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As a theme with high cultural visibility, the heroic was represented in all media of the Victorian and Edwardian years. Barbara Korte investigates 50 years of gift books showing how the genre reflected gender ideology aimed at initiating readers into the dominant beliefs and values of Victorian and Edwardian society. Targeting young female readers, the books examined show narratives and visual illustrations of exemplary heroism performed by women, as well as peritext (prefaces and introductions) that made their didactics explicit. While they compromise with the hegemonic understanding of femininity as domestic, these books also demonstrate that women can have an agency as extraordinarily heroic as that of a man, pointing to new gender models emerging.

After repeated efforts to streamline their gifts-in-kind selection and processing, librarians still face concerns over the small percent of books added and the amount of staff time required. The primary problem is that the purpose of the gifts program is to add reasonable and relevant materials to the collection, and too little of what is received fits that description. Resulting questions include whether the library needs to continue to receive gifts, and if so, whether there are ways to identify which books might be worth adding to the collection. To answer these questions, the authors reviewed circulation records of gift books acquired over a seven-year period and compared those lists with required reading lists for classes, interlibrary loan reports, and lists of financial donors. Results indicate that gift books do circulate, and that required readings lists can be helpful in gift book selection. Librarians are also encouraged to analyze circulation rates by subject on a periodic basis to hone their ...

While Percy Shelley explored 'the status of life as a value and the relation of poetry to that value', as Maureen McLane has demonstrated, Mary Shelley's Frankenstein ardently pursues 'the nature of the principle of life' and the problems of 'its ever being discovered and communicated'. Mary Shelley's classic narrative about mechanical reproduction and circulation is widely recognized as a radical communications experiment, a linguistic laboratory of sorts that puts media into monstrous crisis and inevitably forces the question of what makes people human, while the ensuing multi-media myth often expresses a deep uneasiness about the science of life and the many forms of biopower attendant upon modernity. In both form and content, Frankenstein thus foregrounds not only the extent but also the means by which scientific and artistic invention as well as intervention, artifice broadly conceived, might alter as well as create the conditions of life.

PurposeTo define the elements of a gift books policy.Design/methodology/approachResearch based on a review of library gift policies.FindingsProvides libraries with general guidelines as to what should be included in a gift book policy.Originality/valueProvides assistance to libraries to find a way to explain to prospective donors how the library handles donations and gifts.

An eBay auction of donated or withdrawn books is another way to raise money for libraries. Because the process is labor-intensive, it is best suited to volunteers rather than salaried staff. The article describes the process used by one Friends of the Library group.

Shortly after the appearance in 1936 of American Literary Annuals & Gift Books 1825-1865 by Dr. Ralph Thompson, a former instructor of English at Rutgers, Mr. Alan E. James, of the class of 1928 and now on the staff of the Library, compared the holdings of literary annuals and gift books in the Rutgers Library with the titles given in Dr. Thompson s extensive bibliography. Mr. James found that Rutgers owned, in addition to about a third of the total number of books, some forty-six new titles or variants which were unknown to Dr. Thompson or to any other bibliographer of these curious and often rare publications. The following list will give students of American literature further materials for enlarging our knowledge of literary America a century ago.Â

On one of my regular browsing visits to the bookstore, I was struck by a series of small illustrated gift books called Belles Lettres published in 1989 by Stewart, Tabori & Chang, Inc. (740 Broadway, New York, NY 10003). Although the series included literary works by Ralph Waldo Emerson, William Shakespeare, Mark Twain, Henry David Thoreau, Ambrose Bierce, Gertrude Stein, and Robert Louis Stevenson, the content wasn't what grabbed my attention. The initial drawing power of the series was its undersized design with photographs, collages, and graphics. Photos were hand toned. The books had marbleized endsheets. Texts were a mix

Annuals now, apart from Christmas numbers of periodicals and concoctions for juvenile readers, are utilitarian compilations. Published in great variety to serve many interests and needs, professions and occupations, some are renowned and not a few are rather wonderful in the nature and range, volume and variety, precision and accuracy of the information they purvey.

