Contributions to the Study of World Literature – serie

In the growing field of children's literature theory in criticism, this volume presents critical international perspectives on changes and innovation in this discipline. The recent new status of children's literature, and the growth in children's literature research internationally have led to exciting advances in both form and content. This collection comprises a selection of papers given by prominent experts. Reflecting on past decades, contributors trace and analyze important developments in children's literature as the dawn of a new millennium offers its readers a multitude of representations and responses to a changing world.Each of the book's eighteen chapters represents a unique aspect of children's literature theory. Topics range from an analysis of the children's literature as creative act, changing interpretations of different genres, and the impact of shifting race relations and socio-political developments on children's literature. This presentation of international perspectives on children's literature theory and criticism by leading authorities will be a valuable resource for scholars of children's and comparative literature.

The author of such works as A Brighter Sun (1952), The Lonely Londoners (1956), and The Plains of Caroni (1970), West Indian novelist Samuel Selvon is attracting growing amounts of scholarly attention. Nonetheless, criticism of his works has largely been imbalanced, with most scholarship focusing primarily on his language. This book corrects that imbalance by placing Selvon's novels within historical, sociological, and ideological contexts. A new interpretation of Selvon's achievement as a novelist, the volume looks, for the first time, at his works in terms of categories of novels--peasant, middle-class, and immigrant.The book demonstrates that each category is different from the others, and that novels within categories are similar. Thus it provides a coherent vision of Selvon's canon. It illustrates, as well, the development of Selvon's philosophy of West Indians as peasant, bourgeois, and immigrant. In doing so, it explores the significance of ethnicity in his works and discusses Selvon's imaginative apotheosis of the Indo-Trinidadian peasant and the diminution of the Afro-Trinidadian immigrant. The volume also studies Selvon's fictional and rhetorical techniques and argues that his works range from Bildungsroman to picaresque to epic to satire.

Arthur Conan Doyle is often perceived as the quintessential Englishman, patriotically devoted to the Crown and the empire's defender and apologist. But such a relegation is both limiting and simplistic. Born in Scotland to Irish Catholic parents, Doyle's heritage is complex. His paternal grandfather, John Doyle, had originally left Ireland for London in the early 19th century; his father was committed to the cause of Irish separatism; and his uncle resigned from his position as main cartoonist for ^IPunch^R after the journal launched an attack on the Pope. Consequently, British imperialism, Irish nationalism, and Catholic allegiance converge uneasily in his works.This book examines the resulting tensions between imperialism and colonialism in his writings. It argues that his thematic obsessions with topography, race, psyche, and sexuality stem from his ambivalence toward his own heritage. The volume repositions Doyle and redresses current critical approaches that have seen him solely as the advocate of empire and have ignored his colonial background. It explores how his fictions occur within a colonial context, the complexity of which is evident in gothic tropes of shifting landscapes, disguised criminalities, spiritualism, and sexual anomalies and conflicts.

An overview of 19th- and 20th-century writing from the British Isles shows a constant interplay between metropolitan centers and regional peripheries—an interplay that points to the basic importance of place and belonging in literary creation and evaluation. This volume examines the relationship between British literature—including poetry, fiction, biography, and drama—and regional consciousness in the Victorian and modern periods, introducing the reader to a range of responses to the profound feelings of belonging engendered by the sense of place. The works covered are a mixture of familiar classics and less well-known writings from working-class writers or forgotten writers who were successful in their era. After accounting for the emergence of regional writing in the early 19th century, the author analyzes the development of regional writing in England, Scotland, Ireland, and Wales, focusing on issues such as the sociopolitical context of the regional novel, the print and literary cultures around regional presses, and the place of documentary in regional consciousness.

During the last decade, women's narrative has become a recognized force in Mexican letters. The essays in this collection explore the recent work of nine contemporary Mexican women writers. Many of the works have been translated into English; some, like Laura Esquivel's Like Water for Chocolate, have become international best sellers. The unprecedented commercial success of these novels has generated mixed reactions: at the same time that the secondary status afforded women's narrative has come to be questioned in many academic circles, some authors are dissociating themselves from women's writing. The essays in this volume address these issues, providing a much needed contribution to the study of women's narrative.

