University of Virginia Library

David Douglas and the British Publication of W. D. Howells' Works
by
Scott Bennett

Literary piracy, and complaints about it, were rife in the United States and Great Britain throughout most of the nineteenth century, for there was no copyright agreement between the two countries until 1891. It is not clear what effect such piracy had on the development of American literature, but it is clear that writers and publishers on both sides of the Atlantic suffered commercially from their inability to protect literary property. Their loss is, however, the historian's gain, for the efforts made to compensate for the absence of an international copyright law help illuminate some of the bibliographic, commercial, and personal aspects of the profession of authorship in the nineteenth century. If authors looked on the international copyright situation as a flaw in the routines of their profession, historians can now look at the flaw to better understand the routines. The purpose of this paper is to detail some aspects of the profession of letters in the nineteenth century by describing the efforts of William Dean Howells and his Edinburgh publisher, David Douglas, to protect Howells' literary property in Great Britain.

I

Howells was not one of the leaders in the movement to secure an international copyright law, but he greeted the prospect of one in the Christmas 1890 issue of Harper's Monthly by looking forward to the time when economic justice would finally be done to British authors. American publishers, he imagined, would pay foreign authors not only royalties but also, every year, a Christmas bonus in restitution for past deprivations. To keep these deprivations actively in mind a "Mount Restitution" would be built from old pirated editions, though Howells was afraid that Americans would take a "curious pride in such a colossal

witness of the national wrong-doing."[1] He of course knew that the British might well build a similar monument with their own piracies, but — as he had good reason to know — it would have had a significantly different moral foundation. For it had been possible for Americans to protect their literary property under British law, and Howells was one of the writers who had done so.

The story of Howells' publications in Great Britain begins with his first successful book, Venetian Life, first published not in America but in London, by Trübner, in 1866. Howells had made the final arrangements for this book on his way home from Venice, where he had been American consul. Trübner also published Italian Journeys in 1867, but from then until 1881 the only other of Howells' books to be published in Britain were the non-fiction Suburban Sketches (Sampson Low, 1871) and The Undiscovered Country (Low, 1880).[2] Howells was evidently little interested in securing a British audience for his novels during the 1870's, when he was establishing himself as a writer of "international" novels.[3]

In 1881 Trübner re-enters the picture briefly. In July he sent to the British Museum a sixty-one page pamphlet containing the first serial installment of Howells' Dr. Breen's Practice, to be published in America in the August number of the Atlantic Monthly.[4] The words "English copyright secured" were printed on the wrapper, and they indicate Howells' first attempt to protect his work in Britain. The typesetting of this first part and of the entire book, which Trübner deposited in October, is the same as that used for the James R. Osgood

edition in America. A letter of 30 June 1881 to Howells from Osgood, then in London, indicates that the type had been set in America and sheets of the first part sent to Trübner.[5] Thus Howells' first efforts to secure British copyright were made with sheets imported from the United States; for his next novel, and all subsequent ones until 1891, this arrangement was to be turned on its head. During the 1880's the type for Howells' novels was set in Britain and the plates made from it exported to the United States.

The next novel was A Modern Instance. At first the procedure was the same as for Dr. Breen's Practice, except that the parts Trübner used for copyright deposit — he sent in only the first and last serial installments of the novel — were not printed from Osgood's type. Trübner evidently had them set himself. But he did not publish the complete book, for it was at this point that David Douglas took over the publication of all of Howells' works in Britain. Douglas had A Modern Instance entirely reset and deposited it by 3 October 1882, with the words "All rights reserved" on the title page. For the next ten years Douglas would be exclusively charged with the protection of Howells' literary property in Great Britain.

Howells was indebted to Mrs. Sarah M. Sage and probably to Osgood for his introduction to Douglas. In 1879 Mrs. Sage, an American friend of Douglas, sent him a copy of The Lady of the Aroostook, introducing it as "by our best American Novelist Mr Howells."[6] It was a timely introduction, for Douglas had recently been reading

The books Douglas refers to here made up his American Author series, about which more will be said later. The point here is that Douglas had been reading Howells and the magazine Howells edited, and his name surely would have come up when Osgood visited in Edinburgh in the summer of 1881.[7] Though Douglas began to reprint Howells' novels in the spring of 1882, there is no evidence that the two men met personally until May 1883 when Howells wrote his father, from Venice, that "my Edinburgh publisher is here; a very nice old gentleman, whom I like very much, and who is very enthusiastic about my books."[8]

