. Kegan Paul. 2 vols., 1878; New York, Dodd Mead. 1878.

Other

Editor, Thoughts on Old Age: Good Words from Many Minds. London, Religious Tract Society, I 906.

Jessica's First Prayer is one of those books known by its title to thousands who have never seen a copy. This simply told story of a destitute child, daughter of a gin-sodden actress. who hears the Christmas message and by her simple faith brings a new light into the lives of her elders was to initiate a new genre of evangelical writing, the street arab story, and to remain perhaps the best of them. It is not, however, the very first example. Mary Howitt, in The Story of Little Crista/ (1863), probably inspired by Hans Andersen's The Little Match Girl, had described how a street waifs last hours had been comforted by the memory of a stained glass window depicting Christ blessing the children. Jessica's First Prayer, originally published in Sunday at Home in 1866, was the first of 's works to attract attention, and its success was phenomenal. not only in England but all over the world. Written no doubt as "family" reading rather than directly for children, it and its legion of imitations soon became adopted as standard Sunday reading for the young, replacing the Calvinistic tracts of Mrs. Sherwood and Mrs. Cameron that the early Victorians had been reared on, and the compilations of holy deaths of young people that had gone before these. The idea of the child evangelist unconsciously melting the cold and stubborn heart of an adult was to have a compelling effect on young readers. and for once children of their own age were the centre of the amazed attention of their elders. The resul. was a deluge of mawkish novelettes which did not subside until well on in the next century. But Jessica's First Prayer cannot be blamed for this. It is finely observed, economically told, and the child Jessica's awakening faith -very difficult to convey. as Miss Stretton 's imitators were to find - is moving and convincing. Miss Stretton followed it up with some 50 stories sometimes on the theme of the suffering poor, sometimes on the evil brought about by love of money. Unlike Charlotte Yonge and others in the squarson tradition, who wrote with rural church schools in mind, she could not agree that the existing social order was right. She had first-hand knowledge of slum conditions in London and Manchester ; she knew all about grasping landlords, the heavy hand of officialdom. how unjust justice could be. In In Prison and Out she spoke with warm indignation of the deplorable difference in society's attitude towards a slum boy who had knocked down a man for insulting his mother, and a public schoolboy such as Tom Brown who did the same sort of thing. One would be sent to prison, the other commended. She was frequently to take the side of the employee against the employer, as in Fern's Hollow, and always to attack the folly of laying up treasures on earth. 1463 STRETION CHILDREN'S WRITERS

Her accounts of the poor and destitute were always moving: the bare-footed crossing sweepers shivering in their rags, the feverish child grasping for fresh air in the mid-summer furnace of a stifling London courtyard, the street arab's search for a lost baby sister whom nobody cared about but himself, the shame and degradation of having at last to take refuge in the "House," the terror of being .buried as a pauper. But they were to be repeated so often that they lost their first impact: "It is possible to have too many of them," as Charlotte Yonge wrote. It was in any case a time when journalists and philanthropists were working hard to open the public's eyes to the atrocious conditions in which the poor lived, and there was much literature on this theme. Nevertheless, at her best, in books such as Alone in London, Little Meg's Children, Lost Gip, Pilgrim Street (all written in the earlier part of her career), she rose far above the level of the ordinary Sunday School reward book. Her successors could harrow the reader with their accounts of the mirk and misery and vice of the slums, but Hesba Stretton could also enter into the small pleasures of the poor: a feast of bloaters, a mug of hot coffee, the sight of a garden, a baby to love.

-Gillian Avery

TWAIN, Mark. Pseudonym for Samuel Langhorne Clemens. American. Born in Florida, , 30 November 1835. Grew up in Hannibal, Missouri. Married Olivia Langdon in 1870 (died, 1904); one son, three daughters. Printer's apprentice from age 12; helped brother with Hannibal newspapers, 185Q-52; worked in St. Louis, New York, Philadelphia, Keokuk, Iowa, and Cincinnati, 1853-57. River pilot's apprentice, 1857, pilot license granted, 1859. Miner in Nevada, 1861; staff member, Virginia City , Nevada, 1862-64. Lecturer from 1866. Editor, Buffalo Express, 1868-71. Associated with the Charles L. Webster Publishing Company from 1884, bankrupt, 1894 Oast debts paid, 1898). M.A.: Yale University, New Haven, Connecticut, 1888; Litt.D.: Yale University, 1901; Oxford University, 1907; LL.D.: University of Missouri, Columbia, 1902. Died 21 April/910.

PUBLICATIONS FOR CHILDREN

Fiction

The Adventures of Tom Sawyer, illustrated' by T.W. Williams. London, Chatto and Windus, and Hartford, Connecticut, American Publishing Company, 1876. The Prince and the Pauper. London, Chatto and Windus, and Boston, Osgood, 1881. The Adventures of Huckleberry Finn (Tom Sawyer's Companion). London, Chatto and Windus, 1884; New York, Webster, 1885. , by Huck Finn, edited by Mark Twain. New York, Webster, and London, Chatto and Windus, 1894. Tom Sawyer Abroad, Tom Sawyer, Detective, and Other Stories. New York, Harper, 1896; as Tom Sawyer, Detective, as Told by Huck Finn, and Other Tales, London, Chatto and Windus, 1897. A Boy's Adventure. Privately printed, 1928. Mark Twain's Hannibal, Huck, and Tom, edited by Walter Blair. Berkeley, University of California Press, 1969. 1464 CHILDREN'S WRITERS TWAIN

Other

Translator, Slovenly Peter (Der Struwwe/peter). New York, Limited Editions Club, 1935.

PUBLICATIONS FOR ADULTS

Novels

The Innocents Abroad; or, The New Pilgrims' Progress .. .. Hartford, Connecticut, American Publishing Company, 1869; London, Routledge, 2 vols., 1872. The Innocents at Home. London, Routledge, 1872. The Gilded Age: A Tale of Today, with Charles Dudley Warner. Hartford, Connecticut, American Publishing Company, 1873; London, Routledge, 3 vols., 1874. . Hartford, Connecticut, American Publishing Company, and London, Chatto and Windus, 1880. A Connecticut Yankee in King Arthur's Court. New York, Webster, and London. Chatto and Windus, 1889. . New York, Webster, and London, Chatto and Windus, 1892. Pudd'nhead Wilson: A Tale. London, Chatto and Windus, 1894; as The Tragedy of Pudd'nhead Wilson, Hartford, Connecticut, American Publishing Company, 1894. Personal Recollections ofJoan ofArc.... New York. Harper, and London. Chatto and Windus, 1896. A Double Barrelled Detective Story. New York, Harper, and London. Chatto and Windus, 1902. Extracts from Adam's Diary. New York and London, Harper, 1904. Eve's Diary. New York and London, Harper, 1906. A Horse's Tale. New York and London, Harper, 1907. Simon Wheeler, Detective, edited by Franklin R. Rogers. New York, New York. Public Library. 1963. The Complete Novels, edited by Charles Neider. New York. Doubleday, 2 vols .. 1964. The Adventures of Colonel Sellers, Being Mark Twain's Share of "The Gilded Age," edited by Charles Neider. New York. Doubleday. 1965.

Short Stories

The Celebrated Jumping Frog ~{Calaveras County and Other Sketches. edited by John Paul. New York, Webb, 1867. A True Story and the Recent Carnival o{Crime. Boston. Osgood, 1877. Date 1601: Conversations as It Was by the Social Fireside in the Time ~f the Tudors. Privately printed, 1880; as 1601 ... , edited by Franklin J. Meine. Chicago. privately printed, 1939. The Stolen White Elephant Etc. Boston. Osgood. 1882. . New York. Webster. 1892. The £1,000,000 Bank-Note and Other New Stories. New York. Webster. and London. Chatto and Windus, 1893. The Man That Corrupted Hadleyburg and Otl1er Stories and Essays. New York. Harper, and London, Chatto and Windus, 1900. A Dog's Tale. London, National Anti-Vivisection Society. and New York, Harper, 1904. The $30,000 Bequest and Other Stories. New York. Harper. 1906; London, Harper, 1907. 1465 TWAIN CHILDREN'S WRITERS

Extract from Captain Stormfie/d's Visit to Heaven. New York and London, Harper, 1909; revised edition, as Report from Paradise, edited by Dixon Wecter, New York, Harper, 1952. : A Romance. New York, Harper, 1916; London, Harper, 1917. The Curious Republic q{Gondour and Other Whimsical Sketches. New York, Boni and Liveright, 1919. The Mysterious Stranger and Other Stories. New York and London, Harper, 1922. The Adventures qf Thomas Je,tferson Snodgrass, edited by Charles Honce. Chicago, Covici, 1928. Jim Smiley and His Jumping Frog, edited by Albert B. Paine. Chicago, Pocahontas Press, I 940. A Murder, A Mystery, and a Marriage. Privately printed, 1945. The Complete Short Stories, edited by Charles Neider. New York, Hanover House, 1957. The Complete Humorous Sketches and Tales, edited by Charles Neider. New York, Doubleday, 1961. Mark Twain's Satires and Burlesques, edited by Franklin R. Rogers. Berkeley, University of California Press, 196 7. Mark Twain's Mysterious Stranger Manuscripts, edited by William M. Gibson. Berkeley, University of California Press, 1969.

Plays

Ah Sin, with , edited by Frederick Anderson (produced Washington, D.C., 1877). San Francisco, Book Club of California, 1961. The Quaker City Holy Land Excursion: An Unfinished Play. Privately printed, 1927.

Verse

On the Poetry qf Mark Twain, with Selections from His Verse, edited by Arthur L. Scott. Urbana, University of Hlinois Press, 1966.

Other

Mark Twain's (Burlesque) Autobiography and First Romance. New York, Sheldon, 1871. Memoranda: From the Galaxy. Toronto, Canadian News and Publishing Company, 1871. Roughing ft. London, Routledge, and Hartford, Connecticut, American Publishing Company, 1872. A Curious Dream and Other Sketches. London, Routledge, 1872. Screamers: A Gathering of Scraps qf Humour, Delicious Bits, and Short Stories. London, Hotten, 1872. Sketches. New York, American News Company, 1874. Sketches, New and Old. Hartford, Connecticut, American Publishing Company, 1875. Old Times on the Mississippi. Toronto, Belford, 1876. Punch, Brothers, Punch! and Other Sketches. New York, Slote Woodman, 1878. An Idle Excursion. Toronto, Belford, 1878. A Curious Experience. Toronto, Gibson, 1881. L({e on the Mississippi. London, Chatto and Windus, and Boston, Osgood, 1883. Facts for Mark Twain's Memory Builder. New York, Webster, 1891. How to Tell a Story and Other Essays. New York, Harper, 1897; revised edition, 1900. 1466 CHILDREN'S WRITERS TWAIN

Following the Equator: A Journey Around the World. Hartford, Connecticut, American Publishing Company, 1897; as More Tramps Abroad, London, Chatto and Windus, 1897. The Writings of Mark Twain. Hartford. Connecticut, American Publishing Company, and London, Chatto and Windus, 25 vols., 1899-1907. The Pains of Lowly Life. London, London Anti-Vivisection Society, 1900. English as She Is Taught. Boston, Mutual, 1900; revised edition, New York, Century, 1901. To the Person Sitting in Darkness. New York, Anti-Imperialist League, 1901. Edmund Burke on Croker, and Tammany (lecture). New York, Economist Press. 190 I. My Debut as a Literary Person, with Other Essays and Stories. Hartford, Connecticut, American Publishing Company, 1903. Mark Twain on Vivisection. New York, New York Anti-Vivisection Society, 1905( ?). King Leopold's Soliloquy: A Defense of His Congo Rule. Boston, Warren, 1905; revised edition, 1906; London, Unwin, I 907. Editorial Wild Oats. New York, Harper, 1905. What Is Man? (published anonymously). New York, De Vinne Press, 1906; as Mark Twain, London, Watts, 1910. Mark Twain on Spelling (lecture). New York. Simplified Spelling Board, 1906. The Writings of Mark Twain

The Washoe Giant in San Francisco, Being Heretofore Uncollected Sketches ... , edited by Franklin Walker. San Francisco, George Fields, 1938. Mark Twain's Western Years, Together with Hitherto Unreprinted Clemens Western Items, by Ivan Benson. Stanford, Stanford University, 1938. Letters from Honolulu Written for the "Sacramento Union," edited by Thomas Nickerson. Honolulu, Thomas Nickerson, 1939. Mark Twain in Eruption: Hitherto Unpublished Pages about Men and Events, edited by Bernard De Voto. New York, Harper, 1940. Travels with Mr. Brown, Being Heretofore Uncollected Sketches Written for the San Francisco "Alta Cal(fornia" in I 866 and I 86 7, edited by Franklin Walker and G. Ezra Dane. New York, Knopf, 1940. Republican Letters, edited by Cyril Clemens. Webster Groves, Missouri, International Mark Twain Society, 1941. Letters to Will Brown ... , edited by Theodore Hornberger. Austin, University of Texas, 1941. Letters in the "Muscatine Journal." edited by Edgar M. Branch. Chicago, Mark Twain Association of America, 1942. Washington in 1868, edited by Cyril Clemens. Webster Groves, Missouri, International Mark Twain Society, and London, Laurie, 1943. Mark Twain, Business Man, edited by Samuel Charles Webster. Boston, Little Brown, 1946. The Letters o.fQuintus Curtius Snodgrass, edited by Ernest E. Leisy. Dallas, Southern Methodist University Press, 1946. The Portable Mark Twain, edited by Bernard DeVoto. New York, Viking Press, 1946. Mark Twain in Three Moods: Three New Items of Twainiana, edited by Dixon Wecter. San Marino, California, Friends of the Huntington Library, 1948. The Love Letters o.f Mark Twain, edited by Dixon Wecter. New York, Harper, 1949. Mark Twain to Mrs. Fairbanks, edited by Dixon Wecter. San Marino, California, Huntington Library, 1949. Mark Twain to Uncle Remus, 1881-1885, edited by Thomas H. English. Atlanta, Emory University Library, 1953. Twins o.f Genius (letters to George Washington Cable), edited by Guy A. Cardwell. East Lansing, Michigan State College Press, 1953.

Mark Twain of the "Enterprise" 00 ., edited by Henry Nash Smith and Frederick Anderson. Berkeley, University of California Press, 1957. Traveling with Innocents Abroad: Mark Twain's Original Reports from Europe and the Holy Land, edited by Daniel Morley McKeithan. Norman, University of Oklahoma Press, 1958. The Autobiography o.fMark Twain, edited by Charles Neider. New York, Doubleday, 1959. The Art, Humor, and Humanity o.f Mark Twain, edited by Minnie M. Brashear and Robert M. Rodney. Norman, University of Oklahoma Press, 1959. Mark Twain and the Government, edited by Svend Petersen. Caldwell, Idaho, Caxton Printers, 1960. The Correspondence o.f Samuel L. Clemens and William Dean Howells, 1872-1910, edited by Henry Nash Smith and William M. Gibson. Cambridge, Massachusetts, Harvard University Press, 2 vols., 1960; shortened version, as Selected MaFk Twain­ Howells Letters, 1967.

