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NOTE The Serialized Novel in the Nineteenth Century (video)

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The Theory of Money and Credit

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Today, we're going to turn to 19th century book publishing, and I want to begin with a quotation from Charles Dickens.

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Now, Charles Dickens is generally thought of as a critic of cataclysm, people pointing for hard times, for example.

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For example, in fact it's a critique of industrialization, you really study it and you'll see Dickens was quite a catalyst himself, a small-time entrepreneur to begin with, but a big-time entrepreneur for much of his life, he died an extremely wealthy man, a multi-millionaire in our terms, and capitalism was pretty much Dickens'

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and he had a high regard for free enterprise, the great supporter of free trade, for example,

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in his journal, Helpful Word.

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In 1853, he was honored at a banquet in Birmingham, that's in the industrial midlands

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of England, Birmingham and Manchester, the center of the Industrial Revolution.

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And as if to say words that would make any true Marxist cringe, he got up and proposed

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a post to the city of Birmingham, Birmingham, the very heart of middle class England, the

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very heart of industrial England, to the great compact spines of the people by whose industry,

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Perseverance and Intelligence, and their results in money wealth,

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stuff functions in Birmingham, and many others like it have arisen.

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So that great center of support, that comprehensive experience about beating the box,

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literature has turned happily from individual patrons,

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sometimes with its participants, often selling them, always few.

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And it's all there, there in the English middle class, its highest purpose, its natural range of action, and its best reward.

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Let's drink to that.

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So Dickens, saluting the middle class virtues, industry, perseverance, and intelligence.

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And we're involved in Moe, which has now given literature its proper support.

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I know he says, to hell with patrons, we are so relieved not to be dependent on patrons anymore.

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Because there were sometimes new deficients, there were third graders, but they were often sordid, and they were all in fields.

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and so very huge, you know, a writer who, again, most people would think of as anti-capitalist celebrating the triumph of capitalism and the industrial revolution in England until the artists finally have their proper sources of support and it goes on to say,

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Let a good book, in these bad times, be made acceptable, even upon an extremely difficult subject, and my life upon it, it shall be extensively fore-read and well-considered.

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No complaints from Charles Dickens about the case of the Eastern reading public.

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Now you can say, yeah, it's all that was easy for you, Charles Dickens, to praise the case of Eastern reading public.

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in the History of the World, but that, of course, is very important because it shows

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that, in fact, being the 3 to 10 I've faced here was the first mass commercial market

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pollinator and who emerged from it as the number one author, the number one author in

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quality, the one that to this day, you know, anybody would say was the greatest novelist

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in English, probably ever and certainly in the 19th century.

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So, the dumb math reading public was pretty smart.

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And, in fact, by and large, the authors who were most successful are the ones we still read today,

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the ones who failed as people go study those novels, induct the bloggers, find out why they failed.

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They were generally very bad authors.

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and so I think field was Exhibit A for me that Dickens would exhibit B. That is the greatest playwright

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in English, the greatest novelist in English, operating in full commercial environment.

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And so there can't possibly be a simple antithesis between the world of commerce

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and the world of high culture.

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And it's very ironic that what today is regarded as high culture in foreign novels, you know,

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many of the television series on Masterpiece, Feeder, and of course Society of the Universe,

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and that was the absolute heart of popular culture in 19th century England.

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So, we're now firmly within the 19th century, and that does mark a turning point

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and it's been a week's romp through cultural history because we're now after the Industrial Revolution,

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we are in the world of math society and math culture.

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And we're really getting to the heart of the argument today.

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That is up to now, you know, I've been trying to show the commercial basis

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of St. Peter's Peter, Rubin's painting and that sort of thing.

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but we haven't yet gotten really into the world of mass culture.

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We're now in the world of the commodity, the world of commodification, as my leftist colleague would say.

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Dickens' novels are sold in a hundred thousand layers.

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And now, you know, we've got these mass-produced commodities, mass-related art by Martin Luther King today.

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You know, just picture yourself, a hundred thousand copies of Oliver Twist lined up next to each other.

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And here it is, mass-productive, uniformed product and being marketed to a vast public.

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Now in a way I'd probably show that's not quite unique to the industrial world, that Rubens had a factory.

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On a W.E. Pine show, artists desperately wished their works to be commodified.

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Rubens kept thinking, you know, I can't paint as many paintings as a public will buy, what can I do?

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And so he created a painting factory.

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and, effectively, to turn out more movement in the state by having people like Van Dyck as me then.

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Talk about tapestry, and again I say that the tapestry industry was a major industry in Flanders during the Renaissance.

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It produced great works of art that hang in museums now.

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But it was extremely profitable and one of the central industries of that area.

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of that area, so I don't want to, uh, uh, overstate the move we've made here, uh, in the way we've been looking at how artists have made a living by finding ways to commodify what they do.

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and those are the pieces of writing the pieces you did and then getting it printed

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and selling it to a market.

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Actually, you know, the, the, as I was saying, there's no artist who's ever thought more easily

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to commodify what, what to do, go to the lithograph market, go to the ceramic market,

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the print market and so on, the whole history of print, of engravings and prints and paintings,

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and so on, but now we really, the numbers start to look real to us.

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You know, even Ludwig turned out, things back in maybe thousands of paintings, but now we're going to be in the hundreds of thousands.

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And this is where the Marxist critique kicks in, that the commercialization of culture is the basement of culture.

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But this debate culture is what produced these great Victorian novels, including the works of Dickens, and so how the benching could have really been.

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What I'm going to try to show today this morning is that Dickens and the other great novels of the year in Europe still didn't have problems with the English publishing industry.

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And you can say they managed to be great in spite of it, which is enough to say, but I want to suggest further that they managed to be great because of it, that there were aspects of the very commercialization of English publishing in the 19th century that actually improved the novel of people like Ickin, and above all because it kept them in touch with their audience, and that's something, sort of my online theme here,

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is that the commercialization of art, which looks negative to so many critics, especially Marxists, is one way of keeping artists rooted in a moving audience.

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And I think it gives their works more vitality and more vibrancy.

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Now, the other thing, as we enter the 19th century, we just have a lot more information, and we really know much more about what was going on.

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We start to have surviving correspondence between authors and their publishers, we have statistics that are much more reliable, very anecdotal up to now, how much in debt was Mozart when he died, how much money did Bach have when he died, you know, now we start to have real records that stick in bank accounts and that sort of thing, so we can get a little more specific with things now.

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So let me begin by describing basically the publishing industry in England

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in the 19th century, and then go on to show how it interacted with authors

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and authors interacted with it.

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Publishing was an amazing industry in the 19th century.

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in London became the world's center for publication, it's still one of the great centers

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for publications in the world, and it was very much one of the great beneficiaries

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of the Industrial Revolution, and again, we're looking at one of these situations

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where capitalism made certain positive cultural development possible.

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I really recommend a book called The U.S. Common Leader by Richard Althaus.

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I've put it on the supplementary to be actually sub-titled The Social History

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of the Mass-Feeding Public, 1800 to 1900.

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And although Althaus would never say this, he tells a great story,

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The Science of Catallism in this book.

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He shows that catallism is impossible and even worse to create the mass-feeding public.

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and I'll give some specific examples from the book in a minute, but just some

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of the technological changes that made it possible for American reading public.

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One thing was a vast reduction continuing throughout the century in the price of paper.

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Here's one of the incredible side effects, benefits of that horrible industrial revolution

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were always being fought, ruined things. The textile industry, which was one of the great

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industries that grew up in England in the 19th century, and it was dominating the textile industry

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for most of the 19th century, resulted in the proliferation of rags, both in the

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manufacturer of textiles and in the recycling of them. And you suddenly have a

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One of the great uses of rags then, was to make paper, rag-content paper, that is quite

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subversive to the paper, these things today, and was acid-free, anyway, but suddenly it

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became much cheaper to make paper so that you could make it out of surplus rags.

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Converting this positive tendency was the government taxes on paper, which was extremely high, relatively speaking.

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You know, it's the kind of thing that the American Revolution happened over, like the Stamp Act.

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The British government thought that taxing paper was a great source of income, and they didn't mind that it made publishing more expensive,

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and Books, and above all, Newspapers, most of it.

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So, Ludwig was happy not to see the development of the newspaper industry.

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These newspapers were critical of the government.

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So, there was a new battle in the course of the 19th century over the factors on paper

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which were, in fact, called taxes on knowledge, and from now on, I'll be talking about ways

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in which the market has helped culture flourish.

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I'll also keep mentioning ways in which government interventions

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in the Market have impeded the development of culture, and, you know, basically my advice

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to people who want government support of our arts would be this, as an old French line,

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laissez-faire, just leave the market alone, stop interfering in it,

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that's the best thing you can do for encouraging culture, and this is one of the examples.

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And the liberalist in England in the 19th century was very hard

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to get these various facts and knowledge eliminated.

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So paper became paper, the introduction of steam engines into printing was a huge development.

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It speeded up the process of the printing exponentially and made possible large-scale printing.

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Just looking at all six, I think he says that the average print run for a novel in the 18th century was 750 copies total.

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The huge runs of Dickens novels, eventually in the hundreds of thousands, that required new technology and platforms and roads to meet the needs, and later in the century,

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of Money, long-type printing was developed and stereotype printing.

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There is, at the beginning of the century, there was essentially a type shortage in England.

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You couldn't set a whole book at once.

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You had to, just some individual pieces of type, and they had to set a couple of pages,

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and so in the course of the century, all sorts of developments made it easier to set type.

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By the end of the century, they had automatic type setting.

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So, all these things which pathology made possible, which were driven by the pathology's desire to reduce costs and certainly increase volume in order to reduce costs per item.

