The Bible was deeply impressive to him, perhaps above all Job, Ecclesiastes, and the Apocalypse. Byron gave place to Shelley when my brother was about sixteen years of age; and Mrs. Browning and the old English or Scottish ballads rapidly ensued. It may have page: xxvi. The reader may perhaps be surprised to find some names unmentioned in this list: I have stated the facts as I remember and know them. It should not be supposed that he read them not at all, or cared not for any of them; but, if we except Chaucer in a rather loose way and at a late period of life Marlowe in some of his non-dramatic poems, they were compara- tively neglected.
Thomas Hood he valued highly; also very highly Burns in mature years, but he was not a constant reader of the Scottish lyrist. Of Italian poets he earnestly loved none save Dante: Cavalcanti in his degree, and also Poliziano and Michelangelo — not page: xxviii.
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I now pass to a specification of my brother's own writings. Of his merely childish or boyish performances I need have said nothing, were it not that they have been mentioned in other books regarding Rossetti. It is of course simple nonsense. If what they do is meaningless, what they say when they deviate from prose is probably unmetrical; but it is so long since I read The Slave that I speak about this with uncertainty. Towards his thirteenth year he began a romantic prose-tale named Roderick and Rosalba.
I page: xxix. Other original verse, not in any large quantity, succeeded, along with the version of Der Arme Heinrich , and the beginning of his translations from the early Italians.
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These must, I think, have been in full career in the first half of , if not in They show a keen sensitiveness to whatsoever is poetic in the originals, and a sinuous strength and ease in providing English equivalents, with the command of a rich and romantic vocabulary. In his nineteenth year, or before 12th May , he wrote The Blessed Damozel.
Note: Page is misnumbered as xx. Dante Rossetti's published works were as follows: three volumes, chiefly of poetry. I shall transcribe the title-pages verbatim. Together with Dante's Vita Nuova.
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Translated by D. Part I. Poets chiefly before Dante. Part II. Dante and his Circle. London: Smith, Elder and Co. The rights of translation and reproduction, as regards all editorial parts of this work, are reserved. Revised and rearranged edition. Poets of Dante's Circle. London: F. Ellis, 33 King Street, Covent Garden. A new edition. The reader will understand that 1 b is essentially the same book as 1 a , but altered in arrangement, chiefly by inverting the order in which the poems of Dante and of the Dantesque epoch, and those of an earlier period, are printed.
In the present collection, I reprint 1 b , taking no further count of 1 a. The volume 2 b is to a great extent the same as 2 a , yet by no means identical with it. It thus became impossible for me to reproduce 2 a : but the question had to be considered whether I should reprint 2 b and 3 exactly as they stood in , adding after them a section of poems not hitherto printed in any one of my brother's volumes; or whether I should recast, in point of arrangement, the entire contents of 2 b and 3, inserting here and there, in their most appro- priate sequence, the poems hitherto unprinted.
I have chosen the latter alternative, as being in my own opinion the only arrangement which is thoroughly befitting for an edition of Collected Works. I am aware that some readers would have preferred to see the old order— i.
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Indeed, one of my brother's friends, most worthy, whether as friend or as critic, to be consulted on such a subject, decidedly advocated that plan. On the other hand, I found my own view confirmed by my sister Christina, who, both as a member of the family and as a poetess, deserved an attentive hearing.
The reader who inspects my table of contents will be readily able to follow the method of arrangement which is here adopted. I have divided the materials into Principal Poems, Miscellaneous Poems, Translations, and some minor headings; and have in each section arranged the poems—and the same has been done with the prose-writings—in some approximate order of date. This order of date is cer- tainly not very far from correct; but I could not make it absolute, having frequently no distinct information to go by.
The few translations which were printed in 2 b as page: xxxiii. There are two poems by my brother, unpublished as yet, which I am unable to include among his Collected Works. One of these is a grotesque ballad about a Dutchman, begun at a very early date, and finished in his last illness. The other is a brace of sonnets, in- teresting in subject, and as being the very last thing that he wrote.