A cursory examination of the gift books of the first half of the nineteenth century leads one to believe that these volumes expressed a contemporary interest in romantic writing of a most tender and sentimental kind. The titles themselves suggest the type of literature they contain-The Atlantic Souvenir, The Token, The Amaranthe, The Violet, The Token of Friendship, and The Snowflake, to name only a few. Published annually these volumes were presented to one's friends and family at Christmas often with the names of the giver and receiver elaborately inscribed on a presentation plate provided for that purpose. They were widely distributed and reviewed along with other books in the various periodicals. John Neal of the Yankee; and Boston Literary Gazette, in recommending The Token for 1828, advised his readers to purchase it "if you have a housefull of daughters, or a wife or so of your own: it may lead to something better-it may give them a relish for something higher and bolder, and wiser and truer.... At any rate-if it do nothing more, it will keep them out of mischief."' These volumes occasionally contained a tale or a poem by a writer of later eminence and are significant if only for that. It is probable that Nathaniel Hawthorne after the failure of Fanshawe turned from novel writing to tales in order to take advantage of the increasing trade in gift books. A number of his early stories, for which he received exceedingly small pay, first appeared anonymously in The Token published in

Alfred W. Bennett (1833-1902), better known to posterity as a botanist, was active as a publisher in London in the eighteen-sixties. Almost uniquely amongst his contemporaries, Bennett specialized in books illustrated with mounted photographic prints for the middle-class market. Every year, new ‘photographic gift books’ would be released to coincide with the Christmas season of giving. Subject matter was mainly topographical or literary. Text and images were associated creatively; design, typography and photographic printing were of the highest quality. While Bennett’s career in photographically illustrated books was brief, starting in 1861 and ending in 1868, he made a distinctive contribution to the creation and development of the genre in Britain. The article evaluates Bennett’s career and impact, covering the following topics: the Quaker context that influenced Bennett’s activity as a publisher and photograph dealer; Bennett’s invention of the photographic gift book as a genre; synergy with Lovell Reeve, another pioneering photographic book publisher; the crucial importance of literary tourism for Bennett’s output; assimilation of the concept of the Picturesque within photographic illustration; the extension of subject matter to Continental Europe; and the decline of the photographically illustrated book business in the hands of Bennett’s successor Abraham Provost.

Chapter 1, “A Booth in Vanity Fair”: Charity Bazaars and the Methods of Fiction, narrates the progress of fundraising bazaars from their beginnings in the post–Napoleonic War era to the end of the nineteenth century when massive fairs held during London’s social season were a well-entrenched tradition. The author utilizes newspaper data to give a trajectory of bazaar development and draws broadly from material written and printed in conjunction with bazaars, including advertisements, press coverage, broadsheets, pamphlets, gift books, and instruction manuals. Together, these materials demonstrate the ways in which philanthropists adopted techniques from fiction to stage bazaars as vital scenes of civil society.

This chapter looks at the prevalence of books and printed matter in New York in the 1840s. From storefront windows, new books appealed to pedestrians with siren songs of entertainment and instruction at bargain prices, while literary annuals, gift books, and illustrated editions catered to an expanding American readership. The chapter chronicles the invention of new steam-powered rotary printing technology and stereotype printing in New York in the mid-1840s, and examines how it revolutionized the print industry and enabled a boom in cheap reading matter. Looking at the growing networks of transcontinental and transatlantic correspondence, the chapter recounts how telegraph and railway lines branched across the American continent. The chapter elaborates on how a new generation of American literary professionals (publishers, editors, journalists) struggled to take their place in the transatlantic world of letters. It recounts how the literary professionals shared a desire to publish, edit, review, and publicize more than things in books' clothing: books that really were—or were worthy to be called—books.

