Glassco's $9500 Library and the Montreal Eatons

Canadian Notes & Queries number 86 has arrived, bringing with it all kinds of goodness from Caroline Adderson, Mike Barnes, Nigel Beale, Darryl Joel Berger, Steven W. Beattie, Aaron Costain, Evie Christie, Jason Dickson, Nicole Dixon, Emily Donaldson, Sharon English, Alex Good, Finn Harvor, Jeet Heer, Even Jones, David Mason, Ben McNally, Sarah Neville, James Pollock, John Richmond, Mark Sampson and Bruce Whiteman, wrapped in a cover by Seth.

I have two pieces in this issue, the first being a look at John Glassco: A Personal and Working Library, issued in 1982 by Montreal's Word Bookstore. Compiled by Glassco's bibliographer Fraser Sutherland, this cerlox-bound 47-page catalogue offers the poet and pornographer's library en masse:

The Library occupies approximately 29 feet of shelf-space, and comprises 526 books and 88 periodicals – most of them signed and annotated – as well as hundreds of other printed items, letters, and manuscripts. Editions are usually First. Except for books or periodicals published before 1940, condition is usually Fine. On the rare occasions were pages are missing, these are indicated. The price of JOHN GLASSCO: A PERSONAL AND WORKING LIBRARY is Can$9500.

That's right, $9500. And yet only one institution stepped forward. And it wasn't McGill, his alma mater.

The collection was purchased by Queen's University and can be viewed, even by unaccompanied minors, at Special Collections at the W.D. Jordan Library. Select pages from the catalogue can be seen here at my Gentleman of Pleasure blog.

The second contribution is a review of Marion: The Story of an Artist's Model by Winnifred Eaton (a/k/a Onoto Watanna). First published in 1916 as a biography, reissued last year by McGill-Queen's as a novel, it provides a fictionalized account of sister Sara Eaton's youth, along with glimpses of artist father Edward, mother Lotus Blossom, and more than a few of the thirteen other Eaton children.

The Metropolitan, 10 February 1894

The new edition benefits from a fascinating 49-page Introduction by Karen E.H. Skinazi and the inclusion of Henry Hutt's original illustrations.

Rereading the review, I see that I've described the Eatons as "perhaps the most unusual and unconventional family of Victorian Montreal."

I'm now reconsidering the word "perhaps".

Related post:

Beauty Neglected

Cross-posted, in part, at A Gentleman of Pleasure.

Dope Rings in Canada! Oh My!

Die with Me, Lady

Ronald Cocking

Toronto: Harlequin, 1953

224 pages

This review now appears, revised and rewritten, in my new book:

The Dusty Bookcase:

A Journey Through Canada's

Forgotten, Neglected, and Suppressed Writing

Available at the very best bookstores and through

Biblioasis, Amazon, Chapters/Indigo, and McNally-Robinson.

Anyone Care about the Ryerson Fiction Award?

It's not found in The Canadian Encyclopedia, The Oxford Companion to Canadian Literature or W.H. New's Companion to Canadian Literature; the three-volume History of the Book in Canada limits mention to a single sentence; misnamed the "Ryerson Fiction Prize", fleeting reference is made in The Cambridge History of Canadian Literature – yet in mid-20th-century Canada the Ryerson Fiction Award was second only to the Governor General's Award. Authors were encouraged to submit manuscripts to Ryerson, which in turn would publish the winning work.

The Cambridge error is understandable. The award-winning titles I've seen invariably feature a page listing past recipients, similar to the one above from Evelyn M. Richardson's Desired Haven. Each repeats this bit of awkwardness:

THE RYERSON FICTION AWARD

The All-Canada Prize Novels

Most dust jackets add to the confusion in trumpeting "The All-Canada Fiction Award".

The Ryerson Fiction Award... The All-Canada Prize... The All-Canada Fiction Award... Whatever the name, it seems clear that by "fiction" Ryerson meant "novel." As for "All-Canada"? Well, our French-language novelists need not submit.

First presented in 1942, the award moved in fits and starts. There was no recipient in its second year... or its third... no award in 1946, 1948, 1951, 1952 or 1955 either. Some years saw the honour go to two titles. It was last presented in 1960.