Douglas was sixty years old in 1883 and had been a publisher for almost thirty years. Between 1863 and 1869 he had been editor and publisher of the North British Review; he was to form, along with James Thin and Andrew Elliott, a famous trinity of booksellers in Edinburgh; he was a member of the Antiquaries from 1861 and a fellow of the Royal Society of Edinburgh from 1866; his editions of Scott's Journal and Familiar Letters were probably his most famous publications. As a publisher, his main concern was with Scotland — its history, geography, religion, and architecture; typical of this concern, his lavish publication of David MacGibbon's and Thomas Ross's The Castellated and Domestic Architecture of Scotland (1887-1888) is still used as a reference book in many Scottish architects' offices. Douglas's interest in the literature of the United States was a significant departure from this and was marked by his scrupulous concern for its authors' interests, even when their books could not be protected by copyright. The care with which he practiced his profession was a mark of the man himself, and the letters between Douglas and Howells, written over a period of thirty years, bespeak the most cordial friendship. Howells acknowledged his esteem for Douglas by writing, in 1893, that "English writers seem largely to suspect their publishers . . . I cannot say with how much reason, for my English publisher is Scotch, and I should be glad to be so true a man as I think him."[9]

II

David Douglas began to publish Howells' novels in 1882 and it was not until 1913 that he ordered the last reprinting of one of them. His printer's records and the surviving letters between Howells and Douglas indicate, however, that the first of these three decades was the most important one; these were the final years before a copyright agreement was reached between the United States and Great Britain. The story of these years — of the friendship between Howells and Douglas and of their business dealings — must be reconstructed from rather miscellaneous materials, and it is best to divide it somewhat arbitrarily between the two editions that Douglas published of most of Howells' novels. The first of these was a regular octavo trade edition, selling for six shillings a volume, with which Douglas secured British copyright on all of Howells' new fiction in the 1880's. The other edition was printed for Douglas's American Author series; it was smaller in format and sold from one to two shillings a volume. It was with these cheaper editions that Douglas won his greatest success with Howells' works, and they will be discussed in the third section of this paper.

One of Howells' purposes was to secure British copyright. The Routledge v. Low case of 1868 had made it possible for aliens to secure British copyright by publishing their work first in Great Britain. The question of a residence requirement at the time of publication had been left unresolved, but in fact prior publication came to be acknowledged as sufficient grounds for copyright.[10] With this in mind, Howells sent copy for each serial installment of his novels sufficiently in advance of its publication in America so that Douglas could set and print that part of the novel for copyright deposit before the magazine appeared in the United States or went on sale in Britain. The result was a set of "books" at the British Museum (some were also sent to the Bodleian and to the Advocates Library in Edinburgh) made up of the several parts and representing technically the first published form of most of the novels Howells wrote in the 1880's.

One important question about these volumes is the nature of the copy from which they were set. The first of them, A Woman's Reason, was evidently set from Howells' manuscript. Writing on 16 October

1882 to Osgood about the novel, Howells said that he was "having it stereotyped at Edinburgh, according to my last understanding with you, and I have sent it to New York in print" (Rutgers). Since the first installment of the novel was published in the February 1883 number of the Century Magazine, it is evident that there was ample time for Howells to send his original copy to Douglas and then use Douglas's proofs as copy for the periodical. But after this novel, publishing deadlines were such that Douglas usually had to set his copy from magazine proofs, which he had to have early enough so that each month he could secure copyright before the arrival of the magazine from America. The deadlines for any given novel could give rise to bibliographically complicated situations, such as that of The Rise of Silas Lapham. Pressed by time, Howells sent Douglas a set of the magazine proofs before he had finished revising the novel. The result is that the parts Douglas deposited for copyright contain some unique authorial readings later revised for the magazine. Fortunately, one of the readings that can be recovered from the copyright deposit copies is the passage about dynamite — a sensitive subject in 1885 — that the editor and publisher of the Century Magazine called on Howells to change: "I tell you," says one of Howells' characters, "that in some of my walks on the Hill and down on the Back Bay, nothing but the surveillance of the local policeman prevents me from applying dynamite to those long rows of close-shuttered, handsome, brutally insensible houses."[11]

It is beyond the scope of this paper to detail the bibliographical tangles that resulted from Howells' efforts to secure British copyright. They will be reported in the individual volumes of the Howells Edition now being published. It is sufficient here to indicate their existence; that done, we can turn to another aspect, the economic one, of the regular trade editions of Howells' novels in Great Britain.