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So, on the production end, there were all sorts of ways in which the success of the novel for the Dickens would not have been possible.

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on the other hand, these technological developments were driven by the prospect of people like Dickens.

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Publishers wouldn't have worked so hard with Twinters to increase their capacity if they didn't see that they could sell these large numbers of books.

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and, above all, Dickens, who opened up this possibility when he saw how many copies of his book were selling.

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They said, we've got to find ways to print faster, and we've got to find ways to reduce the cost of paper.

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So again, Marxists are always production-driven in their thinking.

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And when they talk about these developments, they see it all, whether they're independent developments in technology,

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and they then govern the writing of novels.

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And we know that the economy is customer-driven and demand-driven.

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You know, I think that Kevin Costner, a costler from Field of Dreams,

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remember the great slogan that, if you build it, they will come.

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That's Marxism.

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Capitalism is, if they will come, you will build it.

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And we know that that's the truth.

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The Italian business anticipates the demand and responds to its production methods.

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So it's really market-saving in a sense if you build a stable product, you know.

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If you create these great high-speed team practices, then you'll buy the novel.

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Well, it's because you think there's a market, vast market for these novels

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that you develop these new technologies.

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Now, in a related way, marketing a book went through incredible developments, and one thing I'm going to try to show you is that the book industry was much more modern than we think, and that its marketing methods were very sophisticated, and you're going to recognize them and see that much of what we think is a 20-second development is really already there, the 19th century,

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Well, again, the Marxist prison, the Frankfurt School, you know, complain about mass markets

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and mass marketing and how films really don't have any here's bad news just the way they're

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marketing, marketed in famous television programs.

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Well, we're going to see if that's true, then Dickens novels have no bad news and they

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were just marketed as well.

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For example, the marketing of Dickens' novels was quite extraordinary.

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They had all sorts of tie-in products and the equivalent of Dickens' action figures.

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And part of the way they made money was you'd sell all this stuff in conjunction with a Dickens' novel.

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One of these is something from one of my colleagues in Virginia, Jennifer Wicksbrook,

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Advertisers, fictions, literature, advertisement, and social reading.

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This is first new success with the Kippel papers, absolutely unprecedented.

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It starts selling 40,000 copies.

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I wouldn't ever seen anything like that before, except for the Bible.

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And so, they capitalized on this.

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They decided, let's start selling the little figurines.

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After the publication of Pickwick, Warner's tabs were plying the sheets, Sandweller is one of the famous pages in his Pickwick sidekicks, and so the taxi tabs in London, the horse-drawn, were named after Weller.

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Pickles name was written in gold. Burgers of it were soon fixed for the most popular penny cigars and a writing pen and pickles, obi mugs,

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Sawyer Crop drops, water booths, and candy tins printed with pick-pickies, pick-wicking levels again to be sold.

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So there has to be, you know, just the way a film comes out now and that Donald the Burger King starts having its name lost,

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And what I really love, you can find it, but I'm guessing it's the first example of a product like this, you know, in a film where the camera zooms in and the hero's drinking Coca-Cola or, you know, he's got a Rolex watch off or something, that's not by accident.

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Well, uh, in one of the original illustrations of the Pickwick papers, uh, uh, predicting Mr. Weller helping his son Samuel, the picture clearly shows a black card on the mantle reading distinctly,

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It's astounding to discover how commercial this world is, as you now know.

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I don't think that's a bad thing.

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It says something more about the actual marketing, how books were published.

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As some of you may know, books were really quite expensive at this time.

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It is very hard to compare prices, but basically all it shows

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that, at the beginning of the 19th century, a book cost the equivalent

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of the average worker's daily, a day's wages.

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So that was a lot to spend on a book.

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A book does not cost anywhere near a day's wage for anybody today.

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It shows you one of the things that, okay, capitalism,

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except from a university press book, I take that back.

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Their socialist production for you, half of the production reduces the price of books.

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I can actually tell you something about that.

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So books were in fact, certainly in the beginning of the century, expensive.

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And so they were rented.

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This, again, comes as a shock to most people. Were you aware that books were rented in the 1930s? They had what are called personalized libraries, and you rented a book that you couldn't afford to buy? That sounds so weird to us, or could you start thinking about video rental?

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and the

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long time ago video was coming out in a fight to $80.

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They didn't want to buy it and so they rented it for $3.

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And that's basically how the book industry made a lot of this money in the 19th century

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through rental and there were great circulating

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Library, as you can well imagine, there were various arrangements, you could rent an individual

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book, you could get a pass for certainty that would allow you to rent a certain number of

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books over a certain time and so on.

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There were other libraries where you could pay a subscription fee and you could read anything

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in the library.

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Again, there's the market for it.

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It came up with all, it's faced with the problem that books aren't literally too expensive

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for People to Buy, so it came up with a whole variety of solutions to make it possible for people

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who didn't have the money to buy books to rent them.

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But of course, also, in the course of the century, the price of books was reduced tremendously,

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so by the end of the 19th century, it was quite easy for people to buy books.

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The prices came down and the pound essentially did not change in value in the 1970s.

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It was that awful gold standard, you know, it's so terrible, it had this terrible result,

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but the pound kept its value for the entire century.

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And the price of books came down from $30,000 to $1,000 at a time when the value of a show

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was essentially unchanged.

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It was actually a little higher in 1900 than it was in 1800.

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And how did this happen? Again, for the operator of the market. And I could give you many examples, all this book, as he would never admit it, is filled with the story of one heroic and accomplished entrepreneur after another, whose own purpose was to make money and whose own theft was to reduce the price of books. I'm just going to give you one example, one of the great, unsung heroes of culture. You will never, ever hear this man mention, certainly at any moment,

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in a positive way, but we should all bow down to James Washington, the inventor of the remainder

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book sale. This is a great man. I appreciate this more than anybody except my remainder

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book sellers today. He just went back to the 18th century. James Washington was the son

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of a Journalist Shoemaker, and saw how that way himself, he became a shoemaker, and then

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he converted to Methodism, and that was a turning point in his life, because the Methodists

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wanted to finance the spread of books. They had the Bible in mind, they had John Hensley

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and so they had a fund, uh, to go into the book business and, and Lackington availed himself,

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uh, of this fund to set up a book shop that started in 1774, and I'll just read from, uh,

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also here, he bought up large quantities of books that he often, where publishers periodically unloaded their slow moving stock,

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So that's, you know, the major books, books that aren't selling,

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probably just want to get them off the shelf, get rid of that.

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So that doesn't blow them up, and then, instead of sending half or three quarters of the purposes

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to the bank bankers who use the paper for lining and selling what remains at the full price,

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he offered all the acquired at half or even a quarter of the public price.

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The first guy who wrote the sort of price fixing of books at the time, and again, most

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people who bought our books as remains of sales just dumped them then, sold them for

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scrap value.

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But Larkington had the brilliant idea of just reselling them for a fraction of the original

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cost.

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I'll tell you, I don't doubt Peter said, but he loosed money on his book and said, I'll make it up and buy it. No, he understood he was buying in fees, so he just sold him fees. His unheard of actual college immoral procedure brought down on him the wrath of the trade, but this was more of a constant save for by the business he did with the bargain-hunting public.

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When in a short time, he was the most lavish buyer of remainders in London, at one time he boasted he had in stock 10,000 copies of Roth-Pom, an equal number of his pittance. At a single afternoon's auction, he bought 5,000 pounds worth of books.

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That's about $2 million worth of books to raise money, and that's $100, I guess, but it's extraordinary.

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Notice, of course, religious books, that's why the method is financed, and it's very interesting if you look at what drove the book trade from the start.

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It was two great books of the human race, the Bible and pornography.

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This is actually, hey, if Kansas laws are media, you go back, printing,

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Gutenberg, the introduction of printing, what was initially printed, the early phase of printing,

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basically from the Bible, other religious facts, and the Renaissance equivalent of pornography,

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all these men who spent a delightful day on, at least folks recall, things like the book,

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and so forth. And this is a move towards decision law. What first spread on the internet? The Bible and pornography. I feel like the highest and the lowest in the motors, I will leave it to you to sort out which is which, always drives the new medium. I think this is very movies. I mean, this is incredibly consistent. Mankind against the new is a medium, religious and quarterback material,

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Why did you earn the increased hostility of Rothbard's booksellers and the verbal gratitude

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of readers by cutting prices on new books, thus initiating the understanding classes

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that would provide animosity in the trade for the next hundred years?

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These steps, as well as the dealing in secondhand books sent up from the company, resulted in

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well-deserved prosperity.

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In 1791 and 1792, he says, it is engaged in a kind of memoir, he had an annual turnover

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of 100,000 Biden and a profit of 4,000 and 5,000 pounds, multiplied by 200, yeah, so

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that's a million dollars in profit.

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The name of his book store was the Temple of the Vusors, London's Temple of the Vusors

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in St. Petersburg Square was one of these sites of London. A large block of houses had been

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turned into a stout, the holes were mounted by a dome and a flagpole. This bottle was sort of heavy as is Wal-Mart, too.

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Over the main entrance appeared the sign, which Carl claimed no one evidently challenged,

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the deepest bookseller in the world. Reportedly, the interior was so strange that a coat and fix

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could be driven clear around it. In the center was a tower behind which the clerk waited on the fine ladies and gentlemen to cluster about it.

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At one side, a staircase led by the laundry room, and through a series of circular galleries under the dome.

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Speaking of a town like Barnes and Noble and Boarder City, it's incredible that capitalism knows how to sell things.

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Around each of these galleries ran crowded cells, the higher the cells, the fattier the vices, and the lower the price.

