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 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.
All the Year Round
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.
Harper's Weekly
"Double Allegiance" and "Englishman Upon Ireland" [Text}
This image contains two articles found before the moonstone in the January 25th edition of Harper’s Weekly. The two articles discuss political policies in England. The article “Double Allegiance” discusses the absurdity of England’s allegiance laws where a child can be hung for treason if they fight against England for an opposing force in war even if the man was born in England or a colony then left immediately after their birth. The writer of “Englishmen upon Ireland” discusses Irelands want to separate from the English empire. The writer[s] of both articles reinforce England’s Cultural Disability from America’s perspective because the writer[s] point out the absurdity of these cultural practices. Because America did not adhear to England’s ideal’s on the represented cultural practices they talked negatively about them giving the reader a negative outlook on their culture. England is represented as Culturally Disabled by pointing out the flaws in their political policies and connoted how America was much farther ahead in terms of these polices than what England was achieving or hoped to achieve.
This image contains the article “The Devil Tree” in the Harper’s Weekly publication. The article discusses the people of Zanzibar, Tanzania in Africa and a certain cultural practice they perform. The people of Zanzibar believed they could exercise evil spirits from afflicted people called Imps by binding them to a piece of iron, glass or other such object. Once the Imp was bound they would hang the object in a tree, trapping the Imp there forever. The people of Zanibar’s system of belief is sensationalized as no more than an interesting story of a savage people’s, making their home seem like a wild, uncivilized, unkempt land. The writer gives no context as to how this cultural practice came about and does not question why the people believe in the Devil Tree. The writer only give’s the reader the sensational negative and scary aspects of the practice (i.e. focusing on a man who clubbed his wife to death. He is hanged and the imp is exorcized). The writer and publication represent the people of Zanzibar and their culture as disabled due to the focus on the negative and horrid aspects of the practice rather than actually trying to determine why it takes place at all. This would have given the reader a negative outlook on the Indians represented in the chapter's 8 and 9 of the publication.
This image is an article that came after Chapter’s Eight and Nine of the Moonstone titled the Language of Animals in All the Year Round. The article tries to determine whether animals have languages similar to humans by looking at the sounds that certain species make towards each other. The writer sensationalizes the Arabian Nights stories written in 1706, which are a collection of Middle-Eastern, West Asian and South Asian stories. The writer commends the work calling it “a fascinating book that should be read from beginning to end” (AYR 152). The publication praises the work of another culture, but inherently modifies the stories intent because the writer casts a western viewpoint and understanding of the text to try and determine if animals have a language. The ideas brought forth by a foreign work are praised in the publication, but are still considered abnormal because a western man need’s to modify and change the idea to fit a western audience, deeming the culture as disabled. Because of their inability to achieve the norm without the help of a Western explanation of the text, made by a white male western man, the culture is considered Culturally Disabled.
In The Moonstone in Harper’s Weekly, which was circulated through the United States, the title is similarly printed in distinct, capitalized letters that are easily noticeable from other titles. In Harper’s, too, more space is given around the title to draw more attention to this particular story, using the space to specify the author and his relevant works, and to directly state that the story is “Printed from the Author’s Manuscript” and “RICHLY ILLUSTRATED”. Very much like All the Year Round, Harper’s Weekly sought to commodify its installations of The Moonstone using this claim to authenticity. Perhaps because of the distance between England and the United States, Wilkie Collins is not only named in the first installation of his story, but in all of them, so as not only to rely on the reputation of his previous works. To emphasize the richly illustrated version of The Moonstone in Harper’s, the recognizable title is followed immediately with a large illustration of Ezra Jennings and Franklin Blake as they look poised to make a discovery which has long eluded the reader throughout their journey through the story. It is the illustrations which have the most active role in sensationalizing stories in periodicals. Though the Victorians in England may have considered Americans less intelligent, and so in need of illustrations, these illustration would have been quite expensive to include. As Harper’s Weekly was “one of the most widely circulated American literary magazines of the period” (Leighton and Surridge 208), the publication would have been quite influential and would have had the budget to invest in its stories and advertisements. Rather than this incriminating the Americans for being less intelligent, this is a testament to the success and prosperity of literature in the United States.
1868- 07-18
Leighton and Surridge point out that the illustrations of the Harper’s installments “[heighten] the text’s sensationalism” (207), but the form itself also lends itself in the dramatization of the text. Whereas All the Year Round takes on a book or magazine form, Harper’s Weekly uses a newspaper format to further sensationalize its content. The front page of The Moonstone is organized like the front page of a newspaper, centred entirely on its illustration and the following pages are organized into four panels of text per page, read lengthwise in columns, also like a newspaper. This form may have contributed to a heightened sense of pleasure in the story, as the form sets the reader up for an entirely different reading experience than would be found in All the Year Round. Using this newspaper layout, Harper’s is drawing on ingrained connotations of the everyday habit of reading the news to enter into the reading experience, using a structural framework to guide the reader. If readers are accustomed to finding intrigue, shock, and scandal in a newspaper, this textual form for a mystery novel has now primed its audience to notice and savor all of those things.