The numerous and multifaceted ways in which masculinities emerge and are expressed within cultures prompt a broad ranging examination and reconsideration of what it means to be a man. Within the study of masculinity, the early modern period stands between the Renaissance, when conceptions of manhood were primarily dominated by chivalric and humanistic traditions, and the latter half of the 18th century, which marked the beginnings of modern conceptions of masculine identity. But rather than a transitional period, the early modern era was a key moment in the evolutionary dynamics of masculine representation. Political forces, such as the Puritan revolution, the Restoration, and the shift in power from the courtier class to the growing middle class forced a reconsideration of the masculine ideal in light of the experiences of the masses. At the same time, the emergence of print culture provided a means of transmitting the new masculine ideal, and literature of the period reflected the changing notions of masculinity.The chapters in this volume explore the various strategies used by early modern writers to represent masculinity. Together, the expert contributors offer a broad perspective on the social and political dynamics of early modern masculine identity. Included are chapters on such writers as Thomas Carew, Andrew Marvell, Francis Beaumont and John Fletcher, John Dryden, Daniel Defoe, and Samuel Richardson. Though incorporating a variety of critical approaches, the contributors all explore the inherent anxiety associated with masculinity and its representation. The chapters demonstrate how significant literary texts of the period provided not only idealized images of early modern manhood but also contesting ones. By focusing on the literary, historical, and social dynamics which construct cultural perceptions of masculinity, this volume ultimately illustrates the literary representation of manhood in the early modern period to be a dynamic and evolving process which often challenged Western notions of what it means to be a man.

For centuries, accounts of King Arthur and his court have fascinated historians, scholars, poets, and readers. Each age has added material to reflect its own cultural attitudes, but no era has supplemented the earlier versions more than the poets of the Medieval Revival of nineteenth-century England. This book examines how Arthurian legend was read and rewritten during that period by four enduring writers: Alfred Lord Tennyson, Matthew Arnold, William Morris, and Algernon Charles Swinburne. While other works have looked at Arthurian legend in light of nineteenth-century social conditions, this volume focuses on how these poets approached love and death in their works, and how the legend of Arthur shaped their vision.An introductory chapter traces Arthurian legend from its inception. The chapters that follow are each devoted to a particular author's use of Arthurian material in an exploration of love and death. For Tennyson, love leads to trust, and when trust is shattered, death soon follows. Arnold, on the other hand, advocates moderation, so that the loss of a loved one produces neither debilitating agony nor only a mild melancholy. Morris concentrates on the differences between physical and spiritual love, while Swinburne presents a world tormented by love and in which death is the only release.

The work of James Joyce, especially Ulysses, can be fully understood only when the colonial and postcolonial context of Joyce's Ireland is taken into account. Reading Joyce as a postcolonial writer produces valuable new insights into his work, though comparisons of Joyce's work with that of African and Caribbean postcolonial writers provides reminders that Joyce, regardless of his postcolonial status, remains a fundamentally European writer whose perspective differs substantially from that of most other postcolonial writers. In addition to exploring Joyce's writings in light of recent developments in postcolonial theory, Booker employs a Marxist critical approach to assess the political implications of Joyce's work and examines the influence of Cold War anticommunism on previous readings of Joyce in the West.Focusing on Karl Radek's criticisms of Joyce, the volume begins with a detailed discussion of the rejection of Joyce's writings by many leftist critics. It then examines those aspects of Ulysses that can be taken as a diagnosis and criticism of the social ills brought to Ireland by British capitalism. The following chapters explore Joyce's language as part of his critique of capitalism, the role of history in his works, the failure of Joyce to represent the lower classes of colonial Dublin, and the political implications of Joyce's writings.

In this first full-length study of Emecheta's fiction, Fishburn highlights the difficulties inherent in reading across cultures. She challenges the notion that all we need to understand African texts is a willingness to be open to them, arguing that too many of the cultural and critical preconceptions we bring to these texts interfere with our ability to understand them. Directly responding to Western feminist criticism written about Emecheta, this study argues that Emecheta herself is not a feminist in the Western sense and that her novels should not be construed as reflecting this political interest. In close readings of eight of her best known works, this study reveals a complex narrative voice which is far more supportive of Emecheta's own African culture and its tradition than has been recognized previously.

