| Brandon Fleming |
| The Crooked House ~ 1921 ~ NY: E.J.Clode
A facsinating and difficult mystery, never got the acclaim it deserved eText Editions: Open Library | Many Books | OTHERS: The Ruby in Weird Tales, January 1933 (an OAK Buccaneers of Venus issue) |
| J. S. Fletcher 1863-1935 |
| The Secret Way 1903
OTHER:    Online eText Editions: http://textual.net/access.gutenberg/J.S.Fletcher The Middle Temple Murder The Middle of Things The Orange-Yellow Diamond 1921 The Paradise Mystery The Rayner-Slade Amalgamation Scarhaven Keep The Talleyrand Maxim Kampf um das Erbe (later foreign edition) Biblio of 123 titles |
Joseph Smith Fletcher was a journalist who was leader-writer
on several newspapers before he became an author. His early books
were about history but he soon turned to crime fiction.
Handwriting and Signature |
| James W. Foley | ||
| Sing a Song of Sleepy Head (x2)
The Mellow Year (x2) |
||
| OTHER:
Some One Like You 1915 1st Edition by James W Foley. "The Verses of James W. Foley - Book of Boys and Girls" 1905 ~ 230 pages R. D. Hoskins, Bismarck, ND  
|
| John Taintor Foote 1881-1950 |
Pocono Shot
Later edition: "Dumb-Bell of Brookfield," "Pococno Shot," "Trub's Diary," "Allegheny," "Jing," "Dog Upon the Waters," and "The White Grouse" rank with the best and most memorable stories ever written about dogs. Tightly plotted and filled with wit, warmth, and shrewd perception, they record unforgettable portraits of relationships between dog and man with rare insight. No one who loves dogs or great writing about them will fail to find huge pleasure in these great classics. These tales of gallant gun dogs will make you laugh, make you cry, and make you want to cheer the taleny of their creator, John Taintor Foote. Other: A Wedding Gift: And Other Angling Stories The Look of Eagles 1928 The Mark of Zorro(1940) screenwriter Swanee River (1939) screenwriter Convoy 1917 Based on the novel The Song of the Dragon by John Taintor Foote (New York, 1923). Extract: A Change of Idols |
| Paul Leicester Ford 1865-1902 |
| Janice Meredith: A Story Of The American Revolution
1900
~ Dodd, Mead & Co ~ 536 pages ~ A novel that draws on Ford's
extensive historical knowledge. This novel proved to be Ford's greatest
literary success. Although the critics attacked the novel's faulty construction,
lack of style, and contrived action, the reading public adored it. Within
the first three months, over 200,000 copies sold, which was the largest
on record of any novel then published. Within two years of its publication,
it was dramatized and, early in the twentieth century, it was even made
into a motion picture. The novel was a culmination of Ford's diverse skills.
This historical romance, set before and during the time of the Revolutionary
War, narrates the struggle of the colonies to gain their freedom and the
struggle of the hero, Jack Brereton, to win the heroine, Janice Meredith.
One enthusiastic critic went so far as to declare that this novel was "the
great New Jersey novel, if not the great American novel." For the public's
part, a new dance was coined the "Janice Meredith Waltz," and a new hairstyle
was labeled the "Meredith curl." All in all, most critics agreed that Janice
Meredith was proof of Ford's improved skill as a novelist.
Other:
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   |
| E. M. Forster (1879 - 1970) |
A Passage to India ~ 1924
  In
Forster's beautifully written novel about British India at the turn of
the century, a simple misunderstanding erupts into hostility. The plot
centers on Aziz, a young doctor who is initially tolerant of the British
presence in India. However, when he takes a group of Americans to the Caves
of Marabar and an American woman accuses him of raping her, his attitude
changes. Imprisoned and then released when the woman recants, Aziz becomes
thoroughly disillusioned and a proponent of a Hindi-Muslim alliance against
the British.