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Nothing like the temple of the muses with it's cut prices, it's missed, had, and carried policy as the standard traveling had ever been in the book world.

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The key prices low, lackings and wouldn't sell on credit.

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You know, it seems so wonderful that we have praised the extended credit.

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You didn't even have to have the money to go where you wanted, but the result of that was higher prices for everybody,

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for everybody, because so many people defaulted and never paid their bills.

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So, Lacknitz says, you want a book, you pay for it now.

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I'll get you the cheapest price, but I'm not going to give you credit.

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And, also, for no haggling, no bargaining.

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And, here's what Lacknitz has said, thousands have been effectively prevented from purchasing,

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though anxious so to do, from circumstances in life, would not permit them to pay the full price,

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and thus were totally excluded from the advantage of improving their understanding and enjoying a rational entertainment.

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Now, I can give you one of the great examples, but Mises spoke in his three moments of no point to also get a step back and say,

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you know, 60 years past won't really affect us, I think.

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But he tells one story or another of a man who was the king of the Circulate Library,

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and the Federal Reserve orders, there's a man named Moody, or Moody, it's N-U-B-I-E,

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I don't know how to pronounce it, we can recognize these people, they are Sam Walton,

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they are Ray Kroc, they're the same kind of people that build businesses today,

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and it's the same philosophy, did the public what it wants,

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reduced costs in every possible way, market effectively, I mean it worked now, it worked then,

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But the thing I understand is what they were technically marketing was things like Dickens' novel.

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Now, I like Dickens earlier than that, but he obviously built the basis for the retail frame,

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the one that made, both making and cost one.

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Now, again, for Marxists, they're so obsessed with production, they look at distribution

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and marketing as these totally negative things that add no value.

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They always see distributors, middlemen, marketers as pure exploiters.

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You know, the only person, you know, they've got the labor theory of banking,

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but the only person who deserves a war is the laborer.

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You know, they would complain, Lachington's making all this money and the poor guys

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in the sweatshop, print shop are not making anything of this product.

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Well, those guys would have no job if Lachington wasn't moving the product they were producing.

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He, as a retailer, is performing a social economic function.

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He's there, actually, as a mediator between the printing industry and the bought,

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for-fine public, and he was someone who was always figuring out what does the public want,

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what should be printed, so, in fact, he was performing a vital social and cultural function.

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That's why he made all the money.

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Now, let me turn maybe to the most important aspect of the

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Dickens publishing industry in the 19th century, and that was serialization.

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Again, I'm not sure how much you're aware of this fact, but

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many of the novels in the 19th century, including Dickens,

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were not originally published in book form. They were

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And that means they either appear in magazines, sometimes on a biweekly basis, sometimes on a monthly basis, depending upon the magazine, or they were actually published in separate parts.

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A typical novel, when it was eventually published in book form in the 19th century, occupied three volumes.

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Three volumes, the famous three-decker novel was called.

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And a three-decker novel appeared in serial parts, usually appeared in 20 parts, and usually

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over a period of roughly a year or a year and a half.

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Now one of the reasons serialization became popular is because novels in book form were

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too expensive, and so people, for example, liked the idea of buying a novel

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And, you know, you buy the novel part by part over a year and a half, and again, the figures vary, but let's say, you know, maybe let's say the novel, in book form, the novel would cost 15 feelings, and you didn't have 15 feelings, but you buy it over the course of a year, one feeling apart, 20 times.

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Now it does end up costing $20,000 instead of $50,000, but if you have, you know, it's like, that's like buying on credit or a stated plan, you know, it's the way psychopedias are sold or these time-lifes are sold, that system of marketing is developed in the 19th century, and God bless the capitalist, again, they came up with fees, if you bought it, if you bought all 20 parts, you'd get a binding for free at the end, or if you bought

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for Money Parts, you only had to pay for 19 of them and you got the 20 of them.

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I mean, they had every marketing gimmick then that we think of as so specific to the 20th century.

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And if you go to the Dickens House in London, you can see all this stuff.

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You can see the actions for Dickens' mums and the Dickens' watches and all that.

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You can see the parts publication. They still have them.

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I mean, there's so hundreds of thousands of them or hundreds or thousands of copies, I suppose.

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As fascinating as it looks at the park features in particular, they're on, you know, faded, crumbling papers, they use keypapers, they kind of look like conicals, they have the female conicals, you understand how rock culture they were, they won't have mirror illustrations on the covers, but the covers are kind of fancy, and you can just see how remarkable they were.

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And so a lot of, again, a lot of the most famous 1970 novels, not all of them, but many of them appear in this form, magazines like them because they boosted circulation.

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If you could be publishing a popular novel, it would great for circulation.

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In fact, they note, as this was how they first started focusing to Dickens, the incredible

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numbers of parts of magazine phones, Dickens eventually started his own magazine, Household

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Words, which was quite successful for about a decade, and his main asset was himself,

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he published his own novel, but he also spotted young talent, like Elizabeth Astor, published

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and so on.

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So, you can go through it and it's just, it looks like a modern magazine, there'll be an

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article on India and the latest agricultural methods in India, there'll be an article on

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and how to fix a wagon wheel, an article on a new scientific discovery.

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I mean, it looked like Time Magazine, you know, they like to have departments.

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They don't quite have departments, but you can see it was aiming for a middle class audience.

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It's kind of interesting what's going on around the world.

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It's interesting how to fix it, that's what it takes, and it's interesting fiction.

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Now, it's convenient enough how, you know, just to see how the market responded to a problem

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that both were still too expensive and published the works in serial form.

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But what people learned to do now was to make a virtue of this destiny and exploit this form.

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Again, I have to, no one, in retrospect, still the publication looks absolutely brilliant,

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artistically and financially, commercially, but it's not as if some genius sat down and planned

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out this system. People kind of stumbled into it. It is precisely an example of spontaneous order

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in the Austrian sense, that people tried out various methods and then followed up work

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and eventually developed a very sophisticated method of producing and marketing a novel.

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Now, what I mean about exploring the form is that pretty quickly people figured

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out the cliffhanger principle, that is, if you were going to cover the thing in cards,

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And, but people start feeling the way, you know, at first I went for a walk, you know,

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it was a long novel, it was a write-up, it was a 20-equal part, and then you start to

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get a feel for how to end a part. A part was typically about who factors were, but you

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start to notice when at the end of the part, someone was about to die, or there was a knock

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on the Door, and I said, who could that possibly be, you know, continued next month, and, you know,

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this is one of the great characteristics of Victorian fiction.

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We lose a lot of this now, actually, when we read the novel in a book.

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A lot of good modernists have actually now marked off the parts and you can actually see

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and so on.

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And, you know, in fact, in many ways, the way we, you know, especially in the academic

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world, when you do a book a week or less, we don't read these novels the way they were

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meant to be read.

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They actually were meant to be read over a long period of time, and you sit there and

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see a thousand page Higgins novel and say, oh, I hope to read this in one week.

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That was not the original intention.

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and in some ways we spoil the effect of them and I put on the original bibliography a book

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by Jennifer Haywood, Conquering Pleasures, the terrific book, it's all about the serial

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as the modern form, that's S-E-R-I-A-M by the way, I like to do too much as the next guy

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but I'm talking about, about fixing here, but the, the book is about Dickens' novels,

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the Terry and the Potter script, radio soap operas, and television soap operas.

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And she really made this leap of imagination to see that the serial actually is the modern form

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And he talks about his unique characteristics that you can trace through all these genres.

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Now, one obvious example would be the cliffhanger principle, who named it after movie serials where, you know, at the end of the part, someone was hanging on a cliff and he wondered if he could fall to her death.

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but, you know, Who Killed J.R., you know, the greatest cliffhanger in history, but when you think about it, television and so forth, radio and so forth, history has always been a very popular genre in all different forms, and it really talks about its distinctive characteristics. I mean, we have a tendency, in some ways, to misread these Victorian novels because we apply to them what we're used to,

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We should be applying to them the standards of television soap operas and not those of

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low-barian, perfectly planned and conceived novels.

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And I'll maybe talk about this when we get to the X-Files on Friday, that there are certain

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ways in which television has developed this serial form, and it is a new kind of art form

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with a loose headache in many ways, and it's able to do things that other forms can't, and again, the serial form is generally associated with the lowest forms of pop culture in people's minds, soap operas, comic strips, and it actually is a subtle art form, and it allows for kinds of pieces of long-term developments in character, in cloth, but most of the time, it's a very subtle art form, and it allows for kinds of pieces of long-term developments

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and the more traditional, you know, prosecution of Oedipus is a rooted and concentrated piece of Brahma and all of the, you know, happening in the union time and that's a great art form, but there's also something said for the enormously strong canvas of a Dickens novel which was largely made possible by the legional method of deliberate that again Dickens

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and so on.

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So, he was making, not only knew that his audience had a year and a half to wait, but

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he was making them wait, he was drawing things out, and these things can be incredibly well

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planned.

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So, it's very distinctive to the 19th century novel and it was, well again, some were not

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published seriously, some of the great ones were not, but many of them were published

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and that had commercial reasons, it was a form of production that was effective,

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it was a form of marketing that was effective and a lot of what you need to do to understand these models,

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the ones that were serialized, is to understand the consequences of civilization

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and some of them were negative and some of them were positive.

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Let me begin with the negative ones, because again, I'm deliberately trying not to play

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down some of the negative aspects of the commercialization of literature.

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And in fact, many of the writers at the time complained about civilization,

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00:48:43.580 --> 00:48:46.020
and some of them tried to avoid it.

381
00:48:46.020 --> 00:48:49.600
I have some quotes here that I'll leave in the middle, just trying to find them.

