Seamstresses Wanted advertisement in Harper's Weekly [text]
This is an advertisement from Harper’s Weekly, looking for workers who know how to use sewing machines, or have a general knowledge of sewing. There were a few different clothing advertisements in this issue of Harper’s. They might have been placed there by coincidence, however, if we look at the other advertisements and Katie Lanning’s article on “tesselated texts,” we can make a pretty legitimate assumption that these advertisements were strategically placed where they are. Can these advertisements be read as “tessellated” with The Moonstone? How does clothing relate to The Moonstone? How important can clothing be in The Moonstone? Extremely, as in this instalment, while Franklin Blake and Betteredege are trying to solve the crime of the Moonstone, they end with finding the thief’s nightgown- Franklin’s nightgown. In the illustrations of this part of The Moonstone, the objects that stand out the most, besides the people, are the articles of clothing. In the first illustration, Franklin is realizes that it was in fact his nightgown with the paint smear. In the second illustration, there is a shirt randomly hanging up in the background. Where would a reader previously have seen pieces of clothing as prominent as in this story? That’s right, in the advertisements.
Harper's Weekly
Smythe, Lorne Wentworth, 1900-
The Military Museums Library and Archives
1941
Photograph of Kroetsch's mother
Kroetsch's mother at age 17, standing in front of her house.
Unknown
Archives and Special Collections, Box 53 Folder 1
ca. 1910
Painting of Rembrandt's mother
Small copy of a painting of the painter Rembrandt's mother, used to influence Kroetsch when writing Sounding The Name
Harmenszoon van Rijn, Rembrandt.
Archives and Special Collections: Box 53, Folder 1
St. Valentine's Day - The Old Story in All Lands
Valentine’s Day was an important day for letters and, as recorded by David M. Henkin, caused post offices to be “lumbered with wagon loads of valentines” (Henkin 149). He also notes that St. Valentine’s Day was popular as a “prolific source of dead letters” (149) and many papers and publications began “marking the passing of the holiday by detailing the number of valentines that had “passed through the post office”” (149), this, according to Henkin typifies “America’s growing dependence on the post.” (150). This particular image, a regular appearance in Harper’s Magainze (Henkin 149), depicts Valentine’s Day as “The old story in all lands”, thus internationalizing and historicizing the now common use of the letter, most specifically the Valentine. Papers can be seen in three instances in the corresponding image, twice in the image’s forefront as passing between two couples, and again throughout the page stuck in the mouths of delivery birds.
Homer, Winslow
Image of the Stone Hammer that we assume Robert Kroetsch wrote "Stone Hammer Poem" about.
Crowd noise
January 2018
The Angel in the Athabasca Tar Sands: Excerpt from Rough Drafts of Stories for Alberta / A Celebration
short stories
Alberta
Holograph fragment of "The Angel of the Tar Sands"
Wiebe, Rudy, 1934-
1978
The Angel of the Tar Sands: Excerpt from Rough Drafts of Stories for Alberta / A Celebration
Typescript draft of "The Angel of the Tar Sands"
The Angel of the Tar Sands: Typescript drafts (photocopies) of Stories for Alberta / A Celebration
The Ecstasy of Rita Joe: An Outline of Intention for a Stage Play for the Playhouse Theatre Company
plays (performed work)
Vancouver -- British Columbia
Probably second draft of outline of intent of stage play. Typescript title Twilight to a long, long day replaced with holograph title The Ecstasy of Rita Joe. Annotations on MsC 20.38.12f2 indicate date commission was granted.
Ryga, George
1967
The Ecstasy of Rita Joe: Twilight to a long, long,day
The Ecstasy of Rita Joe: First Draft [stage play]
Excerpt from 76-page first draft of stage play.
The Ecstasy of Rita Joe Playhouse Theatre Co. production
The Ecstasy of Rita Joe: Second Draft [stage play]
Excerpt from 80-page second draft of stage play.
The Ecstasy of Rita Joe: Third Draft [stage play]
Excerpt from 105-page third draft of stage play.
The Listening Post, Christmas 1915 Edition
Canada. Canadian Army. Canadian Infantry Battalion, 7th
1915
poems
Stanley Park -- Vancouver -- British Columbia
Birney, Earle, 1904-1995
1965
This section of "The Moonstone" is placed in between Harper's many visual reminders of the prominence of the letter, and it promotes the book as being "Richly Illustrated", which furthers draws the reader's eye towards the story. The mention of the "morsel of paper" (Collins 110) now falls on the third column of the text and is situated right above the picture provided by the magazine. The reader will continue to see the epistolary trend in their printed copy as they enjoy the newest chapter and as they continue on they will continue to recognize, and associate positively with, the continuous propaganda in support of the postal system. Whether this was done to highlight Wilkie Collins’ previously established theme of the vitality of the letter, or whether it’s for Harper’s Weekly to promote is own optimistic views of a letter dependent society remains unsure. But the connection between the written word and the visual image is very strong throughout this edition of the periodical as it can be seen not only here, where Collins' words are tied in with journal's representation of his plot, but also in the connection between the visual image of the letter, and physical copy it would represent in the lives of the Nineteenth-Century Americans.
