'The Drunkard's Fate' by Teetotal John Imrie

In this month of December, with its festivities and excesses, let us pause to consider this verse from Sacred Songs, Sonnets and Miscellaneous Poems by John Imrie (1846-1902). A subscription salesman for the Canadian Presbyterian turned printer, the poet published the work in 1886 through his firm Imrie & Graham. 28 Colbourne Street, Toronto.

THE DRUNKARD'S FATE 

      For the drunkard there's no such place as "home,"
      Though over the face of the earth he roam,
      Till Death shall unfetter the drink-bound slave,
      And he findeth "rest" in the silent grave;
      His untimely death — "the wages of sin," —
      Satan's reward for the worship of Gin!
      He gave up his wife and his children dear
      For the drink which he thought his heart could cheer;
      But the more he drank the lower he sank,
      From the highest grade to the lowest rank.
      Till for shame, his name a bye-word became,
      And he lost for ever his once fair name: —
      For the pleasure of drink, which he loved so well,
      He barter'd his soul to the lowest hell!

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Gay on Sunday: The Temperance Poems

Temperance Verse for New Year's Day

'A Tribute to St. Mary's [sic], Ontario'

Beautiful Joe: Now with 30% Less Violence!

Beautiful Joe
     (Modern Abridged Edition)
Marshall Saunders
Racine, WI: Whitman, [c. 1965]
254 pages

Whitman is the first publisher I knew by name. Its books were the stuff of childhood birthday parties, given to friends who'd really wanted a Hot Wheels Super-Charger. I was never so unfortunate as to receive a Whitman book myself; until this month, the only one I ever owned was Who's Got the Button?, a Monkees tie-in that I bought sometime in the early 'eighties.

Who's Got the Button? was written by William Johnston, author of other Whitman titles like Gilligan's Island, The Munsters and the Great Camera Caper, and Ironside: The Picture Frame Frame-Up. None were considered part of the publisher's Classics Library.

I bought Whitman's Beautiful Joe after reading the 1927 "New and Revised Edition." Writing in the Oxford Companion to Canadian Literature, Elizabeth Waterston informs that the violence of the 1894 original was "softened" for that latter edition." I found the violence hard and hard to take, and was certain that Whitman had softened it even further for we children of the 'sixties.

And I was right.

The greatest distinction is found early, in the novel's most violent scene. I've struck out the sentences that are absent in the Whitman edition:

Those familiar with Beautiful Joe know further violence follows when Jenkins mutilates Joe by cutting off his ears and tail with an axe. The pivotal scene, it's just as it is in the 1894 first edition.

By my calculation, the word count of Whitman's "abridged" Beautiful Joe is just over 64,000; roughly 30,000 less than the original. Of the numerous deletions, this is the longest:

Saunders' second novel, Beautiful Joe was written with an eye on a prize offered by the American Humane Education Society (hence the reference). That the novel won is surely owes something to its incorporation of the Society's positions, including "the proper way to kill animals." Saunders was also smart in taking the sad story of a Canadian dog and transplanting it to Maine. To these northern eyes, the most interesting passages are those in which Americans express concern for the future of their nation:

The comments about immigration, Spaniards, and Italians, do not appear in the Whitman edition.

Less violence. Less bigotry, too.

But I wouldn't give it as a birthday present.
.

Object and Access: A hardcover issued without dust jacket. The cover, endpapers, and interior illustrations are all by Robert MacLean.

I purchased my copy for $US9.38 from an Ohio bookseller.

There are plenty of copies listed online at similar prices.

Related posts:

A Dog's Life and Then Some

Condensed CanLit

I've been to Harlequin: Young Under the Influence

Heart of Gold
Marjorie Moore
Toronto: Harlequin, 1967

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Songs Suggested by John Wesley White

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Three Little Women and One Big Spoiler

Frederick Niven wrote The Flying Years. I learned this as a teenager through a list of New Canadian Library titles printed in a copy of Philippe-Joseph Aubert de Gaspé's Canadians of Old.

The Flying Years was series title #102.

Frederick Niven... The Flying Years... I never saw mention of one without the other, and I never saw either in a bookstore.

For a long time, I thought Niven had written no other books, when in fact, he'd published more than thirty; from The Lost Cabin Mine (1908) to The Transplanted (1944), they span the better part of his life.

At some point last decade, I ordered a copy of The Flying Years, sight unseen, from an online bookseller – surely, it was the place to start in on things Niven – but when it arrived, it looked deathly dull. The publisher's assurance that its logo was a "SIGN OF A GOOD POPULAR NOVEL" did not sway, and I set it aside.

I continued to keep an eye out for Niven titles, but the only offerings I found were online. The Porcelain Lady sounded interesting. Who can't help but feel excitement in a title like Hands Up! One lone copy of Niven's 1927 novel Queer Fellows (US title: Wild Honey) was listed at £68 (with a further £11.21 in shipping), but I couldn't justify the expense.

So, imagine the thrill in finding a copy of The Three Marys (London: Collins, 1930) in an ill-lit, musty antique store not thirty kilometres from our home.

I paid $7.50!

There are so many things to like about this book. Let's beginning with it being a fifth impression. Who would've thought that Niven's readership was so large!

I like advert for Kolynos Dental Cream.

And if you lose the jacket, a second ad is stamped on the book itself.

I also like that the price intrudes on the spine and cover illustration.

And what of that illustration? Does the towering artist not intrigue? How about the petite women of increasing elegance?

Forget The Flying Years, The Three Marys was the novel for me! A little research found that H.E. Bates liked The Three Marys, placing its author at "the front rank of contemporary story tellers." Writing in Everyman, Bates praised Niven's ability to create "real characters."

This past weekend, I sat down with The Three Marys. Not two minutes later, I put it aside, having read this:

And now I try to forget.

Should I have warned you? Chances are you'll never come across a copy.

I've never read a spoiler quite like the above. Can you blame me in sharing it?

So, I pick up my copy of The Flying Years and, after all this time, notice this on its cover:

Should I have been reading The Flying Years all along?

Related post:

Old Folks