382
00:48:49.600 --> 00:48:54.600
But let's look at some of the negative effects.

383
00:48:54.600 --> 00:49:07.600
Serialization meant you had to write to a certain length and the novel couldn't be shorter or longer.

384
00:49:07.600 --> 00:49:10.600
And in fact, people signed contracts.

385
00:49:10.600 --> 00:49:17.600
I'm going to produce this novel for you at, I'm going to produce 20 parts,

386
00:49:17.600 --> 00:49:22.340
I'm going to say so much for 20 parts over this schedule, and you then had a schedule.

387
00:49:22.340 --> 00:49:28.280
I mean, they were not going to have 18 empty pages in the message or in a magazine on this

388
00:49:28.280 --> 00:49:29.280
debate on the part.

389
00:49:29.280 --> 00:49:37.360
And so you had to write to a schedule, and you know, if you were on part 19 and you had

390
00:49:37.360 --> 00:49:43.920
18 spot lines still going, the publisher then said to you, it's time to wrap it up for part

391
00:49:43.920 --> 00:49:44.920
20.

392
00:49:44.920 --> 00:49:57.920
The whole thing has to not end for the next issue to resolve all 18 foot slabs and put on these 17-year parts resolvers, no, that mouthful is going to end the next month.

393
00:49:57.920 --> 00:50:12.920
And similarly, if, you know, if invention lags, if you know you have to produce something on time, then we have correspondents, sometimes from different areas,

394
00:50:12.920 --> 00:50:29.200
And so, this is an example of negative commercial pressures, and many authors did complain fiddly

395
00:50:29.200 --> 00:50:32.840
about this, but I don't want to overlook it, so I'm going to give you some sort of quote,

396
00:50:32.840 --> 00:50:38.240
this is from Alan Zuley's book, author and printer, terrific book on the sort of the publication

397
00:50:38.240 --> 00:50:43.240
in details of the industry in the 19th century, I put it on your supplementary bibliography.

398
00:50:43.240 --> 00:50:51.240
He gives us an example of Anthony Fowler, you know, one of the greatest and one of the most successful

399
00:50:51.240 --> 00:51:00.240
novelists in the world, I think a hundred novels, and his sister and mother.

400
00:51:00.240 --> 00:51:07.240
And there's the Fowler family with the whole novel industry under themselves.

401
00:51:07.240 --> 00:51:16.240
Spalak called this system the hurried publication of incompletive work, and he called it the

402
00:51:16.240 --> 00:51:22.240
watching mode of publication to which particular serial stories are given rise, and by which

403
00:51:22.240 --> 00:51:27.240
small parts of it were written or sent out to the press, were delirious to the work done.

404
00:51:27.240 --> 00:51:35.240
So there is Spalak, one of the best most successful novels of the time, says this system is delirious.

405
00:51:35.240 --> 00:51:42.720
and doing those on the basis of file size, was during the system when it came to effect not only the publications, but also the initial

406
00:51:42.720 --> 00:51:50.640
composition of work resulted in a loss of artistic control. So here, there's a standard complaint against commercialization of art that

407
00:51:50.640 --> 00:52:03.440
resulted in loss of artistic control of the author. But, there was a solution, and so I found it. The public protection against pressure that might have led to

408
00:52:03.440 --> 00:52:11.440
and Hasty Publications was to complete a novel and revise it to be followed before sending it to any visual publisher.

409
00:52:11.440 --> 00:52:17.440
The serial issue was signed, he then needed out the manuscript to the printers while he went to work on his next book.

410
00:52:17.440 --> 00:52:21.440
So again, there was a market problem, there was a solution.

411
00:52:21.440 --> 00:52:29.440
If he didn't like this system and he were incredibly fluent at writing his novels, he just wrote the book to be like this

412
00:52:29.440 --> 00:52:34.440
and then pretended to write it month by month for the public.

413
00:52:34.440 --> 00:52:41.440
So, market problems, market solutions, another example, very interesting one, from Harry Marknell,

414
00:52:41.440 --> 00:52:47.440
who's one of the great unsung writers of the Victorian Age, but he was so capitalistic.

415
00:52:47.440 --> 00:52:52.440
If you ever want to have a fun, weaver, illustrations of political economy,

416
00:52:52.440 --> 00:52:57.440
a little bit too much David Ricardo in economics, but basically,

417
00:52:57.440 --> 00:53:08.440
It's one lesson after another in how fake news are bad, free trade is good, she was the Bastiat of the English.

418
00:53:08.440 --> 00:53:23.440
She was a marvelous writer. I tried to reintroduce her. It's horrific to discover that the most successful female writer in the first half of the 19th century was not just pro-capitalist, but rabidly pro-capitalist.

419
00:53:23.440 --> 00:53:28.720
She would sell 30,000 copies of one of these newspapers at close to time.

420
00:53:28.720 --> 00:53:37.640
Finally, Broadwood, the Canadian class, has brought some of these tales back into print.

421
00:53:37.640 --> 00:53:43.960
Harriet Marginal, N-A-R-T-I, N-A-A-E, he would like to consider a method of production.

422
00:53:43.960 --> 00:53:51.520
And in her autobiography, she says, I could not consciously adopt any method so unprincipled

423
00:53:51.520 --> 00:53:54.480
in an artistic sense as piecemeal publications.

424
00:53:54.480 --> 00:53:56.520
Whatever other merits that they have,

425
00:53:56.520 --> 00:53:59.560
a work of fiction cannot possibly be good

426
00:53:59.560 --> 00:54:01.720
in an artistic sense which can be cut off

427
00:54:01.720 --> 00:54:03.920
into portions of an arbitrary length.

428
00:54:03.920 --> 00:54:06.560
The success of the portions requires

429
00:54:06.560 --> 00:54:09.280
that each should have some sort of effect of both.

430
00:54:11.560 --> 00:54:13.320
We know it's a cliffhanger principle,

431
00:54:13.320 --> 00:54:16.000
and to provide a certain number of these at regular intervals

432
00:54:16.000 --> 00:54:18.280
is like breaking up the broad license shadows

433
00:54:18.280 --> 00:54:21.240
of a great picture and spoiling it as a composition.

434
00:54:21.240 --> 00:54:26.660
I might never do anything to advance or sustain the real art, but I would never do what,

435
00:54:26.660 --> 00:54:30.580
I would never, ooh, level negative, I would never do nothing to corrupt it

436
00:54:30.580 --> 00:54:33.800
by adopting a false principle of competition.

437
00:54:33.800 --> 00:54:37.680
So there it is, Harry Martin, who, instead of being pro-Catholic,

438
00:54:37.680 --> 00:54:44.120
does not like this aspect of commercial publication and civilization and wouldn't do it.

439
00:54:44.120 --> 00:54:49.200
Here's an example in the case of Elizabeth Gasco,

440
00:54:49.200 --> 00:54:56.000
," a novel north and south in the defense of the industrial system.

441
00:54:56.000 --> 00:54:57.800
These guys did an amazing story.

442
00:54:57.800 --> 00:55:01.840
Dickens was writing Hard Times and publishing it in Household Word.

443
00:55:01.840 --> 00:55:08.440
He did a test on the industrial midlands, and Baskill wanted to write a defense of it,

444
00:55:08.800 --> 00:55:10.240
and Dickens published it.

445
00:55:10.240 --> 00:55:16.940
Her first novel sold well, he liked it, he wanted to get it in his magazine.

446
00:55:16.940 --> 00:55:23.140
In fact, Gaskill's book, The North and South, is supposed to teach the Dickens hard times.

447
00:55:23.140 --> 00:55:26.940
He's supposed to tell hard times, he's a very disordered, blue, industrial middleman.

448
00:55:26.940 --> 00:55:35.640
But, you know, Dickens had an ideological problem with Gaskill, but he published it because he could make money that way.

449
00:55:35.640 --> 00:55:37.640
He had to try and fit the political system.

450
00:55:37.640 --> 00:55:43.340
But when they planned out the publication of North and South, Dickens miscalculated.

451
00:55:43.340 --> 00:55:52.380
and so, he pressured her to make the work shorter than she intended, this is from,

452
00:55:52.380 --> 00:55:55.580
I'm quoting from an edition of the novel, a page with an edition,

453
00:55:55.580 --> 00:55:59.760
but from her viewpoint, it constituted the worst compression of that made

454
00:55:59.760 --> 00:56:01.500
in the last few chapters of the novel.

455
00:56:01.940 --> 00:56:11.320
So, again, I'm not denying that this system has built itself in talking about one

456
00:56:11.320 --> 00:56:24.320
One of his own early theory publications, I believe it was the old theoryology stuff, said I was obliged to plant most dreadfully what I thought a pretty idea in the last chapter of I was having room to turn.

457
00:56:24.320 --> 00:56:29.320
So even Dickens felt at times uncomfortable with it too.

458
00:56:29.320 --> 00:56:38.320
Now there was an answer to that, which was that yes the novel was initially published serially,

459
00:56:38.320 --> 00:56:47.320
But then, particularly if it was successful, it would be republished in book form, and at that time, authors had the opportunity to revise that.

460
00:56:47.320 --> 00:56:57.320
So this example, North and South, Glasgow, expanded the ending for the book form that was enforced to compress to the serial form.