Howells had for some time been able to command higher royalties from his American publishers by owning the plates for his own books, and one of the advantages of his arrangement with Douglas was that the plates could be made more cheaply in Edinburgh than in the United States. Not only were labor costs lower in Edinburgh, but also Howells could recover part or all of his cost from the royalties paid him on the copies Douglas printed from the plates before shipping them to America. Douglas's letter of 12 May 1885, suggesting a minor

change in their arrangement, makes clear how it worked: Thus the arrangement for A Modern Instance and A Woman's Reason had been a conventional one, including the royalty, except that Douglas himself had no use for the plates Howells ordered and paid for. But after these first two books, because Douglas was more interested in his cheaper American Author series than in the regular trade edition, he asked that Howells begin to assume half the cost of composing type for the latter. Douglas had already told Howells (22 November 1884) that the demand for the trade editions of A Modern Instance and A Woman's Reason, of both of which he had printed 1500 copies, was disappointing, and by 5 February 1885 he had only lukewarm encouragement to offer: "You will be glad to hear that I have lost nothing on the whole by taking up your books, and I will add to the trifling royalties due to you a further sum of £20 and hope that the sales of the little volumes [i.e., the American Author series] will not 'dry up' for a year or two yet." In these circumstances, it must have gratified Howells to see that after a print order of only 500 for The Rise of Silas Lapham, Douglas could increase his printing of the trade editions of Indian Summer and the next three of his novels to 1000 copies.[12] Thus, Howells won at least a modest audience in Britain as a result of his arrangement with Douglas for regular trade editions of his novels.

This arrangement was maintained for The Minister's Charge, April Hopes, Annie Kilburn, and A Hazard of New Fortunes (except that Douglas printed only 750 copies of the last novel), until the passage of the International Copyright Law of 1891 prohibited the importing of plates for books to be published in the United States. Howells had sent Douglas the first part of An Imperative Duty on 25 April 1891, hoping that the whole could be set and stereotyped in time to get the plates into America before 1 July, when the new law went into effect. Douglas replied on 7 May that he would willingly publish the book and promised to get it set as fast as possible. But they did not beat the July deadline. Indeed, it was not until 20 September that Howells sent copy for the complete book to Douglas, and when on 2 October Douglas wrote to thank him for the proofsheets, he explained "I had already set up 32 pages in fscp 8°. according to your wish but as the new copyright act rendered further introduction of English plates into the States useless I cancelled the pages. It was mainly to afford a set of stereotypes at a less cost than you could get them in New York that I adopted the larger size."

Clearly Douglas was not much interested in the market for the regular trade editions of Howells' work and took them on, possibly at a loss to himself, only to accommodate Howells.[13] There is no way now to know whether Douglas did suffer a loss in providing plates for Howells, but the surviving royalty statements indicated how modest the continuing sales of these six-shilling volumes were. The statement sent on 24 January 1893 lists the following sales for 1892; five copies of A Modern Instance, ten of Dr. Breen's Practice, five of A Woman's Reason, three of Indian Summer, one of April Hopes, seven of The Minister's Charge, seven of Annie Kilburn, ten of A Hazard of New Fortunes, six of The Shadow of a Dream, and 614 copies of Mercy — Douglas's title for The Quality of Mercy, which he had published in 1892. It appears then that Howells' novels had a modest initial success

but afterwards did not sell; about the only comfort Douglas could offer in sending the statement for 1892 was that he was glad to see that the royalty on the American Author series was "more substantial this year than I was able to make it last, but I find that I can do comparatively little for you with the 6/. volumes."[14] The check Douglas sent with his statement was for £85/17/10, but the royalties due on the trade editions accounted for less than a quarter of the sum.

Clearly then it was not the regular trade editions but the cheaper American Author series that accounted for whatever fame or fortune Howells won in Great Britain. For where Douglas may not have been able to sell significantly more than 500 copies of The Rise of Silas Lapham at six shillings, he had by 1893 sold almost a dozen times that number at two to four shillings in his American Author series. It was the cheaper market that Douglas was interested in, the market where in the case of the popular A Chance Acquaintance Douglas could sell 14,000 copies within the first three years after he published it, another 5000 copies in the next seven years, and 10,000 more in the course of the ensuing twenty-one years before April 1913, when the last 1000 copies of the novel were printed for Douglas. The six shilling trade editions are interesting as a part of the effort American writers took to secure copyright in Britain and as presenting sometimes special bibliographical problems, but it is to the American Author series that one must turn for a measure of the popularity of Howells' novels in Great Britain.