Online eText Editions by Forster: http://arthursclassicnovels.com/arthurs/forster.html |
  Edward
Morgan Forster was born in London as the only child of an architect,
who died before Edward was two years old. Forster's childhood and much
of his adult life was dominated by his mother and his aunts. The legacy
of his paternal great-aunt Marianne Thornton, descendant of the Clapham
Sect of evangelists and reformers, gave later Forster the freedom to travel
and to write. Forster's years at Tonbridge School as a teenager were difficult
- he suffered from the cruelty of his classmates.
Forster attended King's College, Cambridge (1897-1901), where he met members of the later-formed Bloomsbury group. In the atmosphere of skepticism, he became under the influence of Sir James Frazer, Nathaniel Wedd, Goldsworthy Lowes Dickinson, and G.E. Moore, and shed his not-very-deep Christian faith. After graduating, Forster traveled in Italy and Greece with his mother and on his return began to write essays and short stories for the liberal Independent Review. In 1905 Foster spent several months in German as tutor to the children of the Countess von Armin. In the same year appeared his first novel, Where Angels Fear to Tread. In the following year he lectured on Italian art and history for the Cambridge Local Lectures Board. In 1907 appeared The Longest Journey, then A Room with a View (1908), based partly on the material from extended holidays in Italy with his mother. The first part of the novel is set in Florence, where the young Lucy Honeychurch is visiting her older cousin, Charlotte Bartless. Download the easiest screen capture (print screen) program. Free trial Lucy witnesses a murder and becomes caught between two men: shallow, conventional Cecil Vyse and George Emerson, who kisses Lucy during a picnic. The second half of the novel takes place at Windy Corner, Lucy's home on Summer Street. She accepts a marriage proposal from Cecil. The Emersons become friends of the Honeychurches after George, Mr. Beebe (who is a clergyman), and Freddie (Lucy's brother) are discovered bathing nude in the woods. Finally, Lucy overcomes prejudices and marries George. Forster also wrote during the pre-war years a number of short stories, which were collected in The Celestial Omnibus (1914). Most of them were symbolic fantasies or fables. Howards End (1910) was a story that centered on an English country house and dealt with the clash between two families, one interested in art and literature, the other only in business. The book brought together the themes of money, business and culture. "To trust people is a luxury in which only the wealthy can indulge; the poor cannot afford it." (from Howards End) The novel established Forster's reputation, and he embarked upon a new novel with a homosexual theme, Maurice. The picture of British attitudes not long after Wilde was revised several times during his life and finally published posthumously in 1971. Forster hid his personal life from public discussion. In 1930 he had a relationship with a London policeman. This important contact continued after the marriage of his London friend. Between the years 1912 and 1913 Forster traveled in India. From 1914 to 1915 he worked for the National Gallery in London. Following the outbreak of World War I, Forster joined the Red Cross and served in Alexandria, Egypt. There he met the Greek poet C.P. Cavafy and published a selection of his poems in Pharos and Pharillon (1923). In 1921 Forster returned to India, working as a private secretary to the Maharajah of Dewas. The land was the scene of his masterwork, A Passage to India (1924), an account of India under British rule. It was Forster's last novel. For the remaining forty-six years of his life, Forster devoted himself
to other activities. Writing novels was not the most important element
in his life. In the book he wrote: "Most of life is so dull that there
is nothing to be said about it and the books and talk that would describe
it as interesting are obliged to exaggerate, in the hope of justifying
their own existence. Inside its cocoon of work or social obligation, the
human spirit slumbers for the most part, registering the distinction between
pleasure and pain, but not nearly as alert as we pretend."
