Iona and Peter Opie collected children's books, mostly eighteenth-century books. Peter Opie died in 1982, the Opie collection went to the Bodleian Library in 1988; Iona, seemingly immortal, still maintains their large collection of historic toys and games. In 1989 OUP published a volume of essays, celebrating the collection: Children and their Books.
This books has sat on my shelf undisturbed for five years. When I was packing my children's books today—I am moving, and write this surrounded by 102 large cartons, all but a few of them full of books—I decided to put this aside for a closer look. What particularly caught my attention were two essays: "Selections from the Accession Diaries of Peter Opie" by Clive Hurst and "Collecting Children's Books: Self-Indulgence and Scholarship" by Brian Alderson.
Well, I'd like to see more of the Accession Diaries of Peter Opie! Here's why:
25 May 1965: Twenty years seems a long time when one is looking ahead. It even seems a long period when one is looking at it in a history book. It has not seemed a long time to me while I have been living it. When a historian of collecting comes to look at this period he will remark on how circumstances have changed [but] … The feel of collecting has scarcely altered. When I began collecting chapbooks at 2/6 each, they were expensive trophies I could scarcely afford … Collectors items have, I suspect, always been expensive. Possibly because no collector worthy of the name limits himself merely to items that he can afford.
Damn straight. But, contrarily,
11 June 1980: A collector does not need to live dangerously. The secret of success lies I think more in keeping on and on and on rather than in spending beyond his means. Given that he keeps his eyes open, given that he has taste, judgement, discrimination… and given that he has a third eye which is always fixed on his target, success is simply the natural result of the amount of reading, the amount of thought, and the number of years he is willing to devote to his objective. He needs endurance, plus courage in an emergency. If I had had a little more courage when something splendid was suddenly offered me my collection would now be superb.
Of course, the Opie collection was superb, but he is right in other respects. We might alter the language a little today: success was "simply the natural result of the amount of reading" a collector did only in an era of printed catalogues. Now it is "simply the natural result of the amount of searching" we do on the internet. But, either way, success lies more in "keeping on and on and on" rather than in spending beyond one's means.
On the same date as the first quote above, appear two other interesting observations:
It took me some time before I realised that 'rare books are common.' I probably acquire an item or two which is unique, or almost unique, every month of the year.
but …
It has always seemed to me incredible that one can be an ordinary person, with no official standing, and can go into a shop and come out again having bought something unique.
I have few unique items, but many are genuinely rare, and yet it has also, always seemed incredible to me that such rare works are so easily and so cheaply purchased. I marvel at it daily. The internet is the collector's greatest gift.
(I can't resist an example. Yesterday, my copy of the following work arrived: An Interesting Narrative of the Travels of James Bruce, Esq. into Abyssinia, to Discover the Source of the Nile. Abridged from the Original Work. The Second Edition. By Samuel Shaw, Esq. (London: Printed for the Editor; and Sold by all the Booksellers in Town and Country, 1790).
Now, James Bruce, Esq was an amazing man, a six foot four Scottish traveller who spent more than a dozen years in North Africa and Ethiopia, where he traced the origins of the Blue Nile. Only yesterday, at an English Department seminar, Dr Paul Tankard (visiting from the University of Otago) gave a vivid account of Bruce, who was twice interviewed by James Boswell.
Anyway, the copy that I bought was in its original marbled boards, uncut. It is a trade binding, so it is not particularly pretty now. The paper spine is gone, the page-edges are dark, there are one or two stains; however, ESTC lists only one copy of this edition (under t223024) and yet it cost me £4.99 on eBay.)
4 February 1965: [Re: institutional collections] … after the original impetus of their founder their collections may tend just to come about, & they cannot know all the purposes to which their collection will be put. The collections of the Institution almost inevitably lag behind those in the dedicated private collection in any special field in discrimination, in detail, in condition, in novelty, & in love.
I think this related to Peter's observation about "keeping on and on and on"; it takes that maniacal glint in the eye to keep developing a collection, as well as the narrow focus on the actual use of a collection. An institution can rarely maintain such a narrow focus, and so they develop haphazardly ("tend just to come about").