Short stories are usually defined in terms of characteristics of modernism, in which the story begins in the middle, develops according to a truncated plot, and ends with an epiphany. This approach tends to ignore postmodernism, a movement often characterized by a negation of objective reality where plots are seemingly abandoned, surfaces are extraordinary, and symbols turn inward on themselves. This book examines postmodern forms and characteristic themes by analyzing a group of short stories that make use of postmodern narrative strategies, including nonfictional fiction, gender profiling, and death as an image.The volume begins with a discussion of the blurred lines between fiction and nonfiction in the short story and imaginative personal essay. It then looks at the role of women in works by such authors as Sandra Cisneros, Leslie Marmon Silko, Joyce Carol Oates, and Lorrie Moore. This is followed by a section of chapters on postmodern masculinity and short fiction. The next section focuses on death as an image and theme in works by Richard Ford, Richard Brautigan, and James Joyce. The final set of chapters considers postmodern short fiction from South Africa and Canada.

Time is one of the most prominent themes in the relatively young genre of children's literature, for the young, like adults, want to know about the past. This book explores how children's writers have treated the theme and concept of time. The volume starts with the application of literary theory and additionally analyzes examples of the juvenile historical novel. In doing so, it also examines changing fashions in criticism and publishing and the pressure they exert on writers. It then considers literary adaptations of myths and archetypes, constructions of history in children's literature, colonial and postcolonial children's fiction, and the treatment of the past in the postmodern era. The book looks at literature from around the world, and the expert contributors are from diverse countries and backgrounds.While the book looks primarily at literature of the 19th and 20th centuries, it considers a broad range of historical material treated in works from that period. Included are discussions of such topics as Joan of Arc in children's literature, the legacy of Robinson Crusoe, colonial and postcolonial children's literature, the Holocaust, and the supernatural. International in scope, the volume examines history and collective memory in Portuguese children's fiction, Australian history in picture books, Norwegian children's literature, and literary treatments of the great Irish famine.

The close of a century invites both retrospection and prognostication. As a period of transition, it also brings a sense of uncertainty, finality, and apocalypticism. These feelings stem from various events, such as political turmoil, scientific advancements, and social change. As might be expected, literature reflects such changes and the feelings they engender. But perhaps more surprisingly, children's literature is especially sensitive to such matters, and fiction for children often struggles with dark and unpleasant issues. This book examines fin de siècle tensions in 19th- and 20th-century children's literature from around the world.Each chapter is written by an expert contributor, and the volume ranges over a disparate variety of topics. These include poetry, series books, pacifist fiction, gender issues, religion and literature, eco-criticism, minority experiences, humor and the Holocaust, fantasy and science fiction, and computer culture. In exploring these issues in relation to children's literature, the contributors reveal the shifting nature of our values and the world in which we live. Global in nature, the chapters look at children's literature from such places as Germany, Holland, the United Kingdom, Australia, and the United States.

Postmodernism, as a mode of the contemporary short story, has been clearly established and recognized by short story theorists. But postmodern theory, as pervasive as it has become among academics in the last half century, has scarcely been applied to the short story genre in particular. Many contemporary scholars, nonetheless, are currently making use of certain postmodern thematic approaches to help them determine meanings of particular short stories. TShort story theory began with Edgar Allan Poe's review of Twice-Told Tales, a collection of stories by his contemporary, Nathaniel Hawthorne. But theoretical discussions of the short story languished until modernism and the new criticism provided impetus for further development. Surprisingly, though, the next large critical movement, postmodernism, failed to address the short story as a genre. But while there is little postmodern theory concerning the short story, contemporary scholars have used certain postmodern critical approaches to help determine meaning. This book demonstrates the effect of postmodern theory on the study of the short story genre.The expert contributors to this volume examine such topics as genre and form, the role of the reader, cultural and ethnic diversity, and feminist perspectives on the short story. In doing so, they apply postmodern theoretical approaches to international short stories, be they in the traditional mode, the modern mode, or the postmodern mode. The volume looks at fiction by Edith Wharton, Henry James, Katherine Mansfield, and other authors, and at Iranian short fiction, the postcolonial short story, the fantastic in short fiction, and other subjects.