This article explores the diverse materialities of texts created by three female luminaries that expand our understanding of translation and transformation in early modern Europe. Lady Anne Cooke Bacon’s translation of Bishop Jewel’s Apologia was praised as the official text of the Elizabethan Settlement and printed without change for the edification of both English readers and Continental sceptics. Yet despite its centrality in the vitriolic controversy between Jewel and Louvain Romanist Thomas Harding, within a generation Bacon’s name disappeared. Bilingual calligrapher and miniaturist Esther Inglis prepared and presented stunning manuscript gift books, often including self-portraits, to patrons on both sides of the Channel. Her artisanal expertise emulated and often outdid the typographic variety of the printed text. Scholarly and lionized participant in the Neo-Latin Republic of Letters, Anna Maria van Schurman, whose landmark Dissertatio was translated as The Learned Maid, scandalized her conservative Calvinist supporters by embracing Labadism and praising its simple ways in her autobiography Eukleria. These three early modern women, distinct in temperament, time, and social status, are the subject of this exploration, which seeks to understand the dynamics and fluctuations of cross-Channel transmission and the role played by the Channel divide or bridge in creating a brief notoriety soon to be followed by obscurity., Cet article examine les divers aspects matériels de textes composés par trois figures brillantes de l’écriture féminine et invite à une approche élargie des phénomènes de traduction et transformations dans l’Europe de la première modernité. La traduction de l’Apologia de Jewel par Lady Anne Cooke Bacon fut célébrée en son temps comme la version officielle du nouvel ordre religieux élisabéthain. Publiée sans modification aucune pour l’édification du lectorat anglais autant que des sceptiques de l’étranger, la traduction joue un rôle central dans la controverse acerbe opposant Jewel au théologien de Louvain Thomas Harding ; mais il suffit d’une génération pour que son auteure tombe dans l’oubli. La calligraphe et miniaturiste Esther Inglis fut célèbre à son tour pour les magnifiques manuscrits bilingues, souvent accompagnés d’autoportraits, composés à l’attention de divers mécènes de part et d’autre de la Manche. Par leur finesse technique, ses productions rivalisent avec le texte imprimé, l’emportant même parfois sur le plan de la variété typographique. Enfin, Anna Maria van Schurman, membre parmi les plus brillantes de la République des lettres néo-latine, auteure d’une Dissertatio qui fit date et circula en traduction sous le titre de The Learned Maid, scandalisa son entourage calviniste lorsqu’elle se convertit au labadisme et fit l’éloge de la simplicité de ses voies dans son autobiographie, Eukleria. On dresse ici le portrait de ces trois femmes de la première modernité, bien distinctes par leur tempérament, leur contexte et leur statut social; il s’agit d’étudier la dynamique et les fluctuations propres à leur trajectoire transnationale, et en particulier le rôle de barrière, ou au contraire, de vecteur, joué par la Manche dans la formation de ces fortunes aussi éclatantes que fugaces.

The German religious book market is a small market segment that is dominated by small publishers. Because the number of companies and overall turnover in the market segment show a negative trend, the German religious book market can be described as a mature saturated market. Also, the classic and professional customer groups are decreasing or at least changing due to changes in the role of religion in society. However, the population still has an interest in religious topics, which is why it is important for religious publishers to target them with specific marketing measures. Content analysis of the bi-annual publishing program brochures reveals which titles religious publishers attribute the greatest sales potential to and which product, price and communication measures are used to support their top titles. The results of the analysis show that German religious publishers choose non-fiction books, but also practical guidebooks and gift books as top titles, which take up current topics and trends from church and society. Books with authentic content by authentic authors are favored. The analysis also indicates (somewhat unsurprisingly) that marketing decisions that are made depend on the financial capabilities of religious publishers. Measures related to the price are therefore hardly offered, and cost-intensive communication measures are only taken at a low level.

Writers for journals and reviews in the first quarter of the nineteenth century imparted to middle-class readers an unparalleled power of reading, as Jon Klancher demonstrates. By ceaselessly mapping interpretive strategies, journals forged a distinctive identity against those above and below them (Klancher 1987, 50–2). This print boom in the early nineteenth century had a tremendous impact on ‘the way knowledge was conceptualized’ (Butler 1993, 122). Increasing fragmentation, compartmentalization and specialization of information involved a negotiation of gender as well as class relationships in terms of nationality. While the journals were working to establish certain forms of theoretical and political knowledge as masculine and middle-class, publishers began defining the women’s market in the 1820s and the juvenile market at the end of the decade through gift books and annuals. From the appearance of Rudolph Ackermann’s Forget-Me-Not, a Christmas and New Year’s Present in 1823 to the thirtieth and final issue of the Keepsake in 1857, the annual market was fiercely competitive, with sixty-three gift books making an appearance in 1832 and more than two hundred by the end of the decade.

Letitia Landon wrote a considerable amount of poetry for the gift books fashionable in the 1820s and 1830s, and that poetry has over the years failed to receive serious attention, the lot usually pooh-poohed in one glancing remark that resigns L.E.L. to butterflyland. So it is worthwhile to look at her poetry published in what would seem the most frivolous of gift books, the tiny English Bijou Almanack, to see what that poetry might teach the cynical critic in all of us. This critic views all the sorrowful sentiments penned to match engravings of lovely ladies as hollow lines placed beside hollow heads to help some publisher make a substantial profit. Likewise, the cynical feminist suspects that gift books encouraged women solely to appear weak, vulnerable, and longing to be protected. It cannot be denied that Landon celebrated a culturally- sanctioned femininity, nor that she created women characters to be admired as beautiful objects. Yet by examining a few poems in a toy-size gift book, this essay aims to show that Landon could infuse her women in love with passions that actually contested the capitalist forces at work in the gift-book industry. More often than not, Landon made her women too passionate to be possessed, controlled, or consumed.