Published in Charles Dickens' journal All The Year Round, Wilkie Collins' "The Moonstone" stands alone on the page of the publication, giving the reader the opportunity to appreciate the text on it's own. In this section Betteredge receives a handwritten letter stating that Rachel Verinder will not allow her room to be searched by Seargeant Cuff. Collins writes “At last, Samuel came in, not with the keys, but with a morsel of paper for me… There were two or three lines on the paper, written in pencil by my lady. They informed me that Miss Rachel flatly refused to have her wardrobe examined.” (Collins 110). This shows the emergence of correspondence within Victorian culture. Collins’ novel is full of these moments, or characters interacting through the written word in various positions and for various reasons. Miss Clack relies heavily on small printed letters or “Tracts” to spread the word of Christianity. Mr. Blake and Miss Clack correspond back and forth through letters in her section of the narrative, as does John Candy in his letter to Mr. Blake. The novel itself could be consider not only a narrative, but a correspondence between the author and his readership, since the novel came out in the serializations, including the one pictured here. Yet this theme goes unamplified in Dickens’ serialization.
All The Year Round
This is the first illustration that appears in Harper’s Weekly’s publication of The Moonstone. Combined with the other two images on this first page, the illustration sets the tone for the series’ representation of the novel’s Indian characters. Here, two Indians are pictured praying before a large statue of a Hindu deity. Another Indian kneels by what appears to be burning incense, his hands outstretched in supplication towards the deity. It is a peaceful, yet ominous scene. Note the deity’s downcast countenance; it looks as though it foresees the impending assault. The illustrators use prolepsis here to garner sympathy for the Indians, and animosity towards the British. According to the explanatory notes in the Oxford edition of The Moonstone, this deity, “later identified as Vishnu the Preserver…[is meant to be] represented in a black or blue colour, with four arms and a club to punish the wicked” (Sutherland 470). Harper’s presents a fairly accurate depiction, but the statue has a fat belly and a wideset head. It is supposed to be a goddess but has masculine features. It looks more like the Buddha than Hindu depictions of Vishnu, which suggests the editors’ ignorance of Hinduism, and an Orientalist mindset.
The Tent Peg: Novel: Excerpt from Fifth Draft, f165-176 (MsC 53.6.7)
novels
Yukon Territory
Excerpt from 181-page typescript (photocopy) with holograph revisions. Includes revised first twelve pages. Identified in author's separate holograph note as "Original final final draft (4th and 5th) and setting draft 1980."
Van Herk, Aritha, 1954 -
1980
The Tent Peg: Novel: Excerpt from Fifth Draft, f177-181 (MsC 53.6.7)
The Tent Peg: Novel: Excerpt from First Holograph Draft , f75-80 (MsC 53.5.12)
Excerpt from 80-page holograph and typescript first draft and jottings.
n.d.
The Tent Peg: Novel: Excerpt from First Typescript Draft, f213-218 (MsC 53.5.13)
Excerpt from 218-page typescript with holograph revisions and holograph first complete draft.
The Tent Peg: Novel: Excerpt from Third Draft, f150-159 (MsC 53.6.3)
Excerpt from 164-page typescript with holograph revisions. Original final third draft. With unidentified holographs comments, possibly by Rudy Wiebe.
The Tent Peg: Novel: Excerpt from Third Draft, f160-164 (MsC 53.6.3)
Title Page for The Moonstone in All the Year Round [text]
Here is the title page for Wilkie Collin’s The Moonstone, in All the Year Round. Unlike Harper’s Weekly, All the Year Round does not have illustrations incorporated within its text. Although there are no illustrations, All the Year Round still has “sensational advertising” and can be tesesllatedly read. In this May 30, 1968 issue of All the Year Round, the advertisements and short stories that follow The Moonstone, have similar concepts to The Moonstone. For instance, one story titled, “The Lake of Pitch,” had a man who was cautious around the pitch, because when the pitch gets too much moisture, it softens and could swallow a person. We see this same situation with Franklin Blake when trying to dig the metal case out of the quicksand. The tessellated reading between these two stories have the identical situation of a man afraid to get sucked into the ground. The advertisement right after The Moonstone, titled “Nothing Like Example,” uses the topics of death, suicide, and murder to sell a news vendor’s shop. We see these topics come up in The Moonstone.
All the Year Round
Title Page for The Moonstone in Harper's Weekly [text]
This is the title page for The Moonstone in Harper’s Weekly’s, May 30, 1868 instalment. On this page we see two illustrations taking up a good portion of the page. In the title of The Moonstone, the words “RICHLY ILLUSTRATED” are presented as almost as big as Wilkie Collins’ name. This could show the level of importance illustrations are to Harper’s magazine. We see this importance of illustration also in the advertisements in Harper’s Weekly. One picture depicts Franklin Blake discovering his nightgown after reading the instructions from Rosanna’s letter. In the second illustration, we see Limping Lucy giving Franklin Blake a look of disgust, while some article of clothing hangs up to dry in the background. In both illustrations, a good amount of focus is on these articles of clothing. Katie Lanning explains how advertising before the use sensational writing, was “largely straightforward and informational, void of sensation and affect” (13). After sensation writing came out, advertisers would try “mimicking the form of sensation writing” (13). By mimicking the sensational novels, advertisements aimed less at the instruction of the product, and more towards trying to catch the readers eye and attention through sensation and affect. This type of advertising was known as “sensational advertising” (13). We see sensational advertisements in Harper’s Weekly, as their advertisements are filled with pictures and words of different sizing and fonts.
