Category Archives: Children’s Books

George Alfred Henty, Controversial Author of Juvenile Fiction

The late nineteenth century was truly a golden age in children’s literature. As the concept of childhood evolved, didacticism fell out of style and children’s authors focused more on stimulating their readers’ imaginations with exciting, engaging tales. George Alfred Henty was one of the most popular figures of the era. His historical adventure stories appealed to both children and young adults, but Henty was a controversial figure even in his own time.

From Soldier to Special Correspondent

Henty was born on December 8, 1832 in Trumpington, outside Cambridge. A sickly child, he entertained himself by diving into books and remained an avid reader all his life. Henty attended Westminster School, and then Gonville and Caius College, Cambridge, where he distinguished himself as a sportsman. But Henty left school before earning a degree; he and his brother decided to volunteer for the Army when the Crimean War began. Henty was assigned to the Army Hospital Commissariat. Conditions at the front were horrible, and Henty sent his father detailed letters about the appalling state of affairs. His father submitted the letters to the Morning Advertiser, which published them enthusiastically.

Seeing little promise of promotion, Henty resigned from the Army in 1859. He married Elizabeth Finucane shortly thereafter, but the union would be a short one; Elizabeth died in 1865 after a long illness. Left with children and unsure of his career path, Henty decided to begin writing for the Standard newspaper. By 1866, he was working as a special correspondent. During his career, Henty would cover the Franco-Prussian War; the Carlist Rebellion in Spain; the Turco-Serbian War; the opening of the Suez Canal; and the Dreyfus Trial.

Meanwhile Henty loved to regale his children with adventure stories at dinnertime. He decided to put the tales on paper and wrote his first children’s novel, Out of the Pampas, in 1868, naming the main characters after his children. Griffith & Farran published the book in 1870 (though the title page lists the year as 1871). Henty went on to write over 100 books, not only children’s fiction, but also adult novels and non-fiction. However, his children’s fiction was most popular, even inspiring other authors to emulate him. Captain Frederick Sadlier, Percy F. Westerman, and Herbert Strang (the pseudonym for George Herbert Ely and Charles James L’Estrange) all tried their hand at juvenile adventure tales in the “Henty style.”

Overt Racism and Imperialism

To research his books, Henty would check out numerous books from his local library. His protagonists were usually intelligent, plucky, and modest young men–and occasionally women who were living through historically difficult times. The books were full of action and drama, appealing to young readers. But they also raised ire among many of Henty’s Victorian contemporaries–after all, Henty was hardly an unbiased author.

During his own lifetime Henty was frequently accused of being xenophobic and racist. An enthusiastic imperialist, Henty also drew criticism for glorifying British imperialism. His In the Reign of Terror (1888) and No Surrender! A Tale of the Rising in La Vendee (1900) were decidedly hostile toward the patriots of the French Revolution, and in True to the Old Flag (1885), Henty took a Loyalist stance regarding the American Revolutionary War. With Lee in Virginia (1890) also raised eyebrows for supporting the “aristocratic” Confederacy of the Civil War.

In the 1990’s, Henty’s books were taken up by conservative Christians and home-schoolers because of their wholesome protagonists. But these stories are also frequently criticized for being jingoist and promoting racism. A Roving Commission,or Through the Black Insurrection at Hayti (1900) is overtly racist, making it an inappropriate text from which to teach that period of history.

Collecting George Alfred Henty Books

Henty has remained a popular figure among book collectors because his stories are so captivating and his works were so prodigious; in total, Henty penned 144 books, myriad short stories, and numerous pieces for several periodicals. Collectors usually rely on the second edition of Peter Newbolt’s GA Henty, 1832-1902 for bibliographic guidance. George Manville Fenn published a biography of Henty in 1907, but the work is generally considered too dispassionate. Thus the Henty Society is publishing a new biography, due out this year.

Henty’s books often have intricately designed bindings, often appealing to collectors in their own right. It’s quite rare to find these books in their original dust jackets, so most collectors settle for jacket-less copies in the best condition possible.

Though George Alfred Henty never became a household name in children’s literature, he nevertheless left an indelible mark on the genre. Henty’s books will continue to delight readers and collectors alike for ages to come.

A Panoply of Primers

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For centuries, children’s literature consisted almost exclusively of didactic texts designed to teach basic skills like reading and writing or to impart religious lessons. During the Middle Ages, the vast majority of these texts were still written in Latin. Hornbooks with the Lord’s Prayer and the alphabet were the most common forms of children’s literature in the 1400’s, and alphabet books began showing up in Russia, Denmark, and Italy during the following century.