This article concentrates on a manuscript that the calligrapher Esther Inglis (1571-1624) dedicated to Maurice of Nassau (1567-1625) in 1599. She was of Huguenot descent and lived in Edinburgh. He was heavily involved in the Dutch Revolt. During her lifetime she produced a number of gift books, of which some 60 are still extant, usually religious in content, written in a variety of hands, carefully decorated and bound, their size sometimes not much larger than a matchbox. They were offered to high placed persons within the circle of the Scottish and English courts, in the hope of a reward. In 1599, however, she decided to present a booklet to Maurice. Why? This article traces Maurice’s role in the Protestant cause as the main reason for the manuscript’s production, shows the influence of Dutch propaganda prints in its decoration and looks at how it could have reached Maurice.

This article reconsiders the gift within London's sixteenth- and early seventeenth-century livery companies. Previous research into guild gift-giving cultures has focused exclusively upon substantial bequests of money and property by mercantile elites to the ‘great twelve’ livery companies. Through charitable gifts, citizens established godly reputations and legacies, perpetuated through the guild institution. It is argued here that a rich culture of material gift-giving, hitherto overlooked by historians, also thrived within London's craft guilds. Drawing on company gift books, inventories, and material survivals from guild collections, this article examines typologies of donors and gifts, the anticipated ‘returns’ on the gift by the recipient company, and the ideal spatial and temporal contexts for gift-giving. This material approach reveals that master artisans negotiated civic status, authority, and memory through the presentation of a wide range of gifted artefacts for display and ritual use in London's livery halls. Moreover, this culture of gift-giving was so deep-rooted and significant that it survived the Reformation upheavals largely intact. Finally, the embellishment of rituals of gifting, and the synchronization of gifting and feasting rites from the second half of the sixteenth century, are further evidence for the resurgence of English civic culture in this era.

This Element traces the varied and magical history of Christmas publications for children. The Christmas book market has played an important role in the growth of children's literature, from well-loved classics to more ephemeral annuals and gift books. Starting with the eighteenth century and continuing to recent sales successes and picturebooks, Christmas Books for Children investigates continuities and new trends in this hugely significant part of the children's book market.

This chapter begins by examining some of the ways that Victorian readers inscribed, marked, and altered devotional books. Some kept albums, scrapbooks, and commonplace books in order to pluck and transplant, as it were, verse from original sources to their own blank books, while others annotated the pages of existing books or wrote lengthy dedications. Even as readers were engaged in their own tactile interactions with devotional texts, the religious publishing marketplace was emulating these material reading practices as though they were a form of domestic handicraft, as in Frances Ridley Havergal’s Four-Fold Counsel tetralogy, a series of botanically inspired devotional gift books. Another of Havergal’s popular gift book sets, known as the Royal Series, is instructive, moreover, of how the material organization of devotional books could make a gift-time of daily reading.

If we imagine that a Victorian common reader of devotion has accumulated all the devotional books and print that have been the subject of this study we might see, gathered together on a table or shelf, a jumble of things: devotional poetry, family prayer manuals, Sunday-reading books and periodicals, gift books, and daily textbooks. Reading meant for the masses lies alongside serious works, cheap print mingles with expensive gift volumes. Broad Church, Tractarian, and Nonconformist doctrine sit together in easy company. In considering the range of what counted as devotional reading materials for Victorians, I have endeavoured to think beyond generic categories and denominational affiliations. The companionability of these items, their miscellany and assortment, reminds us that they were objects that were handled and re-read by their owners. And even when they were not being read, they remained as materials on display and as available to the next reader who might come along. This was the case with Monica Madden’s only occasionally- (and possibly never-) read copy of Keble in Chapter One. The profusion of religious publishing in the nineteenth century meant that devotional observance could also be a leisurely and a consumerist pursuit. But Elaine Freedgood (2013), who has pointed out how “things … still do not get taken seriously” in literary criticism,...

