|Contents||This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated. |
Status: Collect > Document > Analyse > Improve
737.01 Literature > Illustrated fiction and poetry
There has been a long tradition of illustrated fiction with work by Charles Dickens illustrated most famously by George Cruikshank and Lewis Carroll by Sir John Tenniel. The popularity of poetry and novels encouraged experimentation and some books were published with tipped-in photographs, The high costs associated with this labour-intensive process makes them rare but examples do exist. By the late nineteenth century processes were introduced that permitted photographs to be included on the printed page.
There are other photographers who have examined geographical areas that occur in writing, for example the photographs of William Eggleston in Faulkner's Mississippi (1990).
|William Shakespeare & William Charles Macready||1860|| Illustrated Tallis's Shakespeare, (London & New York: J. Tallis & Co.)||Six volume series containing engravings based on daguerreotypes by Paine of Islington, Mayall, and McClees & Germon. |
|Henry Wadsworth Longfellow||1865||Hyperion, (London: A. W. Bennett), [Third edition]||Francis Frith|
|Sir Walter Scott||1870||The Lady of the Lake, (Edinburgh: Adam & Charles Black)||George Washington Wilson, [Attributed]|
|Alfred Lord Tennyson||1874-1875||Idylls of the King and Other Poems, (London: Henry S. King & co.)||Julia Margaret Cameron|
|Robert Browning||1886||Selections from the Poetical Works of Robert Browning, with photographic illustrations by Payne Jennings, (London: Suttaby & Co.) ||J. Payne Jennings|
|John Luther Long||1903||Madame Butterfly, (New York: The Century Co.)||C. Yarnall Abbott|
|H.G. Wells||1911||The Door in the Wall, and other stories Illustrated with photogravures from photographs by Alvin Langdon Coburn, (London: Grant Richards)||Alvin Langdon Coburn|
|Benjamin Peret and Louis Aragon||1929||1929, (Paris)||Man Ray|
|Walt Whitman||1942||Leaves of Grass, (New York: Limited Editions Club), Two volumes in slipcase.||Edward Weston|
|Pablo Neruda||1954||Alturas de Macchu Picchu, (Santiago de Chile: Nascimento)||Martin Chambi|
Authors, poets and playwrights
737.02 Literature > Authors
737.03 Literature > Poets
737.04 Literature > Alfred Tennyson
737.05 Literature > Using photographs to illustrate narratives: Mythological
737.06 Literature > Using photographs to illustrate narratives: Arthurian
Arthurian stories had been a part of English folklore and legend long before they were recorded in French romances and the compilations of Sir Thomas Malory in the fifteenth century. William Caxton published Le Morte d'Arthur in 1485 so these were a thread within the Victorian imagination as photography became popular. Alfred, Lord Tennyson (1809–1892) breathed fresh life into the tales with his cycle of twelve poems The Idylls of the King (1859-1885). Tennyson was a popular poet and was appointed Poet Laureate in 1850. The poetry of the age with the exploits and loves of Sir Lancelot, King Arthur, Queen Guinevere and the power of Merlin along with the original sources were Salon based genre-painting and popular photography. Dressing up in costume for plays and tableau vivant was a feature of nineteenth century house parties and photographers such as Henry Peach Robinson and Julia Margaret Cameron took staged photographs that portrayed moments from the stories.
Julia Margaret Cameron, who was a friend of Tennyson, took the photographs for an edition of Idylls of the King and Other Poems (1874-1875).
737.07 Literature > Using photographs to illustrate narratives: Historical
737.08 Literature > Using photographs to illustrate narratives: Shakespearean
Paine of Islington in London took daguerreotypes of Shakespearean actors which were used as the basis for engravings published by John Tallis & company in the middle of the nineteenth century.
737.09 Literature > Using photographs to illustrate narratives: Dickensian
737.10 Literature > Henry Peach Robinson: Little Red Riding Hood
About this photographer | Photographs by this photographer
Henry Peach Robinson prepared a series of four photographs in 1858 to illustrate the folktale of "Little Red Riding Hood".
The series was shown at the 1859 Photographic Society and could be purchased for 5 shillings.
- Her Mother having only one day made some cakes, said to Little Red Riding Hood, "I hear your poor old Grandma has been ailing; so, prithee, go and see if she be any better, and take her these cakes and a pot of butter.''