In the 1600’s, the concept of childhood shifted: children were no longer thought of as miniature adults, but as separate beings with their own juvenile needs and preferences. Publishers began printing books exclusively for children, though these, too, were often didactic. The seventeenth century also saw the rise of Puritanism, which again shaped people’s views of children. They were viewed not as young innocents, but as moral savages who needed stringent moral instruction.

It was not until the eighteenth and nineteenth centuries that children’s literature came into its own as a genre. A Little Pretty Pocket Book (1744) by John Newbery is considered the first book published for children’s pleasure reading. As technologies improved and it got cheaper to produce books, the industry blossomed. Even as pleasure reading became popular, the publication of educational materials maintained its momentum. Literacy rates began to improve, increasing the demand for, and interest in, primers and similar educational pieces.

Today, collectors can build quite extensive collections around educational materials printed for children. The broadest category of these is the primer. The first known use of the word “primer” was in the fourteenth century. The term derives from the Latin primarium, meaning “primary,” and was the name for a layperson’s prayerbook. At the time, literacy was relatively uncommon, but people did need to read their prayers. This book was often the only one in a home, so it was used to teach children to read. Eventually the term broadened and referred to any small book intended to teach reading. Today a “primer” may refer to a short, introductory piece about a specific topic or to a brief, informative piece of writing.

A Selection of Primers

We’re delighted to offer a selection of primers in a variety of subjects and time periods. Should you have a question about an item, please don’t hesitate to contact us!

The London Vocabulary

Grammarian James Greenwood published the first edition of The London Vocabularly, English and Latin in 1713. After working for years at the Hackney Academy, Greenwood opened up his own boarding school in Essex in 1711 and was later appointed surmaster of St. Paul’s School in London. He’s best known for his An Essay on Practical Grammar (1711), which received much positive praise from a number of scholars and critics, including Isaac Watts. The London Vocabulary went through a number of editions, both English and American, of which this is the seventeenth English edition. Details>>

The Instructor

A quite popular primer, George Fisher’sThe Instructor appeared in numerous editions, both throughout the United Kingdom and in America. Like many educational books at the time, it purportedly offered an easier method of learning than other primers. And also like many educational books at the time, it reminds us of just how little people really knew about geography at the time, and that this truly was an age of exploration and discovery. In this Glasgow edition, printed in 1786, California is still an enigma: “Northward, on the Pacific Ocean, is New Mexico, and the island of California; but of these we know but little.” ESTC records five holdings of this edition. Details>>

The Young Child’s ABC

Written by Alexander Anderson and illustrated by Samuel Wood, The Young Child’s ABC (1806) contains a horn book-style alphabet and a syllabary. Letters are illustrated with objects in alphabetical order. This children’s chapbook was the first item published by Wood, who would go on to have an illustrious and prolific career in the trade. He had thousands of titles under his imprint. Although four copies of later editions have come to auction in the last three decades or so, none of this first edition have come to market. It’s quite rare in the trade. Details>>

A Book Explaining the Ranks and Dignities of British Society

Charles Lamb is best remembered for his collaboration with his sister, Mary Lamb, on Tales from Shakespeare. But he also anonymously published A Book Explaining the Ranks and Dignities of British Society in 1805. The charmingly illustrated children’s book delineates the hierarchy of the nobility, clergy, army, navy, government & professions; with their history & origins, forms of address, order of precedence, honors, with their coronets & coronation robes described, etc.This is the second edition, published in 1809. The book has been occasionally at auction these last 30+ years, though not since 2003. It’s scarce in the trade. Details>>

Le Livre des Enfans

Le Livre des Enfans was published in Quebec in 1834. Illustrated with woodcuts, the work begins with two alphabets, which are followed by the usual primer material. The cover features a short verse by Racine. Le Livre des Enfans also includes thirteen pages of animal descriptions, such as Le Zebre, Le Cheval, and Le Hibou. It’s scarce in the trade. Details>>

The New England Primer

Published around 1840, The New England Primer bears quite a drop title: Containing the Assembly’s Catechism; The Account of the Burning of John Rogers; A Dialogue Between Christ, A Youth, and the Devil; and Various Other Useful and Instructive Matter. With a Historical Introduction, by Rev. H. Humphrey, D.D. Rogers was a biblical translator and commentator, and the first English Protestant martyr under Mary I. He was burned at the stake for heresy in February 1555. This primer bears a frontis of Isaac Watts. Though this copy has some wear to its wrappers, it’s in good condition. Details>>