The following two quotes go together, though they are slightly contradictory to my mind.
11 May 1968: Each copy of a book that has been standing around for 200 years or so is liable to vary from other copies, even of the same printing, and to have acquired its own characteristics. Its binding may vary from other copies, its condition certainly does; in addition it may carry the label of its original bookseller, surprisingly often it may still have its original price marked in it. It may bear an inscription by its original owner or donor, there may be comments in it written in a contemporary hand; it may be possible to trace its change of ownership over the years … It is always good to be reminded that the history of a book does not end with its being written and being published, but with it being read, and a catalogue of actual copies can show more vividly than can any general bibliography or history, the story of its readership.
22 November 1973: We are most interested in those books & objects which have been the most popular, or are the most ordinary, or are the most typical of their period. We prefer the trivial to the pretentious, the ephemeral to the monumental.
As Brian Alderson says, many of the books collected by the Opies were not just pretty acquisitions, they were "an artifact whose significance could only be realized by placing it alongside as many equivalent works as possible." Some of the significance of these normal, commonplace books might be realized by placing them alongside as many equivalent works as possible, but each is, indeed, unique as an artifact.
18 November 1967: On the flimsy blue-paper covers of these periodicals, or on tipped in pages which the binder removes before binding, were contemporary advertisements of many of the books I have in this room [i.e., 18C children's books]
This passage appears in a section where Peter Opies describes a large collection of eighteenth-century magazines he acquired in their original wrappers. I have recently bought just four issues of The Microcosm of 1787 [ESTC: p2566]—the only eighteenth-century magazines I have ever seen in original wrappers. These I would like to see "alongside as many equivalent works as possible" precisely for the reason mentioned, to see what sort of information an original reader got to see, which is missing from the bound runs, and the digitised versions that are based on them.
5 November 1970: … had I done so [visited a local bookshop] I know I would now possess that book, the earliest edn of the fairy tales in this country, and, in the mysterious way that ownership has, my voice would have had that much more authority.
This amused me enormously. Ah, the authority that book ownership gives one … in our dreams.
Wednesday, 4 August 2010
Sunday, 18 July 2010
More on Modern Characters (1753)
In 2004, I rejected the attribution of Modern Characters (1753) to Eliza Haywood. I still do reject the attribution, but thanks to Google Books and the Internet Archive—once again—new information has come to light.
In my Bibliography of Eliza Haywood, under Ca.32 I said that "This novel is attributed to Haywood on the authority of a note in a Pickering & Chatto catalogue of 1934" which, in turn, credited the attribution to the writer and book collector James Crossley (1800–83).
The Pickering & Chatto catalogue of 1934 reads:
James Crossley, author and antiquarian, and a celebrated authority on old books, said that this was one of the scarcest and least known of the works of Mrs. Eliza Haywood. It has never been reprinted. It is not included amongst the list of her works given by Mr. G. F. Whicher in "The Life and Romances of Mrs. Haywood."
Since I was unable to find an earlier record of the attribution I suggested that this 1934 entry could have been "the first time the claim had been made in print"; certainly it was the authority for Andrew Block’s attribution of 1939, which has since been widely repeated. It turns out I was wrong, though I was on the right track. I said:
Crossley may have been indebted for the attribution to the misinterpretation of a note in the John Thomas Hope copy of Ab.60.7 The Female Spectator, which attributes authorship to Haywood and cites advertisements for it in ‘Modern Characters, 1753., vol. ii’.
Thanks to Google Books I can now see that the attribution has been in print since 1865, but I was right about the source being John Thomas Hope (d. 1854) of Netley Hall, Shrewsbury.
What I have found (here) is an entry in a Catalogue of a Collection of Early Newspapers and Essayists, Formed by the Late John Thomas Hope, Esq., and Presented to the Bodleian Library by the late Frederick William Hope (Oxford: Clarendon Press, 1865), 80 (no. 290):
290. Modern Characters; Illustrated by Histories in Real Life, and address’d to the Polite World. 1753; 12mo.
Apparently by the contributors to the Female Spectator.
