A few chips and tears to jacket crown and base. No date. Blue cloth in dust wrapper. Fine condition; the jacket has a bit of edge wear and general use. The marvellous jacket was designed by the eminent dust jacket artist and advertising man Arthur Hawkins jr. Blue Ribbon Books, Inc. Wesleyan University Press"" Very good in a very good dust jacket.
The interior appears unmarked. The binding is solid. Rivers Books]. Used - Like New. Ships from Reno NV. Book in almost Brand New condition. Shipped to over one million happy customers. Your purchase benefits world literacy! An English translation of Jules Verne's extraordinary crime drama. Includes all the illustrations from the original edition. A clean tight copy no markings at all. Mylar protected jacket. Heavy volume suggest Media postage. Near fine copy. Howard Watt Lovely copy of later work ill. Murphy attractive cover illustration. First American edition. A Very Good copy of the book with the rear hinge professionally tightened and a previous owner's name on the front free end paper.
In a very bright Near Fine jacket publisher clipped on the four corners but retaining the original price. A late work by this master of science fiction and adventure first published posthumously.
This action-packed novel features piracy in the South Atlantic and the desperate measures undertaken by men stranded on a small island home to the southern-most lighthouse in the world. Very Good in Near Fine dust jacket.
First American Edition. Some cloth and page spotting; very good in a dust jacket with some soiling spots and tiny chips and tears. A scarce book especially so in dust jacket. Peter L. Good in Good- dust jacket. All the same, the surface of his more significant sf novels after or so increasingly reveals a grimmer palette.
That, and their inescapable pessimism about the enterprise of European imperial civilization, may have impeded their full acceptance — this, ironically, at a time when Verne had become an Icon of the European imperium at its most triumphant. The World's Fair in Paris featured, for instance, rides in which customers could go around the world in eighty days, or 20, leagues under the sea, a techno-fetishism far distant Roger Luckhurst argues, see about the author below from Verne's own "internationalist rejection of nationalism" as represented by Captain Nemo certainly in the original text of Twenty Thousand Leagues under the Sea.
The negative impact of Verne's later assaults on Progress may perhaps account for his exclusion, just eleven years later, from the Exposition Universalle in Even in the first tale the steely, domineering, comically megalomaniacal Robur, inventor of an impressive kilometer-an-hour heavier-than-air machine see Airships powered by battery-charged electrical motors, is rendered less favourably than the earlier romantic figure obsessed by planetary injustice; but he is still here allowed by Verne to represent the march of scientific progress as he forces the world to listen to him, despite the mockery of those claiming that light-than-air ships would dominate the world.
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Oddly enough, Robur's arguments are first presented in Philadelphia, Pennsylvania, not in France, where genuine debate over the nature of manned flight was both vigorous and long-lasting. In the Slingshot Ending that abruptly terminates the first volume, Robur saves his lighter-than-air foes from disaster when their Balloon explodes, and departs, proclaiming that his airship will usher in a Pax Aeronautica whose realm in the skies he has already dubbed Icaria.
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In the sequel any thought of such a relatively benign outcome is abandoned by Verne, whose distrust of early twentieth-century technocratic elitism places him in stark contrast to the late Wells of The Shape of Things to Come , where a World State is made possible through the self-declaredly benevolent rule of an "Air Dictatorship".
It is consistent with Verne's deep-held pessimism about the nature of progress that in The Master of the World, his last work of any significance, Robur has become a dangerous solipsist, a Mad Scientist fatally detached from the darkening world, blasphemous and uncontrollable as he uses his Invention to attack enemies from the air or under water; his excesses — like those of Wells's earlier Dr Moreau — are easy to read as representing the excesses of an unfettered development of science.
Science and a subservient, bounteous Nature are no longer seen — in late Verne or early Wells — as benevolently united under Man's imperious control. Much of the novel reads as a highly detailed, circumstantial, clearly sarcastic Travel Guide , with the plutocratic tourists condescendingly ignorant of the appalling state of native cultures they visit as they traverse the great ocean: after decades of colonial exploitation see Imperialism ; Race in SF ; Religion , these cultures are seen as either Decadent or dying, or both.
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But this effect is inexplicably blunted in the otherwise improved translation by Noiset, as the original satirically overexcited present tense narrative has been converted to the conventional past tense even as late as Verne was not trusted to know what he is doing. As the tale proceeds, the abducted string quartet, having been offered vast sums, makes music, and its members are beguiled by Inventions galore. But unfortunately, a sudden invasion of predator animals devastates the island's "pastoral" flocks, and a raid by thousands of native "savages" undermines civilization as well; an irreconcilable conflict between Northern and Southern American billionairess, which illustrates "the immeasurable stupidity of human beings", finally brings about the sinking of the island, and all it stands for as a symbol of Western dominance of the planet see Ship of Fools.