Your Personal Mark Twain 0000 New York, International Publishers, 1960. L(fe as I Find It: Essays, Sketches, Tales, and Other Material, edited by Charles Neider. New York, Doubleday, 1961. The Travels o.f Mark Twain, edited by Charles Neider. New York, Doubleday, 1961. Contributions to "The Galaxy," I 868-18 7I, edited by Bruce R. McElderry. Gainesville, Florida, Scholars Facsimiles and Reprints, 1961. 1468 CHILDREN'S WRITERS TWAIN

Mark Twain on the Art of Writing, edited by Martin B. Fried. Buffalo, Salisbury Club, 1961. Letters to Mary, edited by Lewis Leary. New York, Columbia University Press, 1961. The Pattern for Mark Tw_ain 's "": Letters from Nevada by Samuel and , 1861-1862, edited by Franklin R. Rogers. Berkeley, ·University of California Press, 1961. , edited by Bernard De Voto. New York, Harper, 1962. Mark Twain on the Damned Human Race, edited by Janet Smith. New York, Hill and Wang, 1962. Selected Shorter Writings, edited by Walter Blair. Boston, Houghton Mifflin, 1962. The Complete Essays, edited by Charles Neider. New York, Doubleday, 1963. Mark Twain's San Francisco, edited by Bernard Taper. New York. McGraw Hill, 1963. The Forgotten Writings of Mark Twain, edited by Henry Duskus. New York. Citadel Press, 1963. General Grant by Matthew Arnold, with a Rejoinder by Mark Twain (lecture), edited by John Y. Simon. Carbondale, Southern Illinois University Press. 1966. Letters from Hawaii, edited by A. Grove Day. New York, Appleton Century Crofts. 1966; London, Chatto and Windus, 1967. Which Was the Dream? and Other Symbolic Writings of the Later Years. edited by John S. Tuckey. Berkeley, University of California Press, I 96 7. The Complete Travel Books, edited by Charles Neider. New York. Doubleday, 1967. Letters to His Publishers, 1867-1894, edited by Hamlin Hill. Berkeley. University of California Press, I 96 7. Clemens of the "Calf": Mark Twain in Cal(fornia, edited by Edgar M. Branch. Berkeley, University of California Press, 1969. Correspondence with Henry Huttleston Rogers, 1893-1909. edited by Lewis Leary. Berkeley, University of California Press, 1969. Man Is the Only Animal That Blushes- or Needs to: The Wisdom of Mark Twain. edited by Michael Joseph. Los Angeles. Stanyan Books. 1970. Mark Twain's Quarrel with Heaven: Captain Storm/ield 's Visit to Heal'en and Other Sketches, edited by Roy B. Browne. New Haven. Connecticut. College and University Press, 1970. Everybody's Mark Twain, edited by Caroline Thomas Harnsberger. South Brunswick. New Jersey, A.S. Barnes, 1972. Fables of Man. edited by John S. Tuckey. Berkeley. University of California Press. 1972. A Pen Warmed Up in Hell: Mark Twain in Protest. edited by Frederick Anderson. New York, Harper. 1972. The Choice Humorous Works of Mark Twain. London, Chatto and Windus. 197 3. Mark Twain Speaking. edited by Paul Fatout. Iowa City. University of Iowa Press. 1976. The Comic Mark Twain Reader .... edited by Charles Neider. New York. Doubleday. 1977.

Editor, Mark Twain's Library of Humour. New York. Webster. and London. Chatto and Windus, 1888.

Bibliography: A Bibliography QftheWorks Qf Mark Twain, Samuel Langhorne Clemens ... by Merle Johnson, New York. Harper, revised edition. 1935: in Bibliography Qf American Literature by Jacob Blanck. New Haven. Connecticut. Yale University Press. vol. 2. 1957.

Manuscript Collections: University of California. Berkeley: Berg Collection, New York Public Library. 1469 TWAIN CHILDREN'S WRITERS

Critical Studies: Mr. Clemens and Mark Twain by Justin Kaplan, New York, Simon and Schuster, 1966; Twentieth-Century Interpretations of·· The Adventures of Huckleberry Finn,'· edited by Claude M. Simpson, Englewood Cliffs, New Jersey, Prentice Hall, 1968.

Ernest Hemingway wrote, in Green Hills of Africa, "All modern American literature comes from one book by Mark Twain called Huckleberry Finn ... it's the best book we've had. All American writing comes from that. There was nothing before. There has been nothing as good since." As criticism Hemingway's statement is admittedly overstated. Samuel Clemens, or Mark Twain, has always been an enigma for critics, many of whom have had great difficulty in analyzing his works, and others in psychoanalyzing him. Hemingway, however. was not speaking as a critic, but rather as a reader, as a devotee, as a writer who recognized his debt to one who came before him. In that role he is an apt and accurate spokesman for all of us who rejoice in listening to the voice of Mark Twain. Just as Lincoln remains the folk symbol of the American spirit, for many Twain remains the folk symbol of the American writer. It is significant that Hemingway specifically referred to The Adventures of Huckleberry Finn, for it is in that work, along with The Adventures of Tom Sawyer and L({e on the Mississippi that Twain's narrative genius is self evident. Today Tom Sawyer is usually categorized as a book for children, while Huck Finn is considered adult fiction. Nevertheless, in any discussion of Twain's influence on American authors of children's books, both must be considered. Oddly enough, when Twain wrote Tom Sawyer he did not have a child audience in mind. It wasn't until his friend William Dean Howells suggested that it was a story most appropriate for children that Twain "cleaned up" the manuscript and added a preface in which he said: "Although my book is intended mainly for the entertainment of boys and girls, I hope it will not be shunned by men and women on that account, for part of my plan has been to try to pleasantly remind adults of what they once were themselves, and of how they felt and thought and talked, and what queer enterprises they sometimes engaged in." That he did not consciously write it for children is perhaps the book's strongest attribute. though occasionally Twain as narrator speaks directly to the adult readers he originally had in mind. This is overwhelmingly outweighed by the absence of any condescension or moralizing. In fact at the time of its publication (1876) it came under attack as a children's book. book review concluded: "In the books to be placed into children's hands for purposes of recreation, we have a preference for those of a milder type than Tom Sawyer." Tom Sawyer is much more than a grown man's reminiscences about the idyllic joys and pains of childhood. Twain stands high on the list of eminent writers like Stevenson, Dickens, and Saroyan who successfully depicted how children "felt and thought and talked." Though they did not write specifically for children, they demonstrated for those who would how necessary it is to retain the heart of a child if your work is to have the ring of truth. Twain above all else sets out to entertain. One should not overlook the word "Adventures" in the titles of his "boy" books. He takes the blood and thunder stuff of the old-fashioned dime novels and the serial boy romances and makes it literature. In Huck Finn, intended as a sequel to Tom Sawyer, Twain gets into the skin of Huck and tells the story through him, and by so doing he happens upon the narrative mode that is explicitly suited for his special talents. Huck, who could not possibly write a story, tells us the story. And that is how Twain himself would have it; as he says in his Autobiography: "With the pen in one's hand, narrative is a difficult art; narrative should flow as flows the brook down through the hills and leafy woodlands." This also was one of the reasons for Hemingway's acclaim, for he too, like many storytellers, was at heart a raconteur and a minstrel rather than a scribbler. But there was even a more important reason. Hemingway recognized the straightforward honesty in Huck Finn. Twain possessed, as H.L. Mencken put it, "a truly amazing instinct for 1470 CHILDREN'S WRITERS YONGE the truth." Today many writers of books for children and young adults have turned to first person narrative, with only a meager few of them handling it successfully. They would do well to look closely at Huckleberry Finn, for there they will find Mark Twain's greatest legacy to them - his integrity. He doesn't use the first person point .of view as a literary device for simulating a peer relationship with young readers; but rather he turns over the complete narrative to Huck, allowing him to tell the story as only he can do it. And by so doing he must be content to let the work be found by those readers who are able and ready to receive it.

James E. Higgins

YONGE, Charlotte (Mary). British. Born in Otterbourne, Hampshire, 13 August 1823. Editor. 1851-90, and Assistant Editor, 1891-95, The Monthly Packet; Editor, The Monthly Paper of Sunday Teaching, 1860-75, and Mothers in Council, 189D-1900. Died 24 March 1901.

PUBLICATIONS FOR CHILDREN

Fiction

Le Chateau de Melville: ou, Recreations du Cabinet d'Etude. London. Simkin. 1838. Abbey Church: or, Se(f-Control and Self-Conceit (published anonymously) London. Mozley, 1844; with Mystery of the Cavern, 1872. Scenes and Characters: or, Eighteen Months at Beechcroft. London. Mozley. 1847; as Beechcro.fi, New York, Appleton, 1871. Henrietta's Wish: or, Domineering. London, Masters. 1850; New York. Munro. 1885. Kenneth: or, The Rear Guard of the Grand Army. London. Parker. 1850; New York. Appleton, n.d. Langley School. London, Mozley, 1850. The Two Guardians: or, Home in This World. London. Masters. 1852; New York. Appleton, n.d. The Heir of Redclyffe. London. Parker. 2 vols .. 1853; New York. Appleton. 2 vols .. 1853. The Herb of the Field. London. Mozley, 1853; New York. Macmillan. 1887. The Castle Builders: or. The Deferred Cof!firmation. London, Mozley, 1854; New York, Appleton, n.d. Heartsease: or, The Brother's W(fe. London, Parker. 1854; New York. Appleton. 2 vols, 1861. The Little Duke: or, Richard the Fearless, illustrated by Jane Blackburn. London. Parker, 1854; as Richard the Fearless, New York. Appleton. 1856; as The Little Duke, New York. Macmillan. 1864. The History of Sir Thomas Thumb, illustrated by Jane Blackburn. Edinburgh, Constable, 1855. The Lances of Lynwood, illustrated by Jane Blackburn. London. Parker. 1855; New York. Appleton, 1856. The Railroad Children. London, 1855. Ben Sylvester's Word. London, Mozley, 1856; New York, Appleton, n.d. The Daisy Chain: or, Aspirations: A Family Chronicle. London. 2 vols .. 1856; New York, Appleton, n.d. Harriet and Her Sister (published anonymously). London, Mozley, 1856. Leonard the Lion-Heart. London, Mozley, 1856. 1471 YONGE CHILDREN'S WRITERS

Dynevor Terrace; or, The Clue of L(fe. London, Parker, 2 vols., 1857; New York, Appleton, 2 vols., 1857. The Christmas Mummers. London, Mozley, 1858; New York, Pott Young, 1876. Friarswood Post O.ffice. London, Mozley, 1860; New York, Appleton, n.d. Hopes and Fears: or, Scenes from the L(fe ofa Spinster. London, Parker, 2 vols., 1860; New York, Appleton, 1861. The Mice at Play. London, 1860. The Strayed Falcon. London, 1860. The Pigeon Pie. London, Mozley, 1860; Boston, Roberts, 1864. The Stokesley Secret. London, Mozley, 1861; New York, Appleton, 1862. The Young Stepmother; or, A Chronicle of Mistakes. London, Macmillan, 1861 ; New York, Appleton, n.d. Countess Kate. London, Mozley, 1862; Boston, Loring, n.d. Sea Spleenwort and Other Stories. London, 1862. Last Heartsease Leaves. Privately printed, 1862(?). The Trial: More Links of the Daisy Chain. London, Macmillan, and New York, Appleton, 1864. The Wars of Wapsburgh. London, Groombridge, 1864. The Clever Woman of the Family. London, Macmillan, 2 vols., 1865; New York, Appleton, 1865. The Dove in the Eagle's Nest. London, Macmillan, 2 vols., 1866; New York, Appleton, 1866. The Prince and the Page: A Story of the Last Crusade, illustrated by R. Farren. London, Macmillan, 1866; New York, Macmillan, 1875. The Danvers Papers: An Invention. London, Macmillan, 186 7. The Six Cushions. London, Mozley, 1867; Boston, Lee and Shepard, n.d. The Chaplet of Pearls: or, The White and Black Ribaumont. London, Macmillan, 2 vols., 1868; New York, Appleton, 1869. Ka.ffir Land: or, New Ground. London, Mozley, 1868. The Caged Lion. London and New York, Macmillan, 1870. Little Lucy's Wonder:ful Globe, illustrated by L. Frolich. London, Macmillan, 1871 ; Boston, Lothrop, 1872. P's and Q's; or, The Question of Putting Upon. London and New York, Macmillan, 1872. The Pillars of the House; or, Under Wode, Under Rode. London, Macmillan, 4 vols., 1873; New York, Macmillan, 2 vols., 1874. Lady Hester: or, Ursula's Narrative. London and New York, Macmillan, 1874. My Young Alcides: A Faded Photograph. London, Macmillan, 2 vols., 1875; New York, Macmillan, 1876. The Three Brides. London, Macmillan, and New York, Appleton, 1876 The Disturbing Element: or, Chronicles of the Blue-Bell Society. London, Ward, 1878; New York, Appleton, 1879. Burnt Out: A Story for Mothers· Meetings. London, Walter Smith, 1879. Magnus Bonum: or, Mother Carey's Brood. London, Macmillan, 3 vols., 1879; New York, Macmillan, 1879. Bye- Words: A Collection o.f Tales New and Old. London, Macmillan, 1880. Love and Life: An Old Story in Eighteenth-Century Costume. London, Macmillan, 2 vols., 1880; New York, Macmillan, 1880. Mary and Norah; or, Queen Katharine's School, with Nelly and Margaret. London and New York, Warne, 1880 (?). Cheap Jack. London, Walter Smith, 1881. Frank's Debt. London, Walter Smith, 1881. Lads and Lasses o.f Langley. London, Walter Smith, 1881. Wo(f London, Walter Smith, 1881. Given to Hospitality. London, Walter Smith, 1882. 1472 CHILDREN'S WRITERS YONGE

Langley Little Ones: Six Stories. London, Walter Smith, 1882. Pickle and His Page Boy: or, Unlooked For. London, Walter Smith, 1882; New York, Dutton, 1883. Sowing and Sewing: A Sexagesima Story. London, Walter Smith, 1882. Unknown to History: A Story ofthe Captivity ofMary ofScotland. London, Macmillan, 2 vols., 1882; New York, Macmillan, 1882. Stray Pearls: Memoirs ofMargaret de Ribaumont, Viscountess ofBellaise. London and New York, Macmillatr, 1883. Langley Adventures. London, Walter Smith, and New York, Appleton, 1884. The Armourer's 'Prentices, illustrated by J.W. Hennessy. London, Macmillan, 2 vols., 1884; New York, Macmillan, 1884. Nuttie's Father. London, Macmillan, 2 vols., 1885; New York, Macmillan, 1885. The Two Sides of the Shield. London, Macmillan, and New York, Munro, 1885. Astray: A Tale of a Country Town, with others. London, Hatchards, 1886. Chantry House. London, Macmillan. 2 vols., 1886; New York, Macmillan, 1886. The Little Rick-Burners. London, Skeffington, 1886. A Modern Telemachus. London, Macmillan, 2 vols., 1886; New York. Macmillan, 1886. Under the Storm: or, Steadfast's Charge. London, National Society. and New York. Munro, 1887. Beechcroft at Rockstone. London and New York, Macmillan. 1888. Nurse's Memories, illustrated by F. Marriott and Florence Maplestone. London. Eyre and Spottiswoode, and New York, Young, 1888. Our New Mistress: or, Changes at Brool{field Earl. London, National Society, and New York, Munro, 1888. The Cunning Woman's Grandson: A Tale of Cheddar a Hundred Years Ago. London, National Society, and New York, Whittaker, 1889. 4 Reputed Changeling: or, Three Seventh Years Two Centuries Ago. London. Macmillan, 2 vols., 1889. The Slaves of Sabinus: Jew and Gentile. London, National Society. and New York. Whittaker, 1890. More Bywords (stories and poems). London and New York. Macmillan, 1890. The Constable's Tower: or, The Times ofMagna Carta. London. National Society. and New York, Whittaker, 1891. Two Penniless Princesses. London, Macmillan, 2 vols .. 1891: New York. Macmillan, 1891. The Cross Roads: or, A Choice in L(fe. London. National Society. and New York. Whittaker, 1892. That Stick. London and New York. Macmillan, 1892. Grisly Grisell: or, The Laid(~· Lady of Whitburn: A Tale of the Wars qf the Roses. London and New York, Macmillan, 2 vols .. 1893. Strolling Players: A Harmony qf Contrasts. with Christabel Coleridge. London and New York, Macmillan, 1893. The Treasures in the Marshes, illustrated by W.S. Stacey. London. National Society, and New York, Whittaker. 1893. The Cook and the Captive: or, Attalus the Hostage, illustrated by W.S. Stacey. London. National Society, and New York, Whittaker. 1894. The Rubies qf St. Lo. London and New York, Macmillan, 1894. The Carbone/s. London. National Society, and New York. Whittaker, 1895. The Long Vacation. London and New York, Macmillan. 1895. The Release: or. Caroline's French Kindred. London and New York. Macmillan, 1896. The Wardship qf Steepcombe, illustrated by W.S. Stacey. London. National Society, and New York, Whittaker. 1896. The Pilgrimage of the Ben Beriah. London and New York. Macmillan, 1897. 1473 YONGE CHILDREN'S WRITERS

Founded on Paper: or, Uphill and Downhill Between the Two Jubilees, illustrated by W.S. Stacey. London, National Society, and New York, Whittaker, 1897. The Patriots of Palestine: A Story of the Maccabees, illustrated by W.S. Stacey. London, National Society, and New York, Whittaker, 1898. Scenes from "Kenneth" .. .. London, Arnold, 1899. The Herd Boy and His Hermit, illustrated by W.S. Stacey. London, National Society, and New York, Whittaker, 1899. The Making ofa Missionary; or, Daydreams in Earnest. London, National Society, and New York, Whittaker, 1900. Modern Broods: or, Developments Unlookedfor. London, Macmillan, and New York, Whittaker, 1900.