The first comprehensive survey of its kind in English, this book examines the experience of immigration as represented by authors who moved to France from the Caribbean, the Maghreb, sub-Saharan Africa, and Asia after World War II. Essays by expert contributors address the literary productions of different ethnic groups while taking into account generational differences and the effects of class and gender. The focus on immigration, a subject which has moved to the center of many sensitive social and political debates, raises questions related to cultural hybridity, identity politics, border writing, and the status of minority literature within the traditional literary canon, all of which constitute vital areas of research in literary, cultural, and historical studies today.Included are broad socio-historical chapters on general topics related to immigration, along with chapters providing detailed readings of specific texts and authors. A key objective of the book is to consider the ways in which literary texts by authors of immigrant origin explore what it means to be French, and how these works shape debates about French national and cultural identity. The contributors discuss such issues as cultural hybridity, linguistic identity, and the textualization and theorization of otherness.

Best known as the author of such works as King Solomon's Mines and She, H. Rider Haggard was one of the most popular writers of the late-Victorian era, and his works continue to be influential today. To a large degree, his novels are captivating because of his image of Africa, and an understanding of his representation of the African landscape is central to a critical reading of his works. This book argues that Haggard created in his African romances a formulaic, ideological geography which provided a canvas onto which he projected his desires and fears, both personal and political, as well as those of his age.The first full-length study of land and landscape in Haggard's African romances, this book approaches his construction of an imaginary African landscape as a product of late-Victorian wishful thinking about Africa, analyzing his African topography as a vast Eden, a wilderness, a dream underworld, a home to ancient white civilizations, and a sexualized metaphor for the human body. While the work looks primarily at his pre-1892 romances, which were his most powerful, it also gives attention to his nonfiction and unpublished papers. Because Haggard's writings embodied the spirit of his age, this book is an essential guide to late-Victorian concepts of Africa, colonization, and the British Empire.

There is much discussion of multiculturalism in education. This is especially true of multicultural literature for children and young adults. The rise of multicultural literature is a political rather than a literary movement; it is a movement to claim space in literature and in education for historically marginalized social groups rather than one to renovate the craft of literature itself. Multicultural literature has been closely bound with the cause of multiculturalism in general and thus has been confronted with resistance from conservatives. This book discusses many of the controversial issues surrounding multicultural literature for children and young adults.The volume begins with a look at some of the foundational and theoretical issues related to multicultural literature. The second part of the book addresses issues related to the creation and critique of multicultural literature, including the authorship of such works and the role of the reader in determining whether or not a work is multicultural. The third looks at the place of multicultural literature in the education of children and young adults. Throughout its discussion, the book makes extensive references to a large body of multicultural fiction and provides a thorough review of research on this important topic.

DaSilva draws together key essays dealing with the span of Spanish and Latin American arts, ranging from literature, music, film, and ballet to painting. Scholars and researchers involved with the scope of Spanish and Spanish American arts will find this collection of particular value. The selections center on basic themes including the icons of Spain, the use of characters from classic Spanish literature in performing and visual arts, romantic and modern Spanish writers and their influences, and the fusion of Mexican and Spanish culture.The selections center on ten basic themes: The early icons of Spain; the uses of Don Quixote from operas to painting; Don Juan is given a similar treatment, with theater, film, and ballet in addition to literature and opera; an examination of areas of fusion of Spanish and Mexican culture; Spanish Romantics in opera and ballet; modern writers whose work appears in musical transcription; modern writers whose novels appear in film; an examination of works that parody earlier pieces; a survey of the interrelationship between painting and its literary sources; and a look at the variegated artistic peregrinations of such contemporaries as Marquez, Puig, Skarmeta, and others. Scholars and researchers involved with the scope of Spanish and Spanish American arts will find this collection of particular value.

Arguing that genre must play a role in our study of narrative fiction, this tour of the novel examines interactive storytelling scenes in which characters argue about how to tell a tale that meets their respective social and aesthetic expectations. Through intense readings of interactive storytelling scenes in works spanning the 17th through 20th centuries, Halevi-Wise demonstrates how dramatized arguments about storytelling open a window on social and generic dilemmas affecting the narrative of each novel at the time of its composition. Examined in detail are Cervantes' Don Quixote, Sterne's Tristam Shandy, Austen's Northanger Abbey, Dickens's Little Dorrit, Conrad's Lord Jim, Yehoshua's Mr. Mani, and Esquivel'sI Like Water for Chocolate.Redressing an imbalance between sociological approaches that displace aesthetic considerations and aesthetic analyses that bracket cultural phenomena, the author shows why both genre and culture must be taken into account when we analyze the formation and reception of a narrative. Each interactive storytelling event illustrates how social and aesthetic interests compete and reinvent themselves within their framing texts and those texts' respective national and historical contexts. Just as social interactions cannot be indefinitely displaced in the study of narrative fiction, genre cannot be ignored in the study of identity politics. What emerges from this unique examination is a postmodern poetics of the novel that takes genre and history into account.

