207“personal intercourse of appetite”: Wollstonecraft, Vindication, 222.
207“sexual relationship outside marriage”: Todd, Wollstonecraft, 230.
207hunger or thirst: Ibid., 235.
208“sexual desire as natural and right”: Ibid., 236.
208“continued to detain him”: Godwin, Memoirs, 116.
208presumably laudanum: Todd, Wollstonecraft, 287.
209“morality above literary ambition”: Ingrassia, Introduction, 2–3.
209“propriety, modesty, and decorum”: Ibid.
209“propagating w----s”: The Anti-Jacobin Review 9 (London: Anti-Jacobin Office, 1801), 518.
210Prostitution was cross-referenced: Index of The Anti-Jacobin Review 1 (London: Anti-Jacobin Office, 1798), though we also notice these guys were still making the joke as late as 1890, in the Index of a Compilation of the Poetry of the Anti-Jacobin, ed. Charles Edmonds (London: Sampson Low, Marston, Searle, and Rivington, 1890), 339.
210emotional “scribblers”: Cf. Nathaniel Hawthorne’s comment, “America is now wholly given over to a d—d mob of scribbling women, and I should have no chance of success while the public taste is occupied with their trash,” in a letter to William D. Ticknor, January 19, 1855, in Nathaniel Hawthorne, The Letters, 1853–1856, ed. Thomas Woodson et al., The Centenary Edition of the Works of Nathaniel Hawthorne, vol. 16 (Columbus: Ohio State University. Press, 1987), 304. See also Michael Winship, “Hawthorne and the ‘Scribbling Women’: Publishing The Scarlet Letter in the Nineteenth-Century United States,” Studies in American Fiction 29, no. 1 (2001): 3–11.
210“identify openly with Wollstonecraft”: Mellor, “Women Writers,” 145.
210“tarred and feathered”: Ibid.
211overlooked details of Wollstonecraft’s life: Shattock, “Construction,” 16–17.
211New editions of Vindication: Ibid., 18.
211resurrected and reinvented: Cora Kaplan, “Mary Wollstonecraft’s Reception and Legacies,” in The Cambridge Companion to Mary Wollstonecraft, ed. Claudia L. Johnson (Cambridge, UK: Cambridge University Press, 2002), 247–49. This article provides an excellent summary of the vicissitudes of critical opinion on Wollstonecraft.
211more a reflection of our society: In the 1968 essay “What Is an Author?,” Michel Foucault famously declared the author nothing but an artificial construct, “a certain functional principle by which, in our culture, one limits, excludes, and chooses.” Each culture defines these boundaries in different ways, which leads to a different interpretation of what an author is. Michel Foucault, “What Is an Author?’” in Seán Burke, Authorship: From Plato to Postmodernism, a Reader, ed. Seán Burke (Edinburgh: Edinburgh University Press, 1995), 125–30.
211which is to say, forever: A postmodernist statement that reflects Roland Barthes’s assertion that readers are authorities over any concrete idea of the author. According to Barthes, “To give a text an Author is to impose a limit on that text.” Roland Barthes, “The Death of the Author,” in Burke, Authorship, 129. Most scholars today believe that the idea of the author as a unique talent does not independently exist. In the very least, authorship is considered much more collaborative than has historically been the case; see Textual Appropriation in Law and Literature, ed. Martha Woodmansee and Peter Jaszi (Durham, NC: Duke University Press, 1994), especially the introduction by Woodmansee and Jaszi.
211“act of defiance”: Dale Spender, Mothers of the Novel: 100 Good Women Writers before Jane Austen (London: Pandora, 1986), 3. See also Cheryl Turner, Living by the Pen: Women Writers in the Eighteenth Century (London: Routledge, 2002), 10–11.
212thought half as good: P. T. Rooke and R. L. Schnell, No Bleeding Heart: Charlotte Whitton, A Feminist on the Right (Vancouver: University of British Columbia Press, 1987), 2.
Chapter 9: American Bookaneers
213“special production”: Lord Shaftesbury, diary entry for December 20, 1871, quoted in Edwin Hodder, The Life and Work of the Seventh Earl of Shaftesbury, K.G. (London: Cassell and Company, 1887), 658.
214“emperors and kings”: Sidney Phil Moss, Charles Dickens’ Quarrel with America (Albany, NY: Whitston Publishing Company, 1984), 2.
214“never been so feted”: Ibid.
214“heart is democratic”: Quoted in Jerome Meckier, Innocent Abroad: Charles Dickens’ American Engagements (Lexington: University Press of Kentucky, 1990), 16.