Plays

The Apple of Discord. London, Groombridge, 1864. Historical Dramas. London, 1864.

Verse

Verses on the Gospel for Sundays and Holidays. London, Walter Smith, 1880.

Other

Kings of England: A History for Young Children. London, Mozley, 1848. Landmarks of History. London, Mozley, 3 vols., 1852-57; New York, Leypoldt and Holt, 3 vols., 1867-{;8. The Instructive Picture Book; or, Lessons from the Vegetable World, illustrated by R.M. Stark. Edinburgh, Edmonston and Douglas, 1857. The Chosen People: A Compendium of Sacred and Church History for School Children. London, Mozley, 1861; New York, Pott Young, 1874. A History of Christian Names. London, Parker, 1863; revised edition, London, and New York, Macmillan, 1884. A Book of Golden Deeds of All Times and All Lands. London, Macmillan, 1864; Cambridge, Massachusetts, Sever and Francis, 1966. Cameos from English History. London and New York, Macmillan, 9 vols., 1868-99. The Pupils of St. John the Divine. London and New York, Macmillan, 1868. A Book of Worthies, Gathered from the Old Histories and Now Written Out Anew. London, and New York. Macmillan. 1869. Keynotes of the First Lessons for Every Day in the Year. London, S.P.C.K., 1869. Musings over the"Christian Year" and "Lyra lnnocentium".... Oxford, Parker, 1871. A Parallel History of France and England . . . . London and New York, Macmillan, 1871. Pioneers and Founders; or, Recent Works in the Mission Field. London and New York, Macmillan, 1871. Scripture Readings for Schools, with Comments. London and New York, Macmillan, 5 vols., 1871-79. Questions on the Prayer-Book {Collects, Epistles, Gospels, Psalms]. London, Mozley, 5 vols., I 8 72-8 I. Aunt Charlotte's Stories Qf English {French, Bible, Greek, German, Roman] History for the Little One. London, Ward, 6 vols., 1873-77; as Young Folks' History Boston, Lothrop, 2 vols., and Estes and l..auriet, 4 vols., 1878-80. Womankind. London, Mozley, 1875; New York, Macmillan, 1887. Eighteen Centuries Qf Beginnings of Church History. London, Mozley, and New York, Pott Young, 1876. 1474 CHILDREN'S WRITERS YONGE

The Story of the Christians and Moors in Spain. London and New York, Macmillan, 1878. Short English Grammar for Use in Schools. London, 1879. Aunt Charlotte's Evenings at Home with the Poets .. .. London, Ward, 1880. English History Reading Books .. .. London, National Society, 6 vols., 1881-83; as Westminster Historical Reading Books, 6 vols., 1891-92. Talks about the Laws We Live Under; or, At Langley Night-School. London, Walter Smith, 1882. A Pictorial History of the World's Great Nations .. .. New York, Hess, 1882. Aunt Charlotte's Stories of American History, with J.H. Hastings Weld. London. Ward, and New York, Appleton, 1883. English Church History . .. . London, National Society, 1883. Landmarks of Recent History, /77Q-/883. London, Walter Smith, 1883. The Daisy Chain Birthday-Book, edited by Eadgyth. london, Walter Smith, 1884. A Key to the Waverley Novels, vol. I. Boston, Ginn Heath, 1885. Teachings on the Catechism: For the Little Ones. London, Walter Smith. 1886. The Victorian Ha(f-Century: A Jubilee Book. London and New York. Macmillan, 1886. What Books to Lend and What to Give. London, National Society, 1887. Preparation of Prayer-Book Lessons. London. Walter Smith, 1888. Conversations on the Prayer Book. London. 1888. Deacon's Book of Dates: A Manual of the World's Chief Historical Landmarks and an Outline of Universal History. London, Deacon, 1888. Life of H.R.H. the Prince Consort. London, W.H. Allen, 1890. Seven Heroines of Christendom. London, Sonnenschein. 1891. Simple Stories Relating to English History. L0ndon. 1891. Twelve Stories from Early English History. London. National Society. 1891. Twenty Stories and Biographies from /066 to 1485. London, 1891. The Hanoverian [Stuart, Tudor] Period, with Biographies of Leading Persons. London. National Society, 3 vols., 1892. The Girl's Little Book. London, Skeffington. 1893. The Story o.f Easter. London. Ward. 1894.

Editor, Biographies o.fGood Women. London. Mozley, 2 vols .. 1862-65. Editor, Readings from Standard Authors. London. 1864. Editor, with E. Sewell, Historical Selections: A Series of Readings in English and European History. London, Macmillan. 2 vols .. 1868-70; as European History. New York, Macmillan. 2 vols., 1872-73. Editor, A Storehouse o.fStories. London and New York. Macmillan. 2 vols .. 187Q-72. Editor, Beneath the Cross: Readings for Children in Our Lord's Sel'en Sayings. London, Masters. 1881. Editor, Historical Ballads. London. National Society. 3 vols .. 1882-83. Editor, Shakespeare's Plays for Schools, Abridged and Annotated. London and New York, Macmillan. 1883. Editor. Higher Reading Book for Schools, Colleges, and General Use. London. National Society, 1885. Editor, Chips from the Royal/mage, Being Fragments o.fthe "Eikon Basi/ike" o,{Charles /,by A.E.M. Anderson Morshead. London. Masters. 1887.

Translator, Marie Therese de Lamourous, Foundress of the House of La Misericorde at Bordeaux, by Abbe Pouget. Oxford, Parker. 1858. Translator, Two Years o,{School L({e. by Elise de Pressense. London, Warne. and New York, Scribner, 1869. Translator, The Population of an Old Pear Tree; or, Stories of Insect L(fe, by E. van Bruyssel. illustrated by Becker. London, Macmillan, 1870.

1475 YONGE CHILDREN'S WRITERS

Translator, Life and Adventures ofCount Beugnot, Minister ofState under Napoleon I, by Count H. d'ldeville. London, Hurst and Blackett, 187 I. Translator, Dames of High Estate, by H. de Witt. London, Warne, 1872. Translator, Recollections of a Page at the Court of Louis XVI, by Felix Count de France d'Hezecques. London, Hurst and Blackett, 1873. Translator, Recollections of Colonel de Gonville. London, 1875. Translator, A Man of Other Days: Recollections of the Marquis Henry Joseph Costa de Beauregard. London, Hurst and Blackett, 1877. Translator, The Youth QfQueen Elizabeth, 1533-58, by L. Wiesener. London, Hurst and Blackett, 2 vols., 1879. Translator. Catherine Qf Aragon, and the Sources Qfthe English Reformation, by Albert du Boys. London, Hurst and Blackett, 1881; New York, Franklin, 1968. Translator, Behind the Hedges; or, The War in the Vendee, by H. de Witt. London, Warne, 1882. Translator, Sparks Qf Light for Every Day, by H. de Witt. London, Masters, 1882.

PUBLICATIONS FOR ADULTS

Other

In Memoriam Bishop Patteson. London, 1872. Life Qf John Coleridge Patteson, Missionary Bishop to the Melanesian Islands. London and New York, Macmillan, 2 vols., 1874. Hints on the Religious Education Qf Children of the Wealthier Classes. London, n.d. How to Teach the New Testament. London, National Society, 1881. Practical Work in Sunday Schools. London, National Society, 1881; New York, Kellogg, 1888. (biography). London, W.H. Allen, and Boston, Roberts, 1888. The Parent's Power (lecture). , Warren, 1891. Old Times at Otterbourne. Winchester, Warren, 1891. An Old Woman's Outlook in a Hampshire Village. London and New York, Macmillan, 1892. Chimes for the Mothers: A Reading for Each Week in the Year. London, Wells Gardner, 1893. 's Parishes: A History Qf Hursley and Otterbourne. London and New York, Macmi11an, 1898. Reasons Why I Am a Catholic and Not a Roman Catholic. London, Wells Gardner, 1901.

Critical Studies: : Her Life and Letters by Christabel Coleridge, London, Macmillan, 1903; Charlotte Mary Yonge: The Story Qf an Uneventful Life by Georgina Battiscombe, London, Constable, 1943; Victorian Best-Seller by Margaret Mare and Alicia C. Percival, London, Harrap, 1947; A Chaplet for Charlotte Yonge edited by Georgina Battiscombe and Marghanita Laski, London, Cresset Press, 1965.

Charlotte Yonge's was the voice of the early Victorian daughter of the squirearchy, earnest in her fervour to do her duty in that state of life to which God had called her, eager to help others to do the same. Her first book was published in 1838, her last in 190 I. Between those dates she wrote over 150 works - domestic stories for cottage and drawing room, historical tales, books of instruction both religious and secular, lengthy sagas of family life. But her outlook scarcely changed at all in over 60 years of authorship. 1476 CHILDREN'S WRITERS YONGE

She never wrote for purely literary ends, but always directly or indirectly for the promotion of Christian truth, and the truth as it had been taught to her by John Keble when he prepared her for confirmation. Her duty as she had been taught it by her parents remained her touchstone of excellence; she desired no other guide. To the early and mid-Victorian girl she herself was a guide, providing them with chronicles of large and life-like upper class families whose characters are so real that a devoted coterie still discusses and analyses them today. Nor was it only the schoolroom who read her; in the 1850's The Heir of Redclyffe was received with enthusiasm by bishops and statesmen, undergraduates and Guards officers; it was one of the most popular Tractarian novels of its day. The fascination of works such as The Daisy Chain and The Pillars of the House and their successors lies in the way they are interwoven, that one can walk in them as in Barsetshire, viewing characters from all aspects, in youth and middle life; as central figures in one book. as peripheral ones in another. The creation of personalities. in whom she believed as well as the reader, was her particular gift; plots were a secondary matter and she had no great skill in manipulating them. In her rather solitary childhood, cut off from all contemporaries except during rare and ecstatic visits to cousins, she had paced the gravel walks of her father's small Hampshire estate, inventing large families. Within the framework of her family sagas is contained Miss Yonge 's teaching on the girl and young woman's role in life. It was, in fact, her own role of ardent submission to those in authority, be it clergyman. teacher or parent. On the duty of those who achieved the status of authority she had nothing to say. "For her the newest. youngest thing was to do home and family duties more perfectly. What greater happiness can be given to youth?" wrote Christabel Coleridge in her memoir of 1903, and two generations of girls loved the chronicles of the Mays and the Underwoods, the Mohuns and the Merrifields. Their lofty ideals. their intellectual pursuits and conversation. their happy family relationship presented a way of life that they themselves yearned to imitate. To a privileged few who named themselves her "goslings." she was Mother Goose and guided their strivings to educate and improve themselves. Some of these. like Christabel Coleridge, Aorence Wilford, Frances Peard, subsequently themselves wrote for children. But, although she had thousands of admirers all over the world. as the century went on her message had increasingly little appeal to a generation of girls very different from her own. with whom she found it difficult to sympathise. Her implacable hostility to the idea of girls being educated outside the home circle - at the new High Schools and at universities. for instance - did at last modify a little. and a little uneasily in her last novels she allowed the daughters of some of her original characters to enter Oxford or Cambridge. But she made it clear that she felt rather wary of such girls. Her outlook was narrow, parochial even. since during the whole of her long life she barely moved beyond the Hampshire village where she had been born. Her literary work came second in her mind to hef parish duties there. her attendance at Otterbourne church and her devotion to its school whose girls she had known and lovingly taught from her own childhood. For them she wrote many tales of cottage life as it should be lived. with decency. order and deference towards the "great house." and above all stressing their duty to the church into which they had been baptized. Even in these didactic stories her gift for characterisation, for sketching a social background. shines out and makes them charming evocations of a vanished way of life.

-Gillian Avery

1477 CHILDREN'S BOOKS IN TRANSLATION Throughout this century, and especially in recent years, children's books of high quality translated from other languages have been appearing in the English-speaking countries. They form a small but interesting and valuable part of the body of literature for young people which children may encounter. The importance of making good foreign books available to children was stressed by Jella l.epman, the founder of the International Youth Library. Her vision, springing from the desolate aftermath of the Second World War, is expressed in the title ofherownA Bridge of Children's Books: she saw a world in which children of different countries, having grown up knowing each other through their children's literature, would be incapable of fighting one another. The same ideal was stated in the U.S.A. by Mildred L. Batchelder: "Interchange of children's books between countries, through translation, influences communication between the people of those countries." Communication of this nature is a far cry from those well­ meaning but inevitably patronizing series which used to appear before the war, describing the lives of children of other lands with much ethnic detail; when it comes to portraying a country's way of life and of thought, both differences and similarities are much more tellingly presented from within. The Western reader may be startled by this piece of vintage Victorian advice given a teenage Russian boy in Vadim Frolov's What It's All About by his admired and sympathetic father: "My father had told me once that there was nothing wrong about some of the feelings involved in growing up ... but you should think as little as possible about them ... the best thing of all was to take up athletics seriously." But in fact the narrator's adolescent development is most sensitively described, as is his coming to terms with the fact of his parents' separation. Again, an English reader could be rather surprised by the almost casual alacrity with which a teenage girl who suspects she is pregnant is offered an abortion as a matter of course in lnge Krog's Fourteen Days Overdue, from Denmark, but the Swedish heroine of Gunnel Beckman's Mia, in the same predicament. evokes sympathetic recognition of a common female situation through the skill with which her complicated web of feelings about her whole family life as well as her possible pregnancy is described. Only time can show which of the many foreign children's books published in English­ language versions will become international classics like those nineteenth-century works (such as Heidi, Pinocchio, Tohe Swiss Family Robinson) which have become assimilated into a common heritage of children's literature. But it is perhaps fitting that one of the major translated works of this century, Selma Lagerlof's The Wonder:ful Adventures of Nils, stands with one foot, as it were, in the previous one. Its leisurely pace and strong moral tone reach back to the nineteenth century, as little Nils Holgersson, transformed to elf-size because of his own selfish naughtiness, learns to feel for the weak or threatened through his own experiences as he travels with the wild geese: its deep feeling for nature (it originated in a publisher's request for a geographical primer about Sweden) also looks forward to later work,s by other writers in this century. Animal stories, in fact, comprise some of the best-remembered titles published in English in the years between the two World Wars. There is an understanding of animals and delicacy of touch in the books of (the pseudonym of Sigmund Salzmann) which inevitably became blurred in the famous Disney film of , though no doubt the film prolonged the story's popularity. No such ft.lte overtook the fine Pi!re Castor series of animal picture-books from France. Other books too appeared at this period which can now be seen to have attained the status of modern classics: notably Erich Kastner's Emil and the Detectives, prototype of the urban adventure story in which a gang of children outwit villainous adults (and still infinitely more lively and realistic than most of its followers), and Jean de Brunhoff's The Story of Babar. Babar, his family and his companions have been firm favourites ever since their first appearance; the series was sadly cut short by the author's early death, but continued by de Brunhoff's son Laurent. Strictly speaking, Babar is inimitable: all the same, Laurent de Brunhoffs sequels have given a lot of children a lot of pleasure. And it is pleasant to note that the English translation of Babar the Elephant has recently been re-issued in its original large format, with handwritten script instead of type. However, it is in post-war publishing that one finds the real expansion of the market for translated foreign books. It must be admitted at once that we cannot quite be said to have