- ''Who is there?' said the Wolf. 'It is me, your own little grandchild', the artless little girl replied, 'I have brought you some nice cakes and a little pot of butter.' The Wolf, softening his voice as much as he could, said 'Pull the bobbin, and the latch will go up.''
- Little Red Riding Hood then went and drew back the curtain, when she was much surprised to see how oddly her Grandmother looked in her nightclothes!
- Little Red Riding Hood hastened home to tell her mother all that had befallen her; nor did she forget that night to thank heaven fervently having delivered her from the jaws of the Wolf
737.11 Literature > Francis Frith: Illustrations for Henry Wadsworth Longfellow's Hyperion (1865)
About this photographer | Photographs by this photographer
Francis Frith is best known for his views of Egypt, his photographically-illustrated books on Egypt, Sinai and Palestine and the company he established that became a major seller of postcards and illustrated books on different regions especially within Great Britain. Frith had also used his photographs to illustrate editions of the Holy Bible.
In 1865 Francis Frith spent six weeks travelling down the Rhine viewing the landscapes and visiting the cities and points of interest along the way in Switzerland, Austria and Germany. He used the photographs he took along the route to illustrate the novel Hyperion by Henry Wadsworth Longfellow which had been published in 1839 by Samuel Coleman, incidently 1839 was the year photography publicly announced. In the novel the fictional character Paul Flemming travels through Germany whilst pondering his own revelations on nature, romanticism and his religious belief. The passages within the novel led Longfellow enthusiasts to use it as a travel guide to accompany them on their own journeys within Germany. The photographs of Francis Frith attempt to capture both the locations and the mood of the novel.
737.12 Literature > Man Ray: 1929
About this photographer | Photographs by this photographer
The book 1929 included poems by Benjamin Peret and Louis Aragon accompanied by erotic photographs by Man Ray.
737.13 Literature > Martin Chambi: Peru - Macchu Picchu
About this photographer | Photographs by this photographer
Martin Chambi was a Peruvian photographer who covered the festivals, monuments, people and everyday life of the Andes. His photographs of the Inca city of Macchu Picchu were used to illustrate Pablo Neruda’s 1954 book of poems Alturas de Macchu Picchu.
Then on the ladder of the earth I climbed
Both the poem by Neruda and the photographs of Martin Chambi address the revaluation of indigenous cultural elements that had been destroyed or suppressed by European colonization.
through the lost jungle’s tortured thicket
up to you, Macchu Picchu.
High city of laddered stones,
at last the dwelling of what earth
never covered in vestments of sleep.
In you like two lines parallel,
the cradles of lightning and man
rocked in a wind of thorns.
Mother of stone, spume of condors.
High reef of the human dawn.
Poetry (of a sort...)
737.14 Literature > Marketing: Root's Daguerrean Gallery (1853)
Marcus Aurelius Root (1808-1888) was one of the leading photographers of Philadelphia and had started with daguerreotypes. Later in life he would write the influential book The Camera and the Pencil, or the Heliographic Art (1864) but in 1853 he advertised himself in the The Christian Parlor Magazine with a piece of poetry that is maudlin to say the least.
Root's Daguerrean Gallery. There is no place like this in New York for perfect daguerreotypes. Here is displayed a multitude of the most beautiful speeimens of this art, showing the perfection of Mr. Root's mode of taking them. This gentleman has placed in the Crystal Palace some forty or fifty pieces, which attract great attention, and will probably secure the first prize. Any one who has seen them cannot but admire the sharpness of the figure, the perfection of the drapery, and especially the remarkably clear and natural expression of the eye one of the most difficult attainments in this art. No higher testimony can be given to the exellence of Mr. Root's daguerreotypes than the constant press of business on his hands, his rooms being thronged every day with visitors. He succeeds admirably in taking the likenesses of children. And what mother would not love to preserve the infant features of her children to look upon in after years, especially should they be taken away by death. We have rarely seen a more beautiful illustration of this than in the following:
Sweet child, that angel face must fade,
As years shall come and go.
For time doth ever mar the fair
And bright of all below.