III

In June 1882 Douglas printed his first of Howells' novels, A Chance Acquaintance and A Foregone Conclusion. Both volumes met with so cordial a reception, as Douglas said, that they had to be reprinted during the course of the year. By year's end, Douglas had added to his list A Counterfeit Presentment, Their Wedding Journey, The Lady of the Aroostook, Out of the Question, The Undiscovered Country,

and A Fearful Responsibility — and with these eight titles he launched his American Author series. Douglas could hardly have timed their publication better, for Howells' article on Henry James in the November 1882 issue of the Century Magazine was to make its author infamous among British readers. And along with talent, nothing sells books better than controversy.[15]

Howells had not been widely read in Britain before the 1880's, so he could hardly appear as anything other than an upstart brother Jonathan when, in the Century Magazine, he dismissed the lares of British fiction while praising his countryman Henry James: "The art of fiction has, in fact, become a finer art in our day than it was with Dickens and Thackeray."[16] It was this assertion and the outrage with which it was greeted that initially shaped Howells' reputation in England.[17] But by 1884 the fuss had subsided enough so that the Temple Bar was ready to recognize Howells' "European reputation" in a review concerned with the new school of fiction Howells had announced, and the Westminster Review suggested that Howells, with the help of his British publisher, might even deserve the recognition he had won: "Mr. Howells has had as friendly a reception from the British public within the past two or three years as he could well wish; the attractions of Mr. Douglas's pocket editions combining with those of the novelist's style, humour, and piquant narrative to lead even temperate novel-readers into prolonged dissipation."[18]

The question of Howells' merits aside, Douglas had clearly earned his share of this praise. He printed his American Author series on good paper and bound it in illustrated paper covers at 1s., in printed calico at 1/6, and in a strikingly handsome blue cloth with gilt tops at 2s. per volume. It rankled the Blackwood's reviewer that an American author received such treatment:

It was not only Howells on whom Douglas lavished his publisher's care, for it was in bringing out other writers (see the list, pp. 123-4 in the same format that he created the American Author series. Howells acted occasionally as Douglas's advisor here, and on 12 November 1883 Douglas wrote to thank Howells for "the great service you have done me in my business by sending the marked index [of the Atlantic Monthly] which I have already read rapidly over & shall very shortly read all the papers I can get hold of. . . . Your keeping me acquainted with anything good that appears will be of much service." During 1883 and 1884 Douglas added seventeen titles by nine different American authors, describing his intentions to Howells on 5 February 1885 as an endeavor "to give the very best specimens of your literature in the little series & [illegible word] make it of permanent value to our people."[19] Howells' influence is visible in the series; some of the authors were his friends and acquaintance — like Holmes, Curtis, Mitchell, and Aldrich — and it is likely that he would have drawn them to Douglas's attention, as he may also have recommended to him some of the books that came his way in reviewing for the "Editor's Study."[20]

If Douglas did not secure all the best American writing for his series, he did publish much that was very good, and with Howells, Cable, Holmes, and John Burroughs represented on the list with several titles each he had reason to be proud of the quality of his series. More than that, the emphasis on local color richly validated the promise of the series' title to be American. It is worth adding, finally, that the surviving evidence indicates that Douglas won the gratitude he deserved for his efforts on behalf of American writers. When, for instance, he brought out a four-volume collection of Holmes' poetry in 1892, he asked Holmes to write a preface for it. He got more than he asked for, as is evident from Douglas's letter about the preface to Holmes on 25 June 1892: "what you say of my work gratifies me extremely, but these words of praise however pleasant to me personally will I fear look egotistical in my own publication. I have always avoided any notice of this Head[?] preferring that the workmanship should speak for itself. If you agree with me perhaps you will delete the second paragraph, which however I am vain enough to tell you I shall preserve in my own private copy." Holmes made the change Douglas asked for but left a still generous compliment intact: "The proposal of Mr. Douglas to print an edition of my Poems gave me much pleasure, and I feel confident that they will be printed correctly and handsomely. The reader may find fault with them, but I am sure he will find pleasure in the form in which they are presented to his eye."[21]