Contemporary critics who accept William Butcher 's attempts to "save" Verne from sf typically ignore or misrepresent this novel, an example being Rosalind Williams's truncated and unilluminating references to the text in her otherwise astute study [for titles by Butcher and Williams see about the author below]. Hector Servadac , not mentioned at all by Williams, is also typically sidelined.
The canals prove particularly useful. One: it is clear that Michel Verne actually improved some of his father's manuscripts, all of them written in his last years, when his energies were at times seriously depleted. Two: it is at the same time clear that Verne's original manuscripts, as published and translated in recent years, should take precedence over the modified versions, whether or not they are rough or feeble, and that in fact Michel Verne habitually adulterated his father's pessimism about the twentieth century, softening his disaffection into bromides.
It is, in fact, a tale of considerable grimness, in which the eponymous Antihero applies his Invention of an Invisibility Ray to render himself and the girl he lusts after both invisible; on his death, the secret of his invention still unveiled, the girl remains invisible, though she marries the narrator of the tale in this apparently permanent condition. In its original state, this novel bears some resemblance to C H Hinton 's "Stella" in Stella and an Unfinished Communication: Studies of the Unseen coll , whose narrator marries an invisible young woman; it is, however, more likely that he would have been familiar with H G Wells 's The Invisible Man Verne's later life had not been uneventful.
Although he married, prospered mightily, lived in a large provincial house, yachted occasionally, unflaggingly produced his novels for the firm of Hetzel, and became an exemplary nineteenth-century French middle-class dignitary, his extended family was seriously dysfunctional. A nephew tried to murder him , crippling him in the process, and his son Michel Verne was criminally profligate, leaving it to his father to pay his huge debts.
Jules Verne (1828–1905)
These burdens clearly affected his work. While his early works certainly examine the boyish, escapist dream-life of French adolescents in , they can also be read as an ultimate requiem for the dream of his astonishing and transformative century, that waking dream of the daylight decades so effectively fleshed in his early work.
But long before that vision — that dream that the world was both illimitable and decipherable, unknown but obedient; and that Man could only improve upon creation — had clearly begun to fade, as his own life seemed to show, and as demonstrated see above in his last novels, though perhaps most clearly in a remarkable Ruined Earth tale, "The Eternal Adam" from Hier et demain [for full title see Checklist] coll ; trans I O Evans as Yesterday and Tomorrow , in which a far-future historian see Ruins and Futurity discovers to his dismay that twentieth-century civilization was overthrown by geological cataclysms, and that the legend of Adam and Eve was both true and cyclical.
No manuscript in Verne's hand exists of this story, which may have been written in large part by Michel Verne [see Checklist]; but it clearly reflects Verne's late state of mind, and has more than once been treated as a thematic summation of his career. That career is too vast to be rewritten in hindsight, or comprehended in terms of the pessimism of his last years. It contains much that is probably irretrievably distant for modern readers, his voice muffled by the century and a half of changes he did not quite allow himself to address.
But there is also much in Verne that the last half century of critical study has begun to make audible. It is a voice that did, we increasingly understand, speak to the future. It was not until Verne's work came out of copyright in the s, however, that the real rush started, beginning with Walt Disney's 20, Leagues under the Sea Verne's characters have been revived in various, sometimes embarrassing guises, as in Captain Nemo and the Underwater City ; in Comics , Nemo and the Nautilus play an important role in the first volume of Alan Moore 's The League of Extraordinary Gentlemen six issues ; graph The film adaptations here mentioned comprise a small fraction of the more than versions issued worldwide; Brian Taves's Hollywood Presents Jules Verne [for fuller details see about the author below] analyses in depth a very wide range of adaptations, both Cinema and Television , made in English.
Given the wide range in quality and accuracy of early translations of Verne — many of them, as already stated, cut, mutilated and rewritten — and given the difficulty of tracing these changes in detail, no serious attempt has been made to register specific deformations of the original novels, especially those committed in the nineteenth century.
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Where Evans has been unable to find recommendable translations for the period before , none are inserted here. Pilcrows for relevant translations published from on have, however, been added. The actual size of the oeuvre initiated by Five Weeks in a Balloon has, it might seem oddly, been subject to various estimates. This seems primarily due to the varying formats in which the Voyages extraordinaires were issued; and upon a misunderstanding of the contract between Verne and Hetzel, the terms of which for a considerable period required him to produce three volumes a year this was eventually reduced to two , as can be seen by counting individual volumes registered below.
The misunderstanding may arise when "volumes" are confused with "titles" by scholars whose grasp of bibliographical context is remote, especially in cases where one and two volume versions of individual titles may have been issued almost simultaneously.