But thy fond mother's jealous care
Hath robbed the yawning tomb,
And by the might of art, hath fixed
For e'er thy youthful bloom.
Within her sacred shrine there hangs
In all its infant grace,
On Root's unequaled, perfect plate,
Her darling's glorious face.
Then, mother of the blooming child,
Trust not the fleeting hours,
But, as this mother did by hers,
Do thou at once by yours.
Then, should the sudden dart of death
Your loved one call away,
You'd bless the hint by which you had
The picture done to day,
By Root, 363 Broadway.
737.15 Literature > To My Sweetheart's Kodak (1890)
As photography became a popular craze in the 1890s so it was reflected in songs, music, humor and poetry. In the January 1890 issue of The Vassar Miscellany a poem "To My Sweetheart's Kodak" appeared:
To My Sweetheart's Kodak.
Oh Kodak, are you void of sense.
That you so stoically take
The pressure of her fingers fair.
Which all my nerves would wildly shake?
Ah ! don't you see her wealth of hair;
Her eyes so softly, brightly blue
Now bent, with tender interest,
O Kodak Camera, on you?
And can't you feel the lively thrill
Of pleasure in her lovely face
When you work well? 0 Camera,
I'd like, just once, to have your place!
Such pictures as I'd take for her,
Such glorious views of east and west,
Like magic they should come, her smile
Would pay me well to do my best.
You don't appreciate your luck,
O Camera, with glassy eye.
Which, staring ever straight ahead.
Sees not the charming maid close by.
If I were you but never mind,
You're not her lover that is clear.
While I love the very ground
That only serves to bring her near.
But still, I scarcely envy you.
Although from me you steal her smiles.
You're deaf, and dumb, and blind to all
Her beauty rare, her winning wiles.
And saddest, worst of all your lot,
Ah ! this I could not bear and live!
To feel that I belong to her.
And then, to take a negative.
737.16 Literature > Photographic Phenomena, or the new school of portrait painting (1842)
The poem "Photographic Phenomena, or the new school of portrait painting" by L.B. published in George Cruikshank's Omnibus (1842) gets the sense of having a portrait taken in the early days of photography:
I. INVITATION TO SIT.
Now sit, if ye have courage, cousins all!
Sit, all ye grandmamas, wives, aunts, and mothers;
Daughters and sisters, widows, brides, and nieces;
In bonnets, braids, caps, tippets, or pelisses,
The muff, mantilla, boa, scarf, or shawl!
Sit all ye uncles, godpapas, and brothers,
Fathers and nephews, sons, and next of kin,
Husbands, half-brother's cousin's sires, and others;
Be you as Science young, or old as Sin:
Turn, Persian-like, your faces to the sun !
And have each one
His portrait done,
Finish'd, one may say, before it's begun.
Nor you alone,
Oh! Slight acquaintances! Or blood relations !
But sit, oh ! Public Benefactors,
Whose portraits are hung up by Corporations.
Ye Rulers of the likeness-loving nations,
Ascend you now the Photographic throne,
And snatch from Time the precious mornings claim'd
By artists famed
(In the Court Circular you'll find them named).
Sit too, ye laurell'd Heroes, whom detractors
Would rank below the statesman and the bard !
Sit also, all ye Actors,
Whose fame would else die with you, which is hard :
Whose Falstaffs here will never Slenders prove.
So true the art is !
M.P.'s, for one brief moment cease to move;
And you who stand as Leaders of great Parties,
Be sitting Members !
Ye intellectual Marchers, sit resign'd !
And oh ! Ye Authors, men of dazzling mind.
Perchance with faces foggy as November's.
Apollo turned R.A.
The other day,
Making a most decided hit.
Phoebus himself he has become a Shee '.
(Morning will rank among the Knights full soon)
And while the Moon,
Who only draws the tides, is clean outdone,
The Stars are all astonishment to see
Earth sitting for her portrait to the Sun !
II. THE PROCESS OF THE PORTRAITURE.
It's all very fine, is it not, oh ! Ye Nine ?
To tell us this planet is going too fast,
On a comet-like track through the wilderness vast :
Instead of collision, and chances of splitting
In contact with stars rushing down the wrong line,
The world at this moment can't get on for sitting :
And Earth, like the Lady enchanted in Comus,
Fix'd fast to her chair
With a dignified air,
Is expecting to sit for a century there;
Much wondering, possibly, half in despair.