Title page of "The Moonstone" chapter X, All the Year Round
In contrast to the illustrated opening on Harper's Weekly, All the Year Round featured a consistently uniform opening of Collin's text mingling with the opening of the newspaper. This uniform opening demonstrates an priority upon the material nature of the newspaper itself. The material in which to interpret genre then becomes the material of both the text, and the newspaper itself. The sensational columns of the Victorian newspaper provided a forum, in which "audiences encountered the voices of other readers or even actual readers themselves through direct correspondence and subsequent liaisons arranged through its columns" (Rubery 79). Rather than the sensationalization through illustration, the British reader is presented with a story that reads like many news stories of the Victorian newspaper. The lurid drama of crime, the scandal of the divorce court, and even correspondence via the personal advertisements, create this system of encountering voices. By mingling Collins text with the opening text of All the Year Round, the line of genre draws heavily toward the scandalous realism seen in Victorian news.
Wilkie Collins
Title page of "The Moonstone" chapter X, Harper's Weekly
In the American newspaper Harper's Weekly, chapter X is opened with this illustration of Franklin Blake reading. This visualization of Mr. Blake opens up certain visual tropes that Victorian readers will associate with sensation fiction (Leighton 71). Through this visualization, the opening of chapter X establishes a relationship between the reader's understanding of these tropes, and the expected genre to follow. In this case, chapter X opens with an iterative illustration, Mr. Blake's repeated reading of evidence, and pieces of information.
Title Page of Chapter's VIII and IX of "The Moonstone" [image]
This image is the title page of Chapter’s Eight and Nine of the Moonstone in the Publication Harper’s Weekly. Harper’s is able to compare and contrast different cultures using dark and light images. The foreign culture is represented as three Indian men lurking in the darkness with dark, unrecognizable faces. The dark represents two things. The first is the unknown motivation of the characters. The dark conceals their faces hiding their intentions. Secondly, the dark or darkness is generally represented alongside the concepts of the unknown and the evil. The represented characters motivations are hidden from the reader and by using dark shading around the character’s faces and landscape, it portrays the characters and their actions as abnormal. Harper’s is able to influence the reader’s conception of Indian’s in a negative context by aligning them with the dark and unknown. When the image of the three Indian men is compared with the other two images on the page, the reader can see a contrast between the images. The Indians are dark, foreboding and unknown while Rachel Verinder, Franklin Blake (top right image) and Rosanna Spearmen (bottom center image) are clearly portrayed. Harper’s highlight’s the norm as something that can be perceived and understood by using images of the male and female English White body. The Indian’s are unknown and portrayed as people who are not like the norm making them Culturally Disabled.
Title Page of Chapter's XIII and IX of "The Moonstone" [Text]
This image is the title page of chapters Eight and Nine of the Moonstone in All the Year Round. All the Year Round formats the title page in a way that reinforces the idea of proper Englishness. Clear, clean text formatted symmetrically on the page emulates what All the Year Round perceives as the correct and proper way to publish work. What makes All the Year Round’s presentation different from Harper’s is the absence of images. They allow the reader to formulate their own assumptions of the people being represented in the text by not forcing an image of what they believe certain characters should look like. However, the reader’s opinion is held in a framework represented by the text because it is conducted by Charles Dickens. All the Year Round allows the reader to formulate their own opinion by not forcing cultural assumption’s on them, but those assumptions fall within the framework of what Charles Dickens allowed to be presented. All the Year Round still re-enforced their beliefs in showing how work should be presented, but they do not do it by negatively representing another culture.
Twilight to a Long, Long Day: An Outline of Intention for a Stage Play for the Playhouse Theatre Company
1966
Typescript draft of Stone Hammer Poem, page 7
Kroetsch, Robert, 1927-2011
197-
Kroetsch, Robert. Stone Hammer Poem.
Typescript draft of Stone Hammer Poem, page 1
Kroetsch, Robert. Stone Hammer Poem
Typescript draft of Stone Hammer Poem, page 2
Typescript draft of Stone Hammer Poem, page 3
Typescript draft of Stone Hammer Poem, page 4
Typescript draft of Stone Hammer Poem, page 5
Typescript draft of Stone Hammer Poem, page 6
Typescript draft of The Studhorse Man, page 1
Typescript from the third draft of Robert Kroetsch's 1969 novel The Studhorse Man.
ca. 1960s
http://library.ucalgary.ca/services/digitization-and-repository-services/copyright
Kroetsch, Robert. The Studhorse Man.
Typescript draft of The Studhorse Man, page 124
Typescript draft of The Studhorse Man, page 338
Typescript draft of The Studhorse Man, page 62