And "the contributors to the Female Spectator" are identified elsewhere (p. 72, no. 255) as being "By Mrs. Eliza Haywood."
Another happy discovery on Google Books and the Internet Archive concerns the fate of James Crossley's library. This is one of the avenues that I pursued in order to discover more about this attribution. In 2004, I stated in a footnote:
P. N. Furbank and W. R. Owens, who dedicate a chapter to Crossley, mention the sale of his library in July 1884 and June 1885. The writer has not been able to determine whether this title was in Crossley’s library and whether his attribution of it to Haywood is recorded in the catalogue of his library or in his own copy of the books. Furbank and Owens (1988), pp.75–82.
I was not "able to determine whether this title was in Crossley’s library" because nobody in Australia had a copy of either of the sale catalogues of his library (Manchester, 12-19 May 1884; London, 11-20 June 1885) and it was a big ask—on top of all the other requests I was pestering librarians with—to go through an auction catalogue looking for this sort of information for me. After all, many auction catalogues are not arranged in a way that makes it easy to find a particular title. And so, even if I had asked, I could never be really sure that whoever I asked didn't miss the information I was after.
So, I put this search on my list of "things to do" next time I was overseas and wrote the footnote I have just quoted.
You might have guessed by now that Crossley’s library catalogue is now on Google Books, which means I have been able to search it myself, and word-search it with a higher-confidence than I would have ever had if I had quickly visually scanning the whole catalogue.
If this is what you've guessed you are both right and wrong. Yes, the catalogue(s) are on Google Books, there are six or seven copies of each of them in fact, but due to the utterly idiotic and irrational restrictions that Google place on the texts they has scanned—out of fear of infringing copyright—not one of these 1884 or 1885 catalogues are available to be viewed in Australia!
(Insert rant about Google being incapable of—or uninterested in—discovering the period that copyright covers in Australia, or Europe or anywhere else—other than the US—for that matter.)
As I might have mentioned before, I have become fairly adept at the use of free proxy servers to confuse Google into thinking that I am in the States (rather than in that mystery-world, Australia) and so in October 2009 I was able to view these catalogues and search for Eliza Haywood and Modern Characters.
What I discovered was exactly what I was looking for, hidden in a lot of twenty-three volumes of the second London sale of Crossley's library. Sotheby Wilkinson and Hodge … Catalogue of the Second Portion of the Library of Rare Books and Important Manuscripts of the Late James Crossley Esq. F.S.A. … (London: 11-20 June 1885), 154 (lot no. 1583):
1583 … —Haywood (Mrs.) Modern Characters: Illustrated by Histories in Real Life, 2 vol. 1583—
What I also discovered, however, was that Crossley also had (p. 126, lots 1290, 1291), a mixed set of Secret Histories, Novels and Poems (1725–42), The Secret History of the Present Intrigues of the Court of Caramania (1727), and A Spy on the Conjurer (1724).
Here is the evidence I was seeking, that Crossley had, in fact, attributed Modern Characters to Haywood, and that this attribution was published in the catalogue of his library in 1885. This 1885 catalogue pre-dates the 1934 Pickering & Chatto catalogue that I claimed was "the first time the [attribution] had been made in print." But, as we now know, it actually post-dates the John Thomas Hope Catalogue of 1865. Oh well. At least we know now.
When I went looking for the London and Manchester catalogues this morning I discovered that it is now no longer possible to view almost all of the Crossley catalogues on Google Books, even using a proxy server—even though this was possible as recently as last October. It seems that Google Books have actually increased their levels of paranoia and fear about copyright litigation.
As a consequence, it took me a very long time to discover—that is, after a very long and frustrating search I discovered—that the Manchester catalogue is now available via the Internet Archive (here; where it can be downloaded in pdf) and that there is only one London catalogue that can now be viewed on Google Books (here; thanks to bypasstheweb.com I was able to view and download this catalogue).
One final word on free proxy servers, which every antipodean scholar should be familiar with. A proxy server "acts as an intermediary for requests from clients seeking resources from other servers." Servers (i.e. Google) are pretty quick to get wise to the fact that another server (bypasstheweb.com) is acting as a proxy, and so proxy servers like bypasstheweb.com tend to get blocked pretty quickly.