These works were presented as a gift of love and gratitude to a friend, with whom it remains to publish them at his own discretion. I have also advisedly omitted three poems; two of them sonnets, the third a ballad of no great length. One of the sonnets is that entitled Nuptial Sleep. It appeared in the volume of Poems 2 a , but was objected to by Mr. Buchanan, and I suppose by some other censors, as being indelicate; and my brother excluded it from The House of Life in his third volume. I con- sider that there is nothing in the sonnet which need imperatively banish it from his Collected Works; but his own decision commands mine, and besides it could not now be reintroduced into The House of Life , which he moulded into a complete whole without it, and would be misplaced if isolated by itself—a point as to which his opinion is very plainly set forth in his prose-paper The Stealthy School of Criticism.
The second sonnet, named On the French Liberation of Italy, was put into print by my brother while he was pre- paring his volume of , but he resolved to leave it unpublished. Its title shows plainly enough that it page: xxxiv. Dante Rossetti was a very fastidious writer, and, I might add, a very fastidious painter. He wrote out of a large fund or reserve of thought and consideration, which would culminate in a clear impulse or as we say an inspiration.
In the execution he was always heedful and reflective from the first, and he spared no after-pains in clarifying and perfecting. He abhorred anything straggling, slipshod, profuse, or uncondensed. He often recurred to his old poems, and was reluctant to leave them merely as they were. A natural concomitant of this state of mind was a great repugnance to the notion of publishing, or of having published after his death, whatever he regarded as juvenile, petty, or inadequate.
As editor of his Collected Works, I have had to regulate myself by these feelings of his, whether my own entirely correspond with them or not. The page: xxxv. I have not unfrequently heard my brother say that he considered himself more essentially a poet than a painter. To vary the form of expression, he thought that he had mastered the means of embodying poetical concep- tions in the verbal and rhythmical vehicle more thoroughly than in form and design, perhaps more thoroughly than in colour.
I may take this opportunity of observing that I hope to publish at an early date a substantial selection from the family-letters written by my brother, to be pre- ceded by a Memoir drawn up by Mr. Theodore Watts, who will be able to express more freely and more im- partially than myself some of the things most apposite to be said about Dante Gabriel Rossetti. Note: Broken type: In the seventh line, the dot of the "i" for the page number is missing.
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I add here the dedications to Rossetti's volumes 1a, 2a, 2b, and 3. The dedication to 1b appears in its proper place. I put an asterisk against the titles of the few which had been printed by my brother in some outlying form, but not in his volumes. For any further particulars the reader may be referred to my notes. Yea, thou shalt learn how salt his food who fares Upon another's bread,—how steep his path Who treadeth up and down another's stairs. Behold, even I, even I am Beatrice.
Regno Lombardo-Veneto , I only wished I could be home to celebrate with Sherri, Tom, and the wonderful creative team at Chronicle. The title has been on the New York Times list for three years, with more than , copies in print and rights sold into 23 territories. Eventually we both dropped out, and lost touch.
In I was delighted to hear from her, and read an early version of what became her first novel, First Light. When it was ready to share in-house, every reader saw its potential. So, we were in a happy situation—a new author whom we loved had written something truly remarkable. Every department came up with great ideas to package, or promote, or sell it. For me, a small tipping point came in June , before publication in July, when Teachers College at Columbia ordered copies, one for each student in its graduate summer program.
In July, it debuted on the New York Times bestseller list. In December, we had inventory, ready for holiday sales. But it appeared on so many best-of-the-year lists that we had to reprint fast. There are nearly , copies in print. Crank by Ellen Hopkins Simon Pulse, I wanted to publish Crank the minute I heard about it.
It was ; I was in Reno, speaking at a conference. One of them was a lovely picture book by then-unpublished author Ellen Hopkins. I was looking for YA. As Ellen and I talked, she told me about another story she was working on, a YA novel about a girl addicted to meth. Immediately I wanted that story. I had recently read an article in Rolling Stone about meth, the new drug ravaging the country.