Girls’ and Boys’ Primer, Part II

Girls’ and Boys’ Primer, Part II was published around 1850 by Rufus Merrill in Concord, New Hampshire. The alphabet is illustrated with woodcuts. The primer features the usual material: alphabet, poems, and lessons in spelling and writing. This copy is in the publisher’s original buff paper wrappers with ornamental border to front and rear wrappers and the signature of “Eastman & Bogart.” Though there’s light wear and soiling to the wrappers, this is a very good copy. Details>>

A Farewell Present to a Female Scholar, on Going to Service

Thanks to the Enabling Act of 1799, dissenters could teach without subscription to the Church of England. The London Sunday-School Union was formed in 1803 with the aim of educating poor children and became a very active publishing organization. One of its publications was A Farewell Present to a Female Scholar, on Going to Service (ca 1828). An apparently unrecorded little work, it offers counseling a young lady regarding her pending move to the world of ‘service,’ “a useful and important station in society ” and outlines a number of ‘rules to live by’ follow, including “Fifthly- Always observe a respectful and obliging behaviour towards those with whom you live, and endeavor to go about your work with a cheerful air, as a pleasure rather than a burden to you.” It appears to have served as a sort of primer for young women entering domestic service. Details>>

Fleet Fact Book

Fleet Fact Book (ca 1906-1910) is separated into four sections: The “Dreadnaught” (2 text pages & 1 photographic image); Submarines (1 text page & 5 photographic images); Torpedo Boat Destroyers (1 text page & 2 photographic images); and The Fleet / Dreadnaught Types (1 text page summarizing the fleet strength, including ship types/numbers & 5 color postcard-type images of diverse dreadnaught types). In short, the volume offers a custom ‘primer’ for the Royal English Navy, ca 1910, with all indications the book created for the use of a senior Naval official, or senior political figure associated with the Royal Navy. Details>>

Puff and Dick

Pictured are the main characters from this famous primary reader: Dick, Jane, Spot, Puff & Baby. This is a rare unused printed sheet of a tale from the highly-collected Dick & Jane reader series, published in the 1950’s. Details>>

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Andersen’s Visit with Dickens Less than a Fairy Tale

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Legendary children’s author Hans Christian Andersen was born on April 2, 1805. Though the Danish author published work in a number of genres, he’s best remembered for his fairy tales. Stories like “The Emperor’s New Clothes” and “The Nightingale” are beloved by readers of all ages, all over the world. Thanks to Andersen’s authorial reputation, he could rely on wealthy patrons to support him. He lived his life as a permanent house guest. Experienced visitor though he was, Andersen still managed to ruin his relationship with Charles Dickens during an extended stay at Gads Hill.

Andersen published his first book, The Improvisatore, in 1835. An autobiographical novel, the book met with immediate acclaim when it was translated into English and published in the UK. Soon after, audiences had discovered–and delighted in–Andersen’s fairy tales. Between 1845 and 1847, at least five anthologies of Andersen’s stories had been published in English. Andersen’s London publisher, Richard Bentley, decided to capitalize with a publicity tour. In 1847, Andersen made his first visit to England.

By that year, Charles Dickens was already a literary titan. Bentley thought that a meeting between Andersen and Dickens could be advantageous for Andersen’s reputation, so he arranged it. Countess Blessington, a close friend of Lord Byron and a generous patron of the arts, provided the perfect opportunity. The countess was a bit of a scandalous figure; she openly lived with her stepdaughter’s husband, none other than Count d’Orsay, the famed soldier, painter, and fashion icon. There were also rumors about the true nature of Countess Blessington’s all-night parties.

But the party at which Dickens and Andersen met was much more mundane. Andersen had fallen in love with Dickens’ work when he read Oliver Twist and considered Dickens “the greatest writer of our time.” The two immediately hit it off and resolved to see each other again before Andersen left England. But due to his busy tour schedule, that proved nearly impossible. At one point, Dickens visited Andersen’s lodging, and finding the author away, left twelve presentation copies of his books for Andersen. (Some of these books remain unaccounted for.) Andersen finally visited Dickens’ home on his last night in England. By all accounts, the visit was quite enjoyable. Dickens and Andersen began a long, if sporadic, correspondence, and Dickens invited Andersen to visit on more than one occasion.

Gads Hill

Andersen finally took Dickens up on his offer in 1857. By that time, Andersen had grown accustomed to staying in grand homes with dozens of bedrooms. It wasn’t quite the same at Gads Hill, where Dickens had just moved his family. At the time, eight or nine of Dickens’ ten children were still living at home, and his marriage was falling apart. Though Dickens was wealthy by the standards of the era, his lifestyle was still squarely middle class (largely because he had so many progeny to support).