This is why I cannot recommend a single proxy server. Instead, try here, which keeps an updated list of proxy servers in different countries. You might have to try a few before you find one that works (i.e., that allows you to view the page).
In my Bibliography of Eliza Haywood, under Ca.32 I said that "This novel is attributed to Haywood on the authority of a note in a Pickering & Chatto catalogue of 1934" which, in turn, credited the attribution to the writer and book collector James Crossley (1800–83).
The Pickering & Chatto catalogue of 1934 reads:
James Crossley, author and antiquarian, and a celebrated authority on old books, said that this was one of the scarcest and least known of the works of Mrs. Eliza Haywood. It has never been reprinted. It is not included amongst the list of her works given by Mr. G. F. Whicher in "The Life and Romances of Mrs. Haywood."
Since I was unable to find an earlier record of the attribution I suggested that this 1934 entry could have been "the first time the claim had been made in print"; certainly it was the authority for Andrew Block’s attribution of 1939, which has since been widely repeated. It turns out I was wrong, though I was on the right track. I said:
Crossley may have been indebted for the attribution to the misinterpretation of a note in the John Thomas Hope copy of Ab.60.7 The Female Spectator, which attributes authorship to Haywood and cites advertisements for it in ‘Modern Characters, 1753., vol. ii’.
Thanks to Google Books I can now see that the attribution has been in print since 1865, but I was right about the source being John Thomas Hope (d. 1854) of Netley Hall, Shrewsbury.
What I have found (here) is an entry in a Catalogue of a Collection of Early Newspapers and Essayists, Formed by the Late John Thomas Hope, Esq., and Presented to the Bodleian Library by the late Frederick William Hope (Oxford: Clarendon Press, 1865), 80 (no. 290):
290. Modern Characters; Illustrated by Histories in Real Life, and address’d to the Polite World. 1753; 12mo.
Apparently by the contributors to the Female Spectator.
And "the contributors to the Female Spectator" are identified elsewhere (p. 72, no. 255) as being "By Mrs. Eliza Haywood."
* * * * *
Another happy discovery on Google Books and the Internet Archive concerns the fate of James Crossley's library. This is one of the avenues that I pursued in order to discover more about this attribution. In 2004, I stated in a footnote:
P. N. Furbank and W. R. Owens, who dedicate a chapter to Crossley, mention the sale of his library in July 1884 and June 1885. The writer has not been able to determine whether this title was in Crossley’s library and whether his attribution of it to Haywood is recorded in the catalogue of his library or in his own copy of the books. Furbank and Owens (1988), pp.75–82.
I was not "able to determine whether this title was in Crossley’s library" because nobody in Australia had a copy of either of the sale catalogues of his library (Manchester, 12-19 May 1884; London, 11-20 June 1885) and it was a big ask—on top of all the other requests I was pestering librarians with—to go through an auction catalogue looking for this sort of information for me. After all, many auction catalogues are not arranged in a way that makes it easy to find a particular title. And so, even if I had asked, I could never be really sure that whoever I asked didn't miss the information I was after.
So, I put this search on my list of "things to do" next time I was overseas and wrote the footnote I have just quoted.
You might have guessed by now that Crossley’s library catalogue is now on Google Books, which means I have been able to search it myself, and word-search it with a higher-confidence than I would have ever had if I had quickly visually scanning the whole catalogue.
If this is what you've guessed you are both right and wrong. Yes, the catalogue(s) are on Google Books, there are six or seven copies of each of them in fact, but due to the utterly idiotic and irrational restrictions that Google place on the texts they has scanned—out of fear of infringing copyright—not one of these 1884 or 1885 catalogues are available to be viewed in Australia!
(Insert rant about Google being incapable of—or uninterested in—discovering the period that copyright covers in Australia, or Europe or anywhere else—other than the US—for that matter.)
As I might have mentioned before, I have become fairly adept at the use of free proxy servers to confuse Google into thinking that I am in the States (rather than in that mystery-world, Australia) and so in October 2009 I was able to view these catalogues and search for Eliza Haywood and Modern Characters.
