Saunders submitted her story to a writing contest being run by the Humane Society in 1893. It won, and the following year it was published as a novel. The response was tremendous; both the book and its subject received worldwide attention. It was the first Canadian book in history to sell over a million copies, and by the late 1930s had sold over 7 million copies worldwide. In 1902, a sequel, Beautiful Joe's Paradise, was published. In 1934, Saunders was granted Canada's highest civilian award at the time, Commander of the Most Excellent Order of the British Empire or C.B.E. In 1963, the official Beautiful Joe Park was named in Meaford, next to the Moore house where Beautiful Joe was rehabilitated by Louise Moore. A Beautiful Joe Heritage Society was formed in 1994 to preserve Joe's legacy and ultimately establish the Moore residence as a museum.[1]
Saunders did not avoid comparison of her work to the similarly themed Black Beauty. Indeed, she makes reference to Black Beauty in the very first page of Beautiful Joe, not referring to it by name but writing [from Joe's viewpoint] "I have seen my mistress laughing and crying over a little book that she says is a story of a horse's life". Joe goes on to say that he will write the story of a dog's life, to similarly please his owner. Thus, within the context of the book at least, Beautiful Joe is directly inspired by Black Beauty.
Beautiful Joe Book First Editionl
Featuring over 200 ski resort trail maps hand-painted by one legendary artist, this beautiful 292-page hardcover coffee table book is the first and definitive compilation of the art created by James Niehues during his 30-year career.
Excited to hike Snoqualmie Mountain as it is on the Mountaineers Snoqualmie Pin list and Home Court 100. Started out on the trail about noon. Was expecting a hard hike, but have seen some great trip reports, especially by Gobazov who completed and wrote about an epic traverse. Upon starting the trail we met three gentlemen who had descended, we thought from either Snoqualmie Mountain or Guye Peak. They said it was a stair climb and asked if we had hiked or known the mountain. It's our first time, but Joe and I have done a few things. I'm in decent shape, yet found the trail a bit challenging. The early trail quickly steepens and ascends into an unrelenting climb over rocks, roots, and streams, for nearly a 1000 feet - as clearly indicated by the topo. The trail is rough at times, yet most of the rocks and stones make for good steps and footing - clearly a stair climb. The weather was very foggy and cloudy, so our visibility the entire was up was very limited. At about 4000 feet the forest canopy opened up revealing strewn rocks and boulders from a rock fall long ago. Cliffs are looming in the distance and we approached the fork to Guye Peak. We kept left following the trail as it continued to climb, ever steep into the gully on the way to Snoqualmie Mountain. Finally, the trail leveled at about 4500 feet and crossed a dry streambed and waterfall. The rock here is spectacular and must be a sight when water if slowing - definitely something to see in fall or spring. From here the trail climbed again - up dirt and tree roots, rather steep, ascending a gully and finally gaining the ridge to Snoqualamie around 4800 feet. As we gained altitude, the terrain became more open, and the subalpine fields emerged. Great rock formations cover the ridge, with small evergreen trees providing for a beautiful landscape. The fog was so dense, we could not see the valley floor below, nor Cave Ridge which normally would be in full view. We continued the climb, straight up the ridge, crisscrossing the peak with small switchbacks, perhaps 10 feet in length, zig-zagging up the hill. There appeared to be a few false summits, however, my altimeter clearly showed more room for climbing. As the trail ascended and steepened, it skirted a very steepening ridge, ledge, with a significant dropoff to the right, which only became steeper, deeper and closer to the trail. Mindful of my footing, I continued to climb - peering over the drop - the fog obscured a full view so it was challenging to put the magnitude of the drop off in perspective. It appears to be a very interesting basin which leads to Lundin Peak. Finally, I reached the false summit which must have spectacular views. As with many of my hikes this season, we had the foul weather view, which makes for cool cloudy photos. We found no summit register but did find the USGS marker. We made our way down, finding the footing easier going up. This is a difficult hike - some of you have trip reports with great times up and long traverse. The footing is challenging both ways. Be prepared to be mentally sharp and manage your footing - that said, this is one of the most interesting and enjoyable hikes I have done in the area, and am looking forward to exploring Guye Peak and maybe do a traverse of Lundin and other peaks. I will definitely hike this on a clear day.
My first time up Snoqualmie with Jason. I took a photo of him up there and it ended up in the first edition of Peggy Goldman's scrambling book, but Jason got the photo credit! I got a free book out of the deal, which was pretty good.
Because I imagined the death of the book as a political act (first degree murder) as much as a technological mistake (manslaughter). Because I carried this into a future set 250 years from now and wrote a science fiction novel based around it. Then went back to see if I could explain where it started.
