voyage of the beagle folio society

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• 0 0 Savage: The Life And Times Of Jemmy Button by Nick Hazlewood ( John_Vaughan ) John_Vaughan : The two stories interlink particulary around the facinating character of Captain Fitzroy.
• 0 0 Uttermost Part of the Earth by E. Lucas Bridges ( amerynth ) amerynth : Great account of living on Tierra del Fuego, with more extensive account of Jemmy Button, York Minster and Fuegia Basket.
• 0 0 Fitzroy: The Remarkable Story of Darwin's Captain and the Invention of the Weather Forecast by John Gribbin ( John_Vaughan ) John_Vaughan : As an ideal companion read.
• 0 0 Darwin and the Beagle by Alan Moorehead ( John_Vaughan )
• 0 1 This Thing of Darkness by Harry Thompson ( mellu )

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Voyage of the Beagle chronicles Charles Darwin's five years as a naturalist on board the H.M.S. Beagle. The notes and observations that he recorded in his diary included Chile, Argentina and Galapagos Islands and encompasses the ecology, geology and anthropology of the places he visits. A fascinating travel memoir the ideas that were later to evolve into Darwin's theory of natural selection find their naissance in Voyage of the Beagle .

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Folio Society: Darwin The Zoology of the Voyage of HMS Beagle, ltd ed of 1000

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The Folio Society: a brief history

It’s Folio’s birthday this month – 66 years since Charles Ede presented the very first edition: Tales by Tolstoy. To celebrate we approached Sue Bradbury, our former Editorial Director, about reproducing the introduction she wrote to Folio 60 – the bibliographical history published to mark our 60th anniversary. See below for the full text and you can also spy a few images from Folio's past.

Ten years ago, on The Folio Society’s fiftieth birthday, Alan Bennett painted an unforgettable picture of the world into which it was born: 1947 was an extraordinary year. 'Winter went on until May and the snow sometimes drifted as high as the tops of telegraph poles; and then, when spring came, there were huge floods, and then a very hot summer . Things were pretty bleak in 1947. Rationing was more severe than it had been at any point during the war, and print and paper were still restricted. Books produced just after the war all carried a logo inside, of an open book and the legend, "published under the Authorised Economy Standard". And there weren’t many illustrations, and though the print was quite good, the whole appearance of the books was rather dull.'

 But there was already a smell of change in the air, a sense of mounting visual excitement that culminated for people of Bennett’s generation in the Festival of Britain in 1951. Colour was coming back; there was an increasing clamour for good design, and, given that the leading writers at that time were Dylan Thomas and Christopher Fry, both of whom were in love with words, there was a sense, Bennett said, ‘in which language itself seemed to be coming off the ration’.

 For Charles Ede, the founder of The Folio Society, coming back from the war into this world was a transforming experience. He had fallen in love with the work of William Morris and the Kelmscott Press while he was still a schoolboy, and as a soldier had already begun a collection of Kelmscott, Golden Cockerel and Nonesuch editions. But now he decided that being a private press publisher was not for him. Alerted to a decline in standards that might not easily be reversed, and convinced that good design and production should be available to everyone and not just to a few comparatively rich book-buyers, he embarked on a plan to produce books to the highest possible standards using commercial methods.

The plan was to publish a book a month, selling (in those early days) through booksellers, and trying to establish some idea of demand by sending out a prospectus in advance. There were formidable problems, not least of which was post-war paper-rationing. As an ex-serviceman, Charles qualified for only 10 tons – sufficient for perhaps five books. The rest had to be begged, wheedled or scrounged. For the first three years the Society’s survival, on its owner’s admission, hung in the balance, and the first seven were ‘biblically lean’. The concept of a book that fell somewhere between an édition de luxe and a commercial publication was new and difficult to sell, and, with a few honourable exceptions, booksellers were reluctant to carry them. It was only when the Society began to enrol subscribers directly by offering them a Presentation Volume (a reward that still occupies an important role in encouraging membership) that it became apparent that there was a market for the Folio style of book.

