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The Junior Classics by Various

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Charles Franks and the Online Distributed Proofreading Team.



The Junior Classics

A LIBRARY FOR BOYS AND GIRLS

[Illustration: CATHRINE DOUGLAS THRUST HER ARM THROUGH THE EMPTY
STAPLES _From the painting by J P Shelton_]

THE JUNIOR CLASSICS

SELECTED AND ARRANGED BY WILLIAM PATTEN
MANAGING EDITOR OF THE HARVARD CLASSICS

INTRODUCTION BY CHARLES W. ELIOT, LL. D.
PRESIDENT EMERITUS OF HARVARD UNIVERSITY

WITH A READING GUIDE BY WILLIAM ALLAN NEILSON, Ph.D.
PROFESSOR OF ENGLISH, HARVARD UNIVERSITY
PRESIDENT SMITH COLLEGE, NORTHAMPTON, MASS., SINCE 1917[-1939]



VOLUME SEVEN

Stories of Courage and Heroism




CONTENTS



PREFACE

How Phidias Helped the Image-Maker _Beatrice Harraden_

The Fight at the Pass of Thermopyle _Charlotte M. Yonge_

The Bravery of Regulus _Charlotte M. Yonge_

The Rabbi Who Found the Diadem _Dr. A. S. Isaacs_

How Livia Won the Brooch _Beatrice Harraden_

Julius Cesar Crossing the Rubicon _Jacob Abbott_

Fearless Saint Genevieve, Patron Saint of Paris _Charlotte M. Yonge_

The Boy Viking--Olaf II of Norway _E. S. Brooks_

The Boy-Heroes of Crecy and Poitiers _Treadwell Walden_

The Noble Burghers of Calais _Charlotte M. Yonge_

The Story of Joan of Arc, the Maid Who Saved France _Anonymous_

How Joan the Maid Took Largess from the English _Anonymous_

Death of Joan the Maid _Anonymous_

How Catherine Douglas Tried to Save King James of Scotland _Charlotte
M. Yonge_

The Brave Queen of Hungary _Charlotte M. Yonge_

The Story of Christopher Columbus for Little Children _Elizabeth
Harrison_

A Sea-Fight in the Time of Queen Bess _Charles Kingsley_

A Brave Scottish Chief _Anonymous_

The Adventure of Grizel Cochrane _Arthur Quiller-Couch_

The Sunken Treasure _Nathaniel Hawthorne_

The Lost Exiles of Texas _Arthur Oilman_

The Boy Conqueror--Charles XII of Sweden _E. S. Brooks_

The True Story of a Kidnapped Boy as Told by Himself _Peter
Williamson_

The Prisoner Who Would Not Stay in Prison _Anonymous_

A White Boy Among the Indians, as Told by Himself _John Tanner_

Evangeline of Acadia _Henry W. Longfellow_

Jabez Rockwell's Powder-Horn _Ralph D. Paine_

A Man Who Coveted Washington's Shoes _Frank R. Stockton._

A Famous Fight Between an English and a French Frigate _Rev. W. H.
Fitchett_

The Trick of an Indian Spy _Arthur Quiller-Couch_

The Man in the "Auger Hole" _Frank R. Stockton._

The Remarkable Voyage of the _Bounty_ _Anonymous_

The Two Boy Hostages at the Siege of Seringapatam _Anonymous_

The Man Who Spoiled Napoleon's "Destiny" _Rev. W. H. Fitchett_

A Fire-Fighter's Rescue from the Flames _Arthur Quiller-Couch_

How Napoleon Rewarded His Men _Baron de Marbot_

A Rescue from Shipwreck _Arthur Quiller-Couch_

Rebecca the Drummer _Charles Barnard_

The Messenger _M. E. M. Davis_

Humphry Davy and the Safety-Lamp _George C. Towle_

Kit Carson's Duel _Emerson Hough_

The Story of Grace Darling _Anonymous_

The Struggles of Charles Goodyear _George C. Towle_

Old Johnny Appleseed _Elizabeth Harrison_

The Little Post-Boy _Bayard Taylor_

How June Found Massa Linkum _Elizabeth S. Phelps_

The Story of a Forest Fire _Raymond S. Spears_




ILLUSTRATIONS



CATHERINE DOUGLAS THRUST HER ARM THROUGH THE EMPTY STAPLES

How Catherine Douglas Tried to Save King James of Scotland

_Frontispiece illustration in color from the painting by J. R.
Skelton_


HE SHOOK HIS CLENCHED FIST AT THE OBSTRUCTED SEA-STRAIT

The Boy Viking--Olaf II of Norway

_From the drawing by Gertrude Demain Hammond_


"FIGHT ON!" CRIED THE MAID; "THE PLACE IS OURS"

The Story of Joan of Arc

_From the painting by William Rainey_


THEN HE OFFERED A FERVENT PRAYER OF THANKS

A Story of Christopher Columbus




PREFACE



The stories in this volume are true stories, and have been arranged
in chronological order, an arrangement that will aid the reader to
remember the times to which the stories relate.

