Sebald, not to mention the wonderful illustrated editions of books for children and young readers. For some writers illustration was an intensely integral part of their work. For others it is a practical or inspirational enhancement or adornment. And no wonder the illustration of his work preoccupied him. He had, after all, a supremely visual imagination. References to paintings and pictures abound in his works. He had a stunning capability to paint a picture in words, not just in his poetry but in his novels too.
I think I must have had it as a child in some illustrated abridged version and filled in missing bits from the many Hollywood films. I read Treasure Island , or rather summarised the tale for her, book in hand, until after a few chapters she moved on to something else. Then, over the next few days, I just carried on reading it on my own. More on that some time soon. There has been a plethora of writing about Treasure Island , since it first appeared in the early s. A first edition now will cost you several thousand pounds.
I suppose it must be one of the most famous books in the English language and is very collectable. A tale for children — yes. But it is certainly more than that and, like all good books, works on more than one level. I am not going to rehearse here any well-worn analyses of the tale or characters. There is plenty of that elsewhere. What struck me, though, as so often, are the off-beat things I gleaned in a little more reading around the tale.
This contained as an appendix the article which Stevenson wrote not long before his death in , called My First Book , telling of the origin of the tale which, famously, began, literally, with a map. Many tales have maps associated with them. I think my earliest recollection of such things would probably be the map of the village in Milly Molly Mandy.
But I suspect none of these books has the actual map itself as the genesis of the tale. Maybe Treasure Island is wonderfully unique in this regard. And Stevenson has some very sensible things to say about how important it is for the author to know his countryside — real or imaginary. Ahh, the pitfalls that lay in wait for the unwary novelist! This central preoccupation with the map set me thinking: who else, writing around the time Treasure Island appeared, gets so preoccupied with his topography that he has to include a map?
And the answer, of course, is Thomas Hardy, whose Wessex was already taking shape in the mid s with Far from the Madding Crowd. It is notable that this self-made map was used by Hardy during the writing. The map itself I have always found to be a rather disappointing affair, helpful true, but containing little detail. But he does write the following:. I am told there are people who do not care for maps, and find it hard to believe. The names, the shapes of the woodlands, the courses of the roads and rivers, the prehistoric footsteps of man still distinctly traceable up hill and down dale, the mills and the ruins, the ponds and the ferries, perhaps the Standing Stone or the Druidic Circle on the heath; here is an inexhaustible fund of interest for any man with eyes to see or tuppenceworth of imagination to understand with!
Stevenson apparently sought out a copy of Woodlanders to take with him when he travelled to the USA. Stevenson continues:. I should tell you in fairness I could never finish it; there may be the treasures of the Indies further on; but so far as I read, James, it was in one word damnable. I write in anger? I almost think I do;… I cannot read a page of Hardy for many a long day, my confidence [in him] is gone. Goodness gracious! It was certainly sufficiently shocking for most of it to be redacted or censored in by the publishers of his letters after his death.
One wonders what angered Stevenson so? The intensity of the complaint seems to go beyond what one might expect in terms of a literary squabble.
So Henry James, spurred on by the angry Stevenson, wanted to give Hardy a kicking! Thomas Hardy was sensitive to criticism and, in deference to the great man of English literature, these letters seem to have been censored by publishers and editors. But from my perspective here, the most interesting comment — in the same publication — is a specific reference by Hardy to the map in Treasure Island. Hardy, noting his suggestion at the time for including his own map of Egdon Heath in the first edition of The Return of the Native , goes on to say:. The publishers fell in with the idea and the map was made.
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It was afterwards adopted by R. Stevenson in Treasure Island. What basis, if any, there is for this assertion by Hardy that Stevenson had pinched the idea off him, I do not know.
Others may. H and Vere Collins C. I am not sure how Collins noted down the conversations so apparently verbatim, whether Hardy saw the transcription or what he would have thought of them. What caught my eye also, however, is a rather off-beat remark Hardy made about the journey he undertook to Aberdeen where he went in the spring of to receive from the University there his honorary Doctorate in law.
- Save the World, Light A ... CANDLE.
- Culture of poverty - Armutsdiskurse und deren Kritik (German Edition).
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Not so, apparently, on his purse. As the grand old man of British literature, with many editions of his works published, Hardy must have been relatively well-off by this time, but his accumulating wealth was now famously becoming accompanied by a distinctly parsimonious attitude to expense. Memoirs and comments written by others relating to his latter years at Max Gate, for example, are often notorious for references to his stinginess and thrift. She replaced the coals on the fire only to witness Hardy take the tongs and remove them from the fire again.
Florence later upped it to ten bob. Florence Hardy struggled with getting him to spend money modernising Max Gate. The kitchen needed upgrading; there was no bathroom in the house until The answer, I think, is not too difficult to discern. His first — never published novel — was The Poor Man and the Lady. They were not well off and at times struggled to make ends meet. When Hardy gave up architecture to become a man of letters he knew he could be signing himself up to a future of impoverishment. The way he lived was almost akin to a profession of faith. Hardy was decidedly not Tolstoyan, but, although comfortably off, he made a profound statement in his daily habits.
He worked in old clothes.
He was devoted to living a simple life, hating wastefulness, donning his old work clothes in the morning and routinely toiling away every day, like a labourer, at his writing. He was a working man. This is how he kept himself going successfully into advanced age.
One only has to think of Tess and Jude. Collins, published by Duckworth, London , reprinted Anderson, Yale University Press, I suppose I should confess that I went there primarily to see the attic.
I really wanted to have a look at the attic. It is. Far from it. It was a painful voluntary separation.
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