The Hidden Harbor Mystery is Volume 14 in the original The Hardy Boys Mystery Stories published by Grosset & Dunlap.
This book was written for the Stratemeyer Syndicate in 1935, purportedly by Leslie McFarlane; however, the writing style is noticeably different from other books in the series known to have been written by McFarlane. Between 1959 and 1973 the first 38 volumes of this series were systematically revised as part of a project directed by Harriet Adams, Edward Stratemeyer's daughter. The original version of this book was rewritten in 1961 by James Beuchler resulting in two different stories with the same title.
The original story contained racial stereotypes which were removed during the revision. For example, the chief villain, a young Black man named Luke Jones is described in the 1935 edition as "the worst scoundrel we have ever come across", but is completely removed from the 1961 version, and most characters identifiable as Black have been reworked as racially ambiguous.
Read more about The Hidden Harbor Mystery: Plot Summary (revised Edition), Plot Summary (original Edition)
Famous quotes containing the words hidden, harbor and/or mystery:
“Whatever events in progress shall disgust men with cities, and infuse into them the passion for country life, and country pleasures, will render a service to the whole face of this continent, and will further the most poetic of all the occupations of real life, the bringing out by art the native but hidden graces of the landscape.”
—Ralph Waldo Emerson (1803–1882)
“Now we sing, and do tiny dances on the kitchen floor.
Our whole body is like a harbor at dawn;
We know that our master has left us for the day.”
—Robert Bly (b. 1926)
“There is no mystery in a looking glass until someone looks into it. Then, though it remains the same glass, it presents a different face to each man who holds it in front of him. The same is true of a work of art. It has no proper existence as art until someone is reflected in it—and no two will ever be reflected in the same way. However much we all see in common in such a work, at the center we behold a fragment of our own soul, and the greater the art the greater the fragment.”
—Harold C. Goddard (1878–1950)