214“Here we are!”: Recounted in Michael Slater, Charles Dickens: A Life Defined by Writing (New Haven, CT: Yale University Press, 2009), 178.
214“I would have the whole United States”: Quoted in ibid., 180.
214“penny-a-liner loafer”: Quoted in Moss, Quarrel, 40.
215“silliness and inanity”: Quoted in ibid.
215“hangs up his fiddle”: Quoted in ibid., 133.
215“more popular than Jesus”: Lennon’s remarks went without comment when published in the London Evening Standard. It was when they were published five months later in a U.S. magazine, Datebook, that the uproar began in the American South. See Jonathan Gould, Can’t Buy Me Love: The Beatles, Britain, and America (New York: Three Rivers Press, 2007), 309, 341–43.
215restricted to American citizens: James J. Barnes, Authors, Publishers, and Politicians: The Quest for an Anglo-American Copyright Agreement, 1815–1854 (London: Routledge, 1974), 50.
216“older generation deplored”: Robert L. Patten, Charles Dickens and His Publishers (Santa Cruz: University of California Press, 1978), 10.
216“an author in every fifteenth or twentieth person”: Florian Schweizer, “Authorship and the Professional Writer,” in Charles Dickens in Context, ed. Sally Ledger and Holly Furneaux (Cambridge, UK: Cambridge University Press, 2011), 119.
216Lord Byron and Sir Walter Scott: Ibid.; and Patten, Publishers, 21.
216source of depravity: Peter Baldwin, The Copyright Wars: Three Centuries of Trans-Atlantic Battle (Princeton, NJ: Princeton University Press, 2014), 7.
216“I’m lovin’ it”: The company really does have this trademarked. On the McDonald’s official website is a section listing its myriad trademarks, including “Chicken McNuggets . . . Egg McMuffin, Extra Value Meal . . . Fish McBites . . . Golden Arches Logo, Good Time, Great Taste . . . Triple Thick, twoallbeefpattiesspecialsaucelettucecheesepicklesoniononsasesameseedbun, We Love to See You Smile,” and many, many more. See http://www.mcdonalds.com/us/en /terms_conditions.html.
217“libel, blasphemy, or sedition”: Mark Rose, “Author in Court,” 201.
217legal entity: Ibid., 199–202.
217“double the sum”: Meckier, Innocent, 55.
218“baracoon of ‘bookaneers’”: The Metropolitan, March 1853, 86. This was actually an American monthly magazine arguing that U.S. piracy hurt homegrown authors. The Hood reference is to Thomas Hood, the respected English poet. He first used the term in an 1837 letter printed in the Athenaeum entitled “Copyright and Copywrong.”
218piracy = educating: Barnes, Quest, 15; and Baldwin, Copyright Wars, 114.
219Dickens cap-shouted: Alexander Welsh, From Copyright to Copperfield: The Identity of Dickens (Cambridge, MA: Harvard University Press, 1987), 9.
220roaming passels of hogs: Slater, Dickens, 190.
220“most photographically famous”: Joss Marsh, “The Rise of Celebrity Culture,” in Ledger and Furneaux, Charles Dickens in Context, 106.
220“furiously walking, in flamboyant clothes”: Ibid., 104.
220“admiration of a Kentucky huntsman”: Report of a journalist at the Worcester Aegis during Dickens’s visit, quoted in Slater, Dickens, 181.
220“graphic fancy”: Ibid.
220mistaken for a riverboat gambler: Meckier, Innocent, 23.
220“pioneer first-class hotel”: Slater, Dickens, 178.
220“straight down upon [Niagara] Falls”: Ibid., 187.
220£5,019 in debt: Meckier, Innocent, 58. See also Patten, Publishers, 125.
221receipt from his publishers: Slater, Dickens, 175.
221wasn’t financially secure: Ibid., 10.
221three hundred fifty pounds from American publishers: Moss, Quarrel, 112.
221modest two thousand pounds: Patten, Publishers, 70.
222“lay particular stress”: William Glyde Wilkins, ed. and comp., Charles Dickens in America (London: Chapman and Hall, 1911), 33.
222“dwellers in log-houses”: Ibid., 32.
222“substantial profit and return”: Ibid., 33.
222“tumultuous” applause: Edgar Johnson, Charles Dickens: His Tragedy and Triumph (London: Simon and Schuster, 1952), 1:375. Also recounted in Meckier, Innocent, 41.
223administrative oversight: Meckier, Innocent, 52.
223“bad taste” . . . “smells of the shop”: Moss, Quarrel, 10.
223“pay homage” . . .“refrains”: Quoted in Paul B. Davis, “Dickens and the American Press, 1842,” Dickens Studies 4 (1968), 68–69.