Almost any encyclopedia can be consulted for general details of
the life stories of the interesting people whose names crowd the
volume except perhaps in the cases of Peter Williamson and John
Tanner, "The True Story of a Kidnapped Boy," and "A White Boy Among
the Indians." Peter Williamson was kidnapped in Glasgow, Scotland,
when he was eight years old, was captured by the Cherokee Indians
in 1745, and (though the story does not tell this) he returned to
England and became a prominent citizen. He first made the British
Government pay damages for his kidnapping, gave the first exhibition
in England of Indian war dances, and was the first Englishman to
publish a street directory. He was finally pensioned by the Government
for his services in establishing a penny post.

John Tanner, the son of a clergyman, was stolen by the Indians some
years later. His mother died when he was very young, his father
treated him harshly, and so when the Indians kidnapped him he made
no effort to escape. John remained among them until he was an old
man, and the story of his life, which he was obliged to dictate
to others as he could neither read nor write, was first published
about 1830. The stories of these boys are considered to be two
of the most reliable early accounts we possess of life among the
Indians.

Acknowledgment for permission to include several stories included
in this volume is made in Volume X.

WILLIAM PATTEN.




HOW PHIDIAS HELPED THE IMAGE-MAKER

By Beatrice Harraden



During the time when Pericles was at the head of the state at
Athens he spared no pains and no money to make the city beautiful.
He himself was a lover and patron of the arts, and he was determined
that Athens should become the very centre of art and refinement,
and that she should have splendid public buildings and splendid
sculptures and paintings. So he gathered round him all the great
sculptors and painters, and set them to work to carry out his
ambitious plans; and some of you know that the "Age of Pericles"
is still spoken of as an age in which art advanced towards and
attained to a marvellous perfection.

On the Acropolis, or Citadel of Athens, rose the magnificent
Temple of Athena, called the Parthenon, built under the direction
of Phidias, the most celebrated sculptor of that time, who adorned
it with many of his works, and especially with the huge statue of
Athena in ivory, forty-seven feet in height. The Acropolis was also
enriched with another figure of Athena in bronze--also the work of
Phidias.

The statue was called the "Athena Promachus"; that is "The Defender."
If you turn to your Grecian History you will find a full description
of the Parthenon and the other temples of the gods and heroes and
guardian deities of the city. But I want to tell you something
about Phidias himself, and little Iris, an image-maker's daughter.

It was in the year 450 B.C., in the early summer, and Phidias, who
had been working all the day, strolled quietly along the streets
of Athens.

As he passed by the Agora (or market-place), he chanced to look up,
and he saw a young girl of about thirteen years sitting near him.
Her face was of the purest beauty; her head was gracefully poised
on her shoulders; her expression was sadness itself. She looked
poor and in distress. She came forward and begged for help; and
there was something in her manner, as well as in her face, which
made Phidias pause and listen to her.

"My father lies ill," she said plaintively, "and he cannot do
his work, and so we can get no food: nothing to make him well and
strong again. If I could only do his work for him I should not mind;
and then I should not beg. He does not know I came out to beg--he
would never forgive me; but I could not bear to see him lying there
without food."

"And who is your father?" asked Phidias kindly.

"His name is Aristeus," she said, "and he is a maker of images--little
clay figures of gods and goddesses and heroes. Indeed, he is clever;
and I am sure you would praise the 'Hercules' he finished before
he was taken ill."

"Take me to your home," Phidias said to the girl; as they passed
on together he asked her many questions about the image-maker. She
was proud of her father; and Phidias smiled to himself when he heard
her speak of this father as though he were the greatest sculptor
in Athens. He liked to hear her speak so enthusiastically.

"Is it not wonderful," she said, "to take the clay and work in into
forms? Not everyone could do that--could you do it?"

Phidias laughed.

"Perhaps not so well as your father," he answered kindly. "Still,
I can do it."

A sudden thought struck Iris.