The main concern of the Society, however, then as now, was to produce, as the founders had promised, ‘editions of the world’s great literature, in a format worthy of the contents, at a price within the reach of everyman’. John Mortimer says: ‘Books, many books, are essential to life, and the great masterpieces of the world are books which have to be read and reread so that they’re constantly in your mind as well as on your shelves.’ Paperbacks do a wonderful job: ‘You can stuff them in your pocket, bring them out on aeroplanes or in doctors’ surgeries, take them onto the beach, or, in restaurants, keep them open with the butter knife. But you need a more permanent tribute to the books which go to make up a life.'

That, in essence, is what The Folio Society is about.

 At first the Society favoured the established classics above all others – partly because Charles felt that only books which had stood the test of time justified a comparatively expensive ‘suit of clothes’, partly because he simply could not afford to gamble. Fiction was more popular than non-fiction, and early lists were a mixture of novels, short stories, memoirs, belles-lettres, poetry and drama. Many of the illustrators Charles commissioned were familiar to British readers through advertisements and magazines like the Radio Times – among them Eric Fraser, Barnett Freedman and Edward Bawden, whose cover for Gulliver’s Travels was excitingly ahead of its time.

Just before the Society’s twenty-fifth birthday, Charles sold the company to John Letts and Halfdan Lynner. Both had backgrounds in publishing and marketing and were intrigued by the quality of the books produced and by Folio’s unique, if eccentric, position in the market. A number of factors triggered the sale, but one of the main reasons, according to Charles, was that he had always relished his involvement with every aspect of Folio – the choice of titles, the supervision of illustrators and printers, even the packing and sending of books – and when it grew too big for him to do everything himself he rather lost interest. He turned his attention instead to classical antiquities, while the Society celebrated its Silver Jubilee by moving from the elegant and clubbable environs of Stratford Place to interesting, if less salubrious, quarters near the Elephant and Castle. When I joined the company in 1973, the knowledge that I was within a stone’s throw of Shakespeare’s Globe Theatre, of Guy’s Hospital where Keats was a medical student, and of the Marshalsea Debtors’ Prison, the setting for one of Dickens’s best and most deeply felt novels, Little Dorrit , almost compensated for the twentieth-century wasteland that we inhabited.

The Folio Society evolved, rather than changed, over this period, at least in part because of the staying power of those involved in it. The Editorial Director, Brian Rawson, who had joined the Society in 1956, remained in the post until his death twenty years later, working with John to produce each year’s programme of books just as he had worked with Charles. (History does not relate whether they continued to operate the OMDB – Over My Dead Body – principle, by which both were allowed to veto one title completely at any stage of the process.) Meanwhile Tim Wilkinson, who had worked for Folio from 1958 until 1964, rejoined the company as Production Director in 1968 and stayed until 1984.

Occasionally there were fictional discoveries to be made: John was particularly proud of resurrecting two masterpieces of humour: Augustus Carp, Esq., by Himself (1988), the wonderfully funny ‘autobiography’ of an arch-hypocrite who is hoist by his own petard at every turn, and The Unlucky Family (1980) by Mrs Henry de la Pasture, an Edwardian gem in the tradition of The Diary of a Nobody and The Young Visiters , about a family from the London suburbs who inherit a stately home. Books like these helped to establish The Folio Society as a publisher, not just a producer of handsome books.

In 1993 Bob Gavron moved the Society, by then bursting its Southwark premises at the seams, to Eagle Street, on the fringes of Bloomsbury – a suitably literary address. Given the founder’s passion for Kelmscott, it is particularly pleasing that our present offices overlook William Morris’s former home in Red Lion Square. On moving there Morris wrote a postcard to his old Oxford friend, Edward Burne-Jones: ‘Dear Ned – Do call – Squalor and Vittles at all hours – Wm.’

And in many ways Folio has gone on as before. Classic works of literature continue to form the bedrock of its publishing programme. Trad­itional methods of printing and binding are preserved; traditional forms of illustration – wood-engraving, drawing, lithography – are championed. But there have been sea changes, too – not just an appreciable increase in the number of books published overall, but an increase, too, in the number of new and more recent books, so that the Society can claim to reflect the spirit of the present as well as that of the past. It used to be said that a defining feature of Folio was that all its authors were dead, but one of the great pleasures of the last decade and more has been working with living writers, whether as the authors of newly commissioned works for the Society, or as editors, translators and introducers.