1481 BOOKS IN TRANSLUION CHILDREN'S WRITERS

achieved Jella Lepman 's ideal of complete internationality in children's literature·: publishers, after all, are in business, and it is inevitable that the vast majority of translated books come from European countries with publishing industries developed to the same level. This means, in effect, Scandinavia, Holland, Germany, France, with a most welcome and encouraging entry into the field of recent years from the U.S.S.R. and Eastern European countries. There is one big exception, but again from a highly industrialized and much Westernized country : the phenomenon of the Japanese picture book. This is something which has emerged over the last decade. Not all the texts of these picture books are originally Japanese: for instance, one of the first books by Chiyoko Nakatani to attract Western notice was The Animals' Lullaby (196 7), in which the artist's pictures were fitted to words taken from an Icelandic poem. But in other books by the same artist the texts are written by her or by other Japanese writers. Among other Japanese contributors to the picture book genre are Chihiro Iwasaki, with the Momoko books, and Kozo Kakimoto who illustrates the Mr. Bear stories by Chizuko Kuratomi. Westernized some of these books may be, but a Japanese delicacy of line and colour remains to make its own unique effect. Obviously the picture book field is one of the simplest in which to achieve Frau Lepman 's international ideal: the pictures matter as much as, and often more than, the words. And often a distinguished foreign artist, such as Katrin Brandt or Ruth Htirlimann, will take a traditional tale from Grimm or some other familiar source to illustrate. Countries which otherwise are not very well represented in English translated children's literature have made contributions here: Italy, for example, with Bruno Munari (The Lorry Driver, Animals for Sale, and other titles), with Emanuele Luzzati (Ronald and the Wizard Calico), and a story by the distinguished Italian writer Mario Soldati, illustrated by Alberto Longoni, The Octopus and the Pirates, which gives a most attractive picture of North Italian life by the sea. Mention must also be made of the books for rather older children by Andersen award winner . The Be.fana 's Toyshop, Mr. Cat in Business, and A Pie in the Sky are international representatives of Italian children's literature. There have been arrivals from Eastern Europe too: Josef Lada's Purrkin the Talking Cat, originally Czech, comes to us from a German ·version made by Otfried Preussler, and there is a delightful rollicking translation by Richard N. Coe, illustrated by William Papas, of Kornei Chukovsky's Dr. Concocter, a kind of Dr. Dolittle in verse. There are also very small, square format books, designed for very young children to hold comfortably themselves, and dealing usually with simple everyday events: a great many series of this kind come from the Continent. Probably the best-known practitioner of the art is Dick Bruna from Holland. His small, brightly and simply illustrated books range from brief educational texts, through stories about characters of his own, to simplified fairy tales: he has attracted a certain amount of criticism for over-siJVplification of effect, but is undoubtedly popular with his young readers- and surely easier on the adult eye than some of the pre-war artists who went in for over-prettification in picture-books. Other small-format books, such as those of Gunilla Wolde and Inger and Lasse Sandberg, come from Scandinavia, with texts on everyday matters which, again, are adapted rather than translated, though idea as well as illustrations are the authors' own. With books for older children, one comes across a great many titles which are like their English and American counterparts in the areas of fantasy, the historical novel, the modern adventure story -and yet often, and in a very stimulating manner, not quite like them. Certainly there is no one else quite like 's Pippi Longstocking, first published a few years after the war. This is one of those books which does seem destined to become a modern classic; nine-year-old Pippi, immensely strong, kind-hearted, who lives on her own with a horse and a suitcase full of gold pieces, and breaks all the accepted rules of "good behaviour," is the personification of every child's dream of anarchism. Astrid Lindgren, a winner of the Hans Andersen international award, was not, however, a writer to keep repeating herself; there are two sequels to Pippi Longstocking, and she has also created another superbly naughty character in the hero of Emil in the Soup Tureen and other stories about the same little boy (both in picture book and in longer narrative form), but she has branched out into maey other fields, and quite recently, with The Brothers Lionheart, has

1482 CHILDREN'S WRITERS BOOKS IN TRANSLATION produced something new and original : a fantasy which raises moral questions and is set in a world-after-death with yet another world-after-death beyond it. Another fine Swedish fantasy, The Glassblower's Children, is by , who has written a number of stories of everyday life, yet stories with children at the centre of them who don't quite fit into an ordinary background, such as the attractive heroine of Pappa Pellerin's Daughter. Fantasy in Holland is well represented by Paul Biegel (The King of the Copper Mountains, and other works); while a writer of Biegel's stature really resembles no one but himself, yet a book like The Seven-Times Search has a touch of Hans Andersen about it. European fantasies, like those written in the U.S.A. and the U.K., are often based, distantly or not so distantly (as in Tolkien 's The Hobbit), on European mythology and folklore. Otfried Preussler made his name in Germany with amusing fantasies about the exploits of such traditional figures as The Little Witch and The Little Ghost, and went on to write The Satanic Mill, a powerful tale for older readers about a pact with the Devil, based on South German legends and set at the time of the Thirty Years' War. James Kruss, of Germany, has written stories such as My Great-Grandfather and/, with strong elements of the poetic and the marvellous. The comic, the poetic and the magical are all intertwined in the popular Moomintroll series by of Finland. Alf Pr0ysen of Norway has created a delightful comic-fantastic character for younger readers in his Little Old Mrs. Pepperpot. And one must mention Reiner Zimnik's The Crane, a book not really classifiable under any heading, but a fine fable which is bleak, haunting and humorous by turns. The stock historical figure of the Viking is put to comic use in Runer Jonsson's Viki Viking. from Denmark. But serious historical novels of high quality have reached us from Germany in particular. One might note for special mention the work of Hans Baumann. including Sons of the Steppe and The Barque of the Brothers. and of Barbara Bartos-Hoppner (The Cossacks. Save the Khan. and Storm over the Caucasus). Adventure stories pure and simple are not so much in fashion at the present time as they once were. but in post-war years excellent examples have come to us from Norway (Leif Hamre's adventure novels such as Otter Three Two Calling/), from Holland. notably in the work of An Rutgers van der Loeff with stories such as Avalanche! and Children on the Oregon Trail. and the more domestic type of adventure, in the Emil and the Detectives tradition, from France in the stories of Paul Berna (e.g. A Hundred Million Francs). One should. perhaps. comment in parenthesis about France in general. because to some extent French children's literature stands apart from that of the rest of Europe. Eminent French men of letters have the habit -engaging or annoying. according to the way you look at it- of tossing off one or just possibly two works for children: these include Fatty puffs and Thinifers by Andre Maurois. The Wonderful Farm by Marcel Ayme. Tistou of the Green Fingers by Maurice Druon. and. perhaps the most important of them. Antoine de Saint­ Exupery's The Little Prince. These works can be -as in Maurois' and Saint-Exupery's books - basically of a political or philosophical nature. though with an amusing and readable story to cover the message. One of the most recent additions to the genre must be Michel Tournier's Friday and Robinson, a junior version of his novel Vendredi. in which the Crusoe/ Man Friday situation is turned upside down and the savage becomes the educative influence. Then, on the other hand. we have a few good. very prolific authors in more conventional styles. such as Paul Berna and Rene Guillot. with adventure stories and animal stories. But only a few; the mass of less distinguished writing does not. naturally. get accepted by publishers and appear in translation. However, the Belgian Herge's Tintin (from 1959), and Goscinny and Uderzo's Asterix the Gaul (from 1969), have imparted a degree of sophistication and literacy to the European strip cartoon for children which was not previously present. A particularly important and interesting area of translated literature from Europe is that of the war story: not the hearty British adventures of Biggles and his like. but stories from countries which actually underwent German occupation. And here it is only right for English-speaking readers, who may have suffered greatly from the war but whose countries were never occupied, and for their children, the later generations of readers of young people's literature, to sit quiet and listen. The classic of them all, alas, is true: Anne Frank's The Diary

1483 BOOKS IN TRANSLATION CHILDREN'S WRITERS of a Young Girl (1952). Close to Anne Frank, and also in Holland, are the experiences described by Johanna Reiss in The Upstairs Room, with its recent sequel The Journey Back. From Norway comes Aimee Sommerfelt's account of the friendship between a Jewish girl, Miriam, and her non-Jewish friend Hanne; from Greece, Alki Zei's Petros' War. From Germany itself we have a stark, semi-autobiographical trilogy by Hans Peter Richter: Friedrich, I Was There, and The Time of the Young Soldiers. And from Austria, Christine Nostlinger gives us another autobiographical account of what it was like to be a small girl in Vienna when the Russians marched in at the end of the war (Fly Away Home). The actual political setting of Anne Holm's I Am David, from Denmark, is purposely less clear; all we know is that the young hero, allowed to escape from an Eastern European concentration camp, is scared to death of being recaptured by them, whoever they are, as he makes his way gradually back to a long-lost mother. His character as it unfolds is perhaps rather over-saintly for some, but the concentration-camp mentality which has been induced in him is precisely and most movingly conveyed. The political background to Alki Zei 's Wildcat under Glass (to which the translator, Edward Fenton, adds a useful foreword) is clear enough to the reader, the story being set in 1936 when the Fascists under Metaxas took power, but only dimly understood by the two little girls at the~centre of the story. Moving again is the fact that in this book we catch echoes ofthe Spanish Civil War, in the songs sung and the tales half-told to the girls by their student cousin Niko, the freedom fighter. Perhaps we may now hope for more contributions to world children's literature from Spain itself: there has been very little translated work except for Jose Maria Sanchez-Silva's Marcelino and one or two other titles by the same author. Even from Portugal- an English translation exists of the famous Portuguese writer Miguel Torga's Farrusco the Blackbird, but although the book consists mainly of animal fables they are not specifically for children. More works of quality for older children from Italy would also be welcome, although Renee Reggiani 's The Adventures of Five Children and a Dog states, through the medium of entertainment, the plight of the poorer regions of Southern Italy as compared with the richer industrial North. There is now a very pleasing amount of Russian and Eastern European literature being translated into English: one has only to look down the list of awards and nominees for the Mildred L. Batchelder Award to find, since its institution in 1968 in the U.S.A. to mark the best translated work of the year, eight Russian titles mentioned and two Czech titles. Among them are The Little Chalk Man by Vaclav Ctvrtek: Escape by Ota Hofman; There, Far Beyond the River by Yuri Korinetz (from Hans Baumann's German version); and The White Ship by Chingiz Aitrnatov. The last-named appears under an adult imprint in the U.K. and is of particular interest because of the stir it created in the U.S.S.R. on its appearance there, when Aitmatov, widely regarded by his countrymen as a formative influence on the young (especially with his earlier novel, Farewell, Guf'sary), was accused of transgressing against social realism with the use of a tragic ending and a tragic Kirghiz folk tale, and skilfully and effectively defended himself against such criticism. To the Western reader there would appear to be two parallel trends in the Eastern European literature we see in translation : the nostalgic (as exemplified in the book by Korinetz), evoking a near-timeless Russian atmosphere, and the socially aware (as in Frolov's What It's All About). Sometimes the two are successfully and sensitively combined. And it may well be that the tragically early death of Jan Prochazka has deprived Czechoslovakia of a major children's writer; his story of a twelve-year-old boy and his horse, Long Live the Republic, won the German Youth Prize in the late 1960's. Not that social awareness is the particular property of Eastern Europe: the first half of the 1970's has seen the very strong emergence of what can loosely be called the Social Problem book in children's literature throughout the English-speaking countries and in those European nations that have contributed to our young people's literature. Such books can be directed to very young children; some critics have said too young, in particular of Monica Gydal 's and Thomas Danielsson 's series Oily Sees It Through, recently published in England and deriving from Sweden, which is for very young children: little Oily has to face events such as the death of a grandparent, a visit to hospital, the birth of a baby brother, the divorce of his friend Gemma's parents. One suspects that any critic must suffer from reading the 1484 CHILDREN'S WRITERS BOOKS IN TRANSLATION entire well-intended series at one go, as a child would not, and that tak.en separately they can only be helpful. With a slightly older age group, we notice that the Social Problem is not, after all, an entirely modern phenomenon: Erich Kastner tackled the question of divorce, though in light-hearted vein, in Lottie and Lisa, over a quarter of a century ago. It is amusing, too, to see what a gap of less than ten years can do to feminist (or anti-feminist) attitudes: Edith Unnerstad's Little 0, from Sweden, in itself a charming, lively collection of stories about the youngest girl in a large family, intended for children of six upwards, has the heroine playing a game of "families" with her brother, who acts the "big, clever daddy in charge of the work. Little 0 alternated between being a helper and a mummy bringing fruit drinks or coffee to her thirsty husband." This was first published in England in 1965, while the first English publication of Anne-Cath. Vestly's Hal/o Aurora!, from Norway, was in 197 3; the latter book is all about a family where successful role reversal between Aurora's parents has occurred, the precise opposite of Little O's game: mother works full time as a lawyer while father keeps house. However, both books are warm and lively stories; Anne­ Cath. Vestly observes the necessity of putting character and action before the Social Problem. Naturally enough, the Social Problems figure most importantly in books for the oldest reading-age group. For instance, Christine Nostlinger's The Cucumber King, for children of around ten or eleven, contains a radical view of society intertwined with comedy and fantasy much as a latter-day E. Nesbit might have devised it. In the older age-group, politics as a subject definitely takes second place to human relationships. Sex. drugs, the generation gap. colour questions, the women's movement all appear. Naturally enough, while a good deal of mediocre stuff is written in this vein, upon the whole it is only the really good examples that come through to us in English translation: the books where the author has plainly thought first of a character or a predicament, only second of a generalized social problem. Notable among these good examples of the genre are the books of Gunnel Beckman, whose Mia was quoted earlier, and one may observe that while Mia's suspected pregnancy is a common enough situation for most girls to be able to identify imaginatively with it. that of Annika in the same author's earlier Admission to the Feast is not. Annika finds she has leukaemia and will probably live only for a few months- not, happily, a common predicament among nineteen-year-old girls, though tragic when it does strike. But Gunnel Beckman makes the plight of both her heroines, and their courage in facing it. equally poignant. Far more could be said about the relationship between literature for the young originally written in English, and that translated from other languages, than the scope of this brief survey allows -and many more names could -and should - have been named. It is a tenable theory that translations have a unique part to play in children's as distinct from adult literature, unique in that except for the tiny, lucky minority of the bilingual. the child reader will be simply unable to read a good book in a foreign language while he or she is still a child. And a considerable responsibility rests upon the publishers and translators who make such books available. Let us hope, then, for continued intercommunication with Europe, for yet more books from Eastern Europe, and eventually for a warm welcome for children's books from the Third W or! d. -Anthea Bell

Selected books in translation (dates are of first English-language editions):

AITMATOV, Chingiz. Russian. Farewell, Gul'sary, 1970: The White Ship (The White Steamship), 1972.

AYME, Marcel. French. The Wonder:ful Farm. 1951.