All I could think was this could be the next Go Ask Alice. Ellen sent me the first 50 pages, and her writing blew me away. Her poetry was so raw and painful and beautiful. I had planned on waiting for a finished manuscript before bringing it to my editorial team for review. I made Ellen an offer immediately. The editorial process went smoothly and under the radar of anyone else in the company.
But slowly, attention began to be paid. The reviews started coming in and they were all very good. And interest from accounts was strong. Expectations were low. When the book was finally published, everything changed. It reached an audience immediately. We had to reprint quickly and often.
The shot only lasted a few seconds, but it was long enough to know that the book and the ideas it represented were now part of the larger conversation about meth. Crank had truly become the next Go Ask Alice. Little Blue Truck is a success story that happened nearly out of the blue! Do you think we can make that happen? Little Blue Truck was published in hardcover in , and its good reviews and respectable sales prompted us to plan a companion, Little Blue Truck Leads the Way. Yet it was the board-book edition of Little Blue Truck that put the book on a fast track that just keeps accelerating.
Even better, I often hear parents of preschoolers profess the love they and their child have for Blue. Thirteen Reasons Why was acquired by Razorbill back in September I had arrived at Razorbill just a month earlier. Kristen Pettit now at Harper was an editor at Razorbill then and she acquired the book. We published in October and weekly sales grew stronger through that fall and winter. Our first major campaign was on YouTube in October with a voice on cassette the voice was Olivia Thirlby and that really boosted sales.
Our website has been a hub for teens who want to share their stories for years now. The novel went to 1 in paperback in July Jay is currently on a 50 States Against Bullying tour. The book has been published in 35 countries and spent weeks on the New York Times bestseller list. Uglies by Scott Westerfeld Simon Pulse, I had just joined Simon Pulse as editorial director.
One of the books in the queue to be published was Uglies. The trilogy had been acquired based on a proposal, for a modest advance and without an agent. The acquiring editor, Eloise Flood, had left, so the manuscript had been sitting around for a while. I picked it off the pile, read it, and thought it was brilliant. Very cool and different. In hindsight, so ahead of its time. I love a strong girl protagonist, and Tally was it. Scott and I got together, which was a little awkward since his book had been neglected. While I was encouraging him to have faith in Simon Pulse, Scott noticed the life-size poster of the basketball superstar Diana Taurasi on my office wall.
We talked hoops a bit then proceeded to some editorial discussion.
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My excitement for the book extended to sales and marketing, and beyond. Plus Uglies had a gorgeous cover. Despite the limited marketing dollars and a conservative first print, the buzz for Uglies continued to grow. Almost two years after publication, Uglies hit the New York Times bestseller list. Now Uglies has been translated into almost 30 languages, and is in development for television. Widely considered to have started the current teen dystopian trend, the books are contemporary classics with a diverse and passionate fan base. The planned trilogy became a quartet— Uglies , Pretties , Specials , and Extras —and has sold more than four million copies.
Octavian Nothing: Traitor to the Nation, Vol. Anderson Candlewick, On one particular evening, faculty and students read from their works in progress. Tobin Anderson was part of the roster. I had known he was working on a new novel, but I knew little about it except that it was supposedly different from Feed , the novel we had just published.
There were at least two words in the first hundred that were completely unknown to me. I had thought before that evening that Feed would be the highlight of my editorial career. And yet here was Tobin, confounding expectations and moving from the dystopian future into the heart of American history—and again overturning conventional thinking, this time about the Revolutionary War. I never questioned that we would publish the novel; I just questioned my own ability to edit what turned into two volumes of 18th-century prose.
I remember driving home to Boston at about 2 a. Somewhere along that drive I got my courage back, and by the time I arrived home, I was laughing delightedly at what lay ahead. The second volume was a Printz Honor winner.