Reading effects is a vital element for the survival of a reading APP. To better meet readers' needs and improve the reading effects, based on the KANO model we designed a questionnaire, which was conducted in Chinese university students, on reading APPs. For ease of analysis, the collected data were classified by a two-dimensional quality classification matrix. Through data analysis, two functions that appeal to readers were identified; they are cumulative reading time and gift books. In addition, some functions, for instance directory navigation, eye protection mode, copy, search, classification, and collection, were the one-dimensional qualities that readers expected. Nevertheless, the results also revealed that message notification had a adverse effect for the readers using the apps and readers were also troubled with the message push of the APPs. The research's results suggest that not every function of reading APP can satisfy users, which could supply some guided recommendations in designing reading APPs.

1. Introduction Joanne Shattock Part I. Periodicals, Genres and the Production of Print: 2. Beyond the 'great index': digital resources and actual copies James Mussell 3. The magazine and literary culture David Stewart 4. Periodical formats: the changing review Laurel Brake 5. Gendered production: annuals and gift books Barbara Onslow 6. Graphic satire, caricature, comic illustration and the radical press, 1820-45 Brian Maidment 7. Illustration Lorraine Janzen Kooistra 8. Periodical poetry Linda H. Peterson Part II. The Press and the Public: 9. The press and the law Martin Hewitt 10. 'Doing the graphic': Victorian special correspondence Catherine Waters 11. Reporting the Great Exhibition Geoffrey Cantor Part III. The 'Globalisation' of the Nineteenth-Century Press: 12. Colonial networks and the periodical marketplace Mary L. Shannon 13. Continental currents: Paris and London Juliette Atkinson 14. The newspaper and the periodical press in Colonial India Deeptanil Ray and Abhijit Gupta 15. British and American newspaper journalism in the nineteenth century Joel Wiener 16. Journalism and Empire in an English-reading world: the Review of Reviews Simon J. Potter Part IV. Journalists and Journalism: 17. Dickens and the middle-class weekly John Drew 18. Harriet Martineau: women, work and mid-Victorian journalism Iain Crawford 19. Wilkie Collins and the discovery of an 'unknown public' Graham Law 20. Margaret Oliphant and the Blackwood 'Brand' Joanne Shattock 21. Marian Evans the reviewer Fionnuala Dillane 22. Oscar Wilde, new journalist John Stokes and Mark W. Turner.

This chapter examines the ‘avant-folkways’ of Lorine Niedecker and her poetry and demonstrates how Niedecker’s poetry of the 1940s and 1950s draws on various aspects of folk, including folk speech, nursery rhymes and ballads, local history, and artisanal and domestic craft practices. Niedecker’s folk sensibility, chapter 1 argues, was enhanced considerably by her work on the Federal Writers’ Project, from 1938 to 1941. Niedecker’s poetry, it is argued, undermines the dichotomies that underpin the pervasive ideological construction of American folk in the twentieth century—notions of the regional versus the cosmopolitan, the modern versus the traditional—as well as popular distinctions regarding ‘formal’ versus ‘folk’ poetry, art, and aesthetics. Chapter 1 also examines the social implications of Niedecker’s folkways and their defining role in her own ‘renaissance’ across the Atlantic, in England and Scotland, via the channels of small press networks in the 1960s that her own handmade gift books, it is argued, significantly prefigures.

The decorative literary annuals and gift books that emerged in the 1820s provided an accessible home for women’s Arthurian poetry and cultivated a pictorial aesthetic that would come to dominate much nineteenth-century medievalist verse. Garner examines poems by Louisa Stuart Costello, Letitia Elizabeth Landon, Mary Howitt, and Caroline Norton in their original annual contexts, and argues that the annuals ushered in a new fashion for individual poems about the Arthurian legend’s female characters. Particular attention is paid to Arthurian poems in The Gem, Forget Me Not, Fisher’s Drawing Room Scrap Book, and The Tribute. The chapter ends by arguing that Tennyson’s ‘The Lady of Shalott’ should be read in the context of annual Arthuriana and earlier poems on the subject by his female contemporaries.