BARTOS-HOPPNER, Barbara. German. The Cossacks, 1962: Save the Khan, 1963: Avalanche Dog, 1966: Storm over the Caucasus, 1968: Hunters of Siberia, 1969.

1485 BOOKS IN TRANSLATION CHILDREN'S WRITERS

BAUMANN, Hans. German. Sons of the Steppe, 1958; The Barque qf the Brothers, 1958; Jackie the Pit Pony, 1958; Angelina and the Birds, 1959; The Lion and the Unicorn, 1959; The Dragon Next Door, 1960; The Bear and His Brothers, 1962; Caspar and His Friends, 1967; The Circus Is Here, 1967; Fenny, 1970; Dimitri and the False Tsars, 1972; The Hare's Race, 1976.

BECKMAN, Gunnel. Swedish. The Girl Without a Name, 1970; Admission to the Feast (/9 Is Too Young to Die), 1971 ; A Room qf His Own, 197 3; Mia, 1974; The Loneliness qf Mia (Mia Alone), 1975; That Early Spring, 1977.

BERNA, Paul. French. A Hundred Million Francs (The Horse Without a Head), 1957; Continent in the Sky, 1959; The Street Musician, 1960; Flood Warning, 1962; The Mystery qf Sai/11-Salgue, 1963; The Clue qfthe Black Cat, 1964; The Secret of the Missing Boat, 1966; The Mule qf the Motorway (The Mule qf the Expressway), 1967; A Truckload qf Rice, 1968; They Didn't Come Back, 1969; The Myna Bird Mystery, 1970; Gaby and the New Money Fraud, 1971 ; Vagabonds qf the Pacific, 197 3.

BIEGEL, Paul. Dutch. The King qf the Copper Mountains, 1969; The Little Captain, 1971; The Seven-Times Search, 1971; Twelve Robbers, 1974; The Gardens qf Dorr, 1975.

BRUNA, Dick. Dutch. The Happy Apple, 1959; Tilly and Tissa, 1962; The Circus, 1963; The Fish. 1963; Kitten Nell, 1963; MillY. 1964; The Egg, 1964; The King, 1964; Hop-o'-My­ Thumb, 1966; The School, 1966; SnuffY, 1970; Lisa and Lynn, 1975.

BRUNHOFF, Jean de. French. The Story of Babar, The Little Elephant, 1933; The Travels of Babar, 1934; Babar the King, 1935; Babar and Father Christmas, 1940; Babar and Zephir. 1942; Babar and His Children, 1948.

BRUNHOFF, Laurent de. French. Continuation of Jean de Brunhoff's Babar series, from 1948; Serqfina series, from 1961 ; Anatole and the Donkey, 1963; Gregory and the Lady Turtle in the Valley of the Music Trees, 1971.

CHUKOVSKY, Kornei. Russian. Crocodile, 1931; The Telephone, 1961; Wash 'em Clean, 1962; Dr. Concocter, 1967; The Silver Crest, 1977.

CTVRTEK, Vaclav. Czechoslovakian. The Little Chalk Man, 1970.

PERE CASTOR (pseudonym for Lida). French. Wild Animal Books: Bourru, Frou, Mischief, Plouf, Seq{, Quipic, Martin, Cuckoo, 1937-42.

DRUON, Maurice. French. Tistou of the Green Fingers (Tistou of the Green Thumbs), 1958.

FROWV, Vadim. Russian. What It's All About, 1968.

GRIPE, Maria. Swedish. Papa Pellerin's Daughter, 1966; Hugo and Josephine, 1969; The Night Daddy, 1971; The Glassblower's Children, 1974; The Land Beyond, 1974; Julia's House, 1975; Elvis and His Friends, 1976.

GUILWT, Rent!. French. Companions of Fortune, 1952; Sirga, 1953; The 397th White Elephant, 1954; The King's Corsair, 1954; Kpo the Leopard, 1955; The Wind of Chance, 1955; A Boy and Five Huskies, 1957; Prince qf the Jungle, 1958; Elephant Road, 1959; Grishka and the Bear, 1959; Nicolette and the Mill, 1960; The Fantastic Brother, 1961 ; Sarna, 1961 ; The Troubadour, 1965; The Champion qfOiympia, 1968; Little Dog Lost, 1969; Castle in Spain, 1970. 1486 CHILDREN'S WRITERS BOOKS IN TRANSLATION

GYDAL, Monica. Swedish. Oily Sees It Through series (with Thomas Danielsson), from 1976.

HAMRE, Leif. Norwegian. Otter Two Three Calling! (Leap into Danger), 1959; Edge of Disaster, 1960; Perilous Wings, 1961 ; Blue Two - Bale Out!, 1961 ; Ready for Take-Off, 1962; Contact Lost, 1967; Operation Arctic, 1973.

HOFMAN, Ota. Czechoslovakian. Escape, 1970.

HOLM, Anne. Danish. I Am David (North to Freedom), 1965.

IWASAKI, Chihlro. Japanese. Staying at Home on a Rainy Day, 1969; Momoko series, from 1972; The Birthday Wish, 1974; Will You Be My Friend?, 1974.

JANSSON, Tove. Finnish. Moomintro/1 series, from 1958; Who Will Comfort To.ffle ?, 1960.

JONSSON, Runer. Danish. Viki Viking

KASTNER, Erich. German. Emil and the Detectives, 1930; Annaluise and Anton, 1932; The 35th of May, 1933; The Flying Classroom, 1934; Emil and the Three Twins. 1935; The Animals' Conference, 1949; Lottie and Lisa (Lisa and Lottie), 1950; The Little Man, 1966.

KORINETZ, Yuri. Russian. There, Far Beyond the River. 197 3; In the Middle qf the World. 1976.

KROG, lnge. Danish. Fourteen Days Overdue. 1975.

KRUSS, James. German. My Great Grandfather and I. 1964; Eagle and Dove. 1965; 3 x 3. 1965; The Happy Islands Behind the Winds. 1966; Florentine. 196 7; The Animal Parade. 1968; The Lighthouse on the Lobster CliffS. 1969; The Proud Wooden Drummer. 1969; Letters to Pauline. 1971; My Great-Grandfather. the Heroes, and I. 1973.

KURATOMI, Chizuko. Japanese. Mr. Bear series. from 1967.

LADA, Josef. Czechoslovakian. Purrkin the Talking Cat. 1966.

LAGERWF, Selma. Swedish. The Wonderful Adventures qf Nils. 1907; The Further Adventures qf Nils, 1911.

LINDGREN, Astrid. Swedish. Pippi Longstocking, 1950; Bill Bergson, Master Detective. 1952; Mio, My Son, 1956; Kati in Paris, 1961; Rasmus and the Tramp (Rasmus and the Vagabond), 1961; Tomten. 1961; Noisy Village (Bullerby) series. from 1962; The Children on Troublemaker Street, 1962; Seacrow Island. 1968; Emil in the Soup Tureen. 1970; Christmas in the Stable, 1970; The Brothers Lionheart. 1975; Karlson on the Roq{. 1975.

WEFF, An Rutgers van der. Dutch. Avalanche-'. 1954; They're Drowning Our Vii/age, 1959; Children on the Oregon Trail (Oregon at Last.~. 1961 ; Rossie, 1964; Great Day in Holland, 1965; Vassilis on the Run, 1965; Flight from the Polar Night. 1968.

LUZZATI, Emanuele. Italian. Ronald and the Wizard Calico, 1969; Punch and the Magic Fish, 1972.

MAUROIS, Andre. French. Fattypuifs and Thin({ers. 1941.

1487 BOOKS IN TRANSLATION CHILDREN'S WRITERS

MUNARI, Bruno. Italian. The Lorry Driver, 1953; Animals for Sale, 1957; In the Dark qf the Night, 1961 ; Zoo, 1963; The Circus in the Mist, 1969; A Flower with Love, 1974.

NAKATANI, Chiyoko. Japanese. The Day Chiro Was Lost, 1968; Fumio and the Dolphins, 1970; The Zoo in My Garden, 1973; My Teddy Bear, 1976.

NOSTLINGER, Christine. Austrian. Fly Away Home, 1975; The Cucumber King, 1975; Fiery Frederica, 1975; Girl Missing, 1976.

PREUSSLER, Otfried. German. The Little Witch, 1961 ; Thomas Scarecrow, 1963; The Robber Hotzenplotz series, from 1964; The Little Ghost, 1967; The Adventures qf Strong Vanya, 1970; The Satanic Mill, 1972; The Wise Men qf Schilda, 1974.

PROCHAZKA, Jan. Czechoslovakian. Long Live the Republic, 1973; The Carp, 1977.

PROYSEN, Alf. Norwegian. Little Old Mrs. Pepperpot series, from 1959.

REGGIANI, Reo~. Italian. The Adventures qf Five Children and a Dog, 1963; The Sun Train, 1966; Tomorrow and the Next Day, 1967.

REISS, Johanna. Dutch. The Upstairs Room. 1972; The Journey Back, 1976.

RICHTER, Hans Peter. German. Friedrich, 1970; I Was There, 1972; The Time qf the Young Soldiers, 1976.

RODARI, Gianni. Italian. Telephone Tales, 1965; The Befana 's Toyshop, 1970; A Pie in the Sky, 1971; Mr. Cat in Business, 1975.

SAINT-EXUPERY, Antoine de. French. The Little Prince, 1943.

SALTEN, Felix. German. Bambi: A L({e in the Woods, 1928; F(fieen Rabbits, 1930; The Hound qf Florence, 1930; Florian, 1934; Perri, 1938; Bambi's Children, 1939; Renni the Rescuer, 1940. ·

SANCHEZ-SILVA, Jose Maria. Spanish. Marcelino (The Miracle qf Marcelino), 1954; The Boy and the Whale, 1964; Ladis and the Ant, 1968; Second Summer with Ladis, 1969.

SANDBERG, Inger and Lasse. Swedish. Little Anna series, from 1964; Nicholas' Red Day, 1967; Little Ghost Godfrey, 1968; The Boy with 100 Cars, 1968; The Boy with Many Houses, 1970; Come on Out, Daddy, 1971; Johan 's Year, 1971; Daniel series, from 1973; Let's Play Desert (Desert Game), 1974; Kate series, from 1974; Let's Be Friends, 1976.

SOLDATI, Mario. Italian. The Octopus and the Pirates, 197 4.

SOMMERFELT, Aimee. Norwegian. The Road to Agra, 1961; Miriam, 1963; The White Bungalow, 1963; My Name Is Pablo, 1966; No Easy Way, 1967.

TORGA, Miguel. Portuguese. Farrusco the Blackbird. 1950.

TOURNIER, Michel. French. Friday and Robinson, 1972.

UNNERSTAD, Edith. Swedish. The Saucepan Journey, 1951; Pysen, 1955; Little 0, 1957; The Spettecake Holiday, 1958; The Journey with Grandmother (Grandmother's Journey), 1960; A Journey to England, 1961 ; The Cats .from Summer Island, 1963; The

1488 CHILDREN'S WRITERS BOOKS IN TRANSLATION

Picnic, 1964; The Urchin, 1964; The Pip-Larssons Go Sailing, 1966; Tappen and I at the Croft, 1966; Larry Makes Music, 196 7; Two Little Gigglers, 196 7; A House for Spinner's Grandmother, 1970; Mickie, 1971.

VESTLY, Anne-Cath. Norwegian. Aurora series, from 197 3; Eight Children series, from 1973.

WOLDE, Gunllla. Swedish. Tommy (Thomas) series, from 1971 ; Betsy (Emma) series, from 1975.

ZEI, Alki. Greek. Wildcat under Glass, 1968; Petros' War, 1972.

ZIMNIK, Reiner. German. Jonah and the Fisherman, 1956; The Proud White Circus Horse, 1957; Little Owl, 1962; The Bear on the Motorcycle, 1963; The Crane, 1969; The Bear and the People, 1971 ; Billy's Balloon Ride, 197 3.

1489 NOTES ON ADVISERS AND CONTRIBUTORS ANDERSON, William D. Professor of English, California State University, Northridge. Author of A New Look at Children's Literature (with Patrick Groft), 1972. Essays: William H. Armstrong; Julia W. Cunningham; Norton Juster.

APPIAH, Peggy. See her own entry.

ASHDOWN, Fran. Children's Literature Specialist, Midwestern Regional Library System, Kitchener, Ontario ; Chairman, Canadian Association of Children's Librarians, 197 6 ; Reviewer for In Review and Canadian Children's Literature. Essays: Doris Andersen; Esther Averill; Sheila Burnford; Christie Harris; Markoosie; .

AVERY, GiUian. See her own entry. Essays: Evelyn Everett-Green; (appendix); Amy Le Feuvre; Arthur Ransome ; Hesba Stretton (appendix); Charlotte Yonge (appendix).

BAKER, Janet E. Assistant Professor of English, St. Mary's University, Halifax, Nova Scotia. Essays: Mabel Dunham; Hubert Evans; Lorrie McLaughlin; Delbert A. Young.

BARBER, Raymond W. Assistant Professor, Graduate School of Library Science, Drexel University, Philadelphia. Essay: John R. Tunis.

BARTHOWMEW, Ann. Editor, Children's Book Centre's Children's Newsletter, London. Essays: Carol Ryrie Brink; Grace Hogarth; Kate Seredy.

BELL, Anthea. Free-lance Translator, specializing in French and German children's books. Has translated over 60 books, including The Cat and the Mouse Who Shared a House by Ruth Hiirlimann, 1976. Author of E. Nesbit, 1960. Essays: Christianna Brand; ; Charles Causley; Leon Garfield; Norman Hunter; Ruth Manning-Sanders; Children's Books in Translation.

BOEGEHOLD, Betty. Senior Associate Editor. Bank Street College of Education Publications Division, New York. Formerly, teacher, assistant principal, and librarian in public and private schools. Author of Three to Get Ready, 1965; Pawpaw's Run, 1968; Pippa Mouse, 1973; What the Wind Told, 1974; Here's Pippa Again!. 1975. Essays: Eleanor Clymer; Jean Merrill ; Evaline Ness.

BRINKLEY-WILLS HER, Valerie. Children's Library Organiser, Surrey County ; Library Association Lecturer in Library Work with Children; Regular Reviewer of children's books. Author of Across Time, 1973. Essays: Joan Clarke; Pauline Clarke; E.W. Hildick; Elisabeth Kyle; Ann Lawrence; Susan Price; Gwynedd Rae.

BULLA, Clyde Robert. See his own entry. Essays: Valenti Angelo; Irene Hunt.

BURNS, Mary Mehlman. Coordinator, Curriculum Library, and Children's Literature Specialist, Framingham State College, Massachusetts; Reviewer, Horn Book magazine. Essay 'There Is Enough for All: Robert Lawson's America" published in Horn Book, 1972. Essay: Robert Lawson.

BUTLER, Dorothy. Bookseller in Auckland, and Lecturer. Contributor to Horn Book magazine, Signal, and other periodicals. Essays: Maurice Duggan; E.M. Ellin; Phyllis Krasilovsky; Diana Moorhead; Eve Sutton.

BUTLER, Francella. Professor of English, University of Connecticut, Storrs; Editor of the journal Children's Literature. Founder, Seminar on Children's Literature. Modern Language Association; Member of the Founding Board, Children's Literature Association. Author of

1493 ADVISERS AND CONfRIBUTORS CHILDREN'S WRITERS

Children's Literature: A Module. 1975; Sharing Literature with Children. 1977; Masterworks ofChildren's Literature I: 1550-1739, 1977; and of books on Shakespeare and 17th-century drama. Essays: Natalie Savage Carlson; Gail E. Haley; Phyllis McGinley; Kate Douglas Wiggin.

BUTTS, Dennis. Principal Lecturer in English, Bulmershe College of Higher Education, Reading, Berkshire. Author of Living Words (with John Merrick), 1966, and R.L. Stevenson, 1966. Editor of Pergamon Poets 8, 1970, and Good Writers for Young Readers, 1977. Contributor to The Faber Book of Greek Legends, 1973. Essays: Russell Hoban; Robert Louis Stevenson (appendix).

