Showing posts with label Packard. Show all posts
Showing posts with label Packard. Show all posts

09 December 2015

The Year's Best Books in Review — A.D. 2015; Featuring Three Books Deserving Resurrection



Yes, the year's best books in review… the best reviewed here, anyway. These past twelve months haven't been the most active at the Dusty Bookcase. Truth be told, I'd planned on closing up shop last January – and even wrote a post to that effect – but then I heard from readers asking me to go on. I felt the love and returned on Valentine's Day.

And so, this casual exploration continues, if more casually. Between this blog and my column in Canadian Notes & Queries I managed to review twenty-four books this year. That's not nothing, right?

Of the twenty-four, I see four worthy of a return to print, but tradition dictates that I choose three:


The Plouffe Family [Les Plouffe]
Roger Lemelin [trans. Mary Finch]

Roger Lemelin's 1948 best seller spawned an excellent film and our two most popular early television series. A monumental work of cultural and historical importance, I still find it hard to believe the translation is no longer in print.





The Fiend
Margaret Millar

A remarkable novel that dares centre on a sympathetic portrayal of a registered sex offender. That I read no other Millars this year is likely the reason only one of her novels features on this list. In 2012, the Kitchener native took all three spots.


The Adventures of Jimmie Dale
Frank L. Packard

Intricate and cleverly-woven adventures starring the Jimmie Dale – bored playboy by day, crime-fighting Gray Seal by night. Enormously influential and surprisingly entertaining.



I'm right now at work at reviving the unnamed fourth. If successful, it'll be back in print by this time next year. If not, my heart will be broken and I will never speak of it again.

In what must be a record, three of the novels covered here this past year are currently in print:

Roger Lemelin [trans. Samuel Putnam]
Toronto: Dundurn, 2013

Ross Macdonald [pseud Kenneth Millar]
New York: Black Lizard, 2011

Douglas Sanderson
Eureka, CA: Stark House, 2015

I may as well add that The Damned and the Destroyed, Kenneth Orvis's "Relentless Story of the Hell of Drug Addiction", is right now available as an ebook from Prologue Books.

I was involved with three reissues this year, all titles in the Véhicule Press Ricochet Books series:


The Mayor of Côte St. Paul
Ronald J. Cooke

A novel about a young writer working for a crime boss in Depression-era Montreal. Is his motivation the need for material? Money? A dame? All three, it seems. I wrote the Introduction.




Hot Freeze
Douglas Sanderson

The first Mike Garfin thriller sees the disgraced former RCMP officer immersed in Montreal's drug trade. My favourite Canadian post-war noir novel, ow could I not write this Introduction, too?




Blondes Are My Trouble
Douglas Sanderson

The second Mike Garfin thriller. This time the private dick does battle with violent men pushing women into prostitution. The Introduction is by J.F. Norris of Pretty Sinister Books.



Praise this year goes to Wilfrid Laurier University Press and the Early Canadian Literature series edited by Benjamin Lefebvre. Dedicated to returning rare texts to print, there have been six titles to date, the most recent being Frederick Niven's The Flying Years with Afterword by Alison Calder.


Wilfrid Laurier University Press offers a 25% discount on online orders. Amazon and Indigo don't come close to matching those prices.

It's on my Christmas wish list.

Related posts:

02 December 2015

Whatever Happened to Jimmie Dale?



The Adventures of Jimmie Dale
Frank L. Packard
Toronto: Copp Clark, 1917

This is my fourth Packard. Put in context, that's like tackling John Buchan's Witch Wood, Castle Gay and Sick Heart River before getting to The Thirty-Nine Steps. The Adventures of Jimmie Dale is the real entry point to Packard; it's his best-known book, his best-selling work and it introduces his most popular character. As with Buchan and Richard Hannay, Packard returned to his hero repeatedly throughout his career.

Jimmie Dale owes everything to his late father, who made millions manufacturing the finest safes money could buy. You might say that the fortune came through protecting those of others. Jimmie himself dabbled in sketching and writing before turning to breaking and entering. Donning a black silk mask, he'd sneak into the expansive homes of New York's well-to-do, crack open their safes, and affix a diamond-shaped grey seal in place of a carte de visite. Nothing would be taken – Jimmie has never wanted for anything – the thrill was payment enough.