This dissertation traces the nineteenth- and early-twentieth-century history of what I call “Poetess theatricality”: a highly gendered literary mode that imagines the poem as a space for collective, spectacular theatrical performance. As a corrective to popular and critical depictions of the Poetess’s solitary suffering, and as an expansion of more recent accounts of the Poetess as an “empty” and abstract figure, this dissertation argues that Poetess performance was understood by Victorian audiences to be multiply embodied: a chorus not only of voices but of gesturing, costumed bodies whose performances invoked the material profusions of popular print cultures, the crowded, often messy realities of social life, and the possibilities of social reform. Drawing on recent work in nineteenth-century poetics on the gendered, citational performances we now associate with the figure of the Poetess, as well as on scholarship on the significance of spectacle in the Victorian theater, this project revises existing understandings of the relationship between Victorian poetry and dramatic form: while the most significant poetic innovation of the period, the dramatic monologue, has ensured that Victorian poetry has always been associated with the theater, this study argues for a collective, spectacular theatricality that the genre of dramatic monologue does not accommodate. The period covered by this dissertation (1823 – 1922) saw the consolidation of the Poetess as a familiar figure in nineteenth-century print culture. As the popular success of seemingly chaste and moral Poetess writers such as Felicia Hemans made print publication more respectable for women poets, the role of Poetess became increasingly distinct from the more dangerously public, sexually compromised roles of “playwright” or “actress.” This dissertation shows, however, that the figure of the actress was never fully detached from the figure of the Poetess; instead, the collective, corporeal, spectacular aspects of theatrical performance reappear, continually reconfigured, as a major feature of Poetess writing throughout the nineteenth and twentieth centuries—in the sprawl of feminine bodies, objects, and texts in Hemans’s Records of Woman; the casually citational, shape-shifting figures that circulate in gift books compiled by Letitia Elizabeth Landon (otherwise known as L.E.L.); the elaborately stage-managed crowds of working-class and aristocratic supernumeraries who threaten the heroine’s narrative control in Elizabeth Barrett Browning’s Aurora Leigh; the poet-housewives and sympathetic audience-actors in Augusta Webster’s essays and dramatic monologues; and the characters, readers, and performers who form temporary communities through their recitation of the portable, quotable catchphrases in the work of Charlotte Mew. In directing critical attention to the theatricality of the Poetess, this dissertation works to connect recent work in Victorian poetics with the gendered, embodied experiences, performances, and stuff that have been the object of so much important feminist criticism.

In 1872, Blanchard Jerrold and Gustave Dorébegan publishing their lavish travelogue,London, a Pilgrimage. Much renowned for his illustrations ofDivine Comedy,Don Quixote,Paradise Lost,Idylls of the King, and other significant literary texts, Doré's considerable reputation as an artist fetched him a staggering sum of ten thousand pounds as payment for his work inLondon, a Pilgrimage. Jerrold, responsible for conceptualizing the project, was an established liberal playwright and journalist, often contributing pieces to theDaily News,Illustrated London News, andAthenaeum.Looking for interesting material, Jerrold and Doré traveled all over London; Doré often made notes on the spot and finished the illustrations later. Seeking to situate their work within the field of social exploration, Jerrold and Doré referenced Henry Mayhew's reformist journalistic series,London Labour and the London Poor. Jerrold claimed that their social investigation would reproduce for contemporary readers Mayhew's categories of “those who work, those who cannot, [and] those who won't work” (“Frontmatter”). Volumes ofLondon, a Pilgrimage, however, were reviewed as gift-books in various periodicals; theExaminer, for example, reviewed it in the “Christmas-Books” section, indicating that these volumes, which contained pictures of lower-class shanties and miserable, under-fed people, were being gifted and enjoyed (“Christmas-Books”).

The purpose of this article is not to question whether Koprulu seen to theTahrir Defteri. What we want to do here is the introduction and critique of the book "Mehmet Fuat Koprulu", the 43rd issue of the Ministry of Culture's "Memorial and Gift Books" series.

Tennyson disapproved of many of the illustrated editions of his work and distanced himself from gift books. Edward Moxon had worked with many of the individuals who developed the Victorian gift book but repeatedly failed to generate commercial success through illustrated editions. Tennyson authorised a series of illustrated publications beyond the Moxon firm. Edward Moxon saw illustrated editions as a way of claiming a larger percentage of the profit, but his illustrated edition of the 1842 Poems was a commercial failure due to its high price and poor timing. Moxon’s early death in 1858 precipitated the disintegration of the relationship between poet and publisher. The Moxon company was effectively left without a manager and Tennyson’s aggressive renegotiation of his arrangement with the publisher led to conflict.