CADOGAN, Mary. Secretary of an educational trust; Governor of an international school. Author of The Greyfriars' Characters (with John Wernham), 1975; You're a Brick, Angela: A New Look at Girls' Fiction from 1839 to 1975 (with Patricia Craig), 1976; Women and Children First: Aspects of War and Literature (with Patricia Craig), 1978. Essays: Gillian Avery; Elinor Brent-Dyer; Dorita Fairlie Bruce; Elsie Oxenham; Philippa Pearce; P.L. Travers.

CAMPBELL, Alasdair K.D. Tutor Librarian. Institute of Education. University of Keele, Staffordshire; Contributor to The School Librarian. Books for Your Children, and other journals. Author of The School Novel, 1970. Essays: ; C. Fox Smith.

CAMPBELL, Margaret. Free-lance Writer. Author of Lend a Hand: Social Work for the Young, 1966. Editor of The Countryman Animal Book, Bird Book. and Book c~f Humour. 3 vols., 1973-75. Essays: Ruth Ainsworth; Val Biro; Donald Bisset; Lettice Cooper; Dorothy Edwards; ; Barbara C. Freeman; Frank Knight; ; John Pudney ; James Reeves; John Symonds.

CARTER, Anne. Free-lance Writer and Translator. Essays: John Burningham; ; Josephine Poole ; Mary Treadgold.

CAUSLEY, Charles. See his own entry. Essays: Kevin Crossley-Holland; Ted Hughes; Brian Patten.

CHANG, Charity. Serials Librarian and Library Consultant for Children's Literature, University of Connecticut, Storrs. Author of Preface to Mary De Morgan volume of Classics o,{Children's Literature; prepared bibliography for Masterworks of Children's Literature I: 1550-1739 by Francelia Butler. 1977. Essays: Carolyn Sherwin Bailey; Eric Kelly; Eloise Jarvis McGraw; Doris Orgel; Monica Shannon; Elizabeth Yates.

CHRISTIAN, Mary Blount. Creator and Moderator. Children's Bookshe(f television program, Houston; Children's Books Reviewer for Houston Chronicle and Houston Post. Author of over 20 children's books. including the Goosehill Gang mystery series, and, most recently, Are for Watering Horses, 1977. Essays: Robert Burch; Robert Kraus.

CLARK, Berna C. Schools Librarian and Senior Assistant to the County of Avon Education Department Children's Librarian, Bristol. Former National Chairman of the Library Association Youth Library Group. Essays: Martin Ballard; Anne Mainwaring Barrett; Antonia Ridge.

CLARK, Leonard. See his own entry. Essay: Walter de Ia Mare.

CLEAVER, Pamela. Free-lance Journalist and Author; Reviewer for Children's Book Review, Books and Bookmen, and Foundation; contributor of stories and articles to anthologies. Essays: William Mayne; Ronald Welch; Barbara Willard. 1494 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS

COSGRAVE, Mary Silva. Editor of "The Outlook Tower" column in Horn Book magazine. Children's Librarian for 15 years; Editor of Children's Books for Houghton Mifflin and for II years. Essays: Thomas Bailey Aldrich (appendix); Maureen Daly.

CRAIG, Patricia. Free-lance Critic and Reviewer. Author of You're a Brick, Angela: A New Look at Girls· Fiction from 1839 to 1975 (with Mary Cadogan). 1976. and Women and Children First: Aspects of War and Literature (with Mary Cadogan). 1978. Essays: Nina Beachcroft; Judy Blume; Lucy Boston; Patricia Lynch; Meta Mayne Reid; Geraldine Symons.

CROUCH, Marcus. Deputy County Librarian. . Author of . 1960; Treasure Seekers and Borrowers. 1962; The Nesbit Tradition. 1971. Essays: Hilaire Belloc; Elisabeth Beresford; Margery Williams Bianco; Helen Cresswell; J.G. Fyson; Richard Hughes; Eric Linklater; Stephanie Plowman.

CROXSON, Mary. Senior Lecturer in English. and Co-Director of the summer school in children's literature, Worcester College of Higher Education; Reviewer for The School Librarian. Author of Using the Library, 1966. and "The Emancipated Child in the Novels of E. Nesbit" in Signal, 1974. Essays: Rex Benedict; Vera and Bill Cleaver; Walt Morey; C. Everard Palmer; George Selden; Eleanor Spence; Theodore Taylor.

CULPAN, Norman. Former Head of the English Department. St. Paul's College of Education. Cheltenham; former Review Editor. The School Librarian. Author of Modern Adult Fiction: For School and College Libraries. 1955; and Contemporary Adult Fiction, /945-65 (with W.J. Messer). 1966. Editor of Dialogue and Drama (with James Reeves). 1950. Essays: Andre Norton; Barbara Euphan Todd.

DAY, Alan Edwin. Principal Lecturer. Leeds Polytechnic School of Librarianship. Author of History: A Reference Handbook. 1976. and Archaeology: A Reference Handbook. 1977; essay on Biggles in Children's Literature in Education. 1974. Essays: Richard Church; Samuel Rutherford Crockett; Roy Fuller; Ronald Syme; John Verney.

DOYLE, Brian. Free-lance Writer; Contributor to . Books and Bookmen. and Collectors· Digest. Author of The Who's Who c!f Boys· Writers and Illustrators. 1964. and The Who's Who C!( Children's Literature. 1968. Essays: Peter Dawlish; S.G. Hulme Beaman; Hilda Lewis; Talbot Baines Reed (appendix); Frank Richards; Malcolm Saville; David Severn; Donald Suddaby; Elleston Trevor. du SAUTOY, Peter. Chairman of Faber and Faber Ltd .. London. Essay: Alison Uttley.

ELLEMAN, Barbara. Free-lance Writer; Children's Book Reviewer. American Library Association Booklist, Chicago. Essay: Constance C. Greene.

ELLIS, Anne W. Assistant Librarian. Christ's College. Liverpool Institute of Higher Education. Author of The Fami(l' Story in the /960 ·s. 1970. Essays: Antonia Forest; Eleanor Graham; Laurence Meynell; Sheena Porter.

ENGLAND, A.W. Lecturer in Drama. Division of Education. University of Sheffield. Author of an article on Walter Macken in Use I!{ English. of two television plays for children. and of a television adaptation of Sylvia Sherry's A Pair C!(Jesus Boots. Editor of Man and Superman t,y . 1969, and of the anthologies Looking at Scenes, 1969, Two Ages of Man, 1971, Cal'es. 1973. and Islands, 1974. Essays: Walter Macken; Sylvia Sherry.

1495 ADVISERS AND CONTRIBUTORS CHILDREN'S WRITERS

ERISMAN, Fred. Associate Professor of English, Texas Christian University, Fort Worth. Author of Frederic Remington, 1975, and of articles on L. Frank Baum, Kate Douglas Wiggin, Laura Ingalls Wilder, Donald Hamilton, and Len Deighton. Essays: Mary O'Hara; Jack Schaefer.

FICK, Martha J. Librarian, Elizabeth Haddon School, Haddonfield, New Jersey. Essays: Peggy Parish; Bernard Waber; Gene Zion.

FITZGIBBON, Tom. Principal Lecturer and Head of the English Department, North Shore Teachers College, Auckland. Author of teaching syllabuses and reviews in periodicals. Editor of New Zealand Children's Literature Association Yearbook, 1974 and 1975. Essays: R.L. Bacon; Anne de Roo; Joyce West.

FORDYCE, Rachel. Associate Professor of English, Virginia Polytechnic Institute and State University, Blacksburg; Contributing Editor, Children's Literature. Author of Children's Theatre and Creative Dramatics, 1975; Caroline Drama, 1977. Essays: Joan Walsh Anglund; Betsy Byars ; Alice Dalgliesh; Edward Fenton; Rachel Field ; Joanna Halpert Kraus; Bill Peet; Louis Slobodkin ; Bertha Upton.

FOX, Geoff. Lecturer in Education, Exeter University School of Education; Joint Editor of the journal Children's Literature in Education. Taught at the Harvard-Newton Summer School, Boston, and the University of British Columbia, Vancouver. Joint Editor of Writers, Critics, and Children, 1976. Regular Reviewer, Times Educational Supplement. Essays: C. Day Lewis; S.E. Hinton; Reginald Maddock; Paul Zindel.

FREEMAN, Gillian. Novelist, Screenwriter, and Journalist. Author of several novels- the most recent being The Alabaster Egg, 1970, and The Marriage Machine, 1975 -and of The Story of Albert Einstein (for children), 1960; The Undergrowth of Literature, 1967; The Schoolgirl Ethic: The L(fe and Work of Angela Brazil, 1976. Essays: Angela Brazil; Susan Coolidge (appendix).

FRYATT, Norma R. Free-lance Writer and Editor. Former Managing Editor of Horn Book magazine. Author of Sarah Josepha Hale, 1975. Editor of A Horn Book Sampler, 1976. Essays: E.M. Almedingen; Lucy Fitch Perkins; Brinton Turkle.

GIBBS, Matyelok. Artistic Director of the Unicorn Theatre for Young People, London.

GIBLIN, James C. Vice-President and Associate Publisher of Seabury Press, New York, and Editor-in-Chief of Seabury's Clarion Books for young people. Lecturer and Writer on children's book publishing. Essays: Beatrice Schenk de Regniers; Mildred Lee; Alvin Tresselt; Jan Wahl; Jane Yolen.

GILDERDALE, Betty. Lecturer in English, North Shore Teachers College, Auckland. Reviewer for the New Zealand Herald and the New Zealand Broadcasting Company; Corresponding Editor for New Zealand, Phaedrus. Founding Member and Past President, Children's Literature Association of New Zealand. Essays: Ruth Dallas; Roberta Elliott; Lilith Norman; .

GORDON, Cecilia. Librarian in London schools for I 0 years, and Inner London Education Authority Library Organiser, 1972-76; National Chairman of the School Library Association. Reviewer for the Times Educational Supplement, Times Literary Supplement, Children's Book Review, and The School Librarian. Essays: Joseph E. Chipperfield; Joan Lingard; Janet McNeill.

1496 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS

GREAVES, Margaret. See her own entry. Essays: Joyce Gard; Nicholas Stuart Gray; Rosemary Harris; Margery Sharp; Rosemary Weir.

GREEN, Roger Lancelyn. See his own entry. Essays: Lewis Carroll (appendix); ; Andrew Lang (appendix).

GROFF, Patrick. Professor of Education, San Diego State University; Contributing Editor, Chircorel Library Publishing Corporation. Author of A New Look at Children's Literature (with William D. Anderson), 1972, and of articles for Elementary English, Horn Book, The School Librarian, Wilson Library Journal, and other periodicals. Essays: Robert Bright; Carolyn Haywood; William Lip kind; Clare Turlay Newberry; Helen Sewell; ; William Jay Smith; Phil Stong.

HAAS, Irene. Free-lance Illustrator; has illustrated books by Sesyle Joslin, Elizabeth Enright, Myra Cohn Livingston, and others. Author of The Maggie B., 1976. Essays: Jacqueline Ayer; Elizabeth Enright; Sesyle Joslin.

HALL, Dennis. Free-lance Journalist and Boundary Rider. Formerly, Children's Librarian, Public Library of South Australia, Adelaide, and Assistant Editor, School Magazine. Essay: Norman Lindsay.

HAMMOND, Graham. Lecturer in Education, Exeter University; Joint Editor of the journal Children's Literature in Education. Joint Editor of Writers, Critics, and Children, 1976. Essays: Mary Cockett; Eilis Dillon; Roger Lancelyn Green; Josephine Kamm; Clive King; Jean MacGibbon~ Madeleine A. Polland.

HAVILAND, Virginia. Head of the Children's Book Section. , Washington, D.C. Author of the Favorite Fairy Tales series. from 1959. and Ruth Sawyer. 1965. Editor of Children's Literature: A Guide to Reference Sources, 1966; The Fairy Tale Treasury, 1972; Children and Literature: Views and Reviews. 197 3; Yankee Doodle's Literary Sampler, 1974. Reviewer, Horn Book magazine.

HAY, Ann G. Teacher and Librarian. Reviewer for British Book News. Essays: Marchette Chute; Rose Fyleman; Jonathan Gathorne-Hardy; Cynthia Harnett; Margaret Storey; D.J. Watkins-Pitchford.

HAYNES, Renee. Free-lance Writer and Critic; Editor of the Journal of the Society for Psychical Research. Author of Pan, Caesar, and God. 1938; The Hidden Springs, 1961; Philosopher King, 1973; The Seeing Eye, the Seeing I. 1976. Essay: J.B.S. Haldane.

HEARNE, Betsy. Editor. Children's Books Section. American Library Association Book/ist, Chicago. Has taught children's literature at the University of Illinois. Chicago Circle Campus, and been a children's librarian and storyteller. Author of the children's novel South Star, 1977. Essays: John Donovan; .

HEEKS, Peggy. Assistant County Librarian, Berkshire. Lecturer and Writer on children's reading. Essays: Roy Brown; Gordon Cooper; Penelope Farmer; Geraldine Kaye; Rosemary Manning.

HEINS, Ethel L. Editor. Horn Book magazine, Boston. Author of many articles and reviews for Horn Book and other periodicals. Essay: Caroline Dale Snedeker.

HELSON, Ravenna. Research Psychologist. Institute of Personality Assessment and Research, University of California, Berkeley. Author of "Fantasy and Self Discovery" in Horn Book, 1970, "The Psychological Origins of Fantasy for Children in Mid-Victorian

1497 ADVISERS AND CONTRIBUTORS CHILDREN'S WRITERS

England" in Children's Literature 2, 1974, and other articles on authors of fantasy for children in Psychology Today, Arts in Society, and other periodicals. Essays: Scott Corbett; Edward Eager.

HIGGINS, James E. Professor of Education, Queens College, City University of New York; Literature Consultant, Series R Reading Program, Macmillan Inc., New York. Author of Beyond Words: Mystical Fancy in Children's Literature, 1970. Essays: Ann Nolan Clark; Marie Hall Ets; Marguerite Henry; Robert McCloskey; Scott O'Dell; H.A. and Margret Rey; Mark Twain (appendix); Leonard Wibberley.

HOLE, John. Theatre Director of the Queens Theatre, Hornchurch, Essex. Theatre Director of the Swan Theatre, Worcester, 1967-74. Essay: David Wood.

HOLLINDALE, Peter. Senior Lecturer in English and Education, University of York; General Editor of the Macmillan Shakespeare series. Author of Choosing Books for Children, 1974. Essays: Margaret Jowett; Jenny Overton; Emma Smith; Ruth Tomalin; Philip Turner.

HOME, Anna. Executive Producer of Children's Programmes, BBC-TV, London. Has adapted several children's novels for television, including a I 0-part series based on Peter Dickinson's Changes trilogy. Essay: Mary Norton.

HOYLE, Karen Nelson. Curator of the Kerlan Collection, Walter Library, University of Minnesota, Minneapolis. Essays: Helen Dore Boylston; Edgar and Ingri Parin d 'Aulaire; Aileen Fisher; Wanda Gag ; Jim Kjelgaard ; Jean Lee Latham ; Eleanor Lattimore; Patricia Miles Martin: Katherine Milhous; Else Minarik; Mary Rodgers; Glen Rounds; Zilpha Keatley Snyder; Sydney Taylor; Eve Titus; Yoshiko Uchida; Nora S. Unwin; Kurt Wiese.

INGLIS, Fred. Lecturer in Advanced Studies, University of Bristol; Editor, New University Quarterly. Author of The Imagery of Power, 1972; Ideology and the Imagination, 1975; The Name of the Game, 1977; Literature and Children, 1978. Essay: Catherine Storr.

