The published texts of The Chancellor , for example, include no maps of the route of the derelict ship and the raft constructed by its crew, though Verne relied on such a document Figure 3. The reduced pull of gravity, the shortened day, the reversed course of the sun —Verne is never more irreverent with regard to the conventions of narrative verisimilitude than in this text; the reader may be amazed that the characters are so little alarmed by the transformation of their world.
Apparently realist devices such as a diagram of the route of the comet or a map of its surface would immediately collapse the extended parenthesis opened by the initial conditions of the adventure, and maintained to the point of farce only by an ironic and knowing reticence. The design of the cartonnage —half orrery half Ptolemaic celestial chart—signals in fact an entirely usual Vernian conflation of the actual and the imagined. In these baroque cycles and epicycles, a fantastic terrain is implicitly joined to a potentially rational space, measured or at least measurable.
But in assuming that these elements are only accessory or recapitulative of the textual voyages they enframe, we may miss their inductive effects. Opening the book—turning the cover—is then a doubly opening gesture in this case: she enters the text, into an imaginary whose traits are signaled by iconic elements of the cover.
Spatial movement in Verne, no matter what its local surprises, is always as procedurally determinate and narratively capricious as a wild-goose chase. Their most determined and careful itineraries are marked by crises of errancy, but always within a general figure of the circle. For, unlike its real counterpart, the literary wreck is always a calculated interruption within a wider circuit.
When the hero returns to tell his tale—how else could it be told? Classic epic, the romance, and their modern offspring the robinsonnade do not always end happily, but they do come to an end, and in unambiguous demonstrations of the privileges of literary resolution over the hazards of the real. A century later, we are familiar with the privileged scene of this conflict in the nineteenth-century psyche: the allure of a blank prompting the pleasures of closure and anxieties regarding the effects of closure. Maps encode phenomenal space in panoptic forms—in an era of high-resolution satellite imaging and computer-enhanced photography, this function of maps will seem less compelling, less obvious to us than it would have to Verne or Conrad.
The cartographic gaze tends toward the widest possible range over its domain, even as—I will return to this point—it is kept at one remove from its object. Thus the general significance of the circuit by which the Vernian adventure is achieved: going forth, arriving—or, more often, nearly arriving—and then coming back. More to the point, the visual discourse of the Voyages is correspondingly, overwhelmingly, predisposed toward descriptions of one very specific function of the eye with regard to the spaces it encounters: that of the survey or compass.
And this is, I think, the motive for his emphasis in the Voyages on travel on or over rather than travel far above or deep below. Geography abstracts and orders the phenomenal world; cartography is the science of rendering one system for writing spaces into another system for writing the signs of spaces—the dotted line, the cross-hatching, political and geologic borders—providing the geographic imaginary with a cultural and political superstructure. So the mastery of space vouchsafed by the atlas may prove under some conditions inconsistent or illusory. Tooth and claw: not all the appetites of measurement are kind.
But this cannot really come as a surprise: geo-graphy, carto-graphy—these disciplines of measurement are also practices of writing. The many frailties of the signifier must, inevitably, re-open the passage for the return of things that measurement aims to. But now this store is nearly emptied! Others have seen everything, surveyed everything, invented all the continents or new worlds; we late-comers to geographic science, we have nothing left to do!
In the original French, the sense of his reply is ambiguous: what we are doing[ faisons ] now is also what we are making [ faisons ] now. The ongoing work of the voyage is what renovates and recreates the territories it crosses. All that is required to guarantee the motions of the cosmos is a clever story disguised as a chain of necessities.
Which is to say that the dynamism and verisimilitude of the world of the Voyages are products of the narrative devices that advance its turns and corroborate its rules. The best example of this general rule is also the most transparent. In those novels that are not first-person memoirs, the narrator drafts no maps and never acknowledges their presence in the paratextual apparatus of the work.
The journey—or a significant period of it—concludes with. Less frequently, textual corroborations of spaces in the novels function as an enticement to the reader to conclude that a certain continuity of space is established, when in fact a discontinuity is demanded by the logic of the narrative. We should have known this; fifteen chapters remain in the novel, and Verne never needs more than one to wrap up loose ends.
The greater irony in this case is that the opening chapters describe a terrain that has in fact ceased to exist before the main action of the novel begins: Julia Island, the product of an undersea volcano, has already resubmerged and disappeared from the maps Antifer uses in his pursuit of the treasure. As if on cue—Providence may always be compliant in fiction—a flaming meteor passes the capsule and explodes over the lunar surface, illuminating the world below. The astronauts rush to the window, and for a few seconds, they see—they imagine they see—an impossible landscape: immense spaces, open seas, continents covered with forests.
For nearly a century, that is. In , the Soviet Union launched the first successful orbit of the moon by a satellite equipped with photographic capabilities. But there is one noteworthy exception Figure 9. Barabashov, N. Mikhailov, and Yu. Lipsky, eds. New York: Interscience Publishers, Baudelaire, Charles. Les Fleurs du mal. Paris: Garnier, Belloc, Marie A. Limited edition. Introduction by Fletcher Pratt. Published by Borders Classics, New York First Edition; First Printing.