How the deuce she's to find her way back to her domus.
"Keep moving,"we know, was the cry long ago;
But now, never hare was "found sitting," I swear,
Like the crowds who repair
To old Cavendish Square,
And mount up a mile and a quarter of stair.
In procession that beggars the Lord Mayor's show!
And all are on tiptoe, the high and the low,
To sit in that glass-coverd blue studio;
In front of those boxes, wherein when you look
Your image reversed will minutely appear,
So delicate, forcible, brilliant, and clear,
So small, full, and round, with a life so profound,
As none ever wore
In a mirror before;
Or the depths of a glassy and branch-shelter'd brook,
That glides amidst moss o'er a smooth-pebbled ground.
Apollo, whom Drummond of Hawthornden styled
"Apelles of flowers,"
Now mixes his showers
Of sunshine, with colours by clouds undefiled;
Apelles indeed to man, woman, and child.
His agent on earth, when your attitude's right,
Your collar adjusted, your locks in their place,
Just seizes one moment of favouring light,
And utters three sentences "Now it's begun,"
"It's going on now, sir," and "Now it is done;"
And lo ! As I live, there's the cut of your face
On a silvery plate,
Unerring as fate,
Worked off in celestial and strange mezzotint,
A little resembling an elderly print.
"Well, I never ! " all cry; "it is cruelly like you ! "
But Truth is unpleasant
To prince and to peasant.
You recollect Lawrence, and think of the graces
That Chalon and Company give to their faces;
The face you have worn fifty years doesn't strike you !
III. THE CRITICISMS OF THE SITTERS THE MORAL.
"Can this be me ! Do look, mama !"
Poor Jane begins to whimper;
"I have a smile, 'tis true; but, pa!
This gives me quite a simper."
Says Tibb, whose plays are worse than bad,
"It makes my forehead flat;" And being classical, he'll add,
"I'm blow'd if I'm like that."
Courtly, all candour, owns his portrait true;
Extremely like me every feature but
That plain pug-nose; now mine's the Grecian cut!
Her Grace surveys her face with drooping lid;
Prefers the portrait which Sir Thomas did;
Owns that o'er this tome traits of truth are sprinkled;
But views the brow with anger "Why, it's wrinkled!"
"Like me .'" cries Sir Turtle; "I'll lay two to one
It would only be guess'd by my foes;
No, no, it is plain there are spots in the sun,
Which accounts for these spots on my nose."
"A likeness !" cries Crosslook, the lawyer, and sneers;
"Yes, the wig, throat and forehead I spy,
And the mouth, chin, and cheeks, and the nose and the ears,
But it gives me a cast in the eye !"
Thus needs it the courage, of old Cousin Hotspur,
To sit to an artist who flatters no sitter;
Yet Self-love will urge us to seek him, for what spur
So potent as that, though it make the truth bitter !
And thus are all flocking, to see Phoebus mocking,
Or making queer faces, a visage per minute;
And truly 'tis shocking, if winds should be rocking
The building, or clouds darken all that's within it,
To witness the frights
Which shadows and lights
Manufacture, as like as an owl to a linnet.
For there, while you sit up,
Your countenance lit up,
The mists fly across, a magnificent rack;
And your portrait's a patch, with its bright and its black,
Out-Rembrandting Rembrandt, in ludicrous woe,
Like a chimney-sweep caught in a shower of snow.
Yet nothing can keep the crowd below,
And still they mount up, stair by stair;
And every morn, by the hurry and hum,
Each seeking a prize in the lottery there,
You fancy the "last day of drawing" has come.
Fiction and the reality of travel
737.17 Literature > Jules Verne: Around the World in Eighty Days - What would Phileas Fogg and Passepartout have seen in 1872?
The world as it was when Phileas Fogg and his valet Passepartout passed through on their fictional voyage around the world in 1872.
What would the dashing pair have witnessed along the way during their intrepid travels?
When Jules Verne's book Around the World in Eighty Days was published in 1873 the world was at a stage of rapid industrial development.