One night, all went horribly wrong. Jimmie's secret identity as the "Gray Seal" was discovered by a mysterious, unseen woman who threatened to expose him unless he turned his talents toward combatting crime. The millionaire playboy did just that – resulting in even greater thrills.

There are comparisons to be made. Jimmie Dale follows Baroness Orczy's Scarlet Pimpernel by some ten years, though I would argue that he's had a far greater influence. For one, the Gray Seal's adventures take place in a contemporary setting, not some fanciful, idealized past. There's a gritty reality in the depictions of New York's impoverished and its criminal class, aided I think by the access Packard was granted to NYPD stakeouts and raids. Then there is the Sanctuary, a secret lair in which Jimmie transforms into Larry the Bat, to all appearances a down-and-out cocaine addict who moves through the city's underworld. As both Larry and the Gray Seal, Jimmie wears a wide leather belt holding the tools of his crime fighting trade.

Walter Gibson acknowledged his debt to Packard in creating the Shadow. That Batman co-creator Bob Kane never said a thing is unsurprising.

Walt Disney was a great Gray Seal fan, and would re-enact scenes from the adventures before his staff. Here's a photo of Uncle Walt with a copy of Jimmie Dale and the Blue Envelope Murder (1930) on his desk. In 1952, Disney purchased the television rights to the adventures and tried to interest NBC in a series. Too dark, it seems. Wade Sampson's excellent article "Walt Disney aka the Gray Seal"  has more on the failed pitch.

I'm making a lot of the Disney connection because The Adventures of Jimmie Dale is even better suited for television today. The novel's structure owes much to the fact that it initially appeared in serialization. The first part, "The Man in the Case", details ten intricate and brilliantly executed adventures, each instigated by the mysterious woman. It's episodic, yet there is character development and an overarching narrative. The second part, "The Woman in the Case", consists of one long adventure in which the mystery of the mysterious woman is finally solved.

The mystery the reader is left with is how such an influential character can be so forgotten. Why has there been no revival? How is it that The Adventures of Jimmie Dale is out of print? Most of all, why did it take me so long to get around to reading it?

Gray? Grey?: I've used both here: one for the character and one for his calling card. A fellow Montrealer, I expect Packard was brought up to use "grey", but he was a pro who would've known to use "gray" when writing for the American market. Interestingly, the author anglicized the Gray Seal's adventures for British publication. Four years ago, a generous reader sent me these comparisons of the American and British versions:



Jimmie? Jimmy?: From the earliest days, publishers have struggled with the hero's name.

I've encountered two different editions published as The Adventures of Jimmy Dale, though the texts of each had Jimmie as "Jimmie".

Didn't buy either.

Big mistake.

Bloomers: Mark Abley published a very good piece on these unintentional double entendres a few months back in the Gazette, noting amongst other things that the meaning of "ejaculation" has changed  over time. The word and its variations appear eleven times in The Adventures of Jimmie Dale.

This is a very fine bloomer:
"Ah!" – it came in a fierce little ejaculation from Jimmie Dale.
But it is outdone by what is the best bloomer I've read all year:
A chorus of ejaculations rose from the reporters, while their pencils worked furiously.
Curiously, the word features just once in the second Grey Seal novel, The Further Adventures of Jimmie Dale (1919):
"Oh, colonel!" There was mingled delight and hesitation in her ejaculation.
Motion Picture News, 30 June 1917
Trivia: In 1917, the novel was adapted and brought to the silent screen as Jimmy Dale, Alias "The Grey Seal", a sixteen-part serial. Forgotten actor and director E.K. Lincoln featured in the title role. All sixteen episodes are considered lost. Appropriate, don't you think?

Object: A 468-page hardcover, my jacket-less first Canadian edition was purchased for $20.00 this past summer. It's horribly beat-up, but the money went to charity.

Access: Copies can be found at Library and Archives Canada, Bibliothèque et Archives nationales du Québec, the Toronto Public Library and pretty much every one of our universities.

Long in the public domain, inept print on demand vultures like Nabu and "Kessinger Publishing [sic]" have really moved in on this one. As always, they are to be ignored. You can always read it for free online here at the Internet Archive.