461
00:56:57.320 --> 00:57:07.320
So, again, market problem, market solution, it's nasty that they had to rush to finish some of the novels,

462
00:57:07.320 --> 00:57:10.680
but it's not the end of the world because it wasn't the end of the book

463
00:57:10.680 --> 00:57:14.320
and again the market gives you the second chance

464
00:57:14.320 --> 00:57:20.040
and so it's, you know, it's a great scholarly enterprise now to get to compare the sterile publications

465
00:57:20.040 --> 00:57:24.840
of the novel with the eventual book publications

466
00:57:24.840 --> 00:57:30.520
so again, I, this is an example where we have really detailed information

467
00:57:30.520 --> 00:57:35.240
and I can show you, I don't have to speculate what Bach felt about his patron

468
00:57:35.240 --> 00:57:41.920
or things like that. We have records here that show that artists were uncomfortable

469
00:57:41.920 --> 00:57:48.320
with certain aspects of the system that had developed for largely commercial reasons.

470
00:57:48.320 --> 00:57:55.880
But there's another side to this sort of, and a beautiful kind of a negative case

471
00:57:55.880 --> 00:58:02.000
against civilization, and let me talk about the positive case, and that is that civilization

472
00:58:02.000 --> 00:58:32.000
and one of the things I want to argue from here on in is that what characterizes commercial culture is feedback and here's where the relation of an artist to the public is important on how it can actually improve his work or her work in the face of cases like Hayek-Martin and Elizabeth D'Astrow and by the way, again, as you know, I've been working on this for a long time,

473
00:58:32.000 --> 00:58:43.000
I mentioned that Daphne and Mark Noble were very sympathetic to capitalism, and a good reason because capitalism was very good to women in the publishing business in the 19th century.

474
00:58:43.000 --> 00:58:51.000
You can talk about every system of finance and the arts, patronage, government funding.

475
00:58:51.000 --> 00:58:59.000
Nothing ever opened up more opportunities for women in culture than 19th century British publishing.

476
00:58:59.000 --> 00:59:10.500
and more than half the novels were written by women and they were published in the last few centuries as Britain and there's no record like that anywhere else in culture up to that point

477
00:59:10.500 --> 00:59:24.000
and it's not because Charles Dickens as a publisher was a feminist, it's because he was a Catholic and he wanted to publish talent and he was scared, who wrote the book if he thought it was sad?

478
00:59:24.000 --> 00:59:51.000
In some cases, women have to publish on the male names, the thought they had to, like George Eliot, Mary Ann Evans, or the Brontë Institute, or like Proud on Saturday Night Live, they had to publish on the sexually ambiguous names, or as per accident, Ellis Bell, that was all that they had, and then it was Brontë, originally.

479
00:59:51.000 --> 01:00:05.000
So, but still, an incredible opportunity, you know, the greatest cultural opportunity yet open for women in the world, was the 19th century British publishing management.

480
01:00:05.000 --> 01:00:14.000
So, let me now turn to the way in which the serial system actually had a positive effect on literature.

481
01:00:14.000 --> 01:00:22.000
And that means that novelists could watch the reaction of their audience as they were.

482
01:00:22.000 --> 01:00:26.000
And it took several films.

483
01:00:26.000 --> 01:00:33.000
Of course publications were in some ways, some things were viewed as they came out, you know,

484
01:00:33.000 --> 01:00:38.000
and you see reviews, you know, like reviews of TV shows, you know,

485
01:00:38.000 --> 01:01:08.000
you know, all of the latest installments of Oliver Twist is terrific, Dickens has carried the story on as Dickens said, or, you know, something's going wrong with down being sun, it's getting a little dark, Dickens, you know, we love you for the laughter, you know, so the last TV reviews there was certainly word of mouth and a sales figure, and that was quite easy

486
01:01:08.000 --> 01:01:20.760
to Start, and so authors couldn't always tell why the sales figures were changing,

487
01:01:21.160 --> 01:01:27.440
but they seemed to have tons of guesses, and so you get a phenomenon in the Victorian novel

488
01:01:27.740 --> 01:01:36.820
that is very similar to what we see in TV soap operas, and that is the life and death

489
01:01:36.820 --> 01:01:47.860
of a Character, on sales features, sometimes, now we know this from soap operas, TV, you

490
01:01:47.860 --> 01:01:56.380
know, they try all sorts of business characters and they can tell which ones click and which

491
01:01:56.380 --> 01:01:57.380
ones don't.

492
01:01:57.380 --> 01:02:27.380
as well. It's often also a case of weak actors, click or don't click. But, you know, one week, a character is very healthy with his soap opera. Next week, the student develops a rare form of cancer and is gone by the end of the month. Similarly, you know, a delivery boy, you know, brings a teacher, and he's incredibly handsome, you know, suddenly they write a romance

493
01:02:27.380 --> 01:02:56.380
with one of the characters, and you know, this is easy to, to some extent, on prime time shows. I'll jump ahead to the X-Files here. The X-Files, one person introduced the characters of Lone Gundam, the freaky nerdy computer types of Heldmolder, and the, I think it was Glenn Morgan that did the episode. I mean, he thought it had failed, you know, what a silly idea that was.

494
01:02:57.380 --> 01:03:20.380
And then the internet grew up, of all the computers that were identified with the Lone Gunners and said, you know the greatest thing we ever see in the show, bring it back, bring it back, I know the rest of the history, they eventually got the whole spin-off series, they certainly were one of the greatest things over the years, and the X-Files, what's feedback?

495
01:03:20.380 --> 01:03:46.380
As you can see in our case, we author, didn't realize, we author the characters, didn't even realize how good they were, we didn't actually see the potential in them, and if they hadn't been into that no more long dungeon, and again, they don't make a breakthrough, but they knew they ended up adding a great element to it, and that's probably why I talk about feedback in the serial mode, where there's ways of monitoring or interaction.

496
01:03:46.380 --> 01:03:55.380
Now, you know, again, in this sort of high-classic, extreme mode of criticism, or the Marxist mode of criticism,

497
01:03:55.380 --> 01:04:01.380
that long-run episode is an example of Marxist corruption.

498
01:04:01.380 --> 01:04:09.380
That Glenn Morgan had this pure artistic vision, and he allowed it to be corrupted by the impact of the market.

499
01:04:09.380 --> 01:04:28.380
All of them have been through a long discussion with his creation, but, you know, in retrospect, it seems the audience was right and Morgan was wrong, that he stumbled upon something that was really good, he didn't understand its potential, but the market did.

500
01:04:28.380 --> 01:04:33.380
and, fortunately, the market was there to see him, put him on course.

501
01:04:33.380 --> 01:04:37.380
Now, this is the feature of all serial production.

502
01:04:37.380 --> 01:04:41.380
Hayek's book is very good on tracing it.

503
01:04:41.380 --> 01:04:44.380
He wrote on repairing the pirate comic strip.

504
01:04:44.380 --> 01:04:48.380
He was the creator of it, had saved all his fan mail,

505
01:04:48.380 --> 01:04:57.380
and made it available to her and explained to her how he listened to his fans.

506
01:04:57.380 --> 01:05:03.380
You know, the fans are great, they tell you exactly what they think, they like this character, they hate that character,

507
01:05:03.380 --> 01:05:13.380
they want the character to go to Brazil this time, or, you know, with the Simpsons, you know, Canadians love the Simpsons.

508
01:05:13.380 --> 01:05:19.380
But, you know, the Simpsons went to Japan, they went to Australia, but they never went to Canada.

509
01:05:19.380 --> 01:05:23.380
Canada, Canadians, that's just like what sent the citizens down to Canada.

510
01:05:23.380 --> 01:05:26.380
What sent the citizens finally into Canada?

511
01:05:26.380 --> 01:05:28.380
Maybe the Canadians could start some for you.

512
01:05:28.380 --> 01:05:37.380
But what you did is, you did the things that happened that made modern popular culture so vibrant.

513
01:05:37.380 --> 01:05:45.380
One of the charges of Marxist and the great Frankfurt school argument is that mass,

514
01:05:45.380 --> 01:06:00.380
Capitalist mass culture produces passive consumers, that they just sit there and take it to point B, that Bollywood or, you know, Capitalist, the Capitalist culture industries, all kinds of other, so they can market everything.

515
01:06:00.380 --> 01:06:13.380
Tell that to the guy who produced ITAR, the guy who produced Battlefield Earth, or who produced Waterworld,

516
01:06:13.380 --> 01:06:21.380
I bet Hollywood didn't marketside anything, and that's the end of the story of this great book called Fiasco,

517
01:06:21.380 --> 01:06:25.380
about Hollywood's great marketing, production and marketing standards.

518
01:06:25.380 --> 01:06:53.380
But it's really amazing that the Stanford School based this argument on no evidence whatsoever and to the beginning of a very important movement in popular culture studies, coming out of the, oddly enough, from a Marxist orientation, but to look at the profit consumer in popular culture, not the profit consumer.

519
01:06:53.380 --> 01:07:03.380
It's led by a professor at MIT named Henry Jenkins, whom I'll refer to several times now, but he did some of the first studies of fan fiction.

520
01:07:03.380 --> 01:07:15.380
The audience of Star Trek, for example, is not passive. They have taken suggestions of the show and the characters.

521
01:07:15.380 --> 01:07:22.380
as you know that these fans create stories that Gene Roddenberry never imagined. Things are happening on the internet between Spock and Spurk that Gene Roddenberry never dreamed of because fans have taken over the characters. They're not going to sit back passively and Jacobs has written a book about that. They're called posters. That's now the technical term.

522
01:07:45.380 --> 01:07:55.380
for Active Fans, and what I think that goes all the way back to Dickens' novels and Hayward's book includes that.

523
01:07:55.380 --> 01:08:08.380
He sees it as this wonderful aspect of modern math culture, that it involves feedback, and we see the phenomenon,

524
01:08:08.380 --> 01:08:15.740
One, this is actually an example, some papers are fully present, about Dickens.

525
01:08:15.740 --> 01:08:24.460
He greatly expanded Sam Weller's role in Pickles Papers, with sales down to 40,000 after Sam's first appearance.