223“whisper in your ear”: Quoted in Welsh, Copyright, 32.
224“one grateful dollar”: Quoted in Meckier, Innocent, 44.
224“pressure on his brain”: Quoted in Slater, Dickens, 182.
224“indelicacy and gross impropriety”: Quoted in Moss, Quarrel, 3.
224“worst taste possible”: Ibid., 10.
225“1839 panic set in”: Barnes, Quest, 2.
225“fell lower and lower”: Ibid., 1.
225three-quarter price drop: Ibid., 4.
225“than most literary periodicals”: Ibid., 8.
225weeklies . . . “custom of reprinting”: See Catherine Seville, The Internationalisation of Copyright Law: Books, Buccaneers and the Black Flag in the Nineteenth Century (Cambridge, UK: Cambridge University Press, 2006), 168.
226“owes us a debt of gratitude”: Quoted in Barnes, Quest, 15.
226worst copyright offenders: Baldwin, Copyright Wars, 113.
226“enlightened and democratic polity”: Ibid., 114.
226railway timetables: Ibid., 117.
226three to four times as many books: Ibid., 118.
226“purportedly made the writer famous”: Meckier, Innocent, 42.
227“water closet paper”: From 1880 letter from Twain to William Dean Howells, quoted in Siva Vaidhyanathan, Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity (New York: New York University Press, 2001), 60.
227cost four times as much: Baldwin, Copyright Wars, 119.
227“honestly come by”: Quoted in ibid., 120, but originally from Report 1188, May 21, 1886, of the Reports of the Committees of the Senate.
227“country is drugged”: Quoted in ibid., 120, but originally from Report 622, March 19, 1888, of the Reports of Committees of the Senate.
227“dark, slimy, universal pond”: “Address to the People of the United States in Behalf of the American Copyright Club, Adopted at New-York, October 18th, 1843” (New York: American Copyright Club, 1843), 11.
227“colonial bondage”: From an 1842 letter from Samuel Morse to Cornelius Mathews, one of the leading members of the American Copyright Club. Quoted in Barnes, Quest, 83.
227“clamor of two hundred authors”: Quoted in Baldwin, Copyright Wars, 119, but originally from Report 1188, May 21, 1886, of the Reports of the Committees of the Senate.
228“Republic of my imagination”: Quoted in Meckier, Innocent, 19, who describes it as “the saddest traveler’s letter ever penned.”
228“left off washing himself”: Charles Dickens, The Life and Adventures of Martin Chuzzlewit (London: Chapman and Hall, 1844), 398.
229solemn and an awful thing: Ibid., 204–5.
229“offend and disgust another”: Ibid., 403.
229witty little observer: Meckier, Innocent, 6.
229peer inside the cabin: Quoted in ibid.
229hair clippings for sale: Ibid.
229“looking down my throat”: Quoted in ibid., 7.
229“‘Teaberry Tooth Wash’”: Slater, Dickens, 195.
229“Boz Pork & Beans”: Ibid.
230“common, decent, natural, human politeness”: Dickens, Chuzzlewit, 403.
231“great bond of equality”: Slater, Dickens, 185.
231“intolerably conceited”: Ibid., 186.
231“sublimity of nature”: Ibid.
231bordered “on the ridiculous”: Moss, Quarrel, 82.
231“sacred wrath of the newspapers”: John Forster, The Life of Charles Dickens, 3 vols. (London: Chapman and Hall, 1872–1874), 1:326.
232“have to denounce as slanderous”: Meckier, Innocent, 56.
233imported books face duties: Ibid., 72.
233“to our own wants”: Moss, Quarrel, 100.
233they’d already been doing: See ibid.
234“simultaneously published”: N. N. Feltes, “International Copyright: Structuring ‘The Condition of Modernity’ in British Publishing,” in The Construction of Authorship: Textual Appropriation in Law and Literature, ed. Martha Woodmansee and Peter Jaszi (Durham, NC: Duke University Press, 1994), 272.
234“eminently comprehensible to those nineteenth-century reformers”: Baldwin, Copyright Wars, 13.
Chapter 10: When Doves Cry
235“my last cards”: T. J. Cobden-Sanderson, The Journals of T. J. Cobden-San derson 1879–1922, 2 vols. (New York: Macmillan, 1926), 2:213.
236“work and disappear”: This is actually a famous line by Robert Bringhurst about typographers themselves, but the principle still applies in line with his intent. Robert Bringhurst, The Elements of Typographic Style, 4th ed. (Seattle: Hartley and Marks, 2012), 21.