"Perhaps you would help father?" she said eagerly. "Ah! but I ought
not to have said that."

"Perhaps I can help him," replied Phidias good-naturedly. "Anyway,
take me to him."

She led him through some side streets into the poorest parts of the
city, and stopped before a little window, where a few roughly-wrought
images and vases were exposed to view. She beckoned to him to follow
her, and opening the door, crept gently into a room which served
as their workshop and dwelling-place. Phidias saw a man stretched
out on a couch at the farther end of the room, near a bench where
many images and pots of all sorts lay unfinished.

"This is our home," whispered Iris proudly, "and that is my father
yonder."

The image-maker looked up and called for Iris.

"I am so faint, child," he murmured. "If I could only become strong
again I could get back to my work. It is so hard to lie here and
die."

Phidias bent over him.

"You shall not die," he said, "if money can do you any good. I met
your little daughter, and she told me that you were an image-maker;
and that interested me, because I, too, can make images, though
perhaps not as well as you. Still, I thought I should like to come
and see you and help you; and if you will let me, I will try and
make a few images for you, so that your daughter may go out and
sell them, and bring you home money. And meanwhile, she shall fetch
you some food to nourish you."

Then he turned to Iris, and putting some coins into her hands bade
her go out and bring what she thought fit. She did not know how to
thank him, but hurried away on her glad errand, and Phidias talked
kindly to his fellow-worker, and then, throwing aside his cloak,
sat down at the bench and busied himself with modelling the clay.

It was so different from his ordinary work that he could not help
smiling.

"This is rather easier," he thought to himself, "than carving
from the marble a statue of Athena. What a strange occupation!"
Nevertheless, he was so interested in modelling the quaint little
images that he did not perceive that Iris had returned, until he
looked up, and saw her standing near him, watching him with wonder,
which she could not conceal.

"Oh, how clever!" she cried. "Father, if you could only see what
he is doing!"

"Nay, child," said the sculptor, laughing; "get your father his
food, and leave me to my work. I am going to model a little image
of the goddess Athena, for I think the folk will like to buy
that, since that rogue Phidias has set up his statue of her in the
Parthenon."

"Phidias, the prince of sculptors!" said the image-maker. "May the
gods preserve his life; for he is the greatest glory of all Athens!"

"Ay," said Iris, as she prepared her father's food, "that is what
we all call him--the greatest glory of all Athens."

"We think of him," said Aristeus, feebly, "and that helps us in
our work. Yes, it helps even us poor image-makers. When I saw the
beautiful Athena I came home cheered and encouraged. May Phidias
be watched over and blessed all his life!"

The tears came into the eyes of Phidias as he bent over his work;
it was a pleasure to him to think that his fame gained for him a
resting-place of love and gratitude in the hearts of the poorest
citizens of Athens. He valued this tribute of the image-maker far
more than the praises of the rich and great. Before he left, he
saw that both father and daughter were much refreshed by the food
which his bounty had given to them, and he bade Aristeus be of good
cheer, because he would surely regain his health and strength.

"And because you love your art," he said, "I shall be a friend
to you and help you. And I shall come again to-morrow and do some
work for you--that is to say, if you approve of what I have already
done, and then Iris will be able to go out and sell the figures."

He hastened away before they were able to thank him, and he left
them wondering who this new friend could be. They talked of him
for a long time, of his kindness and his skill; and Aristeus dreamt
that night about the stranger who had come to work for him.

The next day Phidias came again, and took his place at the
image-maker's bench, just as if he were always accustomed to sit
there. Aristeus, who was better, watched him curiously, but asked
no questions.

But Iris said to him: "My father and I talk of you, and wonder who
you are."

Phidias laughed.

"Perhaps I shall tell you some day," he answered. "There, child,
what do you think of that little vase? When it is baked it will be
a pretty thing."

As the days went on, the image-maker recovered his strength; and
meanwhile Phidias had filled the little shop with dainty-wrought
images and graceful vases, such as had never been seen there before.

One evening, when Aristeus was leaning against Iris, and admiring
the stranger's work, the door opened and Phidias came in.

"What, friend," he said cheerily, "you are better to-night I see!"

"Last night," said Aristeus, "I dreamt that the friend who held out
a brother's hand to me and helped me in my trouble was the great
Phidias himself. It did not seem wonderful to me, for only the
great do such things as you have done for me. You must be great."

"I do not know about that," said the sculptor, smiling, "and
after all, I have not done so much for you. I have only helped
a brother-workman: for I am an image-maker too--and my name is
Phidias."