526
01:08:24.460 --> 01:08:33.740
And nothing had ever sold 40,000, except from the 32nd of August, when this happened, and, you know, things went through the roof.

527
01:08:33.740 --> 01:08:45.100
Another example of this is the old curiosity shop, let me see if I can find my CD's on there.

528
01:08:45.100 --> 01:08:52.900
This was having an intended to be a novel.

529
01:08:52.900 --> 01:09:00.140
He was just putting it together, wanted to be an isolated essay, various other things,

530
01:09:00.140 --> 01:09:23.140
But, you know, just for a relief collect, you know, play all the essays, but the Institute's character, Little Nell, and just the appearance of Little Nell in one of the parts of publication, increased the circulation from 60,000 to 100,000.

531
01:09:23.140 --> 01:09:35.140
and that was a great thrill by the first movie that sells a hundred billion dollars, the first thing that ever sold a hundred thousand dollars and suddenly it emphasized, how am I going to write a novel about Bill Maher?

532
01:09:35.140 --> 01:09:42.140
and it took a lot of scrambling on its part and it got a lot of things wrong in the book after that,

533
01:09:42.140 --> 01:09:50.540
that are written from Manion Easton in his Introduction to the Body.

534
01:09:50.540 --> 01:09:55.680
The local result of this last-minute expansion of the little town can be detected in the early part of the novel.

535
01:09:55.680 --> 01:10:05.740
The malicious, propagate Fred Plante is too broad as Dickens prefers to develop a far more spectacular analysis of Quilt and Dick Swillers' engaged in profligacy.

536
01:10:05.740 --> 01:10:18.420
The Sophie Wachowk episode proves to be of a layer of irrelevancy here, who introduces a harmless semi-invent, occasioning some lug rooms in Chapter 1, by some 20 chapters later, as becomes the furthest responsible young man.

537
01:10:18.420 --> 01:10:35.420
So, this quick transition contains a list of essays and tales into a novel, resulted in a kind of aesthetic mess there, but resulted in a novel that has ridiculous energy, particularly to tap into the energy involved in it.

538
01:10:35.420 --> 01:10:40.920
That's the point, you know, the expires people to the internet to tap into the energy of their audience.

539
01:10:40.920 --> 01:10:50.420
Haywood traces in this correspondence between the guy of the Italian party, I think that's his name, and his audience.

540
01:10:50.420 --> 01:10:55.420
And he's a feedback loop, and that's what's characteristic of spontaneous orders.

541
01:10:55.420 --> 01:11:01.300
that Hayek has shown in the social community in some ways, you know, the essence of all

542
01:11:01.300 --> 01:11:06.580
three economics are that, that, that economics is a feedback, that the market is a feedback

543
01:11:06.580 --> 01:11:14.060
loop. The way the market works in general is that people try to anticipate what will

544
01:11:14.060 --> 01:11:19.540
sell, sometimes through marketing studies and things like that, they try to figure out

545
01:11:19.540 --> 01:11:24.980
what will sell, they try to figure out how to produce it at a price at which they can

546
01:11:24.980 --> 01:11:37.980
and a lot of branding goes into it, but you never know until you bring the product to market and it's typical of markets that the majority of these products fail.

547
01:11:37.980 --> 01:11:53.980
It's just that when they succeed, they succeed big because so many people are failing and the thing that happens in the market is when you succeed you really push what succeeds.

548
01:11:53.980 --> 01:12:22.980
And then everyone comes in from copying what's succeeded, the original marker, you have to work harder to improve the product and how do you improve the product, trying to figure out what made it sell, listening to your customers, how you can improve the product, that's the way markets work and it's no different in culture, you know anything about the television business, the movie business, that's exactly the way it operates.

549
01:12:22.980 --> 01:12:37.980
I hear about the academics, they think you somehow failed if you didn't plan out everything perfectly in advance, and they somehow think it would be possible to plan out everything perfectly in advance.

550
01:12:37.980 --> 01:12:48.980
That's the socialist way of thinking, that's the thinking behind central planning. In general, when socialists look at the markets, they see all the failures, they see all the blessings.

551
01:12:48.980 --> 01:13:05.980
This has got to be a more rational way to do this. This is the stupidest way to do things. All these different people trying things out. Look, so many of them are failing. Look at all the wasted resources. We can just get together and pile it out. It would work perfectly.

552
01:13:05.980 --> 01:13:21.980
But no, of course, many have one giant fan, because nobody can anticipate everything perfectly, so if you're only making one guess, you are just tremendous that that will be wrong, and then everybody's fooled.

553
01:13:21.980 --> 01:13:32.980
The way markets work is a lot of success, but somebody succeeds and then everyone can start copying that and get better ways of doing things.

554
01:13:32.980 --> 01:13:39.980
That's the way the market economy work is dealt, and what I'm saying is, that's in fact the way the social market works.

555
01:13:39.980 --> 01:13:46.980
You see it in films and television, but you can see it already in the 19th century novel.

556
01:13:46.980 --> 01:13:54.980
Yes, novelists panned out their novels in advance, even when they were doing stereo publications.

557
01:13:54.980 --> 01:14:24.980
We have Fickens' sketches, for example, when he starts the novel, he tries to figure out who the characters are going to be, or have notes when to introduce them, he may have an ending in mind, we see in some cases, he's talking about a static crucible, he says, you know, have a staff staffer here to balance that staffer here, he was the novel writer, yeah, so the finished novels never follow the initial plan, the initial plan that you have, the initial plan,

558
01:14:24.980 --> 01:14:33.140
He always revised in the course of production. Now again, a Marxist would say he's revising

559
01:14:33.140 --> 01:14:39.100
under commercial pressure and that makes the novels worse. And then S. Beech would say,

560
01:14:39.100 --> 01:14:46.700
many of the new critics would have said this, he's putting in, he's compromising, he's

561
01:14:46.700 --> 01:14:53.100
spelling out, and you know, this will be repeated even to the video game market now they're

562
01:14:53.100 --> 01:15:00.100
and I've pointed to it, you can definitely see times when the novels have problems, but if the customer is not always right, it's also true that he's not always wrong, and sometimes what the public was telling Dickens was right, and he recognized that.

563
01:15:23.100 --> 01:15:30.100
He realized that some characters weren't working. A lot of these filled off.

564
01:15:30.100 --> 01:15:38.100
Some of the characters had much more potential than he realized, and they should be expanded.

565
01:15:38.100 --> 01:15:44.100
One of the books I've recommended is called The Lady's Literature, Money in the Market.

566
01:15:44.100 --> 01:15:58.100
Money in the Market, a great title. I've talked about factory when, in writing the last chronicle of Bastiat, he decided to kill off his character, Mrs. Crowley.

567
01:15:58.100 --> 01:16:08.100
We've seen it on both sides, but just as in folk operas, some characters they span them all, some characters they seriously die if the public doesn't seem to like them.

568
01:16:08.100 --> 01:16:19.100
And that sounds very crude to people, I mean, the market can be crude, but it's effective because it's crude.

569
01:16:19.100 --> 01:16:28.100
And again, you can see the, someone with the aesthetic of Paul Baer, someone with the aesthetic of James White,

570
01:16:28.100 --> 01:16:37.100
a novel must be absolutely perfect, every word must be perfect, no one word could be added, no one word could be subtracted.

571
01:16:37.100 --> 01:17:04.100
I don't deny the greatness of that aesthetic, and there have been novelists, especially modern novelists, who work on that principle, you know, to read something like George's portrait of the artist and see how perfectly constructed it is, how perfectly any sentence is constructed, it's really amazing and it's great, but it's not the only ballad aesthetic.

572
01:17:04.100 --> 01:17:08.100
Welcome to the end of the day of the Dickens novel.

573
01:17:08.100 --> 01:17:11.100
Move one word and the entire structure falls.

574
01:17:11.100 --> 01:17:13.100
Remember that in the movie last night?

575
01:17:13.100 --> 01:17:14.100
It was most of it.

576
01:17:14.100 --> 01:17:17.100
You know, there is a legitimate aesthetic.

577
01:17:17.100 --> 01:17:20.100
You know, the aesthetic of perfection.

578
01:17:20.100 --> 01:17:26.100
And many of the greatest works of art are produced by artists like that.

579
01:17:26.100 --> 01:17:29.100
And it's typically characterized by the color phrase.

580
01:17:29.100 --> 01:17:33.100
You know, when you've got a 20-line poem, indeed you want every word to be there.

581
01:17:33.100 --> 01:17:49.100
And you want to be able to say the great words, don't remove one word, it will be diminishment as Salerno said, but a 1,000 page Dickens novel, remove one word and there would be diminishment? Thank God!

582
01:17:49.100 --> 01:18:19.100
And as you know, it's hilarious, a duet phase is this, in the accidents of printing, strange things happen there, it's very much on record, that novels have come to print, sometimes not just with a word missing, but a whole staff are missing, the editor missed it, the author missed it in proofreading, and you know, there probably was something over long about the novel if that could have happened, and so, you know,

583
01:18:19.100 --> 01:18:35.100
This is a characteristic of popular culture that it does not have the aesthetic perception of a modernist lyric by Hayes or even of a great classic art novel by Flaubert or Droy, but it compensates for that with other virtues.

584
01:18:35.100 --> 01:18:40.940
What you tend to get in popular culture, and, you know, here I'm talking about things,

585
01:18:40.940 --> 01:18:51.100
what makes a Dickens novel so good is the vitality of it, the richness of the canvas.

586
01:18:51.100 --> 01:18:58.700
You can't have everything. You can't have the aesthetic perfection of a brief,

587
01:18:58.700 --> 01:19:05.220
and Modernist Mirrors, and a collided scope of human life, as we get in the Dickens novel.