Plenty of old copies are being offered online for as little as six American dollars. At US$150 the one to buy is a Very Good copy of the Copp Clark edition in Very Good jacket being offered by a bookseller in Milton, Ontario.

I know of two translations – Irish (Tuille de eachtraí Shéamuis Uí Dhuibhir) and Spanish (Aventuras de Jim Dale) – though I suspect there are more.


17 August 2015

Jazz Age Death Ray, Baby!



The Story without a Name
Arthur Stringer and Russell Holman
New York: Grosset & Dunlap, 1924

The story without a name is not nearly as important as its title. Any old story would've done. It's pure product, born of Hollywood, conceived as a gimmick: release a film "without a name" and offer cash for title suggestions.

How closely the novel matches the product is anyone's guess; it's a lost film. And because it's a lost film, I'll be posting all eight stills featured in the book. And because you're unlikely to read the novel – there's no reason why you should – I'll be sketching out the plot from beginning to end.


This is the second Stringer I've read this year to feature a car crash. In the first, The Wine of Life (1921), a spurned lover sends his auto flying off an embankment into Lake Erie. The incident in this novel produces a much happier result, bringing about the meeting of Mary Walsworth and garage mechanic Alan Holt.

"Fresh and fragrant as apple-blossoms in cool summer white", Mary happens to be the daughter of Admiral Charles Pinckney Walsworth, head of the Naval Consulting Board in Washington, DC. Quite a coincidence this, as Alan is working on an invention he hopes to present before the selfsame board: "a device for triangulating radio rays, concentrating them into a single ray of such tremendous force that it would sink ships and set fire to cities."

Admiral Walsworth is unimpressed. "I've had exactly twenty 'death-ray' inventions offered me in the last seven months," he grumbles. "None of them is worth anything. The thing is simply impossible. And stay away from my daughter!"

That last bit in italics is mine; it doesn't appear in the book, though it could have.

Oh, Alan seems a nice enough fellow, and he has been awfully helpful, but Walsworth would remind Mary that he's "a garage-employee in a country ex-blacksmith shop". The admiral cares not one wit that the lad served in his Navy during the Great War, and ignores the fact that Alan's prototype actually works. The rest of the Consulting Board isn't so prejudiced, and offers the young inventor funds to perfect "the most important invention since wireless had been discovered".

Would that security had also been offered.

As Alan works on his death ray device, dark forces gather. Walsworth falls under the spell of a femme fatale, a mysterious tramp wanders outside the grounds and two thugs pose as government agents. All are in the employ of international criminal mastermind Mark Drakma, who intends to sell Alan's invention to a foreign power.

Mary is kidnapped, bound, and thrown into the tonneau of a touring car. Alan too is kidnapped, but as bondage plays a lesser part he's afforded numerous opportunities for escape. One involves an aeroplane!


Sadly, our hero fails at every turn. He and Mary are reunited on a ship somewhere in the Atlantic, where Drakma demands Alan make him a death ray device. If he refuses?
"I've some choice specimens in my working crews off the islands. You'd rather see her thrown into a cage of tigers, I fancy, than passed on to one of those gangs of rum-swilling cutthroats. But as sure as you're standing there I'll put her aboard the foulest schooner I own and leave her there until even you wouldn't want her!"

Drakma's words fire the inventor's imagination:
The helpless youth raised his stricken eyes to the face of the woman he loved. In that face he saw pride and purity. She impressed him as something flower-like and fragile, something to be sheltered and cherished and kept inviolate, something to die for, if need be, before gross hands should reach grossly for her.
Alan agrees to master criminal's terms, but is overturned by Mary, who gives a rousing speech about love of country. A real trooper, she displays great optimism in the face of grossly groping hands:
"It can't be for long, Alan," broke in the girl, her head poised high and her hands clenched hard as she was seized and thrust toward the rail-opening. "And we're doing it for the flag, dear, that men like this daren't even fly!"

Alan is dumped on a remote cay and is told that he'd better get to building that death ray device if he wants to keep Mary inviolate. The flaw in this plan will later be made evident when Alan builds the thing, then uses it to down one of Drakma's aeroplanes.

Now, to be fair to the criminal mastermind, it could be that he expected the cay's other two residents, Don Potter and his "spiggoty" lady friend Dolores to keep a watch on the young inventor.

