Popularity
In just nine years the idea caught on all around the globe. The Little Blue Books were finding their ways into the pockets of laborers, scholars and the average citizen alike. The St. Louis Dispatch called Haldeman-Julius "the Henry Ford of literature". Amongst the better known names of the day to support the Little Blue Books were Emperor Haile Selassie of Ethiopia, Admiral Richard Byrd, who took along a set to the South Pole, and Franklin P. Adams of Information, Please!
Many bookstores kept a book rack stocked with many Little Blue Book titles, and their small size and low price made them especially popular with travelers and transient working people. Louis L'Amour cites the Little Blue Books as a major source of his own early reading in his autobiography, Education of a Wandering Man. Other writers who recall reading the series in their youth include Saul Bellow, Harlan Ellison, Jack Conroy, Ralph Ellison, and Studs Terkel.
The works covered were frequently classics of Western literature: Goethe and Shakespeare were well represented, as were the works of the Ancient Greeks, and more modern writers like Voltaire, Emile Zola, H. G. Wells. Some of the topics the Little Blue Books covered were on the cutting edge of societal norms. Alongside books on making candy (#518 - "How to Make All Kinds of Candy" by Helene Paquin) and classic literature (#246 - Hamlet by William Shakespeare) were ones exploring homosexuality (#692 - "Homo-Sexual Life" by William J Fielding) and agnostic viewpoints (#1500 - "Why I Am an Agnostic: Including Expressions of Faith from a Protestant a Catholic and a Jew" by Clarence Darrow). Shorter works from many popular authors such as Jack London and Henry David Thoreau were published, as were a number of political tracts written by Robert Ingersoll or Haldeman-Julius himself. A young Will Durant wrote a series of Blue Books on philosophy which were republished in 1926 by Simon & Schuster as The Story of Philosophy, a popular work that remains in print today.
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Famous quotes containing the word popularity:
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—Susan Sontag (b. 1933)
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“The popularity of disaster movies ... expresses a collective perception of a world threatened by irresistible and unforeseen forces which nevertheless are thwarted at the last moment. Their thinly veiled symbolic meaning might be translated thus: We are innocent of wrongdoing. We are attacked by unforeseeable forces come to harm us. We are, thus, innocent even of negligence. Though those forces are insuperable, chance will come to our aid and we shall emerge victorious.”
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