August 12, 2015 Comments Off on Heritage Press (Connecticut) – The Jungle by Upton Sinclair (1965)
The Jungle by Upton Sinclair (1965, Connecticut)
Sandglass Number XIII – R: 45
Artwork: Illustrated by Fletcher Martin
Includes a brief preface by Upton Sinclair
Reprint of LEC #373, 33rd Series, V. 11 in 1965.
Click images for larger views.
Front Binding – Today brings one of the more influential literary works of the 20th century: The Jungle, by Upton Sinclair. Sinclair’s scathing novel decried the poor conditions of the working class employed in Chicago’s meat-packing factories. Curiously, however, the disgusting revelations of how atrocious the meat production process actually was — the poisoned and diseased animals, as well as the unfortunate men that made the fatal mistake of becoming a part of the product they were paid to make — was not Sinclair’s actual intention of the novel. As the Sandglass notes, Sinclair was actually trying to make a case for socialism and a critique against the terrible wages of the workers. Sinclair wryly notes that he “‘aimed at the public’s heart and hit it in the stomach'” — but the overhauling of the meat industry was a positive in the end, and Sinclair continued his pleas in his other novels, essays and writings. Sinclair only had one LEC issued, but he does have the notable distinction of being one of the only authors to sign a LEC, joining the ranks of James Joyce, Robert Frost, Edgar Lee Masters, Van Wyck Brooks, and Wendell Willkie during the Macy’s tenure. Cardevon Press and Sidney Shiff had their fair share of author-signed volumes, including Ray Bradbury (twice!), Thornton Wilder, Isaac Bashevis Singer (twice!), Malcolm Cowley, Seamus Heaney, Derek Walcott, John Hersey (who also signed The Kingdom of this World), Robert Penn Warren (who also signed Hersey’s Hiroshima), Czeslaw Milosz, Arthur Miller, Gunter Grass, Octavio Paz, Friedrich Durrenmatt, Samuel Beckett, Joseph Mitchell, Margaret Walker, Heinrich Harrer (twice!), Maya Angelou (twice!; she also signed Sunrise is Coming After While), Leopold Sedar Senghor, and John Ashbery. Shiff in particular was aggressive in publishing more modern works and recruiting their authors to sign his editions; most of this list is from his time as head of the LEC.
Whew! With that tangent over, let’s talk about this book’s illustrator, Fletcher Martin. Martin hasn’t been a stranger to the blog, with Tales from the Gold Rush appearing a few years ago. His career with Macy is detailed in that post. Martin is a good fit for The Jungle, if I may say so. His style seems to enhance the plights of the poor and downtrodden, of which Sinclair’s characters must certainly are. Here he uses both line drawings (33 in all) and several colored pen drawings.
Design-wise, John B. Goetz served as the designer of this book. I presume the LEC has the same designer. The main font is Monotype Scotch, with headings and page numbers set in Masterman. Printing was tackled by the Holyoke Lithographing Company on a paper supplied by the Warren Mill of Westbrook, Maine. The binding is quickly glossed over, with the Sandglass quipping only about its “assured longevity” and “effective simplicity”. The original Heritage reprint had a nice leather binding in contrast to this Connecticut reissue.
Spine – Mine is rather faded.
Title Page – Sinclair himself steps in to introduce his novel; this is uncommon. The Sandglass argues who better to discuss The Jungle than its creator?
Examples of the illustrations by Martin (right click and open in new tab for full size):
Personal Notes – I got this from my big haul from the Oakhurst Library. I’d like to have the LEC, naturally, but I’d be happy to upgrade this one to at least the Macy-issued Heritage over this. But for now, I’m keeping it until I replace it!
August 18, 2013 Comments Off on Heritage Press – Tales of the Gold Rush by Bret Harte (1944)
Tales of the Gold Rush by Bret Harte (1944)
Sandglass Number X:31
Artwork: Illustrations by Fletcher Martin
Introduced by Oscar Lewis
Reprint of LEC #160/15th Series V. 8 in 1944
Click images for a larger view.