Ruskin Bond is known internationally as one of India's most prolific writers in English for children, young adults, and adults. This literary biography analyzes the impact of personal, social, geographical, political, and literary influences on Bond's worldview, aesthetic principles, and writings. Connecting the development of Bond's writing career over the past 50 years to the evolution of the publishing industry in India, Khorana details the author's pioneering work in the field of children's and young adult literature, and his contribution to diasporic and postcolonial/post-independence literatures. She concludes that it is Bond's versatile, original, and elegant writing in a variety of genres that continue to endear him to readers around the world.According to the author, despite Bond's British background, he does not write about India from a Eurocentric perspective. Having lived the majority of his life in India, he knows the country as an insider, writing with an authenticity and emotional engagement about the land and the people of the Himalayas and small-town India. Khorana analyzes his novels and short stores, and highlights his juxtaposition of his protagonists' individual dramas against larger social, moral, and metaphysical issues. In addition, she reveals how the autobiographical and regional elements in Bond's work provide insight into universal themes such as the tension between past and present, city life versus rural values, the dignity of ordinary folk, preservation of the environment, and living in harmony with nature.

Abba Rubin explores the relationship between the history of a minority--the English Jew--and its depiction in literature. He begins with an historical investigation of the composition of the Jewish community at the time of the Jews' return to England in 1660 and the differing conditions in London and in the provinces. Rubin looks at the relationship between the English Jew and his Christian countryman. Subsequent chapters examine the depiction of the Jew in English literature from the Restoration to the 1830s.

Ross Shideler offers an in-depth introduction to the works of Per Olov Enquist and discusses the writer's central themes and the imagery and motifs he uses to develop them. This in-depth study begins with a brief introduction to the social and literary backgrounds that are the foundations for Enquist's writing. His work is presented in chronological fashion beginning with his early psychological novels written in the tradition of the French nouveau roman and proceeding to his highly regarded documentary novels and popular plays. Shideler traces Enquist's fascination with modern man's isolation and his attempt to find connections in history to explain the dilemma. Other psychological, social, and political themes are examined and analyzed in this first critical study concentrating entirely on Enquist's work.

In twenty-eight essays, Frey and Griffith, members of the English faculty at the University of Washington, examine many of the traditional and new children's classics. The authors explore the relationship between the writer's lives and the stories they tell. Purposes and literary techniques are also discussed. Each essay provides the reader with the authors' answers to the question: What special qualities make this book a classic? Fairy and folk tales and fantasy; works by Dickens, Craig, Collodi, Alcott, Twain, Kipling, Potter, Wilder; and poetry of Lear and Stevenson are included. Teachers of children's literature will find these essays useful for helping students understand the characteristics of the classic literature of childhood. The book is recommended for college and university libraries and for large and medium-sized public library collections. The Journal of Youth Services in LibrariesSeeking to restore our appreciation for the classics of children's literature, the authors of this book offer fresh and lively interpretations of twenty-eight of the most beloved works in the Western tradition. Through individual essays on representative and well-known rhymes, tales, domestic and picaresque novels, romances, talking-animal stories, and semi-autobiographical narratives, the authors help us to understand why such works continue to appeal to both children and adults. Treating each work as a literary production deserving of attention in its own right, the authors explore its emotional significance and enduring themes. They discuss the writer's purposes and literary techniques and investigate the relationship of specific literary works to the lives of their creators. Bibliographic information on texts, collections, and critical literature is supplied.

The contributors to this volume represent acknowledged experts in the field as well as a number of promising young scholars. They provide a thorough examination of how Romantic authors grappled with the problem of describing the connections between consciousness, unconsciousness, and language in their endeavor to capture this interplay in their art. As this collection bears witness, the Romantics sought to discard old ideas about language and literature and to mold new forms in their search to recover, in both literature and life, the sense of human possiblity. The essays, while strikingly diverse in topic and approach, explore this broad issue and come to a surprisingly similar conclusion: for Romantic writers, genuine consciousness, whatever it might imply about self-awareness, not only made it possible for an individual to affiliate with something outside himself, but even made such bonding necessary.