What I discovered was exactly what I was looking for, hidden in a lot of twenty-three volumes of the second London sale of Crossley's library. Sotheby Wilkinson and Hodge … Catalogue of the Second Portion of the Library of Rare Books and Important Manuscripts of the Late James Crossley Esq. F.S.A. … (London: 11-20 June 1885), 154 (lot no. 1583):
1583 … —Haywood (Mrs.) Modern Characters: Illustrated by Histories in Real Life, 2 vol. 1583—
What I also discovered, however, was that Crossley also had (p. 126, lots 1290, 1291), a mixed set of Secret Histories, Novels and Poems (1725–42), The Secret History of the Present Intrigues of the Court of Caramania (1727), and A Spy on the Conjurer (1724).
Here is the evidence I was seeking, that Crossley had, in fact, attributed Modern Characters to Haywood, and that this attribution was published in the catalogue of his library in 1885. This 1885 catalogue pre-dates the 1934 Pickering & Chatto catalogue that I claimed was "the first time the [attribution] had been made in print." But, as we now know, it actually post-dates the John Thomas Hope Catalogue of 1865. Oh well. At least we know now.
* * * * *
When I went looking for the London and Manchester catalogues this morning I discovered that it is now no longer possible to view almost all of the Crossley catalogues on Google Books, even using a proxy server—even though this was possible as recently as last October. It seems that Google Books have actually increased their levels of paranoia and fear about copyright litigation.
As a consequence, it took me a very long time to discover—that is, after a very long and frustrating search I discovered—that the Manchester catalogue is now available via the Internet Archive (here; where it can be downloaded in pdf) and that there is only one London catalogue that can now be viewed on Google Books (here; thanks to bypasstheweb.com I was able to view and download this catalogue).
One final word on free proxy servers, which every antipodean scholar should be familiar with. A proxy server "acts as an intermediary for requests from clients seeking resources from other servers." Servers (i.e. Google) are pretty quick to get wise to the fact that another server (bypasstheweb.com) is acting as a proxy, and so proxy servers like bypasstheweb.com tend to get blocked pretty quickly.
This is why I cannot recommend a single proxy server. Instead, try here, which keeps an updated list of proxy servers in different countries. You might have to try a few before you find one that works (i.e., that allows you to view the page).
Tuesday, 13 July 2010
On The Book Show with Caroline Breashears
Caroline Breashears (right) and I were interviewed this morning by Ramona Koval for the ABC Bookshow (you can download the show here). The interview was a lot of fun: Ramona was very gentle with us, Sarah L'Estrange (the Producer of the show) had everything organised in advance, and it was great to finally get to meet Caroline.
I should have met Caroline this time last year at the BSANZ conference in Brisbane, but I was stuck in Melbourne with an attack of catarrh and so my paper on "The Lost Erotica of James West" was delivered by Prof. Pat Buckridge instead. Those—like me—who missed Caroline's paper, on "Paratextual Strategies in Con Phillip's Apology" at the Brisbane conference should soon be able to read it in Script & Print.
I hope that the interview encourages people who heard the show, and who are interested in the subject of Forbidden, Hidden and Censored Books, to come along to at least one of the two free public lectures (details below) which we will be running as a part of the 2010 BSANZ conference at The Wheeler Centre for Books, Writing and Ideas at The State Library of Victoria.
Professor Jenny Hocking, Angela Wren’s Lost Watch: Power Without Glory, Criminal Libel and Hidden Histories [4:00–5:30PM, Thursday 15 July 2010]
Kevin Patrick, A Design for Depravity: Horror Comics and the Challenge of Censorship in Australia, 1950–1986 [7:00–8:30PM, Friday 16 July 2010]
Sunday, 11 July 2010
2010 BSANZ/CftB Conference in the News
Jane Sullivan's lead article "Censorship and Sensibility" appeared in Saturday's A2 section of The Age. It was certainly an eye-catching cover story, in which "Jane Sullivan probes the sometimes secret history of book banning in Australia." For those who missed it, Fairfax have the text here and Exit International (!) have it here.
