A Great War Poem by Peregrine Acland's Father

"The World's Honour Roll" by F.A. Acland, from the December 1914 number of The Canadian Magazine. At the time, son Peregrine was training in the mud and muck of Salisbury Plain.

The same issue features this less accomplished verse, which was accompanied by an illustration by J.E.H. MacDonald.

Related posts:

Remembering Peregrine Acland

Alec Falcon, c'est moi
A Neglected Novelst's Neglected Grave
The Great Canadian Great War Novel
The Great War: The Reveille of Romance

Harlequins, Ranchers and Redheads: A Threesome

The Rancher and the Redhead
Rebecca Winters
Toronto: Harlequin, 1993

The Rancher and the Redhead
Susannah Davis
Toronto: Harlequin, 1995

The Rancher and the Redhead
Allison Leigh
Toronto: Harlequin, 1998

A bonus:

Deux femmes et un rancher [The Rancher and thé Redhead]
Susannah Davis
Toronto: Harlequin, 1996

Related post:

Harlequin Blondes: Terror Struck then Dumb

Nothing Says Violence Like Harlequin

Violence sells but I'm not buying, which may be why it's taken me so long to see just how much it was used in pushing early Harlequins.

As near as I can tell, the publisher began using violence as a selling point with its third book, Howard Hunt's Maelstrom. We remember Hunt today as one of Richard Nixon's plumbers, forgetting that the man was once awarded a Guggenheim Fellowship (whereas Truman Capote and Gore Vidal were not). His third novel, Maelstrom, was first published in 1948 by no less a house than Farrar Straus. Sure, the dust jacket was garish, but c'mon, Farrar Straus!

By contrast, the Harlequin edition issued the following June (four months before Hunt joined the CIA), seems bland… that is, until you read the tagline:

Harlequin used 'violence" in flogging all sorts of titles, no matter how unlikely. Its cover copy for Ben Hecht's Hollywood Mystery promises a plot in which "violence and murder intermingle with wacky situations." Lady – Here's Your Wreath by Raymond Marshall is a "story of violence, mystery and sudden death". Marshall's Why Pick On Me? was pitched with promises of "Punch, Action, Violence!" And, in event that you missed it the first time, Harlequin uses the word twice – in consecutive sentences – in describing James Hadley Chase's No Orchids for Miss Blandish:

This is a fast moving very shocking crime story, which tells of a young and glamorous heiress, whose beauty excites a gang of brutal mobsters to such an extent that they leave a trail of death and destruction in their efforts to kidnap and debauch her. The detective, Dave Fenner, is called in to crack the case, and matches the sadistic brutality of the gang with his own particular brand of violence. This is definitely not a book for the faint-hearted who cannot stand explosive violence and action.

Chase is a special case. With I'll Bury My Dead, we're promised a tale of "murder and violence". Figure It Out for Yourself finds hero Vic Malloy "snarled up in a vicious vortex of murder, glamorous women and violent non-stop action". Twelve Chinks and a Woman, the title Harlequin would really like us all to forget, finds sleuth Dave Fenner descending into a "merciless violent Underworld".

Then there are the covers.

The Harlequin cover for Manitoba boy A.E. van Vogt's The House That Stood Still ranks with News Stand Library's Love is a Long Shot and The Penthouse Killings as the most disturbing and violent ever produced in this country. But those News Stand Library books are anomalies; in truth, the covers of Harlequin's early rivals rarely depicted violence. The typical New Stand Library book promises sex. On rare occasions – as with Too Many Women or Overnight Escapade – the two very nearly intersect, but never do. These News Stand Library covers suggest the possibility of violence, while those of Harlequin depict actual acts or the bloody results of same.

The ten Harlequins that follow give good example, each one typical of a time in which the publisher put forth brutal sagas of love and violence – and not slight stories of brutal love.

Maverick Guns
J.E. Ginstead
1950

The Case of the Six Bullets
R.M. Laurenson
1950

The Cold Trail
Paul E. Lehman
1950

Fall Guy
Joe Barry
1950

She Died on the Stairway
Knight Rhodes
1950

Wreath for a Redhead
Brian Moore
1951

The Dead Stay Dumb
James Hadley Chase
1951

False Face
Leslie Edgley
1951

Hunt the Killer
Day Keene
1952

The Body on Mount Royal
David Montrose
1953

Related posts:
Harlequin's Romantic View of the Past

Harlequin: The Love that Dare Not Speak Its Name

Suggestive Harlequins: A Romantic Threesome

Harlequin Blondes: Terror Struck Them Dumb

'Naughty Johnnie Frost'

NAUGHTY JOHNNIE FROST

                              "Little Leaf," said young Jack Frost,
                                   "Pretty Leaf," said he,
                              "Tell me why you seem so shy,
                                   So afraid of me?
                              I protest I like you well—
                                   In your gown of green
                              You're the very sweetest Leaf
                                   I have ever seen!"

                              "Run away," said little Leaf,
                                   "Prithee, run away!
                              I don't want to listen to
                                   Anything you say.
                              Mother-tree has often said:
                                   'Child, have naught to do
                              With young Johnnie Frost' — I think
                                   That, perhaps, he's you!"

                              "Nay, believe me, little Leaf,
                                   Pretty Leaf '! Indeed
                              To such silly, idle tales
                                   You should pay no heed!
                              I protest a leaf so fair
                                   Need not bashful be—
                              There's no reason why you should
                                   Feel afraid of me."

                              "Well, perhaps," said little Leaf,
                                   "I will let you stay—
                              If you're really very sure
                                   You mean all you say?
                              Do you truly like me best— "
                                   "Yes, oh yes!" he said,
                              "And, to prove it, pray accept
                                   This new dress of red !"

                              Very proud was little Leaf,
                                   Whispering with a smile,
                              "'Tis a sweetly pretty gown,
                                   'Twill be quite the style!"
                              Then she chanced to glance around!
                                   "Oh!" and "Oh!" she said
                              Every leaf upon the tree
                                   Wore a dress of red!

The Shining Ship and Other Verse for Children
Isabel Ecclestone Mackay
Toronto: McClelland, Goodchild & Stewart, 1918