|
| General George A. Forsyth |
Thrilling Days in Army Life ~ 1900
~ Describes one of the classic encounters between Indians and the frontier
army known to history as the Battle of Beecher Island. ~ Cited by
ERB as reference material for his Apache novels
Later Edition ~ Bison Books |
| General George A. Forsyth
Thrilling Days in Army Life describes one of the classic encounters between Indians and the frontier army. In the summer of 1868 George A. Forsyth led fifty scouts to search out Cheyennes who were raiding Kansas. In this book, he relates the six-day siege in september that pitted his small force against 750 Cheyennes and Sioux. Because the battle occurred in a dry bed of the Arickaree Fork of the Republican River in western Colorado and claimed the life of Forsyth's brave lieutenant, Frederick Beecher, it would be known to history as the Battle of Beecher Island. Forsyth, who was breveted brigadier general for the 1868 battle, had an action-packed career. In 1882, as commander of the Fourth Cavalry in New Mexico, he pursued the Chiricahua Apaches across the border into Mexico. It was a raid full of dangerous traps, but he lived to tell about it. Originally published in 1900, Thrilling Days in Army Life will be of interest to both frontier and Civil War buffs. Forsyth was an aid to Major General Philip H. Sheridan in 1864 and accompanied him on the dramatic ride to the rescue of Union troops at Cedar Creek. That episode is presented in a rush of detail. Forsyth ends with an eyewitness account of the surrender of the Confederacy at Appomattox Court House. Of special interest to readers will be the many drawings by Rufus Zogbaum, a leading military artist of his day. Introducing this Bison Book edition of Thrilling Days in Army Life is David Dixon, an assistant professor of history at Slippery Rock University and the author of Hero of Beecher Island: The Life and Military Career of George A. Forsyth, also available from the University of Nebraska Press. |
| Harry L. Foster |
| A Beachcomber in the Orient ~ 1925 ~ NY: Blue Ribbon Books or
London, John Lane, The Bodley Head, 1923 395 pages 43 illos on plates.
OTHER The Adventures of a Tropical Tramp: At the end of WW1, former New York journalist Harry Foster began a decade long trek around the most exotic regions of the world. The Adventures of a Tropical Tramp chronicles his adventures as a miner, news reporter, war correspondent, diplomatic attache and part-time piano player from South America's Pacific Coast to the mountainous Andes of Peru to the unexplored jungles of Bolivia and down jungle rivers until he reaches the Amazon. The Adventures of a Tropical Tramp is the first travel narrative written by Harry La Tourette Foster, a veteran of World War One who really couldn't "go back down on the farm" after he had seen Parie. Gripped by a impulse to adventure, Foster spent most of his life after the war wandering the main roads and back roads of the world, first in Mexico and South America, then later in Asia, the South Pacific, and the Caribbean. This first book, however, is a splendid narrative of an average man turned adventurer. The plucky and resourceful Foster finds himself a shoe clerk in Panama after working his way through Mexico following his discharge from the army. But clerking is much too tame for Foster. Taking his last few pesos, he books "steerage" on a tramp steamer bound for Peru, and lands there with but two pennies in his pocket. Taken under the wing of a "tropical tramp," one of a breed of men that wandered the tropics in search of fortune and work in the aftermath of the war, Foster learns to support himself by taking odd jobs, first as a mining clerk in the high Andes, then as reporter for a Lima paper which gives him access to much of the interesting life of the region. Subsequently, he fills his time as war correspondent "without a war," and then diplomatic attache, a position that brings him into contact with the highest--and lowest--of ex-patriot society. Finally bored, he joins two missionaries and helps them trek overland to the headwaters of the Amazon, and then joins them on an adventure-filled journey down the tributaries to the Amazon itself. Finding himself penniless again in a dilapidated outpost of colonialism, he takes a step that becomes a trademark of his travels--playing ragtime piano in the sleaziest of bars until he earns his passage home to New York. Foster's observations understate his resiliance and courage. His prose flows easily between stories of the characters he meets and descriptions of the places where he works or visits. If you want a window into the reality and excitement of true adventure during the early part of the 20th Century, this is the book to start with. http://www.dixonprice.com/ATTpage.htm#synopsis |
 Harry
La Tourette Foster was born in Brooklyn in Oct. 31, 1894, the son
of Alonzo Foster and Mary Emily La Tourette. He went to prep school at
the Newton Academy in New Jersey, and then attended Lafayette College in
Easton, Pa. While still in college, though, he joined the 1st R.O.T.C.
at the Madison Barracks in New York (1917), and after graduation was commissioned
as a 2nd Lt., infantry, and sent to serve with the 78th Division in France.