Andersen had promised Dickens, “I shall not inconvenience you much,” but he stayed five weeks instead of the agreed-upon two. He also made a strange request: that one of the older Dickens boys shave him every morning. Dickens refused to indulge that request, which was undoubtedly related to Andersen’s libidinous urges for boys.

There is no thorough account of the visit, but it couldn’t have been an easy one: Andersen spoke little English, and Dickens was often away from home. He had just completed Little Dorrit and was producing Wilkie Collins’ play The Frozen Deep as a benefit to his friend Douglas Jerrold. Ellen Ternan was in the play, and the affair between her and Dickens was blossoming. It’s possible that Dickens actually invited Andersen to extend his stay so that he could attend the opening of The Frozen Deep. Andersen may have offered his criticism a little too freely, or the two could have discovered other artistic differences.

It’s more likely, however, that the rather awkward Andersen unwittingly committed some faux pas in front of the Inimitable’s impressive literary circle. At any rate, when Andersen finally left Gads Hill, Dickens reportedly wrote on the mirror of the guest room, “Hans Andersen slept in this room for five weeks–which seemed to the family AGES.” Dickens’ daughter Kate called Andersen a “bony bore,” a characterization that perhaps inspired Dickens when he created the character of Uriah Heep.

The final straw for Dickens may have come after Andersen departed. Andersen published an account of his stay with the Dickens family in Germany, without Dickens’ permission. He gave a glowing report of his stay and had particularly warm words for Mrs. Dickens. But that may have been a fatal mistake; by the time the account appeared in English in 1858, Dickens and his wife were already separated.

Though Andersen continued to write to Dickens after his stay, Dickens was generally unresponsive. Andersen’s popularity grew in the ensuing years, and he would travel throughout Europe. But he would never return to England. Meanwhile, some critics see Andersen’s influence in Dickens’ works, especially his Christmas stories. At any rate, the whole episode perfectly illustrates Benjamin Franklin’s aphorism, “Guests, like fish, begin to smell after three days.”

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L Frank Baum’s Forgotten Foray into Theatre

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Baum with the cast of ‘Fairylogue and Radio-Plays’ (1908)

Though L Frank Baum is best known as the author of The Wonderful Wizard of Oz, the famed author had a rich and varied career. His accomplishments include trade magazines and newspapers, along with an oft-forgotten play based on his sequels to Wizard of Oz.

Early Literary Aptitude

Born on May 15, 1856, Lyman Frank Baum was a sickly child. Particularly fond of fairy tales and British authors like Charles Dickens, Baum spent much of his time reading. But Baum found fault with fairy tales because they were so often frightening and gruesome. He would later note, “One thing I never liked then…was the introduction of witches and goblins into the story. I didn’t like the little dwarfs in the woods bobbing up with their horrors.” Thus, from an early age, Baum resolved to write a different kind of fairy tale.

But his first literary exertions weren’t fairy tales: Baum started his own newspaper, The Rose Lawn Home Journal with a printing press purchased by his father. Baum took the publication quite seriously, writing news pieces and editorials, along with poetry, word games, and fiction. The young man’s paper did quite well, and a number of local businesses purchased advertising space in its pages. In 1873, Baum launched two more papers, The Empire and The Stamp Collector.

Meanwhile it had become quite fashionable to breed chickens and other fowl. Baum took up breeding Hamburgs and won several awards with his birds. He also launched The Poultry Record, a magazine devoted to breeding and raising poultry. The publication was rather successful. Then in 1886, Baum published his first book, The Book of the Hamburgs: A Brief Treatise upon the Mating, Rearing, and Management of the Different Varieties of Hamburgs.

A Love for Theatre

Baum as Hugh Holcomb in ‘The Maid of Arran’

Baum also found time to nurture his interest in theatre. He frequently memorized passages of Shakespeare and even founded a Shakespearean troupe with his father’s financial backing. The elder Baum had made a fortune in the family business and purchased a number of opera houses in Pennsylvania and New York. He entrusted their management to his son in 1880. Baum proved quite adept, even delving into writing his own plays. The Maid of Arran, considered Baum’s first major literary work, met with immediate success.

