Download The House of Blackwood: Author-Publisher Relations in the by David Finkelstein PDF
By David Finkelstein
The Scottish publishing condominium of William Blackwoood & Sons, based in 1804, was once an immense strength in nineteenth- and early 20th-century British literary historical past, publishing a various crew of significant authors - together with George Eliot, John Galt, Thomas de Quincey, Margaret Oliphant, Anthony Trollope, Joseph Conrad, and John Buchan, between others - in booklet shape and in its per thirty days ''Blackwood's Magazine''. during this name, David Finkelstein exposes the successes and screw ups of this onetime publishing powerhouse. He offers a basic historical past of the enterprise, getting to relatives dynamics over numerous generations, their moulding of a selected political and nationwide tradition, the shaping of a Blackwood viewers, and the a number of explanations for the firm's decline within the a long time ahead of global conflict I.
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Extra info for The House of Blackwood: Author-Publisher Relations in the Victorian Era
Sample text
Margaret Oliphant’s reputation exemplifies one aspect of authorial identity contained within the frame of Blackwood publishing activity. Her position in the firm’s list represents an assumption of worth based on intangible capital: more often than not, as Elisabeth Jay, Robert and Vineta Colby, J. A. Haythornthwaite, Dale Trela, and others have pointed out, she was viewed as the skilled laborer, solid, dependable, and gifted but not necessarily the most profitable of literary properties. John Blackwood was unable to “work” her texts (to use a phrase from his testimony to the Copyright Commission in 1876), as well as he could other better positioned authors.
Hamley and John Hanning Speke. Elsewhere, Blackwood printers emerge as sources of amused journalistic commentary regarding the crabbed, handwritten, indecipherable literary texts of a number of nineteenth-century “Blackwoodian” miscreants, such as John Hill Burton. ”44 John Wilson’s manuscripts in “intensely bad ramstam hand” were welcomed, as “double the sum was afterwards paid for it to the compositors,” while Margaret Oliphant provoked the Blackwood head compositor, Sam Kinnear, to expostulate in the Scotsman, “Printers ought always to be thankful for such voluminous writers as she was.
Hamley and John Hanning Speke. Elsewhere, Blackwood printers emerge as sources of amused journalistic commentary regarding the crabbed, handwritten, indecipherable literary texts of a number of nineteenth-century “Blackwoodian” miscreants, such as John Hill Burton. ”44 John Wilson’s manuscripts in “intensely bad ramstam hand” were welcomed, as “double the sum was afterwards paid for it to the compositors,” while Margaret Oliphant provoked the Blackwood head compositor, Sam Kinnear, to expostulate in the Scotsman, “Printers ought always to be thankful for such voluminous writers as she was.