But that is one book among many: John Keay’s The Spice Route (2005), John Mortimer’s selection of ‘Rumpole’ stories (1994), Frederic Raphael’s retelling of Greek myths in Of Gods and Men (1992), illustrated by his gifted artist daughter, Sarah, James Michie’s translation of Ovid’s The Art of Love (1993), Katharine Duncan-Jones’s vividly robust Shakespeare’s Life and World (2004) and, published only a few months before this bibliography, Ian Fletcher’s masterful eyewitness history of the campaigns of Wellington in the Peninsula and at Waterloo – these are just a handful of the Folio-originated books which have become such an important and established part of our publishing programme.

Special occasions have given rise to special projects which, in themselves, have helped to take the list in new directions as well as consolidating its core. For Folio 50, members were asked to choose their fifty best-loved books – The Lord of the Rings beating Pride and Prejudice to the tape by a nose. All the chosen books were published. The millennium provided the opportunity to canvass (and then publish) the ‘Books of the Century’ in twenty different categories, including Religion and Philosophy (winner: Dietrich Bonhoeffer’s Letters and Papers from Prison ), the Historical Novel (winner: The Leopard by Giuseppe di Lampedusa) and the Performing Arts (winner: My Life in Art by Constantin Stanislavski).

Change remains evolutionary, but it is exciting too. When the roller-coaster threatens to take over, among the things that conspire to keep us (more or less) on track are, first, the enduring vision set down by the Society’s founder; second, the contribution made over many years by writers, translators, artists, editors and designers who are among the best in their field; and third, the membership.

Folio members are not easily categorised. Most, I suspect, have a Groucho Marx-like suspicion of clubs. The only thing they appear to have in common is a passion for books. Yet they are Folio’s lifeblood, and as the number of members increases all over the world, so too does their influence on Folio’s future. It is they who inform our sense of direction. Over the years they have proposed many books which have found their way into print in Folio editions. They talk back. They write to us, often in verse, make copious suggestions, chide us for our frequent lapses and become our friends. ‘Would you like a book for Christmas?’ one of P. G. Wodehouse’s plump, tilt-nosed, sporty heroines asks her boyfriend from the Drones Club (Cyril Bassington-Bassington, Stilton Cheesewright or Barmy Fotheringay-Phipps), to which he replies: ‘No thanks, I’ve got a book.’ A life with one book is unthinkable, and while Folio books are not the only ones (nor should they be) they will, with luck, have a role to play in enriching the lives of book-lovers for years to come. The Canadian novelist Robertson Davies, and avid member throughout his life, said that Folio was addictive, appealing to ‘people who are neither exact scholars nor yet without taste in the world of books’, and that is exactly what we want Folio to be. Fortunately, sixty years of publishing have barely impinged on the Aladdin’s Cave of our literary inheritance, so, with luck, we will be able to look forward to the next sixty years with confidence and relish.

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A Narrative of the Voyage of HMS Beagle Folio Society 1977

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A Narrative of the Voyage of HMS Beagle

Being passages from the Narrative written by Captain Robert Fitzroy, R.N., additional material from the diary & letters of Charles Darwin etc. The voyage of HMS Beagle during which Charles Darwin was a passenger formed the central part of a series of three expeditions mounted by the Admiralty to survey and chart the South American coastline. This process started in 1826 and continued until 1837. This edition has been based primarily on Robert Fitzroy’s Narrative of the second surveying voyage of the Beagle.

• Folio Society First Impression No. 413
• Publisher Folio Society, London; 1977
• Cloth Hardback, 359 pp
• Reproduction watercolours by Conrad Martens, one of the artists aboard the ‘Beagle’
• Size 250 x 160mm, 1.3kg

Condition: Good – Foxing to Spine, Slipcase Very Good

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