Then Aristeus bent down and reverently kissed the great sculptor's
hands.

"I cannot find words with which to thank you," he murmured, "but I
shall pray to the gods night and day that they will for ever bless
Phidias, and keep his fame pure, and his hands strong to fashion
forms of beauty. And this I know well: that he will always have
a resting-place of love and gratitude in the poor image-maker's
heart."

And Phidias went on his way, tenfold richer and happier for the
image-maker's words. For there is something lovelier than fame
and wealth, my children; it is the opportunity of giving the best
of one's self and the best of one's powers to aid those of our
fellow-workers who need our active help.




THE FIGHT AT THE PASS OF THERMOPYLAe

By Charlotte M. Yonge



There was trembling in Greece. "The Great King," as the Greeks
called Xerxes, the chief ruler of the East, was marshaling his
forces against the little free states that nestled amid the rocks
and gulfs of the Eastern Mediterranean--the whole of which together
would hardly equal one province of the huge Asiatic realm! Moreover,
it was a war not only on the men but on their gods. The Persians
were zealous adorers of the sun and the fire, they abhorred the
idol-worship of the Greeks, and defiled and plundered every temple
that fell in their way. Death and desolation were almost the best
that could be looked for at such hands--slavery and torture from
cruelly barbarous masters would only too surely be the lot of
numbers, should their land fall a prey to the conquerors.

The muster place was at Sardis, and there Greek spies had seen the
multitudes assembling and the state and magnificence of the king's
attendants. Envoys had come from him to demand earth and water from
each state in Greece, as emblems that land and sea were his, but
each state was resolved to be free, and only Thessaly, that which
lay first in his path, consented to yield the token of subjugation. A
council was held at the Isthmus of Corinth, and attended by deputies
from all the states of Greece to consider of the best means of
defense. The ships of the enemy would coast round the shores of
the Aegean Sea, the land army would cross the Hellespont on a bridge
of boats lashed together, and march southwards into Greece. The
only hope of averting the danger lay in defending such passages
as, from the nature of the ground, were so narrow that only a few
persons could fight hand to hand at once, so that courage would be
of more avail than numbers.

The first of these passes was called Tempe, and a body of troops
was sent to guard it; but they found that this was useless and
impossible, and came back again. The next was at Thermopyle. Look
in your map of the Archipelago, or Aegean Sea, as it was then called,
for the great island of Negropont, or by its old name, Euboea. It
looks like a piece broken off from the coast, and to the north is
shaped like the head of a bird, with the beak running into a gulf,
that would fit over it, upon the main land, and between the island
and the coast is an exceedingly narrow strait. The Persian army
would have to march round the edge of the gulf. They could not cut
straight across the country, because the ridge of mountains called
Oeta rose up and barred their way. Indeed, the woods, rocks,
and precipices came down so near the seashore, that in two places
there was only room for one single wheel track between the steeps
and the impassable morass that formed the border of the gulf on
its south side. These two very narrow places were called the gates
of the pass, and were about a mile apart. There was a little more
width left in the intervening space; but in this there were a
number of springs of warm mineral water, salt and sulphurous, which
were used for the sick to bathe in, and thus the place was called
Thermopyle, or the Hot Gates. A wall had once been built across
the westernmost of these narrow places, when the Thessalians and
Phocians, who lived on either side of it, had been at war with one
another; but it had been allowed to go to decay, since the Phocians
had found out that there was a very steep narrow mountain path
along the bed of a torrent, by which it was possible to cross from
one territory to the other without going round this marshy coast
road.

This was, therefore, an excellent place to defend. The Greek
ships were all drawn up on the further side of Euboea to prevent
the Persian vessels from getting into the strait and landing men
beyond the pass, and a division of the army was sent off to guard
the Hot Gates. The council at the Isthmus did not know of the
mountain pathway, and thought that all would be safe as long as
the Persians were kept out of the coast path.