Only a few years earlier the Suez Canal had been opened greatly reducing the time required to travel from Western Europe to India and the Far East. On 10 May 1869 the rails were joined at Promontary Summit for the Transcontinental railway in the United States. The railway station in Yokohama opened in 1872 symbolizing the immense changes in Japan which had been largely closed to foreigners until the Black Ships of Admiral Perry arrived in 1853. Emmigration and immigration during this period was enormous and ships such as the S/S Manhattan of the Guion Line crossed from Liverpool to New York six times between 1870-1872 and companies like the Pacific Mail Steamship company plied the routes between San Francisco, Panama, Yokohama, Hong Kong and Singapore.
The times were far from tranquil: Lieutenant Camus had been killed in Japan in 1868 by Samurai who objected to the presence of foreigners; San Francisco had an earthquake also in 1868, and between 1870 and 1871 there were the Orange Riots in New York. The bison mentioned in the novel were being exterminated in the US and the Battle of the Little Bighorn would happen only a few years later in 1876 changing the ways of the Plains Indians forever.
The setting for this online exhibition is the two and a half months from 2nd October 1872 until 21st December 1872 as the fictional Phileas Fogg and his valet Passepartout circumnavigate the globe to win a wager of £40,000. This exhibition follows the approximate route they took and shows the places as they were when the fictional pair passed through. The exact route has not been slavishly followed, nor have the exact dates, but rather they are explored through the visual remains of a long gone world.
Following the popularity of Around the World in Eighty Days by Jules Verne the adventurous journalist Nellie Bly set out in 1889 to prove that the journey was viable. Supported by her newspaper, the New York World she completed the trip within 72 days and her book, Around the World in Seventy-Two Days, was also a best seller.
References to photography in popular literature
737.18 Literature > Photograph albums in popular literature
Passages in nineteenth century fiction can give us clues about photograph albums and their contents. For example the work Birds of a Feather by Mary Emily Bradley (1872) Hal gives an album as a present...
... and little Hal rushed up to her, holding something gathered up in his frock, and shouting out,
" I'se dot a p'esent for you, Weezy ! Hally's dot a birseday p'esent for you ! "
And what should it be but a beautiful photograph album, bound in green morocco, with her own initials in relief upon the cover, the very thing she had been wishing for. Inside were a lot of pictures, too, that she had never seen; a lovely vignette of her mother, in the first place, with that sweet, spirituelle expression that Louise had never fully appreciated until yesterday. Then a fine likeness of her father, and the most charming picture of cunning little Hal, in a cocked hat, with a toy gun on his shoulder. There were some sweet little baby pictures of Louise herself, copied from old daguerreotypes, and a set of the "Palmer Marbles" besides. So that her album was half full already.
Contemporary use of photography in literature
737.19 Literature > The contemporary photographically illustrated novel
Georges Rodenbach’s symbolist novel Bruges la-Morte which included photographs taken from photo archives of the empty city of Bruges.
Photography stimulates imagination and Franz Kafka (1883-1924), author of the dark class Metamorphosis, left an unfinished work Amerika (1927) that was based on a vision of America entirely based upon photographs he had seen - he had never visited he USA. There was no need to visit the actual place as photographs in travel books could provide the necessary details and create the mood. Images have become pervasive and the armchair traveller has only to open a book or magazine to be transported to a place - the rest is up to imagination.
André Breton’s Nadja (1928) is a Surrealist work that explores his interactions over ten days with an erratic young woman in Paris that included 44 photographs by Man Ray and Henri Manuel,. Virginia Woolf’s study of gender-switching Orlando (1928) is another example of the early use of photographs to support or explore textual labyrinths.
Highly prolific Georges Simenon, the creator of Maigret, collaborated with photographer Germaine Krull to create the "Phototexte" La Folle d’Itteville (August 1931). The project was not a success and so future planned volumes did not appear in a similar form. Well ahead of its time it was not until the 1960s that Photonovels started to be published based on film and TV stills with word balloons.
