McCutcheon, George Barr: Graustark
(researched by Melissa Brall)

Assignment 1: Bibliographical Description
1 First edition publication information (publisher, place, date, etc.)
George Barr McCutcheon. Graustark: The Story of a Love Behind a Throne. Eldridge Court, Chicago: Herbert S. Stone & Co., 1901. Copyright Statements: 1901 by Herbert S. Stone & Co. 1902 by Grace Hayward. 1909 by Richard Ferris, Los Angeles 1915 by Herbert S. Stone & Co. 1924 by Grace Hayward Gatts No copyright was ever granted to the author. Parallel First Editions: In England: GRAUSTARK. The Story of a Love Behind a Throne. Grant Richards: London, 1902.pp.459 In Canada: GRAUSTARK. The Story of a Love Behind a Throne. McLeon and Allen: Toronto, 1903.pp.459
2 First edition published in cloth, paper, or both? If both, simultaneous or staggered?
The first American edition is published in trade cloth binding.
3 JPEG image of cover art from first edition, if available
4 Pagination
236 leaves, pp.[8]1-259[5]
5 Edited or Introduced? If so, by whom?
N/A
6 Illustrated? If so, by whom?
This first edition is very plain; there are no illustrated plates. There is one colorful vignette. The vignette is bright orange and white, and represents the Herbert S. Stone & Co. publisher's symbol.
7 JPEG image of sample illustration, if available
8 General physical appearance of book (Is the physical presentation of the text attractive? Is the typography readable? Is the book well printed?)
Presentation of Text On Page: Wide margins contribute to ease of reading. Amount of space between lines of text varies. Measurement of Page: 7.5"x 4.75" Measurement of margins:Top & Side, 1". Bottom, 2" Space with text per page: 4.5"x 3" Type size: Type Style: Serif Ilustrations: None Further Description of Typography: Extremely readable, clearly printed. No type description noted on verso of title page or colophon. Additional Comments: The overall appearance of the book is fair. The binding is smooth and care-worn at edges, suggesting a well-used, well travelled specimen. One deep crack in the binding on the right side of the spine. Pages are roughly cut on the foredge and bottom.
9 JPEG image of sample chapter page, if available
10 Paper (Assess the original quality of the paper used for the book. Is the paper in the copy or copies you examined holding up physically over time?)
Wove paper with an even, granulated texture. The book consists of the same paper stock throughout. The paper has preverved well without foxing or staining. However, the pages are slightly yellowed and there are loosening tears located between the endpapers and the first and last leaves of the book, probably indicative of much use.
11 Description of binding(s)
Bluish cloth with dotted-line grain. No dust jacket. The cover is stamped in non-gilt white with the title, subtitle, and two illustrations. The subtitle is placed left of center to accomodate the illustrations, which are meant to resemble the view from a castle window and a stone floor within the castle. One-eighth of an inch from each edge of the cover, four thin rules are stamped in non-gilt white,forming a square frame for the titles and illustrations. Paper: Top edge has gilt. Uncut foredge and bottom. Transcription of Spine: GRAUSTARK | by | G. B.| McCutcheon | Stone | Chicago Transcription of front cover: GRAUSTARK | THE | STORY | OF A | LOVE | BEHIND | A | THRONE | by | G.B. McCUTCHEON
12 Transcription of title page
Recto: GRAUSTARK | THE STORY OF A LOVE | BEHIND A THRONE | BY | George Barr McCutcheon | Herbert S. Stone and Company | Eldridge Court, Chicago | MDCCCCI Verso: COPYRIGHT, 1901, BY | HERBERT S. STONE & CO.
13 JPEG image of title page, if available
14 Manuscript Holdings
Beinecke Library New Haven, CT 06520
15 Other (typograpical information from title page, etc.)
Copy specific information on provenance: Inscritpion in delicate cursive on the first front flyleaf: Fron Cecil to Saud | Merry Xmas 1901. Below the inscription is written in different handwriting, probably by a bookseller: Author's first book | 10 | 1st ed. 2nd issue?
Assignment 2: Publication and Performance History
1 Did the original publisher issue the book in more than one edition? If so, briefly describe distinguishing features of each (illustrations, cover art, typography, etc.); if not, enter N/A
There were no other editions by the original publisher, Herbert S. Stone & Co. The copyright was released to Dodd, Mead and Co. upon the folding of H.