Mentioned in the article is the Monash Rare Books exhibition, the BSANZ/CftB conference, and the public keynote papers by Professor Jenny Hocking ("Angela Wren’s Lost Watch: Power Without Glory, Criminal Libel and Hidden Histories") and Kevin Patrick ("A Design for Depravity: Horror Comics and the Challenge of Censorship in Australia, 1950-1986").
* * * * *
The only mention of non-Australian material in the article is a side-bar snippet on the Essay on Woman:
A notorious case in 18th century England. John Wilkes's pornographic parody of Pope's Essay on Man was written only for his rakish mates in the Hellfire Club and a tiny private edition was printed off a press in his own house.
His enemies in Parliament bribed the printers to give them a page and he was hauled up before his peers. He fled for his life to France, and in his absence was found guilty of obscene and seditious libel and declared an outlaw.
No original version of the poem survives and even copies are very rare, says Dr Patrick Spedding, associate director of the Centre for the Book at Monash University.
Indeed. The J. C. Hotten 1871 (private press) edition in the Monash Rare Books exhibition—the only copy in Australia—was probably the best and the most accurate edition of An Essay on Woman between 1763 and 2001 when Arthur H. Cash published his Reconstruction and Historical Essay on the poem.
[UPDATED 2016.05.12]
The Dark Hero: Demonic, Deranged and Cursed
On Thursday I was told that my new unit, The Dark Hero: Demonic, Deranged and Cursed, has been approved to run next year at Monash. It has a new Arts-faculty-wide unit code: ATS2914/ATS3914.
I have wanted to run a course like this for a very long time. One of my favourite honours courses at the University of Tasmania was The Byronic Hero, but the particular type of Byronic-Hero stories that have always attracted my attention are the ones with a supernatural element: Marlow's Faustus, Milton's Satan, Beckford's Vathek, Byron's Cain.
When I was a teenager I lived on a constant diet of fantasy and horror stories, books on witchcraft and the occult, and Hammer Horror films, so I ended up reading Stoker's Dracula and Goethe's Faust as soon as I had enough of my own money to buy them.
From memory, both were second-hand copies from the Dennis Wheatley Library of the Occult series, which were pretty common, and cheap, in op-shops, garage sales and book exchanges at the time.
I had quite a few "Library of the Occult" volumes at one stage, before I went to university and decided I was far too mature for that sort of thing. And, since I always needed more book-money, I decided to sell the lot. I don't remember what I spent the money on, but it is a decision I soon, and have long, regretted!
I recently started buying replacement copies of some of the paperbacks that I sold then, but the books are a lot harder to find and a lot more expensive now. (Which reminds me of that saying "no man is rich enough to buy back his past.") The images below are taken from one such recent—nostalgic—purchase; appropriate, yes?
The type of "Dark Hero" that my new course focusses on is everywhere in modern fiction, film and TV: David Boreanaz as Angel (Buffy the Vampire Slayer (1997–2003) and Angel (1999–2004), Johnny Depp as Dean Corso (The Ninth Gate (1999), the whole League of Extraordinary Gentlemen (2003), Heath Ledger as The Dark Knight (2008) and Ian Somerhalder as Damon Salvatore (The Vampire Diaries (2010), but you could include almost every supernatural romance and romantic vampire hero in this list.
But the focus of my unit is on the ur-texts, the Dark Heroes of the Early Modern, Modern and Romantic periods. The synopsis runs as follows:
The unit is designed to introduce students to the development of the Dark or Satanic Hero in a range of major English texts selected to illustrate the tremendous impact and popularity of this powerful figure in the Romantic Period. Writers such as Marlow, Milton, Beckford, Lewis and Byron created defiant heroes who embody radical individualism, self-sufficiency and ambition, but who are isolated, gloomy and dissatisfied by their revolt against God, government and society. Special attention will be given to the relationship between the Dark and Byronic Heroes in the nineteenth century and the survival and transformation of this figure in the vampires and villains of contemporary culture.
