Beauty imposes. Angus Robertson Ltd. Sydney, 1938

Component identifier:

Item 33-37

Content Summary:

Five copies, as follows.

(a) Original gray cloth, with dust-jacket. Autographed upon end paper, "Shaw Neilson". Inserted items, as follows. 1. Script of Beauty Imposes, an early draft of two stanzas only. Signed "Shaw Neilson". When the poem appeared in this book a further stanza was added. 2. Letter to Devaney from Neilson, 2pp, 20 January 1936. With this is the script for a further stanza to the poem, also the final draft in typescript, with annotations in Devaney's autograph. 3. Letter, in autograph, from Neilson to Devaney, 5 May 1936. With this is letter, 3pp, 10 May 1936, in which amongst other matters Neilson explains his reason for wishing Devaney's name associated with the book. Devaney had refused to have his name either upon cover or title-page. Neilson says: "...my only reason for my suggestion was that I thought you were being overlooked."

(b) Full morocco, over the original blue wrappers, preserved as issued. Inscribed on end paper by James Devaney. A dedicatory poem to Shaw Neilson: verse of six lines. Inserted, several items as follows. Original letter from Lothian Publishing Co. Pty. Ltd., to Shaw Neilson, 26 June 1936, refusing the manuscript of Beauty Imposes. This letter has been printed, in part, by James Devaney in Shaw Neilson. With this is letter, 4pp, 28 June 1936, from Neilson to Devaney: "...I enclose the Firm's letter which will explain their refusal...I wrote and told them that if they objected to the three light verses I would withdraw them. I thought it possible that the 'Typist' rhyme might horrify people with business instincts...However it seems that my two ardent "admirers thought only three of the pieces were at all possible...You know my verse better than most men, and although you may see some blemishes you would not agree that these 15 rhymes were so far below the level of my Collected Poems that they would be unworthy of publication". He adds a postscript: "As publishers are shy birds I think it as well to drop the 'Typist' piece till, say, next year". Further letter from Neilson to Devaney, 29 September 1936, following a refusal also from Angus Robertson Ltd. "...I rather like Angus Robertson's letter. They do not attempt to belittle the verse, and give us the truth in a kindly way. Publishers no doubt can see much better investments in prose ...I would be very pleased to fall in with any arrangements you can make for the publication of the verse...Do as you like. Preface or no preface, it does not matter to me...I would not expect any profit. We would be lucky if the sales would pay the printers and booksellers..."

(c) Full morocco, over original blue wrappers, preserved as issued. Inserted, several items as follows.Letter from Neilson to Devaney, 2pp, 8 November, 1936. "I did not mind Angus Robertson's refusal, it was quite gentlemanly and reasonable, but I must confess it hurt me slightly when Lothian said the verse was so poor that it was not worth collecting...I note that you ask if I have anything else I could send. My brain is too tired at present to do anything...I know that you are busy and you have gone to a lot of pains with this verse of mine..." Further letter from Neilson to Devaney, 2pp, 1 February 1937. "...My sister is always so busy at the week end, and I am too tired during the week to dictate anything...I am afraid that journalism is a very hard way of making a living...In some ways it is worse than navvying, it uses up a man's brain ...Don't worry at all about the publication of my book. It really doesn't matter very much at all. As for approaching different literary societies for support I think the idea might be good in any of the cities except Melbourne..." Included is script of The Poor Can Feed the Birds. Signed "J.S. Neilson". This version is of 11 stanzas, the poem in the book contains 10, and is substantially different from this script, which is probably an early version. Tipped in is typescript of Sunday Evening, with annotations by Devaney and Neilson, both in autograph.

(d) Bound in rexine, over original blue wrappers, preserved as issued. Inserted are four short letters from Neilson to J.K. Moir, also typewritten letter from "Rest Harrow", 4 August 1941. He writes: "...I must thank you very much. I have got so used to depending on you for many things: I only wish I could reward you in some way. I'm always thinking of writing autograph verse for you, or doing an epistle in rhyme..." Tipped in are photographs of Shaw Neilson, and the poet's grave in Footscray Cemetery. One shows J.K. Moir standing by the headstone. As many people in Melbourne know, he was responsible for many kindnesses to the old poet.

(e) Quarter-morocco over the original wrappers preserved as issued. Inserted is portion of a calendar upon which Neilson has written a stanza from The Sundowner and also added the inscription: "For J.K. Moir. The Sundowner, Shaw Neilson, Footscray, 8.1.39". Accompanying this is letter from Neilson to Moir: "I am glad to get your letter. On the back of the calendar I have scratched a stanza from 'The Sundowner'. It deals with an old tradition of the mixing of the Johnny Cake. I only saw it done once..." Neilson thought highly of this poem and pressed for its inclusion in Beauty Imposes. Judith Wright has also included the poem in her selection of verses for the little booklet published in 1963, mentioned hereafter. In this collection is a royalty statement sent by the publishers to Neilson, 31 December 1938, together with their cheque for £12. 8. 6, being amount due to him upon 142 copies sold. The royalty was at the rate of two-fifths of the selling price, which was 4/6. The edition consisted of 512 copies.

Note: Most of the letters inserted in the above-mentioned copies have been hand-written by the poet's sister Annie McKimm (to whom the book is dedicated), his step-sister Lisette, and his brother Frank. They are all signed by the poet.

Names:

John Shaw Neilson

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