S. Stone, and the book was reprinted by them in a second edition.
2 JPEG image of cover art from one subsequent edition, if available
3 JPEG image of sample illustration from one subsequent edition, if available
4 How many printings or impressions of the first edition?
Probably about 15 first edition printings or impressions. A number was not clearly given in any source discovered. Results deduced from dates of sales adds, approximation of how much needed to be produced to keep up with the volume of demand.
5 Editions from other publishers? If so, list their dates and publishers; if not, enter N/A
1901. New York: Grosset & Dunlap. 399 p.; 20 cm. Illustrated with sc
enes from the play.[Photoplay edition].
1901. New York: American News. 459 p. 19 cm. Special limited edition.
1902. London: Grant Richards. pp.459 [1st English edition]
1903. New York: Grosset & Dunlap. 459 p. 20 cm.
1903. Toronto: McLeon & Allen. 459 p. [1st canadian edition]
1905. Dodd, Mead & Co. 2 p.l., 459 p., 1 1. 19 cm.
1907. New York: Dodd, Mead & Co. 2 p.l.,459 p., 1 l.; 19cm.
1909. New York: Grosset & Dunlap. 459 p.; 20 cm.
1913. Decorah, Iowa: B. Anundsen. 335 p.; 17 cm. Norwegian translation.
1916. New York: C. Scribner's Sons. 376 p. front. (port.) 19 cm.
1926. New York and London: S. French. by Gatts, Grace (Hayward) Mrs. Standard library edition. 74 p. plates, diagrs. 20 cm.
1971. St. Clair Shores, Mich. 459 p. 21 cm.
1976. (fill in++++) Buccaneer Books.
6 Last date in print?
1976. In USA.
7 Total copies sold? (source and date of information?)
Approximately 1,500,000. (Source: Golden Multitudes by Frank Mott, 1947)
8 Sales figures by year? (source and date of information?)
Exact figures not found,however, this information was found in an approximate number as in advertised sales quotes as well
as popularity point scores as compiled by Irving Harlow Hart, Professor of Rural Education at Iowa State Teacher's College. These statsitics are the following: Publisher's Advert, September 1901: 17,262 copies sold during first ten days of September 1901. Publisher's Advert, September 1901: 98,000 copies sold Publisher's Advert, September 1901: "Nearing its, 100th Thousand and Selling Better Every Day." The Publisher's Weekly, February 5, 1927: "Fiction Fashions from 1895-1926 by Irving H. Hart; Ranked 2nd on chart "Most Popular Authors of Fiction". Additional Statistics from Hart, in 10 year popularity categories: 1897-1906: Score 13413; 1898-1907: Sco
re 16994; 1899-1908: Score 19884; 1900-1909: (#1 on chart) Score 22680.; 1901-1910 (#1 on chart) Score 24914; 1902-1911 (#1 on chart) Score 24211; 1913-1912 (#1 on chart) Score 24660; 1904-1913: (#1 on chart)Score 24274; 1905-1914 (#1 on chart) Score 2369
8; 1906-1915 (#2 on chart) score 20080. George Barr McCutcheon did not drop off of Irving H. Hart's chart until 1917, which reflects the popularity of his subsequent novels as as "Graustark."
9 Advertising copy (transcribe significant excerpts, briefly identify where ads were placed)
10 JPEG image of sample advertisement, if available
A21019990503200535.jpg
11 Other promotion
Book Boosting! Nowadays it is safe to assume that unless a book is "boosted by means of prizes and advertising novelties, it cannot be classed as real literature. "Graustark" is, we believe, the best novel issued in years, and to impress its literary and artistic metir
upon the reading public, we are giving the following prizes. *** PRIZES PRIZES PRIZES PRIZES: Many people think that the heroine of "Graustark" is the most charming character in recent fiction. To the person who thinks the hardest we will give $00,000. Forty-six novelists or more have tried to write as good a story as "Graustark" and have failed. To the person who guesses nearest the excuses of each of these authors we will give a hearty cheer. *** To the person who can scan the chapter headings of "Gra
ustark" while taking only eitht breaths we will give a standing ovation. Mr. McCutcheon wrote "Graustark" in 287 days. To the person who tells us in which particular day he wrote the greatest number of words, and if so, why not, we will gladly yield the palm. *** ADVERTISING NOVELTIES.ADVERTISING NOVELTIES, ADVERTISING NOVELTI
ES: We have a number of choice talking parrots, which have been taught to speak only the one word - "Graustark." There is nothing like a parrot on a stack of books to make a book popular. *** We will send on the application of any dealer a corps of bagpip
ers, who will play "The Graustark March" in front of a store. ***For a window display there is nothing so effective as our wax figure of the villain of "Graustark," which melts every hour. *** We will install in any window free of charge our automatic sco
re sign, which registers the sale of "Graustark." It is wound up to add a new cipher every twnety minutes. *** A lady in a tank of real water reading "Graustark" under the surface, a juggler juddling eighteen copies of the book simultaneously, and a blind
boy reciting the story backward while standing on his head, make splendid window displays, and cannot fail to convince the publis that "GRAUSTARK IS THE BEST NOVEL OF THE YEAR"
12 Performances in other media? If so, list media, date, title, production information; if not, enter N/A
SILENT FILM MEDIA PRODUCTIONS:
26 April 1915. Graustark. Essanay Film Mfg. Company. Distributed by V-S-L-E, Inc. Black and White. 6 reels. Director: Fred E. Wright. Camera: Jackson J. Rose. Cast: Beverly Bayne (Princess Yetive) and Francis X. Bushman (Grenfall Lorry).