Near Fine in boards. Light rubbing on top text block edge of rear panel. Condition: very good. First edition. Publisher's blue cloth with bright aqua illustrations and gilt lettering on the front board and gilt lettering on the spine. Binding is tight, and square, covers with tiny dings. Provenance: bookplates by Robert J. The text is clean and unmarked.
First edition with four full-page color illustrations by Aylward. Size: 7" - 9" 0. Published by J. About this Item: J. Everyman's Library; Vintage Copy. Book condition is Very Good- in stiff wraps. Minor edge wear and a few small scuffs at spine. Hinge is starting. Small bookseller stamp inside rear cover. No markings to text.
Published by Easton Press About this Item: Easton Press, Condition: As New. Edward Wilson illustrator. Leather with gilt pages and design. Published by Boston: Household Words. About this Item: Boston: Household Words. Condition: Fair. Red beveled cloth with stamped cover design in gold and black. Cover has gilt-stamped image of Civil War soldier.
A worn copy with some scuffing and spotting to the covers and some fraying to the spine tips and corners. The text is good with some light soiling and some spotting to a few page margins. The inner hinges are cracked but quite secure.
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Condition: Fine. Full deep blue leather decorated and lettered in gilt. Silk Endpapers.
Collectors Edition. Illustrated by Edward A. A lovely copy. Published by London About this Item: London, Everyman's Library; First Printing. Very Good in a Good dust jacket. Scuffing to front and rear boards. Edge wear along front and rear panels of dust jacket, Open tears on crown, heel, upper and lower portions of front and rear panels.
Front and rear flaps are faded and discolored. Very Good in boards. Toning to pages. Scuffing to panels. Wear to crown and heel. About this Item: paperback. Condition: New. Jules Verne's famous trilogy Captain Grant daughter. Straight to the point of writing novel vividly depicts the magical story of a voyage in the depths of the ocean. Seller Inventory CC Published by A.
Twenty Thousand Leagues Under the Sea
Burt Company, New York. About this Item: A. Very Good in red cloth. Condition: Near Fine. Milo Winter illustrator. First Edition Thus. Rand McNally, , Chicago. Near Fine. Beautiful colorful illustrations All illustrations present. Book would be fine except for some wear at aged of boards especially at spine top and bottom.
Back cove bottom tip rubbed.
Small crumple and soiling at bottom front text block. Early gift inscription on front free endpaper. Pages have bottom corners torn out. Shipping box is suitable for wrapping with a non-price listed purchase order inside along with biodegradable packing. I recommend some children's versions for other qualities. Ron Miller's very pretty Little Unicorn edition is unfortunately out of print, but I did find a copy through Bibliofind.
Ron has retold the story for children and richly illustrated it with accurate and beautiful drawings. Unicorn published a slightly different, larger format version of this book in Both editions are hardcover, but the smaller Little Unicorn volume very much resembles Miller's complete translation in format and my copy is printed on better quality paper.
Twenty Thousand Leagues Under the Sea by Jules Verne - AbeBooks
I found both at Spider Web Gallery but they have been sold out. Ron Miller also provides the story for the excellent Eyewitness Classics edition , illustrated by Paul Wright. Paul has taken some liberties with the Ron's Nautilus design but the illustrations are very good. One of the things I like about this version is its updating of Verne's didacticism about science and engineering. It is no longer in the text but in accompanying sidebars and photographs.
A child who reads this book will learn a lot about the sea and about submarines. Click the link for particulars about this title at amazon. The following graphic novel version doesn't have much connection with the original text, the theme of this page, but it carries Verne's sense and the illustrations are quite good. Wells, illustrated by Gianni. Similarly, Oceanology: The True Account of the Voyage of the Nautilus , edited by Dugald Steer, is not a recreation of the novel but uses scenes from Leagues as a framework for presenting principles of oceanology, not unlike the many educative passages in Verne.
In large hardcover format and richly illustrated in color on heavy paper, the volume is full of flip-up inserts, fold-out maps, holograms, and other goodies that will keep an inquisitive child or adult engaged for hours. I think Jules Verne would have been fascinated. Jules Verne's Nautilus. Professor Aronnax, his faithful servant Conseil, the Canadian whaler Ned Land, and the mysterious Captain Nemo are the characters of the novel.
But do we ever think about 20, Leagues under the Sea and not Nemo's amazing submarine boat, Nautilus? Follow the link for detailed information about the boat, and see it as numerous designers have envisioned Verne's words. V ideos of the two classic movies of 20, Leagues under the Sea that I've mentioned on these pages are available at amazon. The silent version actually contains more elements of Mysterious Island than 20, Leagues but it's interesting for many reasons.
Some of visuals and even Nemo's look are modeled on the original engravings of the Riou and de Neuville drawings.