I haven't decided on the final text list yet. There are a few I haven't read that I am considering, like Charlotte Dacre's Zofloya: or The Moor (1806) and Charles Maturin's Melmoth the Wanderer (1820); there is also a lot of poetry to choose from, apart from Byron's “Manfred” (1816–17) and “Cain” (1822), like Bürger’s “Lenore” (1773); Goethe's “The Bride of Corinth” (1797); Coleridge’s “The Rime of the Ancient Mariner” (1798) and “Christabel” (1797–1800), and Keats' “La Belle Dame sans Merci” (1819). Narrowing down the list will be a real challenge. But fun. Lots of fun.
[UPDATE: 2 July 2016: After all my pictures disappeared again I decided to give up on external hosts for large versions (1000px) of my image files and, for now on, will stick with the smaller images (500px), which Blogger is prepared to host.]
I have wanted to run a course like this for a very long time. One of my favourite honours courses at the University of Tasmania was The Byronic Hero, but the particular type of Byronic-Hero stories that have always attracted my attention are the ones with a supernatural element: Marlow's Faustus, Milton's Satan, Beckford's Vathek, Byron's Cain.
When I was a teenager I lived on a constant diet of fantasy and horror stories, books on witchcraft and the occult, and Hammer Horror films, so I ended up reading Stoker's Dracula and Goethe's Faust as soon as I had enough of my own money to buy them.
From memory, both were second-hand copies from the Dennis Wheatley Library of the Occult series, which were pretty common, and cheap, in op-shops, garage sales and book exchanges at the time.
I had quite a few "Library of the Occult" volumes at one stage, before I went to university and decided I was far too mature for that sort of thing. And, since I always needed more book-money, I decided to sell the lot. I don't remember what I spent the money on, but it is a decision I soon, and have long, regretted!
I recently started buying replacement copies of some of the paperbacks that I sold then, but the books are a lot harder to find and a lot more expensive now. (Which reminds me of that saying "no man is rich enough to buy back his past.") The images below are taken from one such recent—nostalgic—purchase; appropriate, yes?
* * * * *
The type of "Dark Hero" that my new course focusses on is everywhere in modern fiction, film and TV: David Boreanaz as Angel (Buffy the Vampire Slayer (1997–2003) and Angel (1999–2004), Johnny Depp as Dean Corso (The Ninth Gate (1999), the whole League of Extraordinary Gentlemen (2003), Heath Ledger as The Dark Knight (2008) and Ian Somerhalder as Damon Salvatore (The Vampire Diaries (2010), but you could include almost every supernatural romance and romantic vampire hero in this list.
But the focus of my unit is on the ur-texts, the Dark Heroes of the Early Modern, Modern and Romantic periods. The synopsis runs as follows:
The unit is designed to introduce students to the development of the Dark or Satanic Hero in a range of major English texts selected to illustrate the tremendous impact and popularity of this powerful figure in the Romantic Period. Writers such as Marlow, Milton, Beckford, Lewis and Byron created defiant heroes who embody radical individualism, self-sufficiency and ambition, but who are isolated, gloomy and dissatisfied by their revolt against God, government and society. Special attention will be given to the relationship between the Dark and Byronic Heroes in the nineteenth century and the survival and transformation of this figure in the vampires and villains of contemporary culture.
I haven't decided on the final text list yet. There are a few I haven't read that I am considering, like Charlotte Dacre's Zofloya: or The Moor (1806) and Charles Maturin's Melmoth the Wanderer (1820); there is also a lot of poetry to choose from, apart from Byron's “Manfred” (1816–17) and “Cain” (1822), like Bürger’s “Lenore” (1773); Goethe's “The Bride of Corinth” (1797); Coleridge’s “The Rime of the Ancient Mariner” (1798) and “Christabel” (1797–1800), and Keats' “La Belle Dame sans Merci” (1819). Narrowing down the list will be a real challenge. But fun. Lots of fun.
[UPDATE: 2 July 2016: After all my pictures disappeared again I decided to give up on external hosts for large versions (1000px) of my image files and, for now on, will stick with the smaller images (500px), which Blogger is prepared to host.]
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