Foster's level head and courage quickly got him promoted to 1st Lieutenant,
and he became an instructor in modern warfare. His last posting took him
to the Mexican border in 1918 to serve with the the 25th U.S. Infantry.
When he was discharged in 1919, he worked his way down through Mexico and
Central America until he reached Panama. From there he worked his way through
parts of South America, detailing his travels and exploits in The Adventures
of a Tropical Tramp For the next decade, Foster stayed on the go despite
catching malaria while he was traveling in Asia. He was prolific, publishing
regular magazine and newspaper articles as well as book after book of adventure
travel, including A Beachcomber in the Orient (1923); A Gringo in Manana-Land
(1924); and A Tropical Tramp with the Tourists (1925).In between his frequent
trips, Foster would return to New York for a few weeks or a few months,
and it was on one of these longer stays in 1925-1926 that he co-authored
his only theater drama, Savages Under the Skin produced in 1927. During
that extended stay, he also edited a guidebook to South America. But "wanderlust"
always seemed to grip Foster as these visits lengthened, and he was soon
off again to new tropical venues, producing A Vagabond in Fiji in 1927;
Combing the Caribbees (1929); and A Vagabond in the Barbary (1930).Although
his books are written with almost a moralistic tone, there is no doubt
that Harry Foster was an expert on the red light districts of every country
he visited, often working in dives as a piano player (a skill he apparently
learned at Newton) and that he may have taken the dictum of "work hard,
play harder" as his personal goal. What shouldn't be overlooked, however,
is the incomparable picture of everyday people in a post-war world that
Foster's travelogues present. Although he allows little of his own character
to be available to the reader, he paints generous and interesting portraits
of the people he meets and the places he visits. The life of hard travel
caught up with Harry Foster, though, and he died, unmarried, at just age
36. In those 36 years, however, he logged enough adventure for three lifetimes. |
| Stephen Collins Foster 1826 - 1864 | ||
| My Old Kentucky
Home 1853
Kentucky adopted "My Old Kentucky Home, Good Night" as its state song
in 1928. The phrase "the darkies are gay" has since been replaced with
"the people are gay." The inspiration for the song may have been Harriet
Beecher Stowe's novel Uncle Tom's Cabin, published in 1851. Foster's first
draft in his song workbook is entitled "Poor Uncle Tome, Good Night."
|
||
 Stephen
Collins Foster, the ninth of William B. and Eliza T. Foster's ten
children (plus a son fathered by William before the marriage and later
raised as their oldest child), was born July 4, 1826, in a white cottage
high on the hillside above the Allegheny River in Lawrenceville, east of
Pittsburgh. The tenth child died as an infant, leaving Stephen as
the "baby" of the family to be indulged by older brothers and sisters.
Foster's life has become part of American legend. One thread of the
tale is that he detested school and so was poorly educated. In truth,
as a young boy Stephen evinced more interest in music than in other subjects.
But as the child of a middle-class family in an era before tax-supported
public education, he variously was privately tutored, then schooled at
private academies in Pittsburgh and in north-central Pennsylvania.
He expressed a distaste for rote learning and recitation, but was an avid
reader and eventually became a literate, well-educated person by the standards
of his day. He was musically literate as well; he probably received
some formal musical training from a German immigrant, Henry Kleber, an
accomplished and versatile musician who eventually exerted a major influence
on Pittsburgh's musical life as a performer, composer, music merchant,
impresario, and teacher. At age 20, Stephen went to work as a bookkeeper
for his brother Dunning's steamship firm in Cincinnati. There he
also sold some of his songs and piano pieces to a local music publisher
and had his first big hit with "Oh! Susanna." In 1850, already
with 12 compositions in print, the 24-year-old Stephen returned to Pittsburgh,
married 20-year-old Jane Denny MacDowell, and launched his career as a
professional songwriter. Their daughter Marion was born the following
year. In 1852 the couple took a delayed honeymoon, a month-long steamship
ride to New Orleans with friends, the only trip Stephen ever made to the
deep south (he had visited Ohio River towns in Kentucky as a child).