The troops sent for this purpose were from different cities,
and amounted to about 4,000 who were to keep the pass against two
millions. The leader of them was Leonidas, who had newly become
one of the two kings of Sparta, the city that above all in Greece
trained its sons to be hardy soldiers, dreading death infinitely
less than shame. Leonidas had already made up his mind that the
expedition would probably be his death, perhaps because a prophecy
had been given at the Temple at Delphi that Sparta should be saved
by the death of one of her kings of the race of Hercules. He was
allowed by law to take with him 300 men, and these he chose most
carefully, not merely for their strength and courage, but selecting
those who had sons, so that no family might be altogether destroyed.
These Spartans, with their helots or slaves, made up his own share
of the numbers, but all the army was under his generalship. It is
even said that the 300 celebrated their own funeral rites before
they set out lest they should be deprived of them by the enemy,
since, as we have already seen, it was the Greek belief that the
spirits of the dead found no rest till their obsequies had been
performed. Such preparations did not daunt the spirits of Leonidas
and his men, and his wife, Gorgo, not a woman to be faint-hearted
or hold him back. Long before, when she was a very little girl, a
word of hers had saved her father from listening to a traitorous
message from the King of Persia; and every Spartan lady was bred
up to be able to say to those she best loved that they must come
home from battle "with the shield or on it"--either carrying it
victoriously or borne upon it as a corpse.

When Leonidas came to Thermopyle, the Phocians told him of the
mountain path through the chestnut woods of Mount ita, and begged
to have the privilege of guarding it on a spot high up on the
mountain side, assuring him that it was very hard to find at the
other end, and that there was every probability that the enemy
would never discover it. He consented, and encamping around the warm
springs, caused the broken wall to be repaired, and made ready to
meet the foe.

The Persian army were seen covering the whole country like locusts,
and the hearts of some of the southern Greeks in the pass began to
sink. Their homes in the Peloponnesus were comparatively secure--had
they not better fall back and reserve themselves to defend the
Isthmus of Corinth? But Leonidas, though Sparta was safe below the
Isthmus, had no intention of abandoning his northern allies, and
kept the other Peloponnesians to their posts, only sending messengers
for further help.

Presently a Persian on horseback rode up to reconnoiter the pass. He
could not see over the wall, but in front of it and on the ramparts,
he saw the Spartans, some of them engaged in active sports, and
others in combing their long hair. He rode back to the king, and
told him what he had seen. Now Xerxes had in his camp an exiled
Spartan prince, named Demaratus, who had become a traitor to his
country, and was serving as counselor to the enemy. Xerxes sent for
him, and asked whether his countrymen were mad to be thus employed
instead of fleeing away; but Demaratus made answer that a hard fight
was no doubt in preparation, and that it was the custom of the
Spartans to array their hair with especial care when they were about
to enter upon any great peril. Xerxes would, however, not believe
that so petty a force could intend to resist him, and waited four
days, probably expecting his fleet to assist him, but as it did
not appear, the attack was made.

The Greeks, stronger men and more heavily armed, were far better
able to fight to advantage than the Persians with their short spears
and wicker shields, and beat them off with great ease. It is said
that Xerxes three times leapt off his throne in despair at the
sight of his troops being driven backwards; and thus for two days
it seemed as easy to force a way through the Spartans as through
the rocks themselves. Nay, how could slavish troops, dragged from
home to spread the victories of an ambitious king, fight like freemen
who felt that their strokes were to defend their homes and children?

That evening a wretched man, named Ephialtes, crept into the Persian
camp, and offered, for a great sum of money, to show the mountain
path that would enable the enemy to take the brave defenders in the
rear! A Persian general, named Hydarnes, was sent off at nightfall
with a detachment to secure this passage, and was guided through
the thick forests that clothed the hill-side. In the stillness of
the air, at daybreak, the Phocian guards of the path were startled
by the crackling of the chestnut leaves under the tread of many
feet. They started up, but a shower of arrows was discharged on them,
and forgetting all save the present alarm, they fled to a higher
part of the mountain, and the enemy, without waiting to pursue
them, began to descend.

As day dawned, morning light showed the watchers of the Grecian
camp below a glittering and shimmering in the torrent bed where
the shaggy forests opened; but it was not the sparkle of water, but
the shine of gilded helmets and the gleaming of silvered spears.
Moreover, a man crept over to the wall from the Persian camp
with tidings that the path had been betrayed, that the enemy were
climbing it, and would come down beyond the Eastern Gate. Still,
the way was rugged and circuitous, the Persians would hardly descend
before midday, and there was ample time for the Greeks to escape
before they could thus be shut in by the enemy.

There was a short council held over the morning sacrifice. Megistias,
the seer, on inspecting the entrails of the slain victim, declared
that their appearance boded disaster. Leonidas ordered him to
retire, but he refused, though he sent home his only son.

There was no disgrace in leaving a post that could not be held,
and Leonidas recommended all the allied troops under his command
to march away while yet the way was open. As to himself and his
Spartans, they had made up their minds to die at their post, and
there could be no doubt that the example of such a resolution would
do more to save Greece than their best efforts could ever do if
they were careful to reserve themselves for another occasion.