ISRAEL, Callie. Coordinator of Adult and Children's Services, Windsor Public Library, Ontario. Reviewer for In Review, Canadian Library Journal, Ontario Library Review, and Quill and Quire. Essays: Jean Little; Louise Riley.

JACKSON, Clara 0. Associate Professor of Library Science, Kent State University, Ohio. Essays: Syd Hoff; Holling C. Holling; Leo Lionni; Ann Petry; Ruth Sawyer.

JAGO, Wendy. Senior Lecturer in Education, Brighton Polytechnic. Formerly, Lecturer in English, University of Sussex. Author of the children's novel Alias Podge, 1965. Essay: Elsie Locke.

JENNINGS, Coleman A. Associate Professor of Drama, University of Texas, Austin; President of the Children's Theatre Association of America, 197 5-77. Author of the children's play The Honorable Urashima Taro and of a doctoral thesis on Aurand Harris. Editor of Children's Theatre Review for two years, and of Six Plays for Children by Aurand Harris, 1977. Essay: Aurand Harris.

JONES, Ursula M. Resident Director, Unicorn Theatre for Young People, London; Actress. Author of 15 plays for children. Essays: Mary Melwood; Olwen Wymark.

KAMM, Antony. Development Manager of the International Division, and Regional Manager (Caribbean), Oxford University Press. Editor-in-Chief, Brockhampton Press, 196Q-72; Senior Education Officer, Commonwealth Secretariat, 1972-7 4; former Chairman 1498 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS of the Publishers Association Children's Book Group and of the Children's Book Circle. Author of Books and the Teacher (with Boswell Taylor), 1966; The Story of Islam (for children), 1976; Choosing Books for Younger Children, 1977. Essays: Alexander Cordell; David Scott Daniell; Rosemary Sutcliff; H.E. Todd; Henry Treece.

KELLY, R. Gordon. Assistant Professor of English, Virginia Commonwealth University, Richmond. Author of Mother Was a Lady: Self and Society in Selected American Children's Periodicals. /865-1890. Editor of the children's literature issue of American Literary Realism. Essays: Mary Mapes Dodge (appendix); Lucretia P. Hale (appendix); Frank R. Stockton (appendix).

KEMBALL-COOK, Jessica. Librarian of Thomas Tallis School. Greenwich, London; Secretary of the Tolkien Society, and Editor of the Society's bulletin. Reviewer for The School Librarian and Children 's Book Review; Contributor to New Society. Essays: Richard Adams; Winifred Finlay; Diana Wynne Jones; Beverley Nichols; Mary Ray; J.R.R. Tolkien.

KEMP, Edward. Acquisitions Librarian, University of Oregon, Eugene. Editor of a series of bio-bibliographies of children's authors and illustrators, including one on James Daugherty in Imprint: Oregon, 1975. Essay: James Daugherty.

KINGMAN Lee. See her own entry. Essays: Virginia Lee Burton; Esther Forbes; Florence Crannell Means; Howard Pyle (appendix).

KINGSTON, Carolyn T. Free-lance Writer. Author of The Tragic Mode in .Children's Literature. 1974, and of several articles for the Christian Science Monitor. Essays: Qaire Huchet Bishop; Meindert DeJong; Emily Cheney Neville; Hilda Van Stockum.

LEFFALL, Dolores C. Librarian, and Book Review Editor of the Journal of Negro Education, Washington, D.C.; Consultant to the Minority Research Center. Has compiled numerous bibliographies dealing with Black literature and education. Essays: Olivia Coolidge; Lorenz Graham; Jesse Jackson; Stephen W. Meader; Rutherford Montgomery; Howard Pease; Donald J. Sobol.

LEWIS, Claudia. Teacher of Children's Literature and Publications Consultant. Bank Street College of Education, New York. Author of several children's books. including Children of the Cumberland, 1946, When I Go to the Moon, 1961. and Poems of Earth and Space, 1967, and of Writing for Young Children. 1954. Essays: Ludwig Bemelmans; Beverly Cleary; David McCord; John Steptoe.

LEWIS, Naomi. Writer. Critic, and Broadcaster. Recent books include A Peculiar Music, 1973, and Fantasy Books. revised edition, 1977. Author of introductory essays to works on or by , J.M. Barrie. Eleanor Farjeon. Eric Kelly, E. Nesbit, , Lore Segal, Arthur Waley, and others. Contributor to The Obsen•er. New Statesman. Times Literary Supplement, Listener, Encounter, New Review, British Book News. New York Times, and other newspapers and periodicals. Essays: J.M. Barrie; Ewan Qarkson; Kenneth Grahame; G.D. Griffiths; Helen Griffiths; Jean lngelow (appendix); C.S. Lewis; Laura Ingalls Wilder.

LICKTEIG, Mary J. Professor, Department of Elementary and Early Childhood Education, University of Nebraska. Omaha. Author of An Introduction to Children's Literature, 1975. Essays: Jean Craighead George; Berta and Elmer Hader.

LIVINGSTON, Myra Cohn. See her own entry. Essays: Harry Behn; John Ciardi; Randall Jarrell; Maud and Miska Petersham. 1499 ADVISERS AND CONTRIBUTORS CHILDREN'S WRITERS

LUKENS, Rebecca J. Assistant Professor of English, Miami University, Oxford, Ohio. Author of A Critical Handbook of Children's Literature, 1976. Reviewer for the Children's Book Review Service. Essays: Rebecca Caudill; Walter Farley; Louise Fatio; Will James; Myra Cohn livingston; Gene Stratton Porter; Ester Wier.

LYNSKEY, Alan M. Head Teacher, Greenbank School, Rochdale, . Author of Children and Themes, 197 4. Essay: Andrew Salkey.

MacCANN, Donnarae. Free-lance Consultant and Writer about children's books. Formerly, Children's librarian, Los Angeles Public library, and Head librarian, University of California Elementary School, Los Angeles. Author of The Black American in Books for Children: Readings in Racism, 1972; The Child's First Books: A Critical Study of Pictures and Texts, 1973; Cultural Conformity in Books for Children: Further Readings in Racism, 1977. Essays: Virginia Kahl; Carol Kendall; ; Dr. Seuss.

MacLEOD, Anne S. Assistant Professor, College of library and Information Services, University of Maryland, College Park. Essays: Natalie Babbitt; Crockett Johnson; Lois Lenski; Laura E. Richards; William 0. Steele;, William Steig; Mary Stolz.

MANDER, Gertrud. Free-lance Writer and Translator. Arts Correspondent for several German-language newspapers and magazines; has translated fiction and books on film and psychiatry. Author of books on Shaw, Shakespeare's contemporaries, Moliere, and Giraudoux in a German series on dramatists. Essays: ; Ezra Jack Keats; Judith Kerr.

MARSH, Gwen. Children's Book Editor for Harrap Ltd. and J.W. Dent Ltd., London, 1958-76. Author of the novels French Greeting, 1944, and Land of No Strangers, 1950. Translator of more than 20 books by Rene Guillot, from 1952. Essays: Richard Armstrong; Arthur Catherall; Rosalie K. Fry; Joyce Stranger; Lorna Wood.

MARSHALL, Margaret R. Senior Lecturer in Children's literature and librarianship, Leeds Polytechnic. Regular Reviewer for British Book News; former National Chairman of the library Association Youth libraries Group. Author of Libraries and Literature for Teenagers, 1975, and Each According to His Ability: Books for the Mentally Handicapped Child, 1976. Essay: Fiona French.

MASON, Bobbie Ann. Assistant Professor of English and Journalism, Mansfield State College, Pennsylvania. Author of Nabokov 's Garden: A Guide to Ada, 197 4, and The Girl Sleuth, 1976. Essays: Betty Cavanna; Phyllis A. Whitney.

MAXWELL, Margaret. Associate Professor, Graduate library School, University of Arizona, Tucson. Reviewer for Library Journal. Author of Shaping a Library: William L. Clements as Collector, 1973. Editor of Voices from the Southwest (with Donald C. Dickinson and W. David Laird), 1976. Essays: Betty Baker; N.M. Bodecker; Mabel ; Karla Kuskin ; Richard Peck; Marjorie Weinman Sharmat.

McCASUN, Nellie. Associate Director of the University Without Walls and Professor in the Program in Educational Theatre, both at New York University. Author of several plays for children - including Legends in Action, 1945, Pioneers in Petticoats, 1961, and The Little Snow Girl, 1963-and of Creative Dramatics in the Classroom, 1968; Theatre for Children in the United States: A History, 1971 ; Give Them Roots and Wings, 1972; Act Now! (for children), 1975. Editor of Children and Drama: A Collection of Essays, 1975. Essays: Flora B. Atkin; Charlotte Chorpenning; Constance D'Arcy Mackay; Madge Miller; Stuart Walker.

1500 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS

McCORD, David. See his own entry. Essays: L. Frank Baum; Walter D. Edmonds; Joel Chandler Harris (appendix); Charles G .D. Roberts; Elizabeth Madox Roberts; James Thurber; Eliza Orne White; E.B. White.

McDONOUGH, Irma. Coordinator of Children's Library Services, Ontario Provincial Library Service, Toronto; Founding Editor of In Review: Canadian Books for Children. Editor, Ontario Library Review, 1966-75. Reviewer for Quill and Quire, Saturday Night, School Library Journal, Emergency Librarian, and other periodicals. Editor of Profiles, revised edition, 1975, and of Canadian Books for Children, 1976. Essays: Ruth Nichols; James Reaney; Kerry Wood.

McDOWELL, Myles. Deputy Headmaster, J.H. Whiteley School, Halifax, Yorkshire. Essay "Fiction for Children and Adults: Some Essential Differences" published in Writers, Critics, and Children, 1976. Essays: Margaret Greaves; Aylmer Hall; Aaron Judah; Benjamin Lee; A.C. Stewart.

McGRATH, Joan. Teacher-Librarian, Toronto Board of Education. Reviewer for In Review and Quill and Quire. Essays: Herbert Best; Ralph Connor; John Craig; Marguerite de Angeli; Nat Hentoff; Lee Kingman; E.L. Konigsburg; Ellen MacGregor; Keith Robertson; Marilyn Sachs; Edith Sharp; Louisa R. Shotwell: Virginia Sorensen; ; Scott Young.

McKENZIE, Dorothy Clayton. Professor of English, California State University, Los Angeles; Editor of Bibliophile, a bi-monthly book review. Essays: Mary Buff: Leo Politi.

McVITTY, Walter. Children's Literature Specialist. State College. Author of Australian Children's Writers, 1978. Essays: Alan Garner; Bette Greene: Ted Greenwood: David Martin: Christobel Mattingley; Joan Phipson; William Rayner: .

MEEK, Margaret. Lecturer, Institute of Education: Reviews Editor of The School Librarian. Contributor to the Times Literary Supplement. Author of Geoffrey Trease, 1960. Editor of The Cool Web: The Pattern of Children's Reading (with Griselda Barton and Aidan Warlow), 1977. Essays: Honor Arundel: Jane Gardam: Shirley Hughes: Geoffrey Trease.

MENDELSOHN, Leonard R. Director of the Graduate Program and Associate Professor of English, Concordia University, Montreal. Articles on Milton, Kafka. Renaissance drama, and children's literature and education published in Comparative Drama. Studies in Short Fiction. Language Arts. Children's Literature, and other periodicals. Essays: Ann Blades: Lyn Cook: William Pene du Bois: Ernest Thompson Seton.

MERCIER, Jean F. Children's Books Editor. Publishers Week(v. New York: Free-lance Editor. Stories and articles published in various American magazines. Author of the novel Whatever You Do, Don't Panic, 1961. Essays: Nathaniel Benchley; Frank Bonham; Roger Duvoisin; Jean Fritz; Hardie Gramatky; Felice Holman; Ruth Krauss: Tasha Tudor: Barbara Wersba: Charlotte Zolotow.

MEYERS, Susan. Instructor in the Extension Writer's Program. University of California, Los Angeles; Children's Books Editor, BooksWest magazine. Member of the Board of Directors, Society of Children's Book Writers. Author of the children's stories Melissa Finds a Mystery, 1966; The Cabin on the FJord, 1968: The Mysterious Bender Bones, 1970. Essay: E.C. Spykman.

MILLS, Joan. Assistant Director of Theatre Powys. Brecon. Former Director of the Young People's Theatre, Royal Court Theatre, London. Essay: Ann Jellicoe. 1501 ADVISERS AND CONTRIBUTORS CHILDREN'S WRITERS

MITCHISON, Naomi. See her own entry. Essays: Peggy Appiah; Margaret MacPherson; John Masefield; Rhoda Power.

MOE, Christian H. Professor of Theatre, Southern Illinois University, Carbondale; Member of the Advisory Board, Institute of Outdoor Drama; Bibliographer, American Theatre Association. Publicist for the Cornell University Theatre, 1956-58; Chairman of the Publications Committee, American Theatre Association, I 966-71 ; Associate Editor, Bibliographic Annual of Speech Communication, 1972-7.5. Fulbright Lecturer, Flinders University, Bedford Park, South Australia, 1975. Author of Creating Historical Drama (with George McCalmon), 1965, an essay on D.H. Lawrence as playwright, an article in The William and Mary Theatre: A Chronicle, /926-1956, 1968, and of the children's plays The Strolling Players (with Darwin Payne), 1971, Six New Plays (with Payne), 1971, and Santa Claus Comes to Simpson's Crossing (with Cameron Garbutt), 1975. Essays: Betty Jean Lifton; Marjorie Kinnan Rawlings; .

MOLSON, Francis J. Associate Professor of English, Central Michigan University, Mount Pleasant. Author of a chapter on juvenile science fiction in Anatomy of Wonder edited by Neil Barron, 1976, and of periodical articles on , Louise Fitzhugh, Frances Hodgson Burnett, and Francis Finn. Essays: Eleanor Cameron; Jane Curry; Sylvia Engdahl; Robert Heinlein; Jane Langton; Ursula K. I.e Guin; Madeleine L 'Engle.

MOORE, Doris Langley. Writer and Historian of Costume. Founder and Former Adviser, Museum of Costume, Assembly Rooms, Bath. Designer of period clothes for films and ballet. Author of many books: novels include A Winter's Passion, 1932; They Knew Him When ... , 1938; All Done by Kindness, 1951; My Caravaggio Style, 1959; other books include E. Nesbit: A Biography, 1933 (revised, 1966); Pleasure, A Discursive Guide Book, 1953; The Late Lord Byron, 1961, and Lord Byron: Accounts Rendered, 1974; and other biographies, books on the history of fashion and taste, and screenplays. O.B.E., 1971. Essay: E. Nesbit.

MOOREHEAD, Caroline. Free-lance Writer and Journalist. Reviewer for The Times, London, and the Times Literary Supplement and Times Educational Supplement. Essay: Hugh Lofting.

MUIR, Marcie. Author and Bibliographer. Author of A Bibliography of Australian Children's Books, 2 vols., 1970 and I 97 6; Editor of Strike-a-Light, The Bushr(mger, 1972. Essays: Mary Durack; May Gibbs; Noreen Shelley.

NEILL, Heather. Assistant Literary Editor, Times Educational Supplement, London. Essay: James Roose-Evans.

NETTLEFOLD, Mary. Principal Educational Resources Librarian, Ayr Division, Strathclyde, Scotland; Editor of Library Association Youth Library Group's Storyline. Essays: Monica Edwards; Mollie Hunter.

NEWMAN, Janet E. Children's Librarian, Inner Ring Zone, . Essays: ; Alison Morgan.

NOAKES, Vivien. Free-lance Writer. Author of Edward Lear: The Life of a Wanderer, 1968. Essay: Edward Lear (appendix).

OSLER, Ruth. Assistant Coordinator of Boys and Girls Resources, Toronto Public Library. Essays: Catherine Anthony Clark; Laurence Hyde; William Stevenson.

