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Extra info for Harold and the Purple Crayon - Crockett Johnson
384–9. 27 Uglow, The Lunar Men, 157. Introduction 25 28 See Carew Reynel, The True English Interest (London, 1679), 22, for an early example of this impulse. 29 No. 99, in The Idler and The Adventurer, ed. J. F. Powell, The Yale Edition of the Works of Samuel Johnson (New Haven: Yale University Press, 1958–), 2:431. , 2:434. , 2:435. 32 Ed. Jonathan Kramnick (Harmondsworth: Penguin, 1976), 777. 33 See the discussion of Thomas Day’s educational experiments in Uglow’s The Lunar Men, 182–8. 34 See Bender, Imagining the Penitentiary.
In The World in a Maize, Or, Olivers Ghost (1659), Oliver Cromwell appears to his son Richard to upbraid him for his failures; the older Cromwell rehearses all of his own bloody actions, providing a yardstick by which the shame of the younger can be measured. 26 40 Margery Kingsley Dick, as the reader knows, could not, but the ghost’s visitation is a reminder that the child of flesh and blood, a living soul with the power of revenge, cannot simply be dismissed. He or she is the literal product of the reproduction of past generations, heir to a fragmented history, reminding the reader of the basic biological fact of continuity between past and present and thus also inherently containing the lingering threat of revived conflict.
At the same time, both changing techniques for the production of certain domestic goods and a growing market for luxury items made the dissemination and consumption of historical material far more widespread than in previous periods. The growth and expansion of the print industry in England made possible the publication of images of royalty, nobility, and historical events in prints and books, new pottery techniques enabled the production of more life-like images on slipware, and expanded incomes that permitted the purchase of commemorative prints, pottery, and jewellery put ownership of the material evidence of history within reach of those of relatively moderate means.