All the allies consented to retreat, except the eighty men who came
from Mycene and the 700 Thespians, who declared that they would
not desert Leonidas. There were also 400 Thebans who remained; and
thus the whole number that stayed with Leonidas to confront two
million of enemies were fourteen hundred warriors, besides the helots
or attendants on the 300 Spartans, whose number is not known, but
there was probably at least one to each.

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Elliott Kastner obituary

John Makinson says that if people want to read using new technology, that's what publishers must give them

Penguin this week celebrates its 75th year and is marking the anniversary by repackaging a series of seminal books from the 1960s to the 1980s. Although the company might afford itself a brief look backwards, it feels as though there is little room for nostalgia in book publishing now, as the industry turns its face firmly – and apprehensively – to the future.

Amazon last week announced sales of ebooks on its US site had outnumbered hardbacks for the first time, stunning casual observers, even if it had not been entirely unexpected in the trade.

The launch of the iPad has added a sense of urgency. Where music went first, books are set to follow, although Penguin and other publishers would hope without the same devastating effects. Amazon this week launched a cheaper, more lightweight version of its Kindle ebook reader and a digital store on its UK site, while others, including Google, are muscling in. Digital book sales are still less than 1% of Penguin, but the direction of the market is clear. In the US, digital books already account for 6% of consumer sales.

Penguin chief executive John Makinson says he is a convert. The day after we meet he is on his way to India, as part of David Cameron's delegation, and had loaded titles on to his iPad, including a manuscript by John le Carré and some Portuguese classics (in English) ahead of Penguin launching a range in Brazil. He is also reading Lord Mandelson's diary. It simply makes sense, he says, instead of carting an armful of books in your carry-on luggage.

Innovation

"It does redefine what we do as publishers and I feel, compared with most of my counterparts, more optimistic about what this means for us," he says. "Of course there are issues around copyright protection and there are worries around pricing and around piracy, royalty rates and so on, but there is also this huge opportunity to do more as publishers."

Publishing, he says, must embrace innovation: "I am keen on the idea that every book that we put on to an iPad has an author interview, a video interview, at the beginning. I have no idea whether this is a good idea or not. There has to be a culture of experimentation, which doesn't come naturally to book publishers. We publish a lot of historians, for example. They love the idea of using documentary footage to illustrate whatever it is they're writing about."

The very definition of a book is up for grabs he says, although the company has just published a version of Ken Follett's The Pillars of the Earth for the iPad in the US that might provide clues – and horrify traditionalists. It includes scenes from a TV adaptation embedded in the text, as well as extras including the show's music soundtrack and Follett's video diary during the making of the series.

For now, Makinson says, digital books are expanding the market; hardback sales in the US are up this year, despite the march of ebooks. Piracy is not yet a significant issue and lessons have been learned from the music business.

"You have to give the consumer what the consumer wants – you can't tell the consumer to go away. So we didn't participate in this experiment where a number of publishers deferred publication of the ebook until a certain number of months after the hardcover publication. I thought that was a very bad idea. If the consumer wants to buy a book in an electronic format now, you should let the consumer have it."

He has added confidence, because with tablets such as the iPad, consumers are used to paying a subscription to the wireless operator and for "apps", creating a more benign environment than the wild west of the PC, where users are used to getting everything for free.

Penguin's profits more than doubled to £44m in the first half of the year. The company gained market share, but one reason for the dramatic improvement was the outsourcing of some design and production to India last year; the company now has around 100 designers in Delhi making books for Dorling Kindersley, belying the idea that Britain can at least live off its creative industries. Makinson defends the decision and says DK is now back in profit, which means it can reinvest in Britain: "We can't pretend we can do everything here. In order to be internationally competitive, some work needs to be done in other places."

About 8% of the publisher's sales are from its classics, including Jane Austen and Charles Dickens, and revenues are still growing, despite much of the copyright being in the public domain. It is launching the range in Mandarin, Korean and Portuguese. But it is not all highbrow. What would Penguin's founder, Sir Allen Lane, whose aim was to publish quality paperbacks for the masses, have made of Penguin putting out books "by" Peter Andre or Ant & Dec?

"Allen Lane's view was that we should publish good writing of all kinds for all audiences at affordable prices," Makinson says. "I'm not saying he would necessarily have approved every single publishing decision we take, but would he have approved of Penguin being a very democratic publishing company, publishing for lots of different tastes? I think he would definitely have approved."