30 August 1925. Graustark. Joseph M. Schneck Productions. Distributed by First National Pictures. Black & White. Silent. 7 reels, 5,900 ft. Director: Dimitri Buchowetzki. Photographed by Tony Gaudio. Cast: Norma Talmidge (Princess Yetive) and Eugene O'Br
ien (Grenfall Lorry).
13 Translations? If translated, give standard bibliographic information for each translation. If none, enter N/A
[Norwegian] McCutcheon, George Barr. GRAUSTARK. B. Anundsen. Decorah, Iowa: 1913. 335p.;17 cm.
Authoritative sources also found to support translations into Danish, Italian and Spanish, however no bibliographical records were uncovered in bibliographic sources.

14 Serialization? If serialized, give standard bibliographic information for serial publication. If none, enter N/A
N/A
15 Sequels/Prequels? Give standard bibliographic information for each. If none, enter N/A
Yes. Sequels: Beverley of Graustark (1904) The Prince of Graustark (1914) The Inn of the Hawk and Raven: A Tale of Old Graustark (1927)
Assignment 3: Biographical Sketch of the Author
1 Paste your biographical sketch here (maximum 500 words)
Royalty! Murder! Trials! Weddings! Imaginary Kingdoms!
These were the words used to describe the film adaptation of the novel "Graustark: The Story of a Love Behind a Throne, written by George Barr McCutcheon. While writing romantic, melodramatic bestsellers, the real life of George Barr McCutcheon was quite
different than that of his imagined literary characters. However, his life did parallel his art and interests in some ways, and millions in the early 20th century appreciated this art.George Barr McCutcheon was born to two well-read, contemporary young pa
rents named John Barr and Clara Glick McCutcheon on July 26, 1866. George was the first-born of the family, and the birth event took place at the rural McCutcheon homestead located near Lafayette, Indiana. Clara and Barr were destined to raise George in a
n intellectually stimulating home environment, based on the contribution of formal schooling on Clara's side and wide readership and interest in the theatre from John Barr. George passed a happy childhood along with younger brothers John, Ben, and baby s
ister Jessie. As a child George enjoyed writing his own plays and stories as well as taking parts in these plays, produced with his brothers and sister. George's first work, Panther Jim, was completed in 1874. His subsequent works from the beginning he
often dedicated "To Mother", a person with whom he had a close relationship throughout his life. George developed a love for reading dime novels (forbidden reading by his parents) at this time, which would remain an admitted enjoyable activity throughout
his life. George's learning experiences at the Lafayette Ford Elementary School were supplemented by his parent's collection of books at home, including Shakespeare, Plutarch, Ralph Waldo Emerson, Robert Louis Stevenson, Homer's epics and The Bible. Th
e early exposure to good works of literature encouraged George to pursue reading. One of his favorite authors later became Thackeray, whose life patterns he would imitate through work and choices in marriage. George learned a lot about theatre and drama by attending productions, one or two each week, at the Opera House in active downtown Lafayette. The Opera House was within convenient walking distance to George's new home when the family moved to Lafayette u
pon George's father's acceptance of a job as Lafayette sheriff. The Opera House offered a variety of entertainments, including opera, vaudeville, lectures and film. As George neared college age he began taking parts in plays with the Lafayette Dramatic
Club and later the Purdue Dramatic Society. Additionally, as a young man he proudly performed in the Opera House production of the musical drama Queen Esther on November 21, 1890. George Barr McCutcheon was a largely self-taught scholar even though he had exposure to good primary schools and attended Purdue University as a freshman 2 years younger than his respective classmates. George accepted a job at Purdue's Lafayette Journal
writing reviews of local productions. He was critical of works he did not feel were well done or substantive but was very generous in praising quality theatre regardless of popular opinion or producer's promotion. However, GBMc, as George was later calle