PATON WALSH, Jill. See her own entry. Essays: Nina Bawden; Violet Bibby; C. Walter Hodges; John Rowe Townsend; Robert Westall.

1502 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS

QUAYLE, Eric. Free-lance Writer. Author of Ballantyne the Brave, 1967, and a bibliography of Ballantyne; The Ruin of Sir Walter Scott, 1968; The Collector's Book of Books, Children's Books, Detective Fiction, and Boys' Stories, 4 vols., 1971-73; Old Cook Books: An Illustrated History, 1978. Essay: R.M. Ballantyne (appendix).

RAY, Sheila G. Lecturer, City of Birmingham Polytechnic. Contributor to Children's Literature Abstracts. Author of Children's Fiction, 1972, and Library Service to Schools, 1972. Essays: Prudence Andrew; Ruth Arthur; Enid Blyton; Virginia Pye.

RAYNER, Mary. Free-lance Writer and Illustrator. Author of the children's books The Witch-Finder, 1975, and Mr. and Mrs. Pig's Evening Out, 1976. Essays: Joyce Lankester Brisley; Eve Garnett; Dhan Gopal Mukerji; Ann Schlee; Ian Serraillier.

READY, William. Professor of Bibliography and University Librarian, McMaster University, Hamilton, Ontario. Author of The Great Disciple (short stories), 1950; The Poor Hater (novel), 1960; The Tolkien Relation, 1968; Necessary Russell (biography), 1971. Essays: Padriac Colum; Farley Mowat; David Walker; T.H. White.

REES, David. Lecturer at St. Luke's College, Exeter, Devon. Author of the children's novels Storm Surge, 1975; Quintin's Man, 1976; The Missing German, 1976; Landslip, 1977; The Spectrum, 1977. Essays: Alec Lea; Roctle Sudbery; Meriol Trevor.

REEVES, James. See his own entry. Essay: Edward Ardizzone.

ROGER, Mae Durham. Lecturer, School of Library and Information Studies, University of California, Berkeley. Contributor to professional journals. Author of Tit for Tat and Other Latvian Folk Tales, 196 7, and Tobei: A J_apanese Folktale, 197 4. Editor of Literature Sampler: Junior Edition, 1964. Essays: Clyde Robert Bulla; Don Freeman; Ruth Stiles Gannett; Erik Haugaard; Sulamith Ish-Kishor; Elizabeth Gray Vining.

ROGINSKI, James W. Director of Library Promotion, Follett Publishing Company. Chicago. Formerly, librarian and bookseller. Author of essay "The Cabinet of Lilliput" in Horn Book, 1976. Essays: Walter R. Brooks; Fred Gipson; Munro Leaf; Sharon Bell Mathis; Judith Viorst. '

ROOSE-EVANS, James. See his own entry. Essays: Margaret J. Baker; Susan Cooper; W. Towrie Cutt.

RUBIO, Mary. Associate Editor of Canadian Children's Literature. Guelph. Ontario; Part­ time Lecturer in English, University of Guelph. Editor of Kanata: An Anthology ofCanadian Children's Literature (with Glenys Stow). 1976. Essays: Clare Bice; Norman Duncan.

RUSSELL, Jean. Editor of Books for Your Children. . Surrey. Chairman. Federation of Children's Book Groups, 1975-76. and Editor of the Federation's Yearbook. Essays: Angela Bull; Roald Dahl; Rumer Godden; David McKee; Joan Tate; Ann Thwaite.

SADLER, Glenn Edward. Professor of English, Point Lorna College. San Diego. Editor of The Gifts qfthe Child Christ: Fairytales and Stories for the Childlike by George MacDonald. 1973. Essay: George MacDonald (appendix).

SAUNDERS, Rubie. Editorial Director of Children's Magazines, Parents' Magazine Enterprises Inc., New York. Essays: ; Arnold Lobel; Robert Newton Peck; Lee Wyndham.

1503 ADVISERS AND CONTRIBliTORS CHILDREN'S WRITERS

SAXBY, H.M. Head of the English Department, Kuring-gai College of Advanced Education, Lindfield, New South Wales. Author of A History of A ustra/ian Children's Literature, 1841-1941 and 1941-1970, 2 vols., 1969, 1971; Teaching the New English in Primary Schools (with Cliff Turney), 1974. Essays: Margaret Balderson; Mary Grant Bruce; ; Elyne Mitchell; Reginald Ottley; .

SCHEINMANN, Vivian J. Free-lance Writer and Researcher; Book Editor, New Directions for Women quarterly, Dover, New Jersey. Reviews published in the New York Times, Washington Post, and other periodicals. Essays: John and Patricia Beatty; Crosby Bonsall; ; M.E. Kerr; Joan M. Lexau; Eve Merriam; Miriam Schlein; Elizabeth George Speare; Janice U dry ; Maia W ojciechowska.

SCHMIDT, Nancy J. Head of the Tozzer Library, Peabody Museum of Archaelogy and Ethnology, Harvard University, Cambridge, Massachusetts; Contributing Editor, Conch Review. Children's and Young People's Editor, A.fricana Library Journal, 1971-74; former Visiting Professor, University of Illinois, Urbana. Author of "The Writer as Teacher: A Comparison of the African Adventure Stories of G.A. Henty, Rene Guillot, and Barbara Kimenye" in African Studies Review 19, 1976, and of articles on Nigerian fiction, African folklore and other topics in African literature for Journal of the New African Literature and the Arts, Africa Report, Research in African Literatures, and other journals. Editor of Children's Books on Africa and Their Authors: An Annotated Bibliography, 1975. Essays: Cyprian Ekwensi ; Jenny Seed; Efua Sutherland.

SEGUN, Mabel D. Secretary, Nigerian Book Development Council, Lagos; Free-lance Journalist and Broadcaster. Has taught in primary and secondary schools and teacher training colleges. Author of My Father's Daughter (reader), 1966; Friends, Nigerians, Countrymen (radio broadcast talks), 1977; Poetry for Primary Schools 1 (with Neville Grant), 1977. Essays: Barbara Kimenye ; Kola Onadipe.

SHEPHERDSON, Nancy. Free-lance Writer. Essays: Nance Donkin; Mary Elwyn Patchett; Barbara Softly.

SILES, Dorothy D. Assistant Professor and Head of the Catalog Department, Ithaca College, New York. Rare Pamphlet Cataloger, American Antiquarian Society, Worcester, Massachusetts, 1974-76. Reviewer in American history and social sciences for Library Journal. Essays: Richard Armour; Dorothy Canfield Fisher; Grey Owl.

SMILEY, Barbara. Assistant Editor,/n Review and Ontario Library Review, both Toronto. Essays: Mary Alice Downie; Adelaide Leitch.

SORFLEET, John Robert. Associate Professor of English and Canadian Studies. Concordia University, Montreal; Editor, Canadian Children's Literature; Editor and Managing Editor, Journal ofCanadian Fiction; Corresponding Editor for Canada, Phaedrus; Member ofthe Advisory Editorial Board, Owl: The Canadian Magazine for Children. Author of The Poems of Bliss Carman, 1976, L. M. Montgomery: An Assessment, 1976, and other books. Essays: Cliff Faulknor; John F. Hayes; James A. Houston; Dennis Lee; L. M. Montgomery; Anne Wilkinson.

STERCK, Kenneth J. Senior Lecturer in English, College of St. Mark and St. John, Plymouth; Member of the Editorial Committee, Children's Literature in Education. Joint Editor of Writers, Critics, and Children, 1976. Essays: Jacynth Hope-Simpson; Percy Westerman.

STERN, Madeleine B. Partner in Leona Rostenberg-Rare Books, New York; Free-lance Writer. Author of Louisa May Alcott, 1950; Imprints on History: Book Publishers and 1504 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS

American Frontiers, 1956; We the Women: Career Firsts of 19th-Century America, 1963; Heads and Headlines: The Phrenological Fowlers, 1971 ; Old and Rare: Thirty Years in the Book Business (with Leona Rostenberg), 1975; and of adult biographies of Margaret Fuller, Mrs. Frank Leslie, and Stephen Pearl Andrews, and juvenile biographies of Mrs. Frank Leslie and Dr. Isabel Barrows. Editor of Women on the Move, 1972; The Victoria Woodhull Reader, 1974; and Louisa's Wonder Book, 1975, Behind a Mask, 1975, and Plots and Counterplots, 1976, all by Louisa May Alcott. Essay: Louisa May Alcott (appendix).

STONES, Rosemary. Children's Book Reviewer and Commentator; Member of the Children's Rights Workshop, London. Co-Editor, Papers in Children's Literature series: Racist and Sexist Images in Children's Books, 1975, Sexism in Children's Books. 1976. Children's Books and Class Society, 1977; Co-Editor. Mother Goose Comes to Cable Street, 1977. Essays: Bernard Ashley; Leila Berg; Peter Carter; Marjorie Darke; Louise Fitzhugh; Michael Foreman; Robert Leeson.

STOTT, Jon C. Associate Professor of English, University of Alberta, Edmonton; Editor and Publisher, The World of Children's Books (semi-annual review); Founding Director and President, Children's Literature Association. Essays: Doris Gates; Roderick Haig-Brown: Jean MacKenzie.

SUTHERLAND, Zena. Lecturer, University of Chicago Graduate Library School: Editor, Bulletin of the Center for Children's Books: Children's Books Editor of the Chicago Tribune. Contributing Editor of the Saturday Review. 1966-7 2. Author of History in Children's Books. 1967; Children and Books (with May Hill Arbuthnot). 1972: The Best in Children's Books. 1973; and of the children's literature article in World Book Encyclopedia. Editor of An Arbuthnot Anthology, 1976. Essays: Richard Atwater; Martha Bacon: Marie Halun Bloch: Patricia Qapp; James A ora: Florence Hightower; Harold Keith: Evelyn Lampman: Mildred Lawrence; Joseph Wharton Lippincott; Cornelia Meigs; Sterling North.

THOMAS, Gillian. Assistant Professor of English. St. Mary's University, Halifax. Nova Scotia. Author of numerous articles and reviews about 19th-century fiction and children's literature. Essays: Joseph Krumgold: Edward Ormondroyd: Mary Q. Steele.

THWAITE, Ann. See her own entry. Essays: M. E. Atkinson: Angela Banner: Frances Hodgson Burnett; V. H. Drummond: Mary K. Harris: Penelope Lively.

TOTTEN, Eileen. Free-lance Writer. Contributor to the Guardian, The Obsen•er, Financial Times, and Radio Times. Author of three information books for children. the most recent being Caring for Your Pets. 1976. Essay: Jill Paton Walsh.

TOWNSEND, John Rowe. See his own entry. Essays: : John Christopher: William Corlett; Peter Dickinson: John Gordon: A. A. Milne: .

TREASE, Geoffrey. See his own entry. Essays: Kitty Barne: Frederick Grice: G. A. Henty (appendix); Charlotte Hough; W. E. Johns: Barbara Sleigh: L.A. G. Strong: Elfrida Vipont.

TRESSELT, Alvin. See his own entry. Essays: Margaret Wise Brown: Jay Williams.

TYE, Margaret M. Principal Tutor Librarian. Padgate College of Higher Education, , Cheshire. Essays: Bruce Carter: Dorothy Clewes: Carola Oman: Barbara Leonie Picard; Philip Rush: Barbara Ker Wilson.

VANSITTART, Peter. Novelist, Historian and Critic. Author of more than 25 books including Enemies, 1948: The Overseer. 1949: The Game and the Ground. 1955; The Siege. 1959; The Storyteller, 1968; Pastimes of a Red Summer, 1969; Dictators, 1973; Worlds and 1505 ADVISERS AND CONTRIBUTORS CHILDREN'S WRITERS

Underworlds, 1974; Quintet, 1976; also author of three children's books, The Dark Tower, 1964, The Shadow Land, 1966; and Green Knights, Black Angels, 196 7. Essays: Leonard Clark; Robert Nye; Joan G. Robinson.

WALKER, Margaret. Chairman of the Scottish Children's Book Association, Glasgow ; Editor of Book Window. Essays: Michael Bond; Kathleen Fidler; Angus MacVicar; lona McGregor; Allan Campbell McLean.

WARD, Joan. Editor of educational books. Essay: Elizabeth Stucley.

WARWW, Aidan. Teacher; Deputy Warden of the Centre for Language in Primary Education, London. Editor of The Cool Web: The Pattern of Children's Reading (with Griselda Barton and Margaret Meek), I 977. Essays: Richmal Crompton; Robert C. 0 'Brien; Anna Sewell (appendix).

WEBER, Rosemary. Associate Professor, Graduate School of Library Science, Drexel University, Philadelphia. Author of Building a Children's Literature Collection, 1975, and of chapters in Children and Books, 1977. Editor of Library Materials for Younger Children, 1976. Essays: Uoyd Alexander; Eleanor Estes.

WEEKS, Brigitte. Managing Editor and Children's Books Review Editor of Washington Post "Book World." Essays: Isabelle Holland; Kristin Hunter; Norma Klein; Ellen Raskin.

WHALLEY, Joyce I. Assistant Keeper, Victoria and Albert Museum Library, London. Organised Beatrix Potter exhibition at the Victoria and Albert Museum, 1972. Author of English Handwriting, I 540-I 843, 1969; Writing Implements and Accessories, 197 5; Cobwebs to Catch Flies: Illustrated Books for Nursery and Schoolroom, 1700-1900, 1975. Essays: (appendix); Beatrix Potter.

WHITBY, Joy. Head of Children's Programmes for Yorkshire Television, Leeds. Creator of Play School and Jackanory series for BBC Television, and Catweezle series for London Weekend Television. Author of the children's novel Grasshopper Island, 1971. Essays: Nicholas Fisk; Anita Hewett; K. M. Peyton; Diana Ross.

WHITEHEAD, Frank. Reader in English and Education, University of Sheffield. Chairman, National Association for the Teaching of English, 1965-6 7; Editor, The Use of English, 1969-73. Author of The Disappearing Dais, 1966; Creative Experiment, 1970; Children's Reading Interests (with A.C. Capey and W. Maddron), 1974. Essays: Helen Bannerman ; Hester Burton ; Kathleen Hale; Annabell and Edgar Johnson; Armstrong Sperry.

WHITEHEAD, Winifred. Lecturer in English Literature and Curriculum Studies, Sheffield City Polytechnic. Essays: L. Leslie Brooke; Winifred Cawley; Elizabeth Borton de Trevino; Marjorie Flack; Ursula Moray Williams.

WIGAN, Angela. Member of the Books Section, Time magazine, New York. Reviewer for several magazines, including Time, Bookletter, and SoHo News. Essays: Elizabeth Coatsworth; Isaac Bashevis Singer.

WILLIAMS, Gladys A. Reviewer of Children's Books for Good Housekeeping magazine, London. Former Assistant Editor, Books and Bookmen. Author of Children and Their Books, 1970, and several books for children, including the Semolina Silkpaws series, 1963-72, Garry the Goblin, 1973, and Percy the Pigeon, 1973. Essays: Mabel Esther Allan; Richard Parker; Jenifer Wayne.

1506 CHILDREN'S WRITERS ADVISERS AND CONTRIBUTORS

WILSON, Barbara Ker. See her own entry. Essays: H. F. Brinsmead; Mavis Thorpe Clark; Max Fatchen; George Finkel; Elisabeth Macintyre; ; Noel Streatfeild.

WOODY, Jacqueline Brown. Young Adult Age-Level Specialist, Prince George's County Ubrary System, Greenbelt, Maryland; Volunteer, Reading Is Fundamental program. Essays: Lucille Clifton; Nikki Giovanni; Rosa Guy; June Jordan.

WYNDHAM, Lee. See her own entry.

YOLEN,Jane. See her own entry. Essays: Sid Fleischman; F. N. Monjo; Clyde Watson.

1507