Makinson has long been mentioned as a successor to Dame Marjorie Scardino, who runs Pearson, Penguin's parent company. Her departure has been a perennial question, though she has defied the investment community's chattering classes by staying in her post for well over a decade. She has also confounded expectations by keeping Penguin and the Financial Times in a group dominated by educational publishing. Makinson says it now makes more sense than ever for Penguin to remain part of the group, as the digital era draws each division closer.

He says there will still be the need for publishers in the digital world: "I used to have this discussion with [Hitchhiker's Guide to the Galaxy author] Douglas Adams. He created this thing called the digital village, an online publishing platform. Douglas's argument was, 'all of my friends will come along and publish on digital village and you the publishers will be disintermediated, you will be irrelevant'. Well, it hasn't happened. I am not aware of any successful direct to consumer publishing model that exists.

"The reason it doesn't work is that the publishers do actually perform quite a useful service: they edit the book, then they publicise it." In the physical world, they make sure it is stocked in bookshops, he adds.

Clubbable

Makinson, 55, perhaps feels more adaptable than some of his counterparts because he arrived at Penguin as an outsider. A clubbable character, he has taken an unusual career path, from a journalist on the Financial Times, to working for the Saatchis, setting up his own investment consultancy, running the Financial Times and then becoming Pearson finance director, despite having no training as an accountant.

But his passion for books is evident. Five years ago, he and his brother bought a bookshop in the small Norfolk town of Holt. For an out-of-the-way independent, the Holt Bookshop attracts a starry line-up of authors for events, including Stephen Fry, due to talk about his new autobiography, which, perhaps not surprisingly, is published by Penguin.

"We are all terribly sentimental about books," Makinson insists. "It is terribly important to me that we sell lots of wonderful books in my little independent in Norfolk, and when I talk about digital I do sometimes worry that it looks as though I am neglecting all this," he points to the books on the shelves behind him, "which I am not."

CV

Born: 1954, Derby.

Education: Graduated from Cambridge with honours in English and History.

Career: 1976-1979, journalist, Reuters; 1979-1986, journalist, Financial Times; 1986-1989, vice-chairman, Saatchi & Saatchi; 1989-1994, co-founder of capital markets advisory firm Makinson Cowell; 1994-1996, managing director, Financial Times; 1996-2002, finance director, Pearson; 2002-present, chairman and chief executive Penguin Books.

Other interests: chairman of the Institute for Public Policy Research, a director of the National Theatre and of the International Rescue Committee, a humanitarian organisation.

Family: Married with two daughters.


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The nostalgia narrative now aches to a different tune | John Freeman

Late-flowering writer of biographies and children's books

Verily Anderson, who has died aged 95, published more than 30 books – memoirs, biographies, children's stories and work ranging from personal reminiscences to Shakespeare scholarship and 10 Brownie books. She was a late starter: her breakthrough as a writer came in 1956, at the age of 41, when she published Spam Tomorrow, a deft and frequently uproarious account of her wartime experiences on the home front. Critics hailed it as a new kind of memoir, one of the first to explore the lives of women in wartime.

Before the success of Spam Tomorrow, she led a life that was colourful but frequently impecunious. Born in Edgbaston, Birmingham, the fourth of five children of the Rev Rosslyn Bruce and his wife Rachel (nee Gurney), Verily was always certain that she wanted to be a writer. As children, she and her brothers edited and wrote a nursery magazine which they called the News of the World. Verily's haphazard schooling ranged from a few years at Edgbaston high school for girls to being taught at home by her mother, to a brief and unsuccessful stint at the Royal College of Music in London. She said she worked at "100 different jobs" (including writing advertising copy, illustrating sweet papers and working as a chauffeur) before the outbreak of the second world war, when she enlisted with the First Aid Nursing Yeomanry, on the grounds that if there were going to be a war, it would be "less frightening to be in the middle of things".

During the war she met Donald Anderson, a writer who specialised in military history. They married in 1940 and had five children. With his encouragement, she made a precarious living as a freelance writer, while papering her lavatory walls with rejection slips received from publishers for her book projects. Her persistence was at last rewarded with the success of Spam Tomorrow – and a further half-decade on the bestseller lists. These years included a film adaptation of her 1958 memoir, Beware of Children, called No Kidding and starring Leslie Phillips and Geraldine McEwan (1960).