Faulkner, William. The Marble Faun. First edition, only printing, with a dust jacket. Presentation copy inscribed by Faulkner to Joe Parks, the Oxford banker who is thought by some to be the model for Flem Snopes in Faulkner's fiction. "Perhaps the most ironic of all Faulkner inscriptions. Maybe the only time Faulkner condescended to sign a book for someone he didn't like." LDBSherwood Anderson & Other Famous Creoles: A Gallery of Contemporary New Orleans. Drawings by William Spratling; arrangement and foreword by Faulkner. New Orleans: Pelican Bookshop Press, 1926. First edition, first issue, in decorative boards. Unnumbered out-of-series copy inscribed by Spratling. Laid in are two copies of prospectus on which Spratling has identified the persons caricatured in the book.
Faulkner, William. Sanctuary. New York: Jonathan Cape & Harrison Smith, 1931. First edition, first printing. Presentation copy inscribed by Faulkner to Ben Wasson, one of Faulkner's early editors."Ben told me that he cherished this book because it reminded him of the period when he and Faulkner were especially close." LDB
James, Alice, ed. Mississippi Verse. Chapel Hill: University of North Carolina Press, 1934. First edition, first printing, with a dust jacket. Reprints seven Faulkner poems from A Green Bough. Used by the original owner, Calvin Brown, Sr., as an autograph book. Contains the signatures of thirty-four "Friends of Culture," including Faulkner, Cleanth Brooks, Roark Bradford, Caroline Tate, Allen Tate, John Gould Fletcher, Lyle Saxon, Robert Penn Warren, and others.
Faulkner, William. Doctor Martino and Other Stories. New York: Harrison Smith and Robert Haas, 1934. First edition, first trade printing. Presentation copy inscribed by Faulkner to his stepdaughter, Victoria Franklin: "For my daughter, Victoria, / her book with love, / from Billy."
Faulkner, William. The Snopes Trilogy: The Hamlet. New York: Random House, 1940. First edition, first printing. The Town. New York: Random House, 1957. First edition, first printing, with a dust jacket. The Mansion. New York: Random House, 1959. First edition, first printing, with a dust jacket. Presentation copies inscribed by Faulkner to Phil Stone, the close personal friend to whom each of the Snopes volumes is dedicated. "The goal of every book collector is to acquire a book inscribed by an author. A second goal might be to obtain a presentation copy inscribed to a dedicatee. Acquiring all three volumes of the Snopes trilogy inscribed to Stone gave me the sensation of scoring a hat trick." LDBFaulkner, William. As I Lay Dying. London: Chatto & Windus, 1935. First British edition, first printing, with a dust jacket. Inscribed by Faulkner to his stepson in 1946: "For my son, Malcolm Franklin."
The Portable Faulkner. Ed. with introduction by Malcolm Cowley. New York: Viking Press, 1946. First edition, first printing, with a dust jacket. Inscribed by Faulkner to Cowley. "Generally acknowledged as the book that rescued Faulkner's literary reputation from obscurity. I can still recall reading the letter in which Malcolm wrote, in effect, 'I do have one book left, but I doubt you'll want it because it's all battered and taped. It's my teaching copy of the Portable that Faulkner inscribed for me.' I had never wanted a book more." LDB
Einstein, Albert. Ideas and Opinions. New York: Crown Publishers, Inc., 1954. First edition, first printing, with a dust jacket. Presentation copy inscribed by Einstein to Faulkner and given to Faulkner at Saxe Commins' house in Princeton in August 1954."It staggers me to realize that both these Nobel Prize winners once held this book." LDBFaulkner, William. Big Woods. New York: Random House, 1955. First edition, first printing, with a dust jacket. Inscribed by Faulkner to Saxe Commins, the dedicatee, and his wife Dorothy.
"Wash." Autograph manuscript in blue ink, 8 pages; autograph manuscript in blue ink, 12 pages; ribbon typescript with autograph corrections, 22 pages. Three early drafts of short story first published in 1934 and subsequently incorporated into Absalom, Absalom!."These manuscripts are so physically beautiful to me I'd like to frame each one and hang them, like pieces of art, on my wall." LDB
The passing of LD is like the closing of the book on the golden age of Faulkner collecting. Before the internet put everything in reach of everyone, before skyrocketing prices led people to comb attics and put on the market everything found, people wanting to build collections had to learn themselves what they wanted and figure out where they were likely to find it. Building a collection used to take more than money. James Meriwether was not a "collector," but he was the first to try to chronicle what had been published, by whom, when and where; and was instrumental in assembling the first Faulkner exhibition, at Princeton University in 1957. Linton Reynolds Massey assembled for the University of Virginia the first major exhibition of Faulkneriana, in 1959; and Man Working, the resulting bibliography, was for years the definitive text on Faulkner artifacts. They were the pioneers. 2ff7e9595c
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