Potter stands out as the lone character with a bit of flesh on his bones. A bitter and bloated Harvard man, he served valiantly during the Great War, only to be betrayed by his country. "Come back and found they'd taken my liquor away from me", he tells Alan. Short years later, Potter's in charge of Drakma's rum-running distribution centre. Just the occupation for a boozehound.

The shadow of the Great War hangs over this novel. Alan had secured his widowed Quaker mother's blessing to fight overseas by selling the conflict as the War to End All Wars. He couldn't have been more wrong, of course, which must have made dinner conversation about his death ray all the more difficult.
"Once I've got it into shape," he outlined his intentions to her, "I'll offer it to the Navy. If they take it, this country will be placed in a position where the rest of the world will be afraid of us. And the United States will be able to prevent wars between other nations simply by threatening to jump in with the death ray and burn the offenders off the face of the earth."
I wasn't at all convinced.


Being a drunk, Potter never notices the crashed plane, nor does he glom onto the fact that his prisoner is building a raft at the other end of the cay. Alan escapes, taking the death ray device with him. He makes for the foul schooner on which Mary is being held captive, and is quickly overpowered by rum-swilling cutthroats.

If only he'd thought to use his death ray device.


A fire breaks out, as fires do in adventure stories. In the ensuing confusion, Alan and Mary escape on the raft. Drakma's ship gives chase until the US Navy shows up and kills all the crooks.

Again, death rays do not figure.


This brings me to one of the most disappointing and mysterious aspects of the novel. For reasons perhaps known only to Stringer, Holman and Paramount Pictures, Alan never uses his death ray device when in danger. Only once, when downing the aeroplane, does he aim it at the enemy. Other than that it's used to pierce a hole in a small metal plate, destroy a fresh tub of ice cream and give an innocent, unsuspecting old man a series of heart attacks…

You know, maybe Alan isn't such so nice after all. What kind of guy wastes ice cream?

The book disappoints further in that not one of the images from the film shows Alan's death ray device. Tech geeks have to settle for actors staring at a radio.


Another novel that ends in a wedding, I'm afraid. Stringer and Holman forget about the Holts' Quakerism by holding the happy event in "the little elm-shaded church in Latham where Alan and his mother had always worshiped." One sentence begins, "As the old clergyman droned…" I nearly gave up at that point, but stuck it out.

There was less than a page to go.

A Bonus:

Mary, Alan and the death ray device (Photoplay, July 1924)
Bloomer:
"She nearly cost us your 'death-ray' machine and she tried to lead me to an ambush at Drakma's that might have cost me my honor, if not my life. She made love to me with one hand, so to speak, while she attempted to pick my pocket with the other."
Trivia I: The winning suggestion, Without Warning, was announced in the January 1925 issue of Photoplay. Both film and novel were rereleased under this title.


Trivia II: Unreliable and unstable science fiction author F. Gwynplaine MacIntyre claimed to have seen The Story without a Name. His captious review features in the film's IMDb entry.

Trivia III: Forgotten film stars Antonio Mareno and Agnes Ayres were cast as Alan and Mary. The villain Drakma was played by Tyrone Power, father of the more famous Tyrone Power. The senior Power died – quite literally in his son's arms – while filming the 1932 remake of The Miracle Man, based on the novel by Montrealer Frank L. Packard.

Object: A 312-page hardcover supplemented by eight plates depicting scenes from the Paramount Pictures picture. I purchased by copy in April from a bookseller in western New York. Price: US$15. Is it a first? One never really knows with Grosset & Dunlap. I've seen a red-boarded variant.

Access: Though not plentiful, copies of The Story without a Name begin at the low price of US$10. Copies with dust jackets – there are three – can be had for as little as US$60.

Copies of Without Warning are less common. That said, all four currently listed online have their dust jackets. Strange but true. Prices range from US$60 to US$85. Condition is a factor.

A warning about Without Warning: This edition features only four of the plates featured in The Story without a Name.

Twelve of our academic libraries hold copies, as do public libraries serving the residents of Toronto and London.