This brilliant study of Verne's three cycles (1850-62, 1862-86, 1886-1916) analyzes the works from a biographical, sociohistorical, ideological, and narratological point of view. With a deep focus on Verne's pedagogical slant, Evans demonstrates convincingly the parallels between the French author's aim to `de-alienate' science and his aim to valorize learning, knowledge, and reading (his heroes conquer more knowledge for themselves and for the world). ChoiceThis first modern American study of Jules Verne offers a wide-ranging reappraisal of a very familiar but often misunderstood author and his works. In spite of his status as one of the most translated novelists of all time, Verne and his Voyages Extraordinaires have long been neglected in American literary scholarship. This book seeks to reaffirm Verne's significant contribution to the development of early science fiction through a detailed investigation of his romans scientifiques. Evans has focused his study on the didactic dimension of Verne's narratives, which were originally intended to teach the rudements of science and morality to French youth through the medium of popular fiction.

This volume demonstrates that many scholars and stage directors firmly believe Schiller is very much a writer for the twentieth century. The essays provide a scholarly perspective on Schiller's relevance as a role model for twentieth-century writers and offer in-depth discussions of his idealism, his political views, and his neoclassicism, against the backdrop of the unbalanced and politically turbulent epoch in which he lived. Specific works are examined in light of their particular focus and relevance in drama and history. Part II offers new insights into Schiller's aesthetics, his lyrical subjectivity, his significance for German authors and his relation to such German thinkers as Kant, Jung, and Schlegel.

The artistry of nonfiction is the great unexplored territory of contemporary criticism. Although the American book clubs now emphasize nonfiction and The New York Times Book Review publishes almost three times as many reviews of nonfiction as fiction, critical appreciation of this work has lagged behind. The Art of Fact is the first comprehensive examination of five of today's most popular and important nonfiction artists: Gay Talese, Tom Wolfe, John McPhee, Joan Didion, and Norman Mailer. By discussing contemporary literary nonfiction in relation to the early prose narrative forms and to the news/novels of the seventeenth and eighteenth centuries, the opening chapter defines the discourse known as literary or artistic nonfiction. Dr. Lounsberry then describes four characteristics of literary nonfiction and grounds these characteristics in contemporary works.The five chapters which follow this introduction thoroughly examine the works of five prominent, contemporary nonfiction artists. While critics to date have tended to focus on only one or two of each writer's works, these chapters trace themes across each writer's entire body of work and even project likely future directions, given current artistic trajectories. Also addressed is the role of literary nonfiction in the American literary tradition and how each of the five writers exemplifies a strand of nonfiction narrative. The Art of Fact draws from personal interviews with Gay Talese and John McPhee and includes new interpretations of the works of Tom Wolfe, Joan Didion and Norman Mailer as well as unpublished material from Gay Talese's current book-in-progress. The Art of Fact is a timely call for critical appreciation of the artistry of nonfiction and offers valuable insights to both students and fans of contemporary nonfiction.

This volume presents a new aspect in the study of Sir Arthur Conan Doyle: a case study of the publishing history of his works. Since Doyle's works before 1890 could not be copyrighted in the United States, various unauthorized versions of Holmes stories appeared in print in America from 1890 through 1930. Picking up where other bibliographers left off, Redmond traces the origins and subsequent printings and reprintings of these pirated manuscripts, relating the American editions to their sources and to each other. The American issues are described in detail, with defects and inconsistencies clearly documented.More than just a list of editions, this book is a detective story in the history of Sherlock Holmes. The author provides extensive descriptive lists of the American editions of A Study in Scarlet and The Sign of the Four, raising such questions as who pirated from whom and why textual mistakes have lasted for ninety years. The study looks at the copyright background that enabled piracy to occur, the printing processes that corrupted the text, some of the firms involved in this piracy, and the various issues of A Study in Scarlet and The Sign of the Four and the relationships among them. Also included is a genealogical tree that traces the editions of these novels and detailed examples of their textual variations. The work provides a further inquiry into the history of Sherlock Holmes, as well as serving as a fascinating study of American publishing at the turn of the century. It will be an invaluable publication for collectors of Holmes material and students of publishing history, and an important addition to academic and public libraries.