It is rare that novelists and essayists are also accomplished photographers but Wright Morris (1910-1998) falls into this select group and was able to merge diverse media forms into a coherent whole. Wright Morris has been largely forgotten but this does a disservice to his approach. His book The Home Place (1948) is the first person narrative of Clyde Muncy returning for a day long visit to Lone Tree, Nebraska. The nature of memory and reflection is explored through photographs and text as Muncy examines his own life. To give emphasis to either the prose or the photographs is to miss the point - the book is about mood and to create it Morris visited similar locations and interviewed local people including Eddie Cahow the town barber of Chapman, Nebraska, and this exploration of his own roots enriched the novel. The prose / image combination however confused the contemporary audience as Wright Morris noted:
Most of the readers I found objected to the distraction of the photographs, and those who liked the photographs largely ignored the text. The book was very well received, critically, and continues to find reader-lookers, but it was not bought at the time of publication and confused many readers about the author. Was he a writer, who took photographs, or a photographer who did a little writing? The public is ill at ease with the ambidextrous.
W.G. Sebald is perhaps the best known author for literary explorations that include photographs - as in his innovative works Vertigo (1990), The Emigrants (1992), The Rings of Saturn and Austerlitz.
Contemporary author Barbara Hogson uses all kinds of ephemera including photographs in The Tattooed Map (1995) and Ransom Riggs with his strong interest in vernacular photography uses images in Miss Peregrine's Home for Peculiar Children (2011).
- Λ Tipped-in - ILAB: International League of Antiquarian Booksellers
(Accessed: 7 November 2013)
Attached to, but not integral to the binding of the book. We usually use this term to indicate something that has been added: a letter from the author, a newspaper or magazine review or obituary, etc. The nature of what is tipped-in will determine whether this addition will enhance or devalue the book.
- Λ There are a large number of printting processes including photogravure and heliogravure. For extensive discussion see - Luis Nadeau, 1989/1990, Encyclopedia of Printing, Photographic, and Photomechanical Processes: a comprehensive reference to reproduction technologies, containing invaluable information on over 1500 processes, (New Brunswick: Atelier Luis Nadeau) [2 volumes]
- Λ Willie Morris & William Eggleston, 1990, Faulkner's Mississippi, (Oxmoor House)
- Λ William Holman Hunt, Dante Gabriel Rossetti, John William Waterhouse, Frank Cadogan Cowper, John Collier, Edward Burne-Jones and other Pre-Raphaelite artists painting Arthurian themes.
- Λ Julia Margaret Cameron photographed Tennyson on multiple occassions with one of her photographs the "Dirty Monk", taken in 1865, being a particular favourite.
Julia Margaret Cameron, "Alfred, Lord Tennyson (Dirty Monk)", 1865 (taken) 1893 (ca, print), Photogravure, 23.2 x 19.6 cm, Art Institute of Chicago, Gift of Mrs. James Ward Thorne, 1961.871c
Julia Margaret Cameron, "Alfred Tennyson (The Dirty Monk)", 1865, Albumen print, Metropolitan Museum of Art
David Hunter McAlpin Fund, 1966
- Λ Alfred Lord Tennyson, 1874-1875, Idylls of the King and Other Poems, (London: Henry S. King & co.) [Two volumes. Photographic illustrations by Julia Margaret Cameron]
- Λ The location of the original daguerreotypes by Paine of Islington is not known and any information on their whereabouts would be appreciated - firstname.lastname@example.org
- Λ Little Red Riding Hood is a popular European folktale - Aarne-Thompson classification system, no. 333; Jacques Berlioz, 2007, Il faut sauver Le petit chaperon rouge, (Les Collections de L'Histoire) no. 36, p. 63
- Λ Photographic Exhibitions in Britain 1839-1865 - Created by Roger Taylor
(Accessed: 3 November 2013)
- Λ There are multiple versions of books by Francis Frith and as they included tipped-in plates the illustrations can vary between copies. Some of the books are undated making a full listing with dates a challenge. If you have a listing I'd be most grateful - email@example.com
- Λ The two editions of the Holy Bible illustrated with photographs by Francis Frith are:
1860 - E. Eyre & W. Spottiswoode
1862-1863 - Glasgow: W. Mackenzie
- Λ Henry Wadsworth Longfellow, 1865, Hyperion, (London) [Third edition. Illustrated with twenty-four photographs of the Rhine, Switzerland, and the Tyrol, by F. Frith.]