Douglas lavished care on these books because it was in this cheaper form, aimed at a popular audience,[22] that he was most interested in publishing American writings. His correspondence with Howells makes it clear that if the trade editions of Howells' novels had had a disappointingly small sale, Douglas was all the more satisfied to keep on with the American Author series, about which he was optimistic from

the start. Douglas wrote to Howells on 28 January 1884 that Douglas had invested heavily in Howells' fiction in both 1882 and 1883. Typesetting and printing alone cost £508 in the first year and £405 in the second, and Douglas mentions spending almost £1000 on advertising; there are no figures available on paper and binding, nor on Douglas's overhead costs, but £3500 is a conservative estimate of his total expenses on Howells' books in the first two years.[23] The royalty statement he sent Howells in January 1884, which covered both the trade and American Author editions, indicates that he had recovered his expenses on Howells' titles in the series, including presumably the heavy investment in reprinting the books issued in 1882. It is unfortunate that no royalty statement survives for the year 1884, but it is evident that Douglas had reached his break-even point before sales began to slow down dramatically. And even after this Douglas's hopes for continued sales must in some measure have been realized, for on 22 November 1884, in writing Howells to explain that the regular trade editions of A Modern Instance and A Woman's Reason were not selling, he could report that he had "no reason to be dissatisfied as [to] the demand" for the cheaper editions.

The surviving royalty statements are spotty and sometimes not very informative because Douglas often paid Howells lump sums rather than a specified percentage on sales. In 1906, when Douglas was compiling his Scrap Book, he estimated that his total expenditure had been £16,000 and that he had divided the total profits of about £3000 evenly between himself and the authors. The only surviving records of payments made to Howells during the 1880's are those made in

1884 and 1886. The latter was for £20 (Scrap Book); assuming that this represents half profits and that of the total sold two thirds were bound in paper and one sixth each were bound in calico and blue cloth, the £20 suggests a sale of some 2100 volumes in 1885. Only one title was reprinted during 1885, A Chance Acquaintance, and only one new one was added, The Rise of Silas Lapham — and it was to be five years before Douglas could sell his initial printing of 5000 copies of this novel. Here again, the evidence of the printing records and of royalty payments indicates that after an initially brisk sale in 1882 and 1883 Howells' fiction in the American Author series moved more slowly.[24] The booming sales of 1882 and 1883 undoubtedly reflect the notoriety Howells won from his article praising Henry James at the expense of Dickens and Thackeray, but it is nonetheless clear from the printing records that Howells kept a modest but not unimpressive readership in Britain for the next fifteen or twenty years. For where titles in the trade editions were sold in the tens, those in the American Author series were sold in the hundreds. The chart facing this page indicates the course of these sales in so far as it is reflected in the orders Douglas placed with T. & A. Constable, his Edinburgh printers.

This chart indicates two general factors about the basis of Howells' reputation in Britain and raises a question about how Douglas's judgment as a publisher may have helped to shape that reputation. The first and most obvious factor in the record of Howells' sales in Britain is that three novels, Their Wedding Journey, A Chance Acquaintance, and A Foregone Conclusion, were vastly more popular than any of the other titles. Thirteen other of Howells' books appeared in the series, but these three novels alone account for about forty-three percent of the total sales and are the only ones to have any popularity after 1900. This suggests that Howells was, for many British readers, a one or two novel author; indeed, two of these novels — Their Wedding Journey and A Chance Acquaintance — share some of the same characters. A second factor is more striking: virtually all of Howells' popularity in Britain rested on what he had written in the 1870's, in the early part

of his career before his talent and vision fully matured. Only four of his later novels appeared in the American Author series, and only two of them were major novels — The Rise of Silas Lapham and Indian Summer. It is clear that British readers had a severely limited exposure to the amazing string of good novels that Howells wrote between A Modern Instance (1882) and The Quality of Mercy (1892).

The question of why Douglas did not publish works like Annie Kilburn or A Hazard of New Fortunes in the American Author series is an important one, because his decision not to include them kept Howells' most mature work out of the hands of most of his British readers. Unfortunately, the question cannot be answered with certainty. When Douglas added The Rise of Silas Lapham to the series in 1885, after two years during which nothing new by Howells had been offered, his print order was the largest initial one he had placed up to that time. He must have been optimistic about the book — as its subsequent reprintings indicate he had some reason to be. It is hard to imagine that the novels that followed, it, bespeaking a similar and maturing social concern, would not also have found readers in Britain. It may be, however, that the sales of Indian Summer, the next book of Howells' published in the series, discouraged Douglas from adding more of his works. Unfortunately, that novel, for all its excellence, lies outside Howells' main accomplishment as a novelist in the 1880's and offered no adequate measure of his potential popularity. If Douglas decided against publishing Annie Kilburn, April Hopes, and A Hazard of New Fortunes in the American Author series because Indian Summer was not successful, he made the mistake (visible only through the glass of hindsight) of measuring unlike novels against one another — a mistake the more regrettable because of the evident interest in The Rise of Silas Lapham.