Front Binding – Bret Harte is a bit of a local legend where I live, as his Tales of the Gold Rush revolve around many areas near my home. The George Macy Company apparently enjoyed the tales of Harte, as they published a collection of his stories fairly early in the Limited Editions Club lifespan. This was the sole work of Harte’s issued. For the first Heritage reprint, they replicated a shiny chunk of the namesake metal for the boards, and put the pertinent text on the spine edge, which I think is quite classy. I recently acquired my own copy of the book (originally I had a library copy), so now I can expand on the design notes and update the photos to remove the library stamps and labels.
Fletcher Martin delivered his first of five commissions for the Company here. Next came Nordoff and Hall’s Mutiny on the Bounty in 1947. A significant gap ensued, with Martin returning in 1961 to illustrate Jack London’s The Sea Wolf. Upton Sinclair’s The Jungle followed in 1965, and if you can pick up the LEC, Sinclair signed it along with Martin! Last but not least was John Steinbeck’s Of Mice and Men, issued in 1970 in the midst of the transition period into Cardevon Press’ tenure. Martin has a simple but emotive style that I think captures the rugged spirit of the three books I have with his art (this, Of Mice and Men and The Jungle).
Design notes: The name of the designer is curiously absent from the Sandglass. The LEC Letter states that that edition was designed in-house by Macy (thanks, Django6924!), so I will credit Mr. Macy as the Heritage designer as well. This was among the several replacements issued during the 1943-1944 Fifteenth Series, where chaos had thrown asunder many of Macy’s plans for this Series. Originally, The Faerie Queene, illustrated solely by John Austen, and All Men are Brothers, featuring Miguel Covarrubias, were slated for 1944, but both had to be delayed. Austen lived in an area Macy called “Hell’s Corner” at the time, and his original set of engravings were destroyed in one of the German raids. He specifies a “section of England”, which fellow devotee Huxley the Cat posits could be the Channel Islands, the only place the Nazis occupied in the British Isles. At any rate, Austen lost the work to the Germans somehow, and he never got the chance to finish the second attempt, as he passed away before their completion. Agnes Miller Parker stepped in to supplement Austen’s contribution. As for Covarrubias, as noted in the bonus letter I included in my Decameron post, he tended to take his sweet time on his commissions, and had essentially left Macy high and dry on this particular book well past the intended due date. Another setback was the death of Frederic Dorr Steele, noted artist of the Sherlock Holmes franchise. Macy asked Steele to revisit his great work for Doyle’s detective, and was getting on fairly well with forty redone pictures when sickness overwhelmed him, stealing him to the grave on July 7, 1944. Macy blames himself for this, which seems a little severe, but evidently Macy felt that his request may have been too much for Steele’s constitution. With three books (with the latter Holmes planned to be a five volume issuing over two months) missing in action, Macy scrambled to plug the gaps. This particular book was one of the plugs; Wendell L. Willkee’s One World was another (and probably one of the more eclectic choices ever released by the Club! Willkie’s claim to fame was as a politician, and a rather liberal one at that. Here’s his Wikipedia page. Willkee’s book was a travelogue of his time out meeting with Allied heads of state as Rossevelt’s “ambassador-at-large”, and the text also covered his meanderings with various citizens and soldiers in areas like Russia and Iran. Given Macy’s more conservative readership, I imagine that this one may not have been that popular!).
Anyway, back to this work. Waverly is the font of choice, with P.T. Barnum serving as the title font, Colonial for the initials and Bank Script serving as the “script lines”. Monadnock Paper Company supplied the paper, with William “Bill” Fortney’s Russell-Rutter Company providing their binding services. French “marbled gold paper” covers the boards (mine has some nasty fingerprint problems, alas) with white linen covering the spine, stamped in mud-brown ink for the title, author and illustrator information.
Title Page – Martin’s artwork is colored in shades of yellow, brown and white, and work pretty well with the material, if you ask me. Noted Gold Rush historian Oscar Lewis offers an introduction to Harte’s tales.
Examples of the Illustrations by Martin (right click and open in new tab for full size):
Personal Notes – My good friend Lois gave me this book recently after a visit to Half Price Books in Fremont, CA (quite an appropriate place to snag Harte’s work, if you know your California history!). I’ve read two of his tales, “The Luck of Roaring Camp” and “The Outcasts at Poker Flat”, and enjoyed them, so I’m happy to own this one at last.
Sandglass (right click and select Open in New Tab to see full size):
Updated 12/23/2013 by JF