Related post:

12 November 2013

S is for Short Story



The Crooked Golfers
Frank L. Packard

I know of 182 short stories by Frank L. Packard, but there could be twice that number. Here one month, gone the next, they appeared in the magazines of his day, most never to be republished. Even the small percentage that found second life in books are decades gone – which makes The Crooked Golfers all the more special. A chapbook, it features a previously unknown short story discovered by Packard scholar JC Byers at Library and Archives Canada.

Evidence indicates that "The Crooked Golfers" was written late in life… perhaps very late; Packard was not in the habit of dating his work. Appended to the typescript is a note dated 4 April 1942, but the hand is not his, the author having died nearly seven weeks earlier.

It would seem that efforts to sell the short story failed. If true, this says something about the changing market because "The Crooked Golfers" is typical of the writing that brought this son of Lachine riches through the 1910s, 1920s and 1930s. Its characters would've been familiar to Packard's readers. The first we meet is Milord, a criminal mastermind who moves with equal ease amongst the gentry and downtrodden:
Milord was a linguist. He spoke two languages – English and East Side – both fluently. By reason of long arduous training his English was charming, his voice cultured, a delight to his auditors; but East Side was his native tongue…
Partner in crime Nippy shares nothing of Milord's sophistication and affectation, but he is a crack hand a safe cracking. Their victim is Josiah P. Heatherington, he of the New York Heatheringtons, who "unmoved by the upward march of fashion in the general direction of Riverside Drive, still lived, as his fathers had lived before him, in one of the aristocratic mansions on Washington Square."

Nippy and Milord gain access to Heatherington's home by way of a basement window and have just opened the library wall safe when footsteps are heard in the hallway. Milord extinguishes his flashlight, leaving Nippy to scoop out the contents in darkness. Their escape is made easier by the fact that Josiah P. Heatherington and companion are "pleasantly 'lit up'" on "illicit liquor". True professionals, the criminal pair run madly off in all directions, then meet up at a unsavoury speak-easy. That Nippy has the loot proves there is honour among thieves.

The close call is the closest yet, causing Milord to again consider his future:
   "Time to quit," said Milord laconically.
   "Oh!" ejaculated Nippy – and grinned. "It listens like I heard dat before."
   "You have," returned Milord quietly; "but you've heard it for keeps this time. And it isn't only just because I'm afraid of getting caught sooner or later, either, though to-night has sort of forced a showdown. All my life I've wanted to associate with gentlemen and be one of them myself. I'm going to now – and so are you."
Unsigned certificates to the Wallapootimie Golf Club in hand, stolen from Josiah P. Heatherington's wall safe, the pair travel to Florida intending to make themselves over as honest gentlemen. Though that which transpires will come as a shock to readers unfamiliar with the sport, it is by parts fun, funny, and very much in keeping with the sense of morality that runs through Packard's work.

The Crooked Golfers serves as a good introduction to Packard's work. The size of same I leave for JC Byers to discover.

There be riches. Milord would tell you as much.


Object and Access: A 34pp stapled chapbook featuring the short story with a handy chronological listing of Packard's thirty-one books. Copies were handed out gratis at Mr Byers' talk on Packard at the February 2013 meeting of the Ottawa Book Collectors. I've yet to see any come up for sale.

Related post:

05 June 2013

Frank L. Packard's Wire Thriller (and others)



My review of Frank L. Packard's The Wire Devils, newly reissued by the University of Minnesota Press, is now up on the Montreal Review of Books website. You can read it here.

How good it is to see Packard return to print. Yes, some of the man's work has been available from POD publishers, but just how much confidence can one have in things like this "Frank L. 1877-1942 Packard" edition from Nabu Press.

Wait, isn't that Montreal's Spiš Castle? You know, the one built by 12-century Hungarians?

Amazon.ca sells Nabu's The Wire Devils for $31.54, and the new University of Minnesota Press edition at $12.96. I recommend the latter – and not because I'm cheap. The UMP's is not only free of the "missing or blurred pages, poor pictures, errant marks, etc." that plague Nabu, but includes a very fine Introduction by Robert MacDougall of the University of Western Ontario.

Prof MacDougall describes the novel as a wire thriller, late 19th and early 20th-century works that use the railroad, telegraph and telephone "as a backdrop for adventure." Dime novelist Frederick Van Rensselaer Dey penned Fighting Electric Fiends (1898) and his Street & Smith stablemate Franklin Pitt served up Brothers of the Thin Wire (1915), but I think it was Canadians, in Packard and Arthur Stringer, who dominated the genre.