- Λ Man Ray, 1929, 1929, (Paris)
- Λ Jose Carlos Huayhuaca, 1989, Martin Chambi, Fotografo, (Lima: IFEA Banco de Lima)
Martin Chambi – Official website
(Accessed: 1 March 2014)
- Λ Pablo Neruda, 1954, Alturas de Macchu Picchu, (Santiago de Chile: Nascimento)
For a background to Canto General by Pablo Neruda
(Accessed: 1 March 2014)
- Λ Pablo Neruda, “Heights of Macchu Picchu” translated by John Felstiner. First published in John Felstiner, 1980, Translating Neruda: The Way to Macchu Picchu, (Stanford, CA: Stanford University Press)
(Accessed: 2 March 2014)
- Λ M.A. Root, 1864, The Camera and the Pencil, or the Heliographic Art, (Philadelphia: M.A. Root, Philadelphia: J.B. Lippincott, New York: D. Appleton)
- Λ 1853, "Root's Daguerrean Gallery", The Christian Parlor Magazine, vol. 10, p. 379
- Λ January, 1890, "M. A. B. Evans, in Outing for Jan., 1890", The Vassar Miscellany, vol. XIX, Number 4
- Λ L.B., 1842, "Photographic Phenomena, or the new school of portrait painting", George Cruikshank's Omnibus (London: Tilt and Bogue, 1842), p. 29
- Λ First edition - Jules Verne, 1873, Around the World in Eighty Days, (Paris: Pierre-Jules Hetzel & Cie)
- Λ Nelly Bly, 2009, Around the World in Seventy-Two Days, (Wildside Press) [Reprint]
- Λ Mary Emily Bradley, 1872, Birds of a Feather (Boston: Lee & Shepard), p. 195.
- Λ Georges Rodenbach, 1892, Bruges la-Morte [Wikipedia translates the title as "The Dead [City of] Bruges)".]
James Gardner, 10 December 2011, "Incarnating the World Within", The Wall Street Journal
(Accessed online: 21 August 2013)
- Λ Franz Kafka, 1927, Amerika, (Kurt Wolff) [First German edition published after the author's death]. Franz Kafka, 1938, Amerika, (Routledge), [First edition edition.]
- Λ André Breton, 1928, Nadja, (Grove Press) [In French. Semi-autobiographical. The book includes 44 photographs.]
Rick Poynor, 19 Sept 2012, "On My Shelf: André Breton's Nadja" - Observatory - The Design Observer Group
(Accessed: 20 August 2013)
- Λ Virgina Woolf, 1928, Orlando: A Biography, (Hogarth Press). In 1992 a British film adaptation was released starring Tida Swinton as Orlando.
- Λ Georges Simenon, 1931, La Folle d’Itteville.
- Λ The popularity of photonovels has fluctuated considerably since the 1960s and there are regional differences. In Latin America and Spain fotonovelas have remained popular and they continue in parts of Europe.
- Λ Wright Morris, 1948, The Home Place, (University of Nebraska Press); For useful background - Wright Morris, 1982, Wright Morris: Photographs & Words, (The Friends of Photography) [Edited with an excellent introduction by James Alinder.]