But with the decline of the Baum’s father’s health and two unlucky episodes with swindling employees, Baum was left virtually penniless. His wife, Maud, suggested that the family move West. They settled in Dakota territory, where Baum opened a general store called Baum’s Bazaar. Soon Baum had made a reputation for two things: storytelling and extending credit. Thanks to Baum’s generous spirit and a drought that left most of his customers destitute, the bank foreclosed on Baum’s Bazaar in 1890, only two years after it opened. Baum established The Aberdeen Saturday Pioneer, acting as reporter, printer, and salesman all in one. But that, too, failed in 1891.

Return to Authorship

That year, Baum decided to move his family to Chicago. The World Columbian Exposition was there, so employment opportunities were plentiful. First Baum worked as a reporter for the Evening Post, but the paltry pay was hardly enough to support a family. Next he went into sales for the china company Pitkin & Brooks. He was often on the road. His mother-in-law, noted feminist Matilda Gage, moved in to help with the Baum children. It was she who encouraged Baum to write down the fairy tales he spun for his children and their young friends.

Baum frequented the Chicago Press Club when he wasn’t traveling. It’s been conjectured that Baum met illustrator Maxfield Parrish, resulting in Mother Goose in Prose (1897). But so far as we know, the two never actually met; Chauncey Williams of Way and Williams negotiated for Parrish’s illustrations in the children’s book. Williams also served as publisher of The Show Window when the journal was launched in 1897. The magazine gave Baum an opportunity to make a living without traveling as a salesman.

A Serendipitous Acquaintance

This photograph considered a fake, merely an actor holding a facsimile version of the 1st edition.

Soon Baum made the acquaintance of William W Denslow. Though the two had disparate personalities, they decided to collaborate on a companion to Mother Goose in Prose. Together they published Father Goose, His Book in 1899. The beloved book spurred Songs of Father Goose. The pair worked on a few more project, most notably The Wonderful Wizard of Oz. Baum had originally submitted the story with the title The Emerald City, which publishers Hill and Company rejected. They finally agreed on a new title, and the first edition appeared in May, 1900.

Two years later, Baum collaborated with Paul Tietjens and Julian P Mitchell on an adult musical adaptation of Wizard of Oz. A major success, the production toured all over America. The country was absolutely infatuated with the land of Oz and its whimsical characters. Baum published a total of thirteen Oz books and six short Oz stories and came to be known as the “Royal Historian of Oz.” The Ozmapolitan, a promotional piece, was issued in 1904 to help Reilly & Britton advertise The Marvelous Land of Oz, which was the new firm’s first publication. Occasional later versions of The Ozmapolitan were also issued.

Though he indulged his audience with all these tales of Oz, he longed to delve into other projects. Baum often used pseudonyms for these endeavors, so that he didn’t have to worry about their critical reception. One notable project was Aunt Jane’s Nieces, a series for teenage girls Baum published under the pen name Edith Van Dyne. He also wrote under the names Laura Bancroft, Floyd Akres, Captain Hugh Fitzgerald, Suzanne Metcalf, and John Estes Cooke.

Baum also launched a traveling show called “Fairylogue and Radio Plays.” The show featured live actors costumed as characters from several of Baum’s fantasy books, a live orchestra, motion-picture clips, and colored lantern slides. Baum traveled with the show as master of ceremonies. The endeavor proved a commercial failure.

Return to the Stage

In 1913, The Tik-Tok Man of Oz made its debut on the stage. Producer Oliver Morosco inserted three songs he wrote (with music composed by Victor Schertzinger). Billed as “a companion play to The Wizard of Oz, The Tik-Tok Man of Oz met with great success in Los Angeles, but didn’t resonate with other audiences. Chicago critics were particularly unimpressed. Though the show made money, Morosco decided not to keep producing it.

Only an early manuscript of the musical is extant, and the play probably would have faded into obscurity were it not for the published music and advertisements. Promotional materials for the production have proven exceedingly rare; a survey of auction records and other online sources indicate only two extant playbills. One, from December 2, 1913 at the Babcock Theatre in Billings, Montana, comes from the collection of Fred M Meyer and can be viewed at the International Wizard of Oz Club website. The other, from the play’s opening night in San Francisco on April 21, 1913, is pictured here. We’re proud to offer this item as one of this month’s select acquisitions, which features a diverse collection of broadsides.

We invite you to peruse the entire list! Should you have a question about any item, please feel free to contact us.

Many thanks to our esteemed friend Peter E Hanff for his contributions to this article. The Deputy Director of the Bancroft Library at the University of California, Berkeley, Hanff is a great scholar of L Frank Baum. He collaborated with Douglas G Greene on Bibliographia Oziana, the main bibliographic record and resource on Oz literature.