Donald died in 1956, and by the mid-60s Verily was again struggling financially. She was rescued by the actor Joyce Grenfell. They had struck up a friendship when Verily interviewed Grenfell for the BBC. Grenfell was so shocked at the conditions she found Verily living in that she bought her a home in Northrepps, a village in Norfolk, where she stayed for the rest of her life, writing dozens more books (including the critically acclaimed The Northrepps Grandchildren in 1968) and glorying in the role of matriarch to an ever-expanding family of children, grandchildren and great-grandchildren. When Verily married Paul Paget, architect and surveyor to the fabric of St Paul's Cathedral, in 1971, Grenfell was matron of honour.

In 2008 I conducted what turned out to be Verily's last interview. Letting myself in after some fruitless bell-ringing, I followed the sounds of a piano to her study door. "Oh my dear," she said, looking up at my knock. "There you are. Now – shall we have a gin, before we start?"

I had already heard all about Verily through her daughter, my friend the writer Janie Hampton, and so had a good idea what to expect. Janie's main piece of advice on hearing that we were going to meet was: "Whatever you do, don't let her pick you up from the station – she's half-blind." She also said: "Don't eat any of the cake she offers. She's always got some, and it's always about five weeks old."

Verily did have cake and it was past its best – but Verily definitely was not. She regaled me with anecdotes. I came away with the image of a woman with a twinkle in her eye, who after eight decades of writing was still full of energy and enthusing about her latest project. This – a memoir of the time she spent at Herstmonceux Castle, Sussex, in the 1930s and 40s – was completed the day before she died.

Verily is survived by her children, Marian, Rachel, Eddie, Janie and Alexandra, 16 grandchildren, 14 great-grandchildren – and Alfie, her beloved RNIB guide-dog.

• Verily Anderson, writer, born 12 January 1915, died 16 July 2010


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Tom Stoppard returns to BBC with Ford Madox Ford adaptation

The American literary genre of you can't go home again – that fertile ground farmed by Faulkner, Twain and Kerouac – has in the last half-century found a new voice abroad

At six foot, six inches tall, Thomas Wolfe had trouble entering most rooms. But he also had a problem with going back through them, especially if they led to the past. He had told too many truths – and too many lies – about where he came from in North Carolina.

In his posthumous 1940 novel, You Can't Go Home Again, he gave Americans a literary catchphrase for the pain so many of us who wind up far from where we grew up feel acutely.

After all, in the case of many Americans, if you leave the provinces only to return home, you are marked as a failure. At the very least, you run the risk of finding that flight has spoiled any fond memories you managed to smuggle out.

Think of the successful ad-man hero of John Updike's The Farm, who returns to his family's crumbling Pennsylvania farm for an emotionally fraught visit, or Quentin Compson of William Faulkner's Absalom, Absalom, shivering in his dorm room at Harvard, who begins his defence of the American south with the ringing endorsement, "I don't hate it ... I don't hate it."

This thread of conflicted nostalgia is strongest in America's most autobiographical novelists, especially the ones who had to leave to write but continuously dial back the past in their work: writers such as Jack Kerouac, who frantically travelled America, but wrote most of his later books about Lowell, while living with his mother in Queens and Florida.

Then there's Mark Twain, whose autobiography appears in the new issue of Granta, who rose out of Missouri and saw the world, but settled in Hartford, Connecticut in a white mansion that everyone around him could see looked exactly like a river steamboat.

But like so many things America feels it has invented, from democracy to baseball, the you-can-never-go-home again narrative is hardly unique to it. In fact, in the last half-century (and especially in the last 20 years, as diaspora writers from the Dominican Republic to Nigeria to India and Pakistan have emerged as some of our most vigorous storytellers), nostalgia – which is a combination of "returning home" and "ache" – has taken on a different texture.

In Granta's new issue, there's a story by the Sudanese writer Leila Aboulela, about a young man who has come to London from Khartoum to study mathematics. His mother, who worries he will never return, arranges for him to marry a devout Muslim wife – a move which backfires when she comes to London and reminds him of everything he left behind. Chimamanda Adichie, meanwhile, has a story about a Nigerian "big man" whose life is turned upside down when his ex-girlfriend announces she has come back to Lagos. As he speculates about the reasons for her return, Adichie's hero worries whether he has sacrificed something essential in his rise to the top.

In stories like these, not to mention the novels of Monica Ali or Kiran Desai or Uzma Aslam Khan, the export duty to elsewhere is high. The past isn't just the past – it's another country. And for reasons political and personal, there is no going back.


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