Like All the Year Round, Harper’s Weekly is shown to favor The Moonstone in its publication, though not as exclusively. Other works in Harper’s are also illustrated and have attention drawn to them, however, similar to the transition between stories in All the Year Round, Harper’s transition between The Moonstone, and its next piece, Goodman Misery, is much less spatially or stylistically significant, as well as also missing the name of its author. It is determined by two thin lines finalizing end of The Moonstone followed by the small, plain, capitalized title of the next piece. Looking at Harper’s Weekly as a commercial product, it can be inferred from this formal evidence that The Moonstone was a marketable inclusion to the publication, making it worth the investment in illustration and precious space on the page.
All the Year Round Header- Chapter XXI of the Moonstone
The layout of the text in All the Year Round is uniform throughout the journal and quite formal. Each text is presented without images, in two separate columns, and with the large All the Year Round header. The formality of the layout and the unified look of all of the texts presented within the publication also draw the audience to the quality of the publisher. As the publisher was well known to the readers of the journal since he was also a contributor to the texts in the journal, and as the publisher was considered a marketable author already, unifying all the texts in the journal to give them a "Dickens brand" look would have increased the marketability of the works.
All the Year Round Table of Contents- Moonstone listing
The table of contents lists the texts by title rather than by author but it is in the table of contents where The Moonstone is given a bit of distinction from everything else. While the entry for The Moonstone still lacks the name of the author, another written by Wilkie Collins is listed here too. This is not the case for all works in the table of contents. While The Moonstone is still not separated from the publisher's "brand", the text is given some distinction and thus is marketable, and being marketed, in multiple ways.
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.
1. Higgins determines to send... (Image)
The previous image depicted Harper’s Weekly’s continual Valentine’s Day propaganda. Henkin suggests it to be a theme of the publication’s as an effort to “defend the “Valentine mania” against cynicism in 1859” and offers other examples of their yearly Valentine’s Day imagery. Here we find another, the second in this weekly serial, published the week after Valentine’s Day. The image draws straight back to Henkin’s “Valentine’s Mania” and how the demand to send Valentine’s outweighed the postal service’s capacity to send them. Yet, Harper’s in both instances subverts the cynicism of a holiday by focusing instead on the positive result of the lover’s embrace. Even noting, in this image, the final station as “The Happy Result”. The Happy Result of engaging in the epistolary trend that would continue to grow.
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
This small image, featured in a section among cartoons, limericks, and poems, same as the comic strip featuring the giant letter, is the last visual reminder of the prominence of the letter contained in this edition of the weekly publication. It depicts a man at a social event, presumably a dance, holding out a card to a woman as a sign that he cannot dance with her immediately. In this case the dance card functions as a visual correspondence between partygoers and as a contract of who will dance with whom in the future. "Leap Year" acts as a small reminder that letters had become so popularized that they were not only sent great distances, but also used in day to day conversation between people in communal spaces. Wilkie Collins also shows us a similar instance when Rachel uses her letter to convey her refusal to the Sergeant though they are both within in the same house at the time.
Moonstone Chapter XXI Header- Harper's Weekly
The header for The Moonstone in Harper's Weekly stands out from the header for the publisher at the top of the page. "The Moonstone" is written in larger font than the Harper's header and Wilkie Collins is credited by name and by another of his works. The script below the author's name places an emphasis on authenticity and credibility in printing. Harper's markets The Moonstone under the "brand" of the author to give the publication of the text a saleable literary quality. Since the focus of Harper's is political and it's collection of texts more eclectic, the publisher cannot use their name to market a literary product, making the use of the author's "brand" necessary to the selling of the text.
Harper's Header- Moonstone chapter XXI second page
The layout of the pages in Harper's weekly is less formal, though still giving emphasis to the text, and the header does not dominate as much of the space as it did in All the Year Round. The text is separated into four columns and are marked by noticeable chapter breaks where needed. When the segment of The Moonstone ends, another story follows directly without the large header that accompanied The Moonstone. This makes Harper's Weekly appear as a platform for Wilkie Collins' "brand" in the publication of The Moonstone rather than Harper's imposing their "brand" on the text.
Harper's Weekly advertises for more than its own brand. The brand names of other products are given equal opportunity to be seen on the page as the ads for Harper's. Harper's weekly is a brand in and of itself without relying on the contents being of the Harper's brand. The texts and the products available in Harper's are marketed under their own "brands" but, Harper's distinguishes their own saleable brand as that of a publisher. While the Moonstone was marketed as being the author's "brand", the publisher's assurance of quality and accuracy reassures the reader that the publisher is measured by the quality of the brands they advertise. This is further illustrated by the captions at the bottom of the advertisements for the newly published book. The book is introduced as being published by Harper's, then the ad talks about the author and the book and closes with a mention of Harper's. The text is the author's but the publisher is Harper's.