The Ins and Outs of Collecting Serial Fiction for Children

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By the 1890’s, dime novels were all the rage. They sold millions of copies each year. Teens and young adults were hardly immune to the allure of the often sensational stories. An ambitious author, Edward Stratemeyer saw an opportunity in publishing inexpensive novels especially for children and young adults. Stratemeyer had been around the publishing industry for years as both an author and an editor. He’d printed his first story at only fourteen years old, and was devoted to the industry from that moment on.

In 1898, Stratemeyer got his big break: famous author Horatio Alger, Jr was ailing. Alger had already penned more than one hundred novels for boys, but he had a number of unfinished manuscripts. He invited Stratemeyer to complete one of the novels. Stratemeyer went a step further, negotiating for the copyright to four unpublished manuscripts, which he published under Alger’s name.

Stratemeyer published The Rover Boys at School in 1899 under the pseudonym Arthur Winfield. The book was so successful, it became the first of a thirty-book series that sold millions of copies. Stratemeyer founded the Stratemeyer Syndicate expressly to produce new series like The Rover Boys. He would pay writers fixed fees to write books based on his outlines. By the end of the twentieth century, Stratemeyer’s books had sold billions of copies and spawned multiple imitators.

The Bobbsey Twins debuted in 1904. Written under the pseudonym Laura Lee Hope, the series was a runaway hit. Stratemeyer followed up with Tom Swift (1910), written under the pen name Victor Appleton. By the time The Hardy Boys series began in 1926 (written under the name Franklin Dixon), about 98% of children named a Stratemeyer Syndicate series book as their favorite. Stratemeyer had truly established a publishing empire. Nancy Drew debuted four years later–and originally outsold The Hardy Boys.

Many of Stratemeyer’s series remain popular among children even today. They’re also favorites among collectors of children’s books because they evoke such nostalgia. Because the books were so popular, they were frequently reissued, but without changes to the copyright or edition information. Some were even updated to keep up with technological advances–again, often without any updated edition information. It’s difficult, then, to identify true first editions. While there are detailed bibliographies for Hardy Boys, Nancy Drew, and Judy Bolton, little information is available on most other series. Collectors should only purchase books from these kinds of series if the seller cites the appropriate bibliography in the description.

If you’re interested in collecting a particular series, don’t let the lack of bibliographic information dissuade you! Enthusiasts find collecting serial fiction particularly satisfying because the ideal contents of the collection are already well defined; the pursuit especially appeals to completists, who are often interested in building a collection whose value as a whole is more than merely the sum of its parts. A common approach is to assemble an entire set without regard to edition. Then you can work toward replacing less desirable editions as you become more confident and knowledgeable.

Randolph Caldecott, Legend of Children’s Literature

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Yesterday the winners of this year’s Newbery and Caldecott Awards were announced. The latter was named for Randolph Caldecott, an accomplished painter and sculptor whose various attainments are often eclipsed by his brilliant carer as an illustrator. Along with figures like Kate Greenaway and Walter Crane, Randolph Caldecott was truly one of the most gifted illustrators of the Victorian era.

Caldecott was born in Chester on March 22, 1846. He was third child by his father’s second wife and would eventually be one of thirteen children. From the time he was young, Caldecott frequently spent his free time sketching and modeling his surroundings. But when Caldecott left school at fifteen years old, it wasn’t to pursue a career in art. He took a position at the Whitchurch branch of the Whitchurch & Ellesmere Bank. Caldecott settled in a nearby village, and he often took time to capture the country scenes that stretched out before him as he traveled to visit clients.

A lover of riding, Caldecott naturally took up hunting. His collected works include, therefore, a huge number of hunting scenes, along with myriad sketches of animals. Caldecott’s first published drawing was of neither; it was of a disastrous fire at the Queen Railway Hotel. Caldecott wrote an account of the blaze for the Illustrated London News. When Caldecott moved to Manchester six years later to work at the Manchester & Salford Bank, he took the opportunity to take night classes at the Manchester School of Art. Soon after, his drawings began appearing in local and London periodicals.

Then in 1870, Caldecott’s friend Thomas Armstrong, a painter in London, introduced Caldecott to Henry Blackburn of London Society. Blackburn and Caldecott got along famously, eventually traveling together. For a time, Caldecott even lived in a cottage at Blackburn’s estate. Blackburn published a number of Caldecott’s illustrations in the magazine, and in 1872 Caldecott decided to move to London and pursue illustration full time. He was 26 years old.

