The Mauve Decade: American Life at the End of the Nineteenth CenturyOf the first edition ... one hundred and sixty five large paper copies have been printed as follows: fifteen on Borzoi rag paper signed by the author and numbered from A to O; one hundred and fifty copies on Borzoi rag paper signed by the author and numbered from 1 to 150 ... |
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Popular passages
Page 244 - There are no fields of amaranth on this side of the grave; there are no voices, O Rhodope, that are not soon mute, however tuneful; there is no name, with whatever emphasis of passionate love repeated, of which the echo is not faint at last.
Page 97 - You shall not press down upon the brow of labour this crown of thorns — you shall not crucify mankind upon a cross of gold!
Page 98 - You think me a fanatic to-night, for you read history, not with your eyes, but with your prejudices. But fifty years hence, when Truth gets a hearing, the Muse of History will put Phocion for the Greek...
Page 21 - if Mr. Clemens cannot think of something better to tell our pure-minded lads and lasses, he had best stop writing for them.
Page 259 - ... Styles of the seventeenth and early eighteenth centuries, the period which reached its culmination in the work of William Caslon. The blackness of its capitals shows clearly, however, that their design was modified in imitation of the Modern faces which so completely displaced the Old Styles during the first half of the nineteenth century. Original Old Style possesses in a high degree those two qualities by which a book type must be judged: first, legibility, and second, the ability to impart...
Page 181 - ... an illustration of their acquaintance the following unpublished letter written by Norris to Garland from a New Jersey hotel in 1901 may be quoted here: "I am destined to be forever at cross And Harry Thurston Peck made the following comment on Crane and Norris: I never met a less blood-boultered Banquo than poor little Mr. Crane. He is inoffensive as a lamb, and Mr. Norris is extremely like him in manner, albeit he has none, or too little, of Mr. Crane's humour. The author of the terrible 'McTeague...
Page 165 - ... however dimly, feels himself to be a symbol, and the frail representative of Omnipotence in a place that is not home; and so strives blunderingly, from mystery to mystery, with pathetic makeshifts, not understanding anything, greedy in all desires, and honeycombed with poltroonery, and yet ready to give all, and to die fighting, for the sake of that undemonstrable idea.
Page 143 - Of all the tricks which the Irish nation have played on the slow-witted Saxon, the most outrageous is the palming off on him of the imaginary Irishman of romance. The worst of it is, that when a spurious type gets into literature, it strikes the imagination of boys and girls. They form themselves by playing up to it; and thus the unsubstantial fancies of the novelist and music-hall songwriters of one generation are apt to become the unpleasant and mischievous realities of the next.
Page 47 - Loti was a great ladies' man, probably one of those who sometimes sang of their darling Clementine at night behind red nipples of cigars, beside a moonlit cottonwood, rustling over laughter and music of guitars. . , . But if you were a proper editor, bred in the society of Newark or of Hartford, you did not trifle with the Titaness and for her sake you issued tales of women, by women, for women, in which one discovers the strangest things about that duel of the sexes, a deal discussed in the '90'$.
Page 259 - This book is set (on the Linotype) in Original Old Style of the history of which very little is known; in practically its present form, it has been used for many years for fine book and magazine work. The design of its lower case letters would indicate a derivation from English and Dutch Old Styles of the seventeenth and early eighteenth centuries, the period which reached its culmination in the work of William Caslon. The blackness of its capitals shows clearly, however, that their design was modified...