d by critics and admirers alike, flunked out of college as a sophomore was because he put most of his effort into writing activities outside of class. Soon after leaving Purdue he would accept a newspaper job with the Lafayette Courier, a career which wou
ld progress over time into a position as City Editor in March of 1893. He had a 10 hour a day, six day a week work schedule at the Courier office, and usually used his time after returning home to work on his own personal writing. His first novel, entitl
ed Graustark: The Story of a Love Behind a Throne, was begun behind his desk at the Lafayette Courier, and was completed in 287 days. Graustark proved to make the McCutcheon name known to the readers of romantic novels, launched his professional writing c
areer, and provided him with enough stability to enable him to decide to resign from his job on June 1, 1902, move to Chicago and pursue writing full time. It was at this point that a career began which would end with a total output of over 40 published w
orks. The romance novels of GBMc's "Graustark Series" would be especially widely published. However, his many serious plays and intended parodies, the first of which was Judith Verne (1885), would be continuously rejected by publisher's in fact of the
great quality which is evident in it. These would be rejections which seemed to distress GBMc in a way which he subtly showed in some of the statements he made about his best-sellers. In spite of the fact that Graustark and its subsequent sequels, includ
ing Beverley of Greystark (1904) and The Inn of the Hawk and Raven (1927) were so carefully crafted to be set in believable, yet fictitious, European countries created by the author, GBMc in fact made only one trip to Europe in his lifetime, and this tri
p was taken after many of his novels were written. Graustark: The Story of a Love Behind a Throne had a setting which was so scrupulously created, down to the very last detail as was GBMc's habit, that his readers would often assume that it was in fact a
real place and contact him for travel assistance. GBMc finally married in 1904. His bride, Marie Van Antwerp Fay, was a former widow with a young son, William. Another son was born to G.B. Mc. and Marie on December 1, 1909, but the infant died within hours of his birth. The process was also physically di
fficult for Marie because of her age, and she nearly did not recover. Although George and Marie's marriage endured until his death in 1928, he was in fact most in love with the writing life. He kept a strict schedule, writing 1,000 or more words per day.
McCutcheon's literary ledger, which is housed at the Beinecke Library, is the most complete record of all aspects of his career. The ledger includes start and finish dates of novels, royalties paid, details of serialization, adaptation to the stage and
screen, in fact, essentially all of the details of his professional career, and all in GBMc's neat handwriting. When he was not writing, GBMc and Marie enjoyed sharing time and conversation with contemporaries who were members of the Dutch Treat Club, a literary group that routinely met in New York City. Some famous friends of GBMc and Marie from this club and othe
r literary groups were George Ade and Booth Tarkingtion. G.B. Mc. held several professional posts and was known in literature as a member of the Hoosier school of writers. GBMc was also a bibliomaniac, collecting a very complete collection of first editio
n Victorian novels, including works by Dickens, Thackeray, Hardy and Kipling. He also proved to have an interest in American and Dutch art. George Barr McCutcheon's life was cut short at the age of 60 when he died suddenly while at a luncheon of the Dutch Treat Club in New York's Hotel Martinique. The cause of death was heart failure and it happened suddenly and unexpectedly. His body was r
eturned to Lafayette to his stepson, William Fay, where it was cremated and the ashes were interred. The Lafayette Journal and Courier covered the news of his death in detail the following day. It was noted honorably in the following way: George Barr McCu
tcheon's death marks the passing of one of the last of the great romanticists among American authors.
