1900. New York: McClure’s Magazine, Vol. XVI, No. 2, December 1900 to Vol. XVII. No. 6. October 1901.
8vo, various pagination, the portions of the magazine covering the complete serialization extracted and bound, including illustrations, in half red crushed morocco with marbled paper boards, gilt ruled, backstrip pannelled with title and elephant devices in gilt, top edge gilt, marbled endpapers, monogram bookplate of Annie Burr Jennings on front free endpaper with motto “Otium sine literis mors est” (leisure without literature is death). Upper joint strengthened, board edges lightly worn, very good.
§ The true first appearance of Kipling’s incomparable Kim, serialized in MacClure’s from December 1900 to October 1901. The novel was also serialized in Cassell's Magazine from January to November 1901 and did not appear in book form until October 1901 when it was published by Doubleday, Page & Co. in New York and Macmillan in London. The binder has included only the pages of the magazine on which the story appeared: where the story only occupied part of the page the binder has either cropped and mounted the relevant part, or pasted blank paper over the non-Kipling text. "For the magazine rights to Kim, McClure paid £5,000 ($25,000), delaying the publication of the book edition to run the story serially in the United States.. and in England... Both magazine series featured nine wash drawings by Edwin Land Weeks for each monthly chapter, and each Cassell’s issue in addition contained two or three line drawing by H.R. Millar (twenty-eight in all), with captions noting the magazine page number upon which the illustrated incident appeared. Pride of place, however, was taken by photographic plates of ten low-relief terra-cotta plaques modelled by the author’s father John Lockwood Kipling" (D.A. Richards). (The first edition in book form only used the photographic plates.)
As the academic Phillip Wegner has written "...Kipling's celebrated portrait of India at the high watermark of British "formal" imperial domination has long occupied a special place in the complex field of imperialist literature. Although it's chauvinistic and racist overtones are now generally acknowledged, Kim still represents for many -- to borrow the words of Adbul R. JanMohamed -- "a postive, detailed, nonstereotypic portrait of the colonized that is unique in colonialist literature"" (Wegner, Cultural Critique No. 26, Winter 1993/4). Item #110548