Within two years, Caldecott found himself a prominent magazine illustrator working on commission. His opus is varied, ranging from children’s books to travel illustrations and caricatures. His illustrations for Washington Irving’s Old Christmas and Bracebridge Hall (1875) had made his name in the illustration world. Caldecott also illustrated works by Oliver Goldsmith, notably Elegy on the Death of a Mad Dog. Caldecott’s illustration of the poem would be used in a World War I parody, in which the head in his original illustration was replaced by the head of the Kaiser of Germany.

Caldecott settled in the heart of Bloomsbury. He was surrounded by artists and literati, regularly encountering figures like Dante Rosetti, George du Maurier, and Frederic Leighton. Lord Leighton would go on to hire Caldecott to design four peacock capitals for the Asia room of Leighton House in Kensington; Walter Crane would design a peacock frieze for the same room.

In 1877, accomplished engraver Edmund Evans ended his relationship with illustrator Walter Crane. Evans found Caldecott’s illustrations “racy and spontaneous,” so he invited Caldecott to replace Crane. The first project: two Christmas books. Caldecott took on the work, illustrating The House that Jack Built and the William Cowper poem The Diverting History of John Gilpin. These books were so successful that Caldecott produced two more each Christmas for the rest of his life. Caldecott chose all the stories and rhymes, sometimes even composing them himself.

Combined sales of the Christmas books hit 867,000 during Caldecott’s lifetime. The artist was internationally famous. Caldecott’s publisher, George Routledge & Sons, took Caldecott’s works quite seriously. They took great pains to reproduce the colors exactly as Caldecott had intended. When the books were reissued by Frederick Warner & Co after Caldcott died, they brightened the colors but lost much of the subtlety imbued by Caldecott.

Not all Caldecott’s works, however, were commercially successful. In 1883, he undertook an edition of Aesop’s fables. He invited his brother Alfred to translate the tales from the original Greek, but later overruled Alfred’s accuracy. Caldecott’s goal was to make Aesop’s fables, which were often used for instruction, more accessible to children. He illustrated each of the tales he selected with Victorian human behavior. Usually comical, the illustrations illuminated the veracity of Aesop’s teachings. But the book was still too complicated for children, and it did not sell well.

Caldecott’s 1885 edition of The Great Panjandrum Himself fared much better. The nonsense poem by Samuel Foote had become quite the rage among university students, who would try to memorize the lines and recite them to one another. (Generations later, students would take up Winnie-the-Pooh, by AA Milne, with the same fervor; the story was even translated into Latin by one undergraduate.)

Meanwhile, Caldecott’s health was ever precarious. He frequently traveled to warmer climates. It was on one of these trips, in 1886, that he passed away. Caldecott and his wife had arrived in St. Augustine, Florida during a particularly cold February. Caldecott succumbed to the cold, and his memorial still stands in St. Augustine.

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AA Milne: Legendary Children’s Author and Ambivalent Pacifist

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AA Milne with son, Christopher Robin (1925). Christopher later resented having been the inspiration for the eponymous character in Milne’s classic ‘Winnie-the-Pooh’ tales.

Alan Alexander Milne came to regret that his beloved Winnie-the-Pooh series overshadowed his other works. Yet some of his most interesting pieces were never even attributed to him. An outspoken pacifist during World War I, Milne secretly served in Britain’s M17b unit, writing pro-war propaganda. But by World War II, Milne’s views on war had changed, creating a rift between him and beloved author PG Wodehouse.

Born on January 18, 1882 in Scotland, Milne spent his childhood in London. His tutor, the young HG Wells, was, according to Milne “a great writer and a great friend.” Milne went on to Westminster School and Trinity College. He edited Granta for a year, and his preliminary literary efforts appeared in Punch magazine. Just after his 24th birthday, Milne became the assistant editor of Punch. He held the post until World War I began.

An Outspoken Pacifist

AA Milne on the Western Front, 1916

At the start of World War I, Milne enlisted in the Royal Warwickshire Regiment. He served as a signalling officer and did a brief stint in Paris before being discharged due to trench fever. Milne never even fired at an enemy; indeed, his most notable service remained a complete secret until recently. Thanks to a set of long-lost documents secretly saved from destruction, we now know that Milne was part of the classified M17b unit.

Established in 1916, the unit included twenty of Britain’s top writers of the time. Their mission: to produce propaganda that would sustain support for the war at a time when the number of casualties was rapidly rising and anti-war movements were sprouting all over Europe. The unit not only wrote accounts of Victoria’s Cross winners and other war heroes, but they also focused on the atrocities perpetrated by the Germans.