588
01:19:05.220 --> 01:19:16.220
The weakness of Dickens' novels is the strength of Dickens' novels. Henry James, who will

589
01:19:16.220 --> 01:19:22.220
suck at it, asked me, complaining about other people's novels as meat-bagging monsters.

590
01:19:22.220 --> 01:19:28.220
And there's a certain truth to that. But there's also a certain prettiness for the

591
01:19:28.220 --> 01:19:45.220
of Henry James, and you know, I basically think the public's taste is indicted in that it's the perfect example of identity as our world, but let my aesthetic friends never get me to say that.

592
01:19:45.220 --> 01:20:03.220
But what I'm saying is that there's a kind of looseness at the same time with this modern popular cultural form from Dickens' serialized novels down to serialized television.

593
01:20:03.220 --> 01:20:11.460
and it's, there's something wrong about applying the aesthetic of a Flaubert novel or a Yeats

594
01:20:11.460 --> 01:20:17.620
lyric to a Dickens novel or to a television series like The X-Files.

595
01:20:17.620 --> 01:20:22.020
They're very different things, produced under different conditions, with different audiences

596
01:20:22.020 --> 01:20:30.420
in view and they each have their defects and their virtues and what I'm saying about the

597
01:20:30.420 --> 01:20:58.420
The centralized novel here is a real example of a marketed commodity, with all the aspects of catalyst production, standardized production, mass production, the need for cost cutting, the need for marketing, buying products, all these things, that's the financial underpinning of it, and why the Victorian novel attracted such talent in the 19th century.

598
01:20:58.420 --> 01:21:01.180
said this about the Elizabethan theater.

599
01:21:01.180 --> 01:21:06.060
It was a way to offer economic and social mobility

600
01:21:06.060 --> 01:21:09.940
at a time when it was not generally available.

601
01:21:09.940 --> 01:21:14.740
Well, economic and social mobility had increased greatly in the 19th century,

602
01:21:14.740 --> 01:21:17.980
but there's always room for more,

603
01:21:17.980 --> 01:21:24.460
and it became clear that there was money to be made in fiction writing.

604
01:21:24.460 --> 01:21:30.220
I've seen various figures on this, but it seems that I think there was something

605
01:21:30.220 --> 01:21:35.660
like 40,000 novels published that were in the corporate 19th century.

606
01:21:35.980 --> 01:21:44.020
It's actually a pretty staggering feature, a figure of which I doubt that more

607
01:21:44.020 --> 01:21:48.900
than 200 are read by anybody today, including professors of the foreign literature.

608
01:21:48.900 --> 01:21:54.900
of those 200, about 50 of them are canonicals.

609
01:21:54.900 --> 01:21:57.900
That's really staggering, but that's what culture's like.

610
01:21:57.900 --> 01:22:01.900
That's why I was trying to get across to you that when we look at television

611
01:22:01.900 --> 01:22:05.900
and say it's a vast wasteland and it's full of junk,

612
01:22:05.900 --> 01:22:10.900
you can't believe how much junk there was in the first novel.

613
01:22:10.900 --> 01:22:13.900
I'm interested in mummies and mummies stories.

614
01:22:13.900 --> 01:22:14.900
I love the mummies movies.

615
01:22:14.900 --> 01:22:22.900
I went back and read a novel, I guess it's the first money novel, it's called The Money Infected,

616
01:22:22.900 --> 01:22:30.900
a little bit in Roudy, it's called The 1840s, I discovered it by accident, and thank God there's only a good one available.

617
01:22:30.900 --> 01:22:41.900
I mean, it's unspeakably bad. It's just a chance for you to understand, it's not like a bad novel, it's just,

618
01:22:41.900 --> 01:22:49.700
It's just, it can't tell a story, it can't, I mean, you realize why this novel's unread.

619
01:22:49.700 --> 01:22:56.580
I mean, take the worst Italian novel you ever had to read in college, and this is 50 times worse.

620
01:22:56.580 --> 01:23:03.500
And, you know, I just can't imagine how bad some of these Austrian novels were.

621
01:23:03.500 --> 01:23:07.140
I'm never going to find out, because life's too short, I'm never going to read them.

622
01:23:07.140 --> 01:23:12.700
But, you know, it's as easily as that, it's the worst movie ever made.

623
01:23:12.700 --> 01:23:17.780
And then we're saying fine and fine about its place of the, of the 19th century novel here.

624
01:23:17.780 --> 01:23:23.180
We're telling the movie that this is the way, this is the way markets in general operate

625
01:23:23.180 --> 01:23:25.240
and the way, I'm saying, cultural markets operate.

626
01:23:26.360 --> 01:23:27.500
You just try everything.

627
01:23:27.500 --> 01:23:30.320
And the way to try everything is open up the market.

628
01:23:30.320 --> 01:23:35.560
And there was relatively easy entry to the business of writing novels.

629
01:24:05.560 --> 01:24:11.800
And, you know, that's like saying, you know, why have 40,000 toothpaste?

630
01:24:11.800 --> 01:24:20.560
That's why people can't figure out ahead what we're working on.

631
01:24:20.560 --> 01:24:23.360
It's even more complicated than some of the simple things.

632
01:24:23.360 --> 01:24:28.460
In some ways, presumably, it's easier to design a toothpaste than to write a novel.

633
01:24:28.460 --> 01:24:35.540
But, so, again, today when we look at the Vicar novel,

634
01:24:35.540 --> 01:24:42.740
Well, you see those 50th-grade novels, you know, 15th-Cent by Dickey, and you say, wow,

635
01:24:42.740 --> 01:24:49.780
what a total repeat, and look at all these bad movies in the 20th century.

636
01:24:49.780 --> 01:24:56.740
Well, if you took the 50th-gradest movies of the 20th century, I'm going on record,

637
01:24:56.740 --> 01:25:02.100
they are better than the 50th-gradest novels of the 19th century in all of Europe.

638
01:25:02.100 --> 01:25:05.740
Well, that's the best thing I've seen.

639
01:25:05.740 --> 01:25:12.540
The 50th-graded movies are better than the 50th-graded English novels of the 19th century.

640
01:25:12.540 --> 01:25:17.620
I have to say the 50th-graded English movies of the 20th century are not better than the 50th-graded movies.

641
01:25:17.620 --> 01:25:19.780
Oh, you get my point.

642
01:25:19.780 --> 01:25:26.180
It's unfair to compare the thousands of garbage movies of the 20th century

643
01:25:26.180 --> 01:25:30.620
with the 50th-graded novels of the 19th century.

644
01:25:30.620 --> 01:25:34.040
and compare the greatest with the greatest, compare the math with the math.

645
01:25:34.040 --> 01:25:39.560
The math of Victorian novels is easily as bad in aesthetic terms as the math of movies.

646
01:25:39.800 --> 01:25:41.960
But here's the nature of culture.

647
01:25:41.960 --> 01:25:43.660
It isn't spontaneous order.

648
01:25:43.920 --> 01:25:45.880
It works by trial and error and feedback.

649
01:25:46.280 --> 01:25:49.380
It does not work by careful prior planning.

650
01:25:49.780 --> 01:25:57.740
And even what I'm saying is the individual novels do not often work by perfect prior planning.

651
01:25:57.740 --> 01:26:04.580
Like entrepreneurs, the novelists went into the process of writing novel with a plan,

652
01:26:04.880 --> 01:26:09.080
but like good entrepreneurs, they were willing to look at how things were working

653
01:26:09.080 --> 01:26:12.020
and revise their plans as they go along.

654
01:26:12.280 --> 01:26:17.420
Now, that's what government planning never allows for, is competitive planning,

655
01:26:17.680 --> 01:26:20.620
alternative planning, and plan resistance.

656
01:26:20.920 --> 01:26:25.420
The government stumbles ahead with its standard operating procedures

657
01:26:25.420 --> 01:26:32.420
into one failure after another, and that's what our culture looked like with the government we're playing in.

658
01:26:32.420 --> 01:26:43.420
Imagine if in 1800s the British government had a cultural policy and decided how England could develop a great novel in the 19th century

659
01:26:43.420 --> 01:26:51.420
and kicked out to committees and grant applications who the great novelists would be and how they could write their novels.

660
01:26:51.420 --> 01:27:04.420
Dickens? Who saw Dickens? Pickler papers? Some picker-ass tale about some guy wandering around in them with a sidekick there? Rejected.

661
01:27:04.420 --> 01:27:15.420
So, anyway, I think that Bitcoin is a case where we get a really concrete example of the interaction of commerce and culture.

662
01:27:15.420 --> 01:27:22.820
and again, have certain negative assets, but I think the positive assets very much count for more than the negative ones.

663
01:27:22.820 --> 01:27:26.820
So, let me stop here again and take a few questions, yeah.

664
01:27:26.820 --> 01:27:36.820
It's a lucid reputation of, you know, time preference and a lot of the __________ culture but people __________

665
01:27:36.820 --> 01:27:50.820
But indeed, how do we respond to modern today, ______ ______. I mean that ______ is often a very good ______ ______

666
01:27:50.820 --> 01:27:51.820
Yeah.

667
01:27:51.820 --> 01:28:02.820
I actually have a kind of ruddy aspect to it, and I'll just, since you're a bulldozer,

668
01:28:02.820 --> 01:28:12.820
I'll say this. I think it's actually a kind of tribute to popular culture that that book

669
01:28:12.820 --> 01:28:18.820
has been successful. I mean, it's not a great book, but it really has a good cliffhanger

670
01:28:18.820 --> 01:28:43.820
and what are you saying about the content, I'm just astounded by the book that talks about the allegorical fame, the Gnosticism, the Gnostic Gospels, Gnogma, that that speaks from the most part of the book, almost the whole time, and if I had read that for a publisher, I would have said, this son of a bitch was electoral.