Works Cited "Dead Novelist" p.1 The Lafayette Journal & Courier, Evening Edition. Wednesday, October 24,1928. Lazarus, Arnold Leslie. BEYOND GRAUSTARK: GEORGE BARR MCCUTCHEON, PLAYWRIGHT DISCOVERED. Point Washington, N.Y.: Kennikat Press, 1981. Malone, Duman. Ed. DICTIONARY OF AMERICAN BIOGRAPHY, V.12. New York: Charles Scribner's Sons, 1933. pp.12-13. McCutcheon, George Barr. BOOKS ONCE WERE MEN: AN ESSAY FOR BOOKLOVERS . New York: Dodd, Mead & Co. 1931 McCutcheon, George Barr. A CHOICE LITTLE COLLECTION: PAINTINGS BY THE AMERICAN MASTERS AND A NUMBER OF EXAMPLES OF THE BARBIZON AND DUTCH SCHOOLS. New York: American Art Association, 1929. McCutcheon, George Barr. THE RENOWNED COLLECTION OF FIRST EDITIONS OF CHARLES DICKENS AND WILLIAM MAKEPEACE THACKERAY. New York: American Art Association, 1926. Moriarty, John H. "Hoosiers Sell Best". Indiana Quarterly for Bookmen. V.3.#1 January 1947. "The McCutcheon Sale of Hardy, Kipling and Stevenson Collections." Publisher's Weelky. March 23, 1925. pp.1773-1775. West, James L. W., III. "George Barr McCutcheon's Literary Ledger". Yale Univeristy Library Gazette. 1985 V.59 (3-4): 155-161
Assignment 4: Reception History
1 Paste contemporary reception history in here (maximum 500 words)
2 Paste subsequent reception history in here (maximum 500 words)
Assignment 5: Critical Analysis
1 Paste your critical analysis in here (maximum 2500 words)
George Barr McCutcheon and a Graustarkian Legacy The time period of early 20th century America set a stage upon which to receive George Barr McCutcheon's Graustark: The Story of a Love Behind a Throne. As is usually the case, there are reasons why certain works of literature emerge at certain times in
history. Writing, like other forms of art, is usually accepted as being the result of a combination of the author's place in history, the world, and spirit. The same seems to be true with McCutcheon's Graustark. However, the reasons can and must be anal
yzed a little differently at the present time in history, as we are nearly 100 years past the date in which Graustark was first conceived of and written. We can dissect all points fully as well as from an 'after the fact', perspective, neither of which
was possible for the author or his contemporary critics. An analysis of this kind is a valuable one when considering the novel as a whole, as well as its reception history. Through the paragraphs that will follow, the novel Graustark: The Story of a Love
Behind a Throne will be placed in the context of its time and place as well as the interpretation of the influences and intentions of its author. The ideas that Graustark: The Story of a Love Behind a Throne was a combination of the author's reactions to
his own important opinions and the history of the early 20th century will be supported. Additionally, the concept of the "Graustarkian Novel" as defined by author Raymond P. Wallace will be added, with commentary on its significance and his opinions, exp
ressed over 80 years after the book was first reviewed. George Barr McCutcheon was an interesting man. His personality was both meticulous and creative, a rarely compatible combination for many professions of the time. However, when writing Graustark and other subsequent works of romantic fiction, McCutcheon w
as able fully express both of these sides of him. Essentially, he was able to re-experience both his love for drama and it's emotion while staying within the masculine norms of detail, extreme organization, voluminous productiveness, and professional/per
sonal success. The former was, of course, accomplished through the general plot and adventurous theme of the story itself and the process of its creation. The second was accomplished through the detailed writing schedule and creation, map and all, of a fi
ctitious place in which to set the adventure. These two conclusions can be supported by the fact that the late years of the 19th century must have been times of great imagination and dreams. Graustark was, after all, published only one year after the turn
of the century as the brainchild of a man who had grown up watching the old century end and a new one begin. It could perhaps have been, in fact, the newness of the century which influenced McCutcheon to created a new and fictitious country on a far away
continent which he had never visited, in a type of romantic fiction which had not yet been established concretely in America as a genre. Almost all of the traits previously mentioned are qualities which George McCutcheon was able to prove about himself t
o himself in his real life habits; the other he felt he had to express through the story of his first Graustark hero, Grenfall Lorry. (1) The author most likely enjoyed creating the bestsellers not only for their ability to make him very wealthy, but also because he enjoyed the process of writing about his own, probably unconscious, desire to live the part of the hero. In the reality of the
true Graustarkian novel (2) good conquers evil and the woman loves the man. McCutcheon's real life world included the less-than-enthusiastic reception of his romantic overtures to women he admired (3), often from afar to avoid the chance of outright rej