Does anyone care about the Ryerson Fiction Award? Did anyone care about the Ryerson Fiction Award? I imagine the winners were delighted, but I see no evidence that it made much of an impression on the public. Only one title, Will R. Bird's Here Lies Good Yorkshire, enjoyed a second printing, and only five have ever appeared in paperback. The academics don't appear to have been much impressed. Writing in Queen's Quarterly, Desmond W. Cole concluded his review of 1958 winner Gladys Taylor's The King Tree:

If this is the "All-Canada Fiction Award" as the dust cover asserts, it has been a slim year for the novel, or at least for the publisher who has the presumption to imply that this is the best work of fiction published in Canada in the past year.

Edward McCourt's Music at the Close is the only title to have been included in the New Canadian Library. Tellingly, I think, the author used the opportunity to revise the text. NCL has since dropped the novel.

All I've seen of the first winner, G. Herbert Sallans' Little Man, is the little jpeg above. A shame. Going by bookseller Stephen Temple's description, Little Man is the Ryerson Fiction Award-winner I'd most like to read:

A novel covering four decades of Canadian life, set in Canada, France and Britain. "The author is merciless in his handling of shoddy Top Hats, fake Utopia Builders, spurious Abundant Lifers and Crack Pots of all sorts." – jacket.

"I remember when this was a very common book that no one wanted," continues Mr Temple. "It is surprisingly scarce, and saleable, in the market today. But it ain't no four figure book, not even close."

That last sentence appears to be a dig at an Oregon bookseller who demands an even US$1000 for a jacket-less copy in Fair condition. Mr Temple's, a Very Good copy in Good dust jacket, is being offered for US$85. My birthday is in August.

The thirteen other Ryerson Fiction Award-winners follow.

I've read one.

You?

Here Stays Good Yorkshire
Will R. Bird
1945

Day of Wrath
Philip Child
1945

Music at the Close
Edward McCourt
1947

Judgement Glen
Will R. Bird
1947

Mr. Ames Against Time
Philip Child
1949

Blaze of Noon
Jeann Beattie
1950

Desired Haven
Evelyn M. Richardson
1953

Immortal Rock
Laura Goodman Salverson
1954

Pine Roots
Gladys Taylor
1956

Repent at Leisure
Joan Walker
1957

The King Tree
Gladys Taylor
1958

Prairie Harvest
Arthur G. Storey
1959

Short of the Glory
E.M. Granger Bennett
1960

Mr. Steven Against Company Policy

Thanks goes out to Jim B. for helping to identify the artist behind the handsome jacket to Philip Child's Mr. Ames Against Time, the subject of Wednesday's post. He is Arthur Steven, who from 1947 to 1970 served as Art Director of Ryerson Press. Mr Steven's illustration is wider than previously pictured, stretching from the spine to just inside the front flap. Clicking on the cover below will bring a nice-sized image.

Captured is the novel's opening scene:

The court-house clock boomed five times and Mr. Ames performed the rite of taking out his watch. It never failed to give him a small satisfaction to find that his watch was exactly on time, for he was a man who liked things in order: watch in order, clothes however shabby in order, conscience neatly in order.
   A dog chased a cat across Mr. Ames' path...

At the right, we can see the Urania Burlesque Theatre, at which Mr. Ames serves as doorman.

Randall Speller has written a very fine piece on the artist, "Arthur Steven at the Ryerson Press: Designing the Post-War Years (1949-1969)" (Papers of the Bibliographical Society of Canada/Cahiers De La Société Bibliographique Du Canada, Fall/Automne 2003), in which we find this:

In opposition to company policy during these early years, Steven was able to discreetly insert his name or an initial on the occasional dust jacket or illustration, something that appears to have been easier in the early 1950s. The jackets for Philip Child's Mr. Ames against Time [sic] (1949), J.V. McAree's Cabbagetown Store (1953), and William Arthur Deacon's The 4 Jameses (1953), among others, are signed "Steven" in very small letters; Isabelle Hughes' The Wise Brother (1954) and the map endpapers of Marjorie Freeman Campbell's Niagara: Hinge of the Golden Arc (1958) are signed with a very small 'S' in the lower right corner. These "signatures" are the first indicators of a consistent design presence at Ryerson in the post-Thoreau MacDonald years.

This, of course, has sent me running to the bookcase. Sure enough, I found "STEVEN" by the side of the road on the cover of Cabbagetown Store.

On the jacket he produced for Ryerson's The 4 Jameses, a favourite, "STEVEN" can be seen near the bottom right-hand corner.

And, also bottom right, there's that "S" on the cover of The Wise Brother.