236obvious rip-off: See Simon Garfield, Just My Type: A Book About Fonts (London: Profile Books, 2011), 221. “Arial is the Helvetica lookalike . . . still regarded—and rightly so—as a cheat.”
236most recognizable, truly American font: Ibid., 201–2.
236poor Comic Sans: Ibid., 20. One of the comic books that inspired Vincent Connare, the creator of the typeface, was Batman: The Dark Knight Returns, by Frank Miller and Klaus Janson.
236steel-toe boots send a very different message: Erik Spiekermann, Stop Stealing Sheep and Find Out How Type Works, 3rd ed. (San Francisco, CA: Peachpit, 2014), 42–45.
236“unremarkability and inoffensability” . . .“frightening the horses”: Garfield, Type, 211.
237more likely to agree: Errol Morris, “Hear, All Ye People; Hearken, O Earth (Part 2),” New York Times, August 9, 2012, http://opinionator.blogs.nytimes .com/2012/08/09/hear-all-ye-people-hearken-o-earth-part-2/?_r=0
238“at the same time something beautiful”: Quoted in Roderick Cave, The Private Press (New Providence, NJ: R. R. Bowker Company, 1983), 120–21.
238counterfeit Doves bindings: See Marianne Tidcombe, The Doves Bindery (London: British Library, 1991), 458–65.
238moving belt and felt rollers: Arthur Chick, Towards Today’s Book: Progress in 19th Century Britain (London: Farrand Press, 1997), 21–22.
239machine-made paper: James Mosley, “The Technologies of Print,” in The Book: A Global History, ed. Michael F. Suarez, S.J., and H. R. Woudhuysen (Oxford: Oxford University Press, 2013), 145.
239newly mechanized presses: Chick, Today’s Book, 36–38.
239more than tripled its productivity: Mosley states that hand press technology at the Times “could not exceed 300 impressions in an hour,” while the speed of the early Koenig presses was 1,000 impressions an hour. Mosley, “Technologies,” 160.
239mechanized printing assembly line: Ibid., 145.
239newspapers were no longer constrained: Lyle L. Miller, Maintaining Reading Efficiency (New York: Henry Holt and Company, 1959), 34.
239specialized typecasting machines: Mosley, “Technologies,” 148.
239“vending machine”: Bringhusrt, Elements, 137.
239fast, cheap, or good: This is a common riff on the Iron Triangle, a tool in project management first introduced by Martin Barnes in 1969. These days, however, it
tends to be updated to the Project Diamond, which acknowledges that a multitude of factors plays into these three aspects.
240for the beauty of their craft: Cave points to Bernard von Mallinckrodt’s 1639 book, De Ortu ac Progressu Artis Typographiae, as the first to reference private presses in literature. See Cave, Private, 3.
240“distinct undercurrent”: Ibid., 4.
240transformed into a full-fledged rebellion: Stanley Morison, A Tally of Types, with new introduction by Michael Parker (Boston: David R. Godine, 1999), 17.
240William Morris, the Pre-Raphaelite poet and textile designer: Morris is, obviously, the Obi-Wan of the Private Press Movement.
240first book of the Private Press Movement: Colin Franklin, The Private Presses, 2nd ed., with bibliography and indexes by John Turner (London: Scolar Press, 1991), 9.
241“state of the nation”: Ibid., 43.
241“advice and approval”: Quoted in Cave, Private, 104. In correspondence with the authors, Robert Gree suggested the “silent partner” description.
241food be damned: See ibid., xviii.
24218 percent of its total start-up cost: Tidcombe, Doves, 223. Cobden-Sanderson was apparently “delighted” to get that much, having expected he would have gotten closer to forty pounds.
242“The Book Beautiful”: See T. J. Cobden-Sanderson, The Ideal Book or Book Beautiful (Hammersmith, UK: Doves Press, 1900).
242“sacred vessels of Western culture”: Megan L. Benton, Beauty and the Book: Fine Editions and Cultural Distinction in America (New Haven, CT: Yale University Press, 2000), 4.
242“a dream, a symbol of the infinitely beautiful”: Cobden-Sanderson, Ideal, 9.
242“I know no more perfect book”: A. W. Pollard, “The Doves Press,” in Cobden-Sanderson and the Doves Press, ed. John Henry Nash (San Francisco: John Henry Nash, 1929), 13.
243language of the Press: T. J. Cobden-Sanderson, Cosmic Vision (Thavies Inn, [London]: Richard Cobden-Sanderson, 1922), 124. It first appeared as “Notes on the Doves Press” in the 1908 Doves Catalogue Raisonné.
244“only another printer can recognize”: Cave, Private, 122.
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