ection. In the larger context of history, the idea of a heroic, romantic and europeanesque man was highly in fashion. Because of the limits of technology on travel, Europe was still considered to be a far-away land of some mystery, with exciting possibili
ties. Additionally, American society had not yet experienced the sobering years of the Great Depression, the stock market crash, or a world war, all of which were ahead and as yet unrelated to daily worries. So, there was a particular adventure in the pro
blems of the Graustark characters. The sum total of the realistic portrayal of the characters, the fictitious, far-off country and the 'escapist' style would prove to make McCutcheon the author of best-selling fiction. The last important point to include in a critical analysis of Graustark: the Story of a Love Behind a Throne is the summary of the many critical responses McCutcheon received from his contemporaries and critics of his work. his Graustark tales were descri
bed as "potboilers" and lesser works literary art, even something to fear for the future degeneration of good writing. In an article from an early 1901 issue of the Bookman, a more refined literary record, author W.D. Howells wrote (before Graustark was e
ven written) an essay of warnings regarding the genre in which McCutcheon's Graustark would be fit: (4) "Tobe sure, one must not take the books too seriously. When their manners and their morals were the property of the dime novels, they sometimes inspired..." "The vast majority of readers will rise from the book as guiltless, but that such fiction will in a measure and for a while debauch the minds and through their minds the morals of their readers, is reasonably to be feared even by the optimist." While Howells' view of the novel and its genre was echoed, although generally in a less severe tone, by many of the critics contemporary to McCutcheon. However, the more recent writer Raymond P. Wallace published a research article in 1987 entitled "Card
board Kingdoms." The article discusses the presence of the fictitious country or town as the setting for works of fiction since 1870, which he sees as the advent of the genre style. Wallace connects all of the novels which he has included in his study, in
cluding Anthony Hope's The Prisoner of Zenda, to be classified as the "Graustarkian Novel" (5) In order for the novels to be considered a true Graustarkian Novel it had to have the following components: 1)A Fictitious country Setting 2) An Impending Threat to the government (usually royalty) 3) The Wicked Character 4) The Good, Intervening Stranger 5) The Remarkable Coincidence 6) The Chase 7) The Duel and Happy Ending (resulting in the marriage of the hero to female royalty). Hope sums up his study in a good way in support of the entire genre of Gruaustarkian fiction in a way that would give George Barr McCutcheon as much of a feeling of success as he would probably have received if the non-experimental Frohman cinema had fina
lly accepted one of his plays for production (7): "The Graustarkians are designed to move the heart and instill the sense of romance, rather than to exercise the mind. In a world largely devoid of such values, there is something undeniably stirring in the spectacle of a defeated Wicked Uncle being given
a horse and a ten minute start for the border; or conversely, a dethroned king riding in hot haste or the frontier, with the reigns in his teeth and a satchelful of the crown jewels in one hand and his blazing revolver in the other. If reality is what is
wanted, King Carol II of Rumania is said to have left his domain very much in this manner, except that he stood on the rear platform of his private train, with the satchel between his feet and a revolver in each hand" Reading this quote George Barr McCutcheon would have considered himself a success and his novel writing a great contribution to the society of all time, as he should. Footnotes 1. Grenfall Lorry was referred to as "large, broad and tall", three very important requirements for the romantic hero in examined editions of Graustark (1901 and 1906). 2. taken from Wallace, Raymond P. "Cardboard Kingdoms" San Jose studies, V.13 Spring, 1987. 3. Minnie Maddern, afamous actress in McCutcheon's youth, was worshiped by him from afar. At one point early in his young adulthood he mailed her a copy of one of his plays which she promptly insulted and disregarded. Lazarus, A. L. Beyond Graustark: 4. Howells, W.D. "The New Historical Romances." The Bookman, 1901. Pp.213-4. 5. Term Graustarkian Novel" given and list recorded from Wallace, Raymond P. "Cardboard Kingdoms" Pp.28-30. 6. ibid.
Supplemental Material
This is a sample advertisement from
George Barr McCutcheon's Literary Ledger: Contained all details of his writing and publishing career. Gold stamped Dodd, Mead & Co. on outside. Presently held at the Be ineke Library, Yale Univeristy. This page contains data for
The McCutcheon Extended Family: George Barr McCutcheon (3rd from left) Mrs. Barr McCutcheon (5th from left) Sitting, left to right: John T. McCutcheon, Ben McCutcheon, Hired Girl, Jessie McCutcheon
McCutcheon's Princess Yetive: The Bride
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