Captain James Lloyd

Alongside Milne were Cecil Street, the author of the Dr. Priestley novels; “the Navvy Poet” Patrick MacGill; Roger Pocock, the world-traveling author; JP Morton, who earned his fame with The Bystander; and Captain James Lloyd, who was recruited to join the unit after being wounded in combat. It was Captain Lloyd who defied orders and took about 150 of the unit’s classified documents home. They were discovered last year by his great nephew Jeremy Alder, who discovered them just before they were going to be thrown away.

Among the documents recovered was The Green Book, which is marked “for private circulation.” There were likely no more than twenty copies ever published. The pamphlet included contributions from the unit’s authors and poked fun at the task of creating government propaganda. Milne’s own contributions illustrate how onerous he found the task. In “Captain William Shakespeare, of a Cyclist Battalion,” Milne writes:

In M17b
who loves to lie with me
About atrocities
And Hun corpse factories
Come hither, come hither, come hither,
Here shall we see
No enemy
But sit all day and blather

In “Some Early Propagandists,” also compiled in The Green Book, Milne writes about Paul von Hindenburg, the German Field Marshal. Hindenburg would go on to become Germany’s President and to appoint Adolf Hitler as Chancellor of Germany.

Captain Lloyd’s cache of M17b documents, which included ‘The Green Book’

After the war ended, Milne went on to great success, largely due to his Winnie-the-Pooh series. He also published Peace with Honour: an Enquiry Into the War Convention, which was an overtly pacifist work. Milne said that he wrote it because “I want everybody to think (as I do) that war is poison, and not (as so many think) an overstrong, extremely unpleasant medicine.”

World War II Brings a Change of Heart

But by World War II, Milne had changed his mind. In 1940, he even went so far as to publish War with Honour, in which he states, “War is something of a man’s own fostering; and if all mankind renounces it, then it is no longer there.” Soon Milne inflicted his newfound hawkishness on PG Wodehouse, an author with whom he’d previously enjoyed mutual admiration.

Milne had long enjoyed Wodehouse’s writing–he even read it to his own son, Christopher Robin, instead of his own stories. But as Wodehouse’s career took off in the 1930’s, Milne’s was burning less brightly. When Wodehouse began doing radio broadcasts for the Nazis, Milne was first in line to accuse the imprisoned author of treason, possibly out of jealousy. Wodehouse and his wife were in France when the Nazis invaded in 1940. They were taken to an internment camp. A few Nazis had known Wodehouse thanks to his Hollywood projects, and they asked Wodehouse to do radio broadcasts detailing his experiences at the camp.

The above appeared in a British newspaper while Wodehouse was still at the internment camp.

Wodehouse likely had little say in the matter; after all, did one really argue with the Nazis? Wodehouse complied, though his broadcasts were probably far from what the Nazis had in mind; with characteristic wit, Wodehouse made sport of the Nazis. After reading the transcripts, one British Air Marshal marveled that the Nazis had permitted Wodehouse to complete five broadcasts; “Why the Germans let him say all this I cannot think,” he observed, “They have either got more sense of humor than I credit them with,or it just slipped past the censor. Wodehouse has probably been shot by now.”

The above was published in the ‘LA Times’ on December 27, 1940.

When Wodehouse’s countrymen found out about the broadcasts, they were furious. Even though they’d never head them, they were confident that Wodehouse had agreed to the task in exchange for favored treatment. People vociferously excoriated Wodehouse, and Milne was chief among his detractors. The furor soon grew into hysteria. Milne dismissed the possibility that Wodehouse had simply been naive, calling the author irresponsible. He said that Wodehouse “has encouraged in himself a natural lack of interest in ‘politics’–‘politics’ being all the things grown-ups talk about at dinner while one is hiding under the table. Things, for instance like the last war, which found and kept him in America, and post-war taxes, which chased him back and forth across the Atlantic.”

Wodehouse was released in 1941. He was cleared of any wrongdoing but was unable to overcome the stigma that had tarnished his reputation. Wodehouse would exact some revenge in “The Mating Season” and “Rodney Has a Relapse,” where he mocks the literary insignificance of Milne’s work and points out that Milne had exploited his own young son to attain literary fame. Wodehouse also once admitted, “Nobody could be more anxious than myself…that Alan Alexander Milne would trip over a loose bootlace and break his bloody neck.”

Milne and Wodehouse never spoke again, and all evidence suggests that Milne held on to the grudge till the end of his life. Wodehouse, on the other hand, was able to let go. When he learned that Milne was ailing, he expressed regret and noted that Milne was “about my favorite author.” Regardless of how they felt about each other, both AA Milne and PG Wodehouse remain beloved figures in modern British literature.

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