671
01:28:43.820 --> 01:29:13.820
The public is never going to go for this. I actually, I think it says something good about the public in this one case that a book that deals with issues that I've been fascinated with for years and have studied for, that, you know, Rosicrucianism comes up. So, I think the DeVinci Code is actually a compliment to Prop. Code, but in general, I think it's a compliment to Prop. Code, but in general, I think it's a compliment to Prop.

672
01:29:13.820 --> 01:29:21.320
And, in general, what I would be, we'll actually get to this when we talk about modernism.

673
01:29:21.320 --> 01:29:33.820
What has happened in mass culture is that the whole range of readings has just exponentially increased.

674
01:29:33.820 --> 01:29:40.820
And so, so many more books are published now, and in such greater numbers,

675
01:29:40.820 --> 01:29:46.960
that, you know, even Dickens never sold in the numbers that Dan Brown does.

676
01:29:47.240 --> 01:29:57.280
And so, novels that would be the aesthetic equivalent of Dickens or let's, I mean,

677
01:29:57.280 --> 01:30:03.520
Dickens here, novels that would be the aesthetic equivalent of George Eliot and faculty

678
01:30:03.520 --> 01:30:11.760
and Lebronte, they are selling in larger numbers now, the compiler makes me quite well,

679
01:30:11.760 --> 01:30:16.800
but what upsets people is again the envy principle, the relative principle.

680
01:30:16.800 --> 01:30:23.720
They are frustrated that Dan Brown sells many more copies than, let's say, Don DeLillo.

681
01:30:24.020 --> 01:30:28.600
I had an interview with a great American novelist, let's say, Don DeLillo.

682
01:30:28.600 --> 01:30:47.600
But Don DeLillo sells in larger numbers than the Bronte sisters ever did, and by a rather large figure, and he got a million dollar advance, I believe, for what was in the underworld, and he's been able to live on his creative novel.

683
01:30:47.600 --> 01:31:11.600
So, the relative numbers look bad, the absolute numbers look really good, that is, art, what we would call art novels now, actually sell larger numbers of books than what we now, in retrospect, call the art novels of the 19th century.

684
01:31:11.600 --> 01:31:22.600
So, if, you know, the complainants pounce as if our novelists now can't make a living at it, that's untrue.

685
01:31:22.600 --> 01:31:28.600
Look at Thomas Keating, for example, writing these unbelievably comprehensive books.

686
01:31:28.600 --> 01:31:32.600
You know, Bradley Greenblatt blundered into being a bestseller.

687
01:31:32.600 --> 01:31:40.600
So, you know, the world, again, never say that the capitalist world is perfect, it says better than the alternative.

688
01:31:40.600 --> 01:32:10.600
and the government system trying to look out ahead of time which novelists are the ones who should be allowed to write and publish it, so that sort of would work, and we'll see that overlooking some of the totalitarian systems, so to me it's not a marked failure that Dan Brown can be successful, the other thing I would say is that the 19th century novel was the center of popular culture,

689
01:32:10.600 --> 01:32:36.600
and the Center of Artistics also, so the fact that the novel as a whole has been displaced in the 20th century by movies, and again, the record of the motion picture in the 20th century is absolutely astounding, and I would say, you know, the accomplishment of the theme of the motion picture is as great as virtually any other artistic field in human history, except for thinking of it as part of the question.

690
01:33:06.600 --> 01:33:16.600
The question is, what's my response to the fact that we really don't have free markets,

691
01:33:16.600 --> 01:33:23.600
we have a mixed economy, and indeed I was thinking of that as something I really should dwell on more.

692
01:33:23.600 --> 01:33:30.600
I've been talking about markets, and all these civil ages, in fact, we didn't have a free market.

693
01:33:30.600 --> 01:33:37.600
The Federal Food Market in the 19th century is a complete myth that Eugen was operating as a laissez-faire in the 19th century.

694
01:33:37.600 --> 01:33:41.600
They had a central bank, what was called under the central bank system.

695
01:33:41.600 --> 01:33:43.600
There were all sorts of government regulations.

696
01:33:43.600 --> 01:33:50.600
It was freer than any other economy except the U.S. in the 19th century and became the strongest economy in the world

697
01:33:50.600 --> 01:33:54.600
because it was relatively free, but obviously it wasn't absolutely free.

698
01:33:54.600 --> 01:33:58.600
And I actually suggested in this direction what I said that, for example,

699
01:33:58.600 --> 01:34:04.040
One example of a mixed economy, you can say, in the United States and in the public, was that the government

700
01:34:04.040 --> 01:34:15.440
all in fact hated it, and Erickson, Lee Erickson, the father of Women in the Fourth, made some fascinating arguments

701
01:34:15.440 --> 01:34:23.080
when he said, when books are expensive, poetry prevails in the market, when books are complete, fiction prevails.

702
01:34:53.080 --> 01:35:23.080
and it counts in terms of the marginal utility of a book, it's really the same learic, or whatever that is, the economy is really very poor, and the relative steepness or expensiveness of books was related to government intervention economy, I haven't even gone into detail in the way that I do this, but that is now, they're resisting every advance in technology, the printer's union,

703
01:35:23.080 --> 01:35:31.680
in England did everything they could to prevent line-of-typing, predicted disasters, economic

704
01:35:31.680 --> 01:35:34.320
disasters with an automatic house setting.

705
01:35:34.320 --> 01:35:39.400
Of course, what it did was allow the public industry to flourish as ever before, and more

706
01:35:39.400 --> 01:35:45.560
people got jobs and plenty than they'd ever had before, but yes, there's in fact always

707
01:35:45.560 --> 01:36:15.560
and I would point, in fact, to the negative effects, to the extent the British economy was not free in the 19th century, it had a negative impact on culture, that's why what I would say to people who advocate government support of the arts, the best support the government could give to the arts would be to get out of the picture entirely, and that would be such a boost to the economy, it would be a boost to all culture, and you can actually see

708
01:36:15.560 --> 01:36:23.340
and the government withdrawal from regulation in 19th century Britain increased the cultural

709
01:36:23.340 --> 01:36:25.340
vibrancy of Britain.

710
01:36:25.340 --> 01:36:33.340
It's a fact that, you know, the media often tend to be unregulated because they're one

711
01:36:33.340 --> 01:36:37.340
step ahead of the government, you know, as in the case of the internet, you know, don't

712
01:36:37.340 --> 01:36:44.340
know how it works, so they basically can't regulate, but as we'll see, you know, we'll

713
01:36:44.340 --> 01:36:51.340
I want to talk about before we get to most of history and television, the way government regulation actually has reported the cultural development of those forms.

714
01:37:14.340 --> 01:37:35.340
Well, it's typical, this is the anti-Walmart argument, that Wal-Mart has too big of a position

715
01:37:35.340 --> 01:37:40.340
in the market, and so it affects wealth produced and so on.

716
01:37:40.340 --> 01:38:10.340
There's no question that Moody was a make or a breaker, the big slogan was what did Moody think in the public state industry, but nevertheless, he didn't have a monopoly, he didn't have, he didn't have what an Austrian would call a monopoly, he didn't have a government privilege, he was a very crude businessman and achieved his market share by his limited means, based on the tools he had,

717
01:38:10.340 --> 01:38:32.340
He was a student as a businessman. He had a large effect for a long period, but not for all that long. For example, here's a typical example where often an economist is going to work for Booty, you could say, was a problem. He had too much of a controlling effect on the market.

718
01:38:32.340 --> 01:38:42.340
The result was people found ways to produce books cheaper, people started buying books instead of reading them, and the booty monopolies, and the boonies took over the market.

719
01:38:42.340 --> 01:38:51.340
Now, people panic when anyone has a big role in the market. Just look at history, and that role will disappear.

720
01:38:51.340 --> 01:38:59.340
You know, you guys all think Bill Gates is the type, 20 years, my prediction is, you know, the market will pass him by.

721
01:38:59.340 --> 01:39:06.340
The government was obsessed with IBM for two decades, couldn't stop them till they took care of them.

722
01:39:06.340 --> 01:39:16.340
The market takes care of its own. But on the board of Rudy, though, Rudy got where he got by reading the market.

723
01:39:16.340 --> 01:39:25.340
He was, we would say, puritanical. He was the one, he would say, I don't want sex in these novels.

724
01:39:25.340 --> 01:39:55.340
Oh, English fiction would have been like French fiction. It would have been like Saint-Denis, but it hadn't been for Moody. No. Moody was just reading the actual moves of the Victorian public well. Moody had no capability of calling the Victorians, uh, you shouldn't be talking about sex as much as you are, y'all. You know, I know you guys want your daughters to be reading sex novels, but I'm going to prevent it. Well, it's because the public

725
01:39:55.340 --> 01:40:02.340
Remove Moody and he would not have had Stendhal left novels, hopefully, in England, or Dupont left novels, or whatever.

726
01:40:02.340 --> 01:40:07.340
This is a good example of how the market actually operates.

727
01:40:07.340 --> 01:40:14.340
Moody does not have a monopoly. He has a strong position in the market, because he's read the market correctly.

728
01:40:14.340 --> 01:40:20.340
And in fact, he was certainly an important middleman. He was a very important middleman.

729
01:40:50.340 --> 01:41:01.340
The Chronography that has flooded the market in Victorian Britain. He was just reading the mood of it, but it's a good question. I'm glad to see some of you even heard of me. I just love that.