The Wire Devils first appeared as a serial that ran over six issues in The Popular Magazine (20 March - 7 June 1917), was published in Canada by Copp Clark, the US by George H. Doran and A.L. Burt, and in the United Kingdom enjoyed two Hodder & Stoughton editions.

Messrs Dey and Pitt would've envied Frank L. Packard's success, but I'd argue that the true King of the Wire Thrillers was the handsome, savvy Arthur Stringer.

As far as I can tell his first foray into the genre was a short story, "The Wire Tappers", published in the August 1903 issue of Smart Set. I've not seen it, but am willing to bet that it was the basis of Stringer's 1906 novel of the same name.

The next year brought Phantom Wires. By far the most commercially successful wire thriller, it saw editions from Little, Brown, Musson, McClelland & Stewart and Bobbs-Merrill, It's likely that the last, a cheapo from A.L. Burt, appeared in 1924.

Even in 1906 and 1907, when first editions of The Wire Tappers and Phantom Wires sat on bookstore shelves, the wire thriller must have seemed a touch old-fashioned. "Look!" exclaims the heroine of the latter "they're talking with their wireless!" Stringer anticipated the future by following the two with The Gun Runner, a novel in which a wireless operator from Nova Scotia plays hero.

Whither the fax thriller?

The Wire Tappers
Toronto: McClelland & Stewart, 1922

24 September 2012

Good, it's a Packard


The Four Stragglers
Frank L. Packard
London: Hodder & Stoughton, [n.d.]
The Locked Room
Frank L. Packard
London: Hodder & Stoughton, [n.d.]

20 September 2012

Entering the Unknown with Frank L. Packard



The Four Stragglers
Frank L. Packard
Toronto: Copp Clark, 1923

It's hard to know just what to expect when picking up a Packard; reference books offer little or nothing, archived reviews are few, and with one or two or three exceptions book bloggers have given him a pass. Add to all this the sad fact that the dust jackets to his books are almost always missing, as is the case with this soiled, stained, beat-up copy I spotted last October in the "FREE" box at Montreal's Cheap Thrills.

A few pages into this free book, I was beginning to think that it might just end up being my favourite Packard novel. Although that first flush of excitement gave way to disappointment, I don't regret the read.

The Four Stragglers opens in the darkness of an unnamed battlefield during the Great War. Cut off from their respective units, three soldiers take refuge in a thicket; a fourth lies dead or unconscious a few metres away. Flares flying above reveal faces, and the cognizant come to recognize that they'd all played parts in a daring jewel heist not two years earlier.

It's a confusing, chaotic scene. Shouldn't it be? Shells rain down, a munitions dump explodes in the distance and somewhere out there march Germans with bayonets. Then there's that fourth straggler lying on the ground. The idea that he might be listening in on the reunion forces cryptic conversation. Eventually, one of the other three raises his rifle and fires:
     The first man screamed out:
     "Christ! What have you done?"
     "I think he was done in anyway... It was as well to make sure."
Dead. Dead. And yet the next flare that hangs in the heavens reveals that his body has disappeared.


We're transported suddenly to the Claremont, an exclusive gentleman's club in London's West End. The Armistice now more than three years in the past, the reader is listening in on a conversation between Sir Harris Graves and Captain Francis Newcombe. A man of obvious privilege, Sir Harris has the means and the time to pursue criminology as a sort of hobby. His current focus is the aforementioned theft and its connection with an elusive, infamous East End criminal known as Shadow Varne. The captain, transfixed, expresses concern:
"I fell impelled to say to you that, if this man is what you describe him to be, is so dangerous as you say he is, I would advise you, Sir Harris, in all seriousness to leave him – to Scotland Yard."
Sir Harris stands fast... and is murdered before morning. If it hasn't already, the reader's suspicion will fall on Newcombe, who is not only revealed to be the straggler who shot the injured soldier, but Shadow Varne himself.

I found the most interesting aspect of The Four Stragglers revolved around the idea of the T.G. – the Temporary Gentleman – a man who through obtaining commission would be permitted privileges heretofore enjoyed only by members of a certain class. For Varne, as Captain Francis Newcombe, lasting entry to a once closed-off world is made possible through wartime heroics. "I became a Permanent Gentleman", he tells doomed Sir Harris. "Democracy! Private Francis Newcombe – Captain Francis Newcombe – Francis Newcombe, Esquire."

