By Franz J. Potter (auth.)
To larger comprehend and contextualise the twilight of the Gothic style throughout the Twenties and 1830s, The historical past of Gothic Publishing, 1800-1835: Exhuming the alternate examines the disreputable elements of the Gothic exchange from its horrid bluebooks to the determined hack writers who created the quick stories of terror. From the Gothic publishers to the circulating libraries, this examine explores the clash among the canon and the twilight, and among the disreputable and the moral.
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Extra info for The History of Gothic Publishing, 1800–1835: Exhuming the Trade
Iii). Books, sometimes, were transported in boxes under lock and key. Subscribers paid for 'Boxes, with Locks and Keys' which were provided by the proprietor, along with the cost of transportation, 'carriage and porterage' (Booth, p. ii). The circulating libraries were above all 'depots of learning, and stores for rational amusement, ... adapted to all descriptions of persons and professions', therefore, librarians were instructed 'to be a polite misanthrope; look with an equal eye on opulence and poverty, and act so to give offence to neither' (The Use of Circulating Libraries Considered, pp.
Most of his Gothic stock was printed in the 1790s such as Isabella Kelly's Abbey of St. Asaph (1795), Francis Latham's Castle of Ollada (1795), Stephen Cullen's Haunted Priory (1794), John Palmer's Haunted Cavern (1796) and Eleanor Sleath's The Orphan of the Rhine (1798). Moreover, each of these titles were printed by William Lane's Minerva Press and indicate that Minerva supplied a large proportion of Turner's stock. Christopher Skelton-Foord indicates that Minerva Press books enjoyed large circulation especially through small entertaining libraries.
20 Books from the Minerva Library were due at the end of each month, but most libraries only specified that books retained after the expiration of a subscription were considered as continuing their borrower's subscription. Libraries also held the subscriber responsible for any and all damage to books and advised subscribers to take good care of the volumes borrowed. Turner's catalogue specified that 'If any book is lost, wrote The Circulating Library 21 in, or in any respect made imperfect, that book, or if it belongs to a set, to be paid for by the person who took it out' (p.