Page 132 of Harper's Weekly 19.583 [text]
In "Illustrating The Moonstone in America: Harper's Weekly and Transatlantic Introspection” (2014), Molly Knox Leverenz reminds readers that The Moonstone was published in the United States of America in the years following the Civil War (21). She notes that this was a time period in American history when the nation was intensely self-reflective (41) and concerned with “a growing sense of American identity on the global stage” (24). The page that precedes part nine of The Moonstone in Harper’s Weekly is dominated by three images: a portrait of George Washington, and two images that are both titled “Relieving the Poor.” One image depicts a crowd of people outside the Young Men’s Christian Association and is subtitled “Dinner Hour.” The second image shows a young American man feeding a young impoverished family—primarily girls—at a soup kitchen. It is subtitled “Serving Soup.” The portrait of George Washington occupies the top half of the page, with the remaining two images grouped together in the lower half—as if George Washington is overseeing the philanthropy of the American people. This idealized view of American benevolence towards the poor and lower classes is strategically positioned within the periodical to contrast with images of English poverty in The Moonstone. Reading The Moonstone “intratextually” (25) within Harper’s Weekly reveals instances where American editors manipulated material conditions such as page positioning and image placement in order to exaggerate and critique elements of British ideology. By depicting American peoples as benevolent towards the lower classes, the American publication attempts to distinguish the nation in opposition to its former colonizers. Works Cited Leverenz, Molly Knox. "Illustrating The Moonstone in America: Harper's Weekly and Transatlantic Introspection." American Periodicals 24.1 (2014): 21-44. Web. 5 Oct. 2015.
Excerpts from Chapter X 'The Moonstone' [text]
This excerpt from All the Year Round alludes to a number of sources, of varying genre. There is the scientific "lecture on physiology" ("All the Year Round" 100), which is referenced and cited twice, and the reference to Confessions of an English Opium Eater (101). Upon first glance there is a blurring of genres, between the sensational Confessions and the realistic science lectures. However, the reference to Confessions of an English Opium Eater creates an interesting dynamic between another commonly found material in British newspapers of the Victorian period: the agony column (Rubery 51). Like the agony column, Confessions was published anonymously, and was based upon scandalously biographical experience. Such "tales of personal distress" (51) soon found their way into the advertisements of British newspapers, and quickly became "a meeting place as much as a marketplace for readers" (50). Rather than sensational, Rubery argues that influence of newspaper articles, agony columns, and advertisements is more a "shock of actuality" that stems from the "relevance, accuracy, and ... realism" (48).
Feb. 8, 1868 Moonstone Image - Harper's Weekly
This image emphasizes the overt materialistic perspective of this edition of Harper’s Magazine. Even though Part VI of “The Moonstone” clearly describes the diamond as being small enough to shine in Rachel Verinder’s dress, this image depicts the diamond as being a giant stone that outshines the moon and the background Indian architecture. The diamond floats freely and is not constrained by any physical container. If the building behind it is seen as a temple which represents religion, the foregrounding of the diamond seems to emphasize that the diamond is of even more importance than any established creed. It is not part of the old religion, as suggested in the story, but actually takes on a religious entitlement that is entirely its own. The image of wealth is foregrounded, and becomes of dominant importance in the viewers mind. Even though the magazine takes care to describe the serial edition as “Printed from the Author’s Manuscript”, it takes liberty with the story to enhance the plot by emphasizing the gigantic nature of the stone. In a magazine that seems to focus on facts, this must be a very important emphasis if it is willing to stretch the truth in this way.
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 as close as we get to a mention of correspondence in All The Year Round. It’s a note from the editors of the journal to it’s expectant readers signifying what will be contained in the following weeks serial. Essentially it is a note from one party to another to expect future correspondence. Although it does not indicate the rising popularity of the written word in the form of letters, it instead becomes more the promise of a producer to a consumer that there will be more publications to come.
Typescript draft of The Apprenticeship of Duddy Kravitz, pages 247-251
Richler, Mordecai, 1931-2001
1959
Richler, Mordecai. The Apprenticeship of Duddy Kravitz.
Typescript draft of The Apprenticeship of Duddy Kravitz, pages 57-61
Typescript draft of the Apprenticeship of Duddy Kravitz, pages 169-175
Typescript draft of The Apprenticeship of Duddy Kravitz, pages 169-175
Typescript draft of The Apprenticeship of Duddy Kravitz, pages 43-45
Typescript draft of The Apprenticeship of Duddy Kravitz, pages 301-303, 1-2a
Typescript draft of The Apprenticeship of Duddy Kravitz, pages 223-227