Packard's novels are always peppered with the fantastic and improbable; for much of The Four Stragglers I took Newcombe's rise as another example. But then I thought of our own Sir Arthur Currie, GCMG, KCB, a man who himself rose from the lowest ranks. I don't mean for a second to suggest that Currie was a murderer – just an embezzler.

Object: The first Canadian edition, my copy appears to have been first owned by a man named Donald Shipley. A 1925 Christmas gift from "Claude", it bears the label of Wendell Holmes, a bookseller in London, Ontario.


Access: Canadians, look to your universities – of the public libraries, only Toronto's serves.


The Canadian first shares plates with the Doran American first and a later Burt reprint. It wasn't until 1934 that the Hodder & Stoughton British first appeared. Together, more than couple of dozen copies are listed for sale online. They begin at £4.00, but the one to buy is a $15 copy of the Canadian first with dust jacket by A.D. Rahn. The most expensive – forty dollars –  comes from an ill-informed bookseller  who writes: "THIS A 1923 HARDCOVER BOOK IT IS EXTREMLY [sic] RARE BOOK IT HAS A NAME INSIE [sic] THE COVER AND HAS BEEN READ THE BINDING IS SUNNED AND HAS NO JACKET THE CORNERS ARE BUMPED AND THE PAGES ARE TANNED EVENLY."


Čtyři zaběhlíci, a Czech edition, was published in 1928. Apparently the National Library of the Czech Republic has a copy.

01 December 2011

A Post-Victorian Christmas (w/ Frank L. Packard)



Purchased just last week, a century or so after it arrived at the news agent, the December 1911 edition of The Canadian Magazine was hard to resist. Just look at what's on offer: "A Study of Iago" by Arthur Stringer, some thoughts on winter by L.M. Montgomery, a new Homer Watson and no less than ninety lines of verse from the delightfully quirky Isabel Ecclestone Mackay.

But what really sold me was "The Mad Player", an uncollected work by Frank L. Packard. Something just less than 4000 words in length, this simple story is reflected in the accompanying illustrations by J.W. Beatty, R.C.A., O.S.A.

The unnamed narrator is a landscape artist travelling somewhere in France. One evening he comes upon a wild looking violinist busking on a village street.

The painter returns to lodgings, where he is confronted by the violinist – as a fellow artiste, he is offended that our narrator put a coin in his cap. Things are becoming quite unpleasant until the eyes of the unkempt musician fall upon the painter's most recent landscape:
"Monsieur will tell me where it was done – where?"
When told, he rushes out. The innkeeper, who is highly amused, fills in our narrator. It seems that the wild violinist is an aristocrat who as a young man lost his mind at the drowning death of his fiancée.



The following morning, the violinist's body is discovered near the spot captured in the landscape. Wracked with guilt, the painter watches the cortege. He returns to the landscape, trying to make sense of the insane aristocrat's reaction. Though it takes some time, he realizes that the violinist viewed the work upside down.
I reversed it quickly – and then I, as he had done, with startled cry, carried it closer to my eyes. At last I understood. The foliage, by some grim freak as my brush had traced it, bore a crude, but unmistakable resemblance to a woman's face, with her hair streaming down touching the river's brink – and to the poor, crazed brain it had been the end of a long search!
FIN
"The Mad Player" is the work of a man honing his craft as a storyteller; it's well-written, intriguing and, ultimately, most unsatisfying.

When the story appeared in The Canadian Magazine, Packard was labouring as a civil engineer; fortune and fame were still in the future. That said, 1911 did see the publication of On the Iron at Big Cloud, his very first book.



Though Thomas Y. Crowell, Packard's publisher, didn't advertise in this magazine, a whole lot of houses did. Macmillan, Cassell & Co., William Briggs, Oxford University Press, the Upper Canada Tract Society and Copp, Clark all took out full page adverts, only to be overwhelmed by a pink, four-page spread for the brand new Eleventh Edition of the Encyclopædia Britannica.

I ask, who wouldn't want to be met like this on Christmas morn?