I found no other jackets signed "STEVEN" or "S" in my modest collection of Ryerson Press books – just forty-two in all – but that doesn't mean I won't keep looking.

Related post:

Mr. Child's Simple Story of Dramatic Suspense

Mr. Child's Simple Story of Dramatic Suspense

Mr. Ames Against Time

Philip Child

Toronto: Ryerson, 1949

244 pages

This review now appears, revised and rewritten, in my new book:

The Dusty Bookcase:

A Journey Through Canada's

Forgotten, Neglected, and Suppressed Writing

Available at the very best bookstores and through

Biblioasis, Amazon, Chapters/Indigo, and McNally-Robinson.

Related post:

Mr. Steven Against Company Policy
(in which the cover artist is identified)

An Old Poem for the New Year by Arthur Stringer

from Open Water
(New York: John Lane, 1914)

Related posts:

A New Year

Immature Verse for the New Year

Temperance Verse for New Year's Day

Mistake at Beechwood Cemetery?

As 2012 draws to a close, I find myself wondering whether this was the year in which we should have been celebrating the sesquicentennial of William Wilfred Campbell's birth. If so, where would we have held the parade?

It's a mystery to me that such uncertainty envelopes the date and place of this Confederation Poet's birth. After all, 'twas only 150 (or so) years ago; one would think that the son of an Anglican clergyman would have a good solid record of his christening.

The plaque pictured above, standing not twenty paces from Campbell's grave at Ottawa's Beechwood Cemetery, tells visitors that the poet's year of birth was 1862, yet the unusual bench/memorial marking the grave itself records the year as 1858.

In her Introduction to William Wilfred Campbell: Selected Poetry and Essays (1987), editor Laurel Boone writes that the poet was born in 1860 at Athens, a township not too far from Brockville in eastern Ontario. Ms Boone revises her claim in the fourteenth volume of The Dictionary of Canadian Biography (1994), providing only a probable date – 15 June 1860 – and a likely place of birth: Newmarket, some 300 or so kilometres to the west. 

 Tracy Ware is confident in The Canadian Encyclopedia, naming Berlin – now Kitchener – as Campbell's birthplace, but shows caution concerning the date: "1 June 1858?"

In his Encyclopedia of Canadian Literature, W.H. New shows no hesitation whatsoever: "b Berlin (Kitchener), ON, 1 June 1858".

The entry George Wicken penned for The Oxford Companion to Canadian Literature challenges with the pronouncement that Campbell was born in 1860 "in Newmarket, Canada West (not in Berlin/Kitchener, in 1858, as has been supposed)".

from The Poems of Wilfred Campbell (Toronto: William Briggs, 1905)

All agree, at least, that Campbell was born somewhere in Ontario in 1858 or 1860, but there's not a single source out there that supports 1862, the year cast (pun intended) by Beechwood. I'd like to think that the cemetery's plaque is the result of further research, but I'm not so sure. My queries have brought this response:

From the information available in our records, the informant for the passing of Mr. William Wilfred Campbell was his son in law [sic] Mr. E. Malloch. He is probably the person who provided the information on Mr. Campbell to the funeral home (‘Rogers & Burney Fineral Home’) and to the cemetery. Our records indicate that Mr. Campbell was 56 when he passed, that is why you get the ‘abt 1862’ year of birth on the ancestry website. We do not have any other details on the date of birth. 

Confidence is further shaken by the plaque itself, which sums up Campbell's life in just two sentences:

AN OUTSTANDING FIGURE IN CANADIAN POETRY, CAMPBELL HAD A LONG AND DISTINGUISHED CAREER AS A WRITER, CLERGYMAN AND CIVIL SERVANT. HE AUTHORED MANY NOVELS AND WAS APPOINTED INTO THE DEPARTMENT OF MILITIA IN 1883 AND THEN IN 1897 MOVED TO THE PRIVY COUNCIL OFFICE.

"HE AUTHORED MANY NOVELS"?

I knew of two obscurities, Ian of the Orcades (1906) and A Beautiful Rebel (1909), when I began this investigation. I've since learned of a third, "Richard Fizzell", which was serialized in 1909 and 1910 issues of The Christian Guardian (it has never appeared in book form). Apparently, two others exist as manuscripts only. 

Can this be considered "MANY"?

Perhaps.

Meanwhile, the real Mystery at Beechwood Cemetery remains unsolved.

Maybe next year.