However the fact is to be explained that so few of the books Howells wrote in the 1880's were published in the American Author series, it is fitting to emphasize that Howells himself was always more than satisfied with what Douglas could do for him and returned his loyalty in kind. On 28 February 1897 Howells wrote to tell Douglas he did not want to transfer his books to Harper's London office unless Douglas were losing money on them,[25] and a year later when Howells

did make the move he wrote to Douglas (25 March 1898) that he was "proud to think our relation has not been merely commercial, and I am glad to know that in any event we can always be friends." Howells' friendship with Douglas was to last until the latter's death — as indeed did the commercial connection, although on a much reduced scale. On 27 January 1905 Howells returned to Douglas the royalty check for the previous year's sales, saying that he was unwilling for Douglas to lose money on his books and offering — because Harper did not want to take over the stock — to buy the bound copies himself. A few days later, on 7 February, Howells wrote again, this time with the tenacity of a professional author, to suggest that the returned royalties be spent on advertising. This was of no avail and several years later, on 19 April 1913, Howells wrote that he wished he could suggest some way for Douglas to unload his unsaleable stock and authorized him to sell it without regard to himself. The last royalty payment came from Douglas's son on 4 February 1916 and brought with it news of Douglas's last illness — he was then ninety-three years old. Howells wrote back to acknowledge the check and to say that "unless you should make some strange unforeseen sale, you ought to consider me fully recompensed. Only yesterday, I was speaking to my daughter of your dear father. I wish you would give him my love; he is one of the dearest friends of my life."

DAVID DOUGLAS'S AMERICAN AUTHOR SERIES
Arranged by date publication in the series

                 

1882	W. D. Howells	A Chance Acquaintance, A Foregone Conclusion, The Lady of the Aroostook, Their Wedding Journey, The Undiscovered Country, A Fearful Responsibility, A Counterfeit Presentment, Out of the Question
1883	G. W. Cable	Old Creole Days
	G. W. Curtis	Prue and I
	John Burroughs	Winter Sunshine
	O. W. Holmes	The Autocrat of the Breakfast Table, The Poet at the Breakfast Table, The Professor at the Breakfast Table
	Blanche Willis Howard	One Summer
	W. D. Howells	Venetian Life, Italian Journeys
	F. R. Stockton	Rudder Grange
	R. G. White	Mr. Washington Adams in England

                                                     

1884	John Burroughs	Locusts and Wild Honey, Wake-Robin, Birds and Poets, Fresh Fields, Pepacton
	J. C. Harris	Mingo and Other Sketches in Black and White
	G. P. Lathrop	An Echo of Passion
	F. R. Stockton	The Lady or the Tiger? and Other Stories
1885	T. B. Aldrich	The Queen of Sheba, Marjorie Daw and Other People
	W. D. Howells	The Rise of Silas Lapham
	Brander Matthews and H. C. Bunner	In Partnership
1886	T. B. Aldrich	Prudence Palfrey, The Stillwater Tragedy
	William Winter	Shakespeare's England
1887	G. W. Cable	Madame Delphine
	W. D. Howells	Indian Summer
	F. R. Stockton	A Borrowed Month and Other Stories
1888	William Winter	Wanderers
1889	T. B. Aldrich	Wyndham Towers
1890	W. D. Howells	The Shadow of a Dream
	M. E. Wilkins	A Humble Romance and Other Stories, A Faraway Melody and Other Stories
1891	W. D. Howells	An Imperative Duty
	William Winter	Gray Days and Gold
1892	James Lane Allen	Flute and Violin and Other Kentucky Tales, Sister Dolorosa and Posthumous Fame
	Matt Crim	In Beaver Cove and Elsewhere
	O. W. Holmes	Poetical Works
	Helen Jackson	Zeph: A Posthumous Story
1893	T. B. Aldrich	Two Bites at a Cherry and Other Tales
1896	W. D. Howells	Idylls in Drab
1898	W. D. Howells	An Open-Eyed Conspiracy
1902	T. B. Aldrich	A Sea Turn and Other Matters
1904	S. Weir Mitchell	A Comedy of Conscience

Notes