- Λ Wright Morris, 1982, Wright Morris: Photographs & Words, (The Friends of Photography), p. 49
- Λ The novels of W.G. Sebald include photographs - W.G. Sebald, 1990, Vertigo, (London: Harvill); W.G. Sebald, 1992, The Emigrants, (London: Harvill); W.G. Sebald, 1995, The Rings of Saturn, (London: Harvill); W.G. Sebald, 2001, Austerlitz, (London: Hamish Hamilton)
Also look at - Lise Patt (ed.), 2007, Searching for Sebald: Photography After W. G. Sebald, (Los Angeles: The Institute of Cultural Inquiry)
Armstrong, Nancy, 2002, Fiction in the Age of Photography: The Legacy of British Realism, (Harvard University Press) isbn-10: 0674008014 isbn-13: 978-0674008014 [Δ]
Beckman, Karen & Weissberg, Liliane (eds.), 2013, On Writing with Photography, (University of Minnesota Press) isbn-10: 0816677298 isbn-13: 978-0816677290 [Δ]
Brunet, Francois, 2009, Photography and Literature, (Reaktion Books) isbn-10: 1861894295 isbn-13: 978-1861894298 [Δ]
Christ, Carol T. & Jordan, John O. (eds.), 1995, Victorian Literature and the Victorian Visual Imagination, (Berkeley: University of California Press) [Δ]
Edwards, Paul, 2008, Soleil noir: Photographie et littérature dès origines au surréalisme, (Presse Universitaires de Rennes) [Δ]
Foer, Jonathan Safran, 2005, Extremely Loud and Incredibly Close, (Houghton Mifflin Harcourt) isbn-10: 0618329706 isbn-13: 978-0618329700 [Novel that includes photographic images] [Δ]
Hall, Steven, 2008, The Raw Shark Texts, (Canongate U.S.) isbn-10: 1847671748 isbn-13: 978-1847671745 [Novel that includes photographic images] [Δ]
Hemon, Aleksander, 2009, The Lazarus Project, (Riverhead Trade) isbn-10: 1594483752 isbn-13: 978-1594483752 [Novel that includes photographic images] [Δ]
Hodgson, Barbara, 1995, The Tattooed Map, (New York: Chronicle Books) [Novel that includes photographic images] [Δ]
Rabb, Jane M. (ed.), 1995, Literature and Photography: Interactions 1840-1990: A Critical Anthology, (Albuquerque: University of New Mexico Press) [Δ]
Rabb, Jane M. (ed.), 1998, The Short Story & Photography 1880's to 1980's, (University of New Mexico Press) isbn-10: 0826318711 isbn-13: 978-0826318718 [Foreword by Eugenia Parry] [Δ]
Riggs, Ransom, 2011, Miss Peregrine's Home for Peculiar Children, (Quirk Books) isbn-10: 1594744769 isbn-13: 978-1594744761 [Mixes text and photographs within the novel] [Δ]
Readings on, or by, individual photographers
Julia Margaret Cameron
1893, Alfred, Lord Tennyson and his friends, (London: T. Fisher Unwin) [Δ]
Tennyson, Alfred Lord, 1874-1875, Idylls of the King and Other Poems, (London: Henry S. King & co.) [Two volumes. Photographic illustrations by Julia Margaret Cameron] [Δ]
Longfellow, Henry Wadsworth, 1865, Hyperion, (London) [Third edition. Illustrated with twenty-four photographs of the Rhine, Switzerland, and the Tyrol, by F. Frith.] [Δ]
J. Payne Jennings
Browning, Robert, 1886, Selections from the Poetical Works of Robert Browning, with photographic illustrations by Payne Jennings, (London: Suttaby & Co.) [Δ]
Marsden, Simon, 1988, Visions of Poe, (Knopf) isbn-10: 0394574273 isbn-13: 978-0394574271 [Δ]
Morris, Wright, 1948, The Home Place, (University of Nebraska Press) [Δ]
Kemp, Wolfgang, 1981, ‘Architektur-Aufnahme am Übergang von der Zeichnung zur Fotografie - das Beispiel Ruskin‘, Marburger Jahrbuch für Kunstwissenschaft, vol. 20, pp. 55-62 [Δ]
Patt, Lise (ed.), 2007, Searching for Sebald: Photography After W. G. Sebald, (Los Angeles: The Institute of Cultural Inquiry) [Δ]
Sebald, W.G., 1990, Vertigo, (London: Harvill) [Novel that includes photographic images] [Δ]
Sebald, W.G., 1992, The Emigrants, (London: Harvill) [Novel that includes photographic images] [Δ]
Sebald, W.G., 1995, The Rings of Saturn, (London: Harvill) [Novel that includes photographic images] [Δ]
Sebald, W.G., 2001, Austerlitz, (London: Hamish Hamilton) [Novel that includes photographic images] [Δ]
Whitman, Walt, 1942, Leaves of Grass, (New York: Limited Editions Club) [Edition of 1500 illustrated with 49 monochrome reproductions of photographs by Edward Weston. Two volumes in slipcase] [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - firstname.lastname@example.org
Alinari • Fred Boissonnas • Julia Margaret Cameron (1815-1879) • Lewis Carroll (1832-1898) • Hill & Adamson • Wright Morris (1910-1998) • William Lake Price (1810-1896) • Henry Peach Robinson (1830-1901) • W.G. Sebald (1944-2001) • Alfred Silvester • George Washington Wilson (1823-1893)
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