In 1853, he went to New York to be near his publishers; Jane joined
him in Hoboken, N.J., sometime in 1854. They returned to Pittsburgh
later that year, living first in the family home and then a series of boarding
houses after both of his parents died in 1855. Another thread in
the mythic fabric is that Foster dashed off perfect masterpieces in a flash
of inspiration, songs expressing the sentiment of American ante-bellum
South. Yet, aside from these absences, visits to the family in Ohio,
and until he went to New York for good in 1860, Stephen spent much of his
life in Pittsburgh where he worked consistently at his songwriting, keeping
a thick sketchbook to draft ideas for song lyrics and melodies. As
a professional songwriter of unparalleled skill and technique--not an untutored
musical genius--he had made it his business to study the various music
and poetic styles circulating in the immigrant populations of the new United
States. His intention was to write the people's music, using images
and a musical vocabulary that would be widely understood by all groups.
Foster worked very hard at writing, sometimes taking several months to
craft and polish the words, melody, and accompaniment of a song before
sending it off to a publisher. His sketchbook shows that he often
labored over the smallest details, the right prepositions, even where to
include or remove a comma from his lyrics. Rather than writing nostalgically
for an old South (it was, after all, the present day for him), or trivializing
the hardships of slavery, Foster sought to humanize the characters in his
songs, to have them care for one another, and to convey a sense that all
people--regardless of their ethnic identities or social and economic class--share
the same longings and needs for family and home. He instructed white
performers of his songs not to mock slaves but to get their audiences to
feel compassion for them. In his own words, he sought to "build up
taste...among refined people by making words suitable to their taste, instead
of the trashy and really offensive words which belong to some songs of
that order." Stephen Foster was a man with a mission, to reform black-face
minstrelsy, then the most pervasive and powerful force in American popular
culture Though another thread of the myth romantically portrays Stephen
Foster as such a pure artist that he had no business sense and squandered
all his wealth, in fact he kept his own account books, documenting down
to the penny how much his publishers paid him for each song, and he calculated
his probable future earnings on each piece. His contracts were written
out in his own hand; they are the earliest ones we know of between
American music publishers and individual songwriters. In reality, Foster
was not an idle street musician without direction in his life, he was a
pioneer. There was no music business as we know it (sound recording
was not invented until 13 years after his death; radio, 66 years);
no system of publishers and agents vying to sell new songs; no "performing
rights" fees from restaurant singers or minstrels or theater musicians
or concert recitalists; no way of earning money except through a
5-to-10 percent royalty on sheet music sales of his own editions by his
original publisher, or though the outright purchase of a song by a publisher.
There was no way to know whether or not he was being paid for all the copies
his publisher sold; there were no attorneys specializing in authors'
rights. Copyright law protected far less than it does today:
Foster earned nothing for other arrangers' settings of his songs, broadside
printings of his lyrics, or for other publishers' editions of his music.
In today's music industry he would be worth millions of dollars a year;
on January 13, 1864, he died at age 37 with 38 cents in his pocket and
a penciled scrap of paper that read, "dear friends and gentle hearts."
His brother Henry described the accident in the New York theater-district
hotel that led to his death: confined to bed for days by a persistent
fever, Stephen tried to call a chambermaid, but collapsed, falling against
the washbasin next to his bed and shattering it, which gouged his head.
It took three hours to get him to the hospital, and in that era before
transfusions and antibiotics, he succumbed after three days.
Professional Career While still an amateur songwriter, Foster realized that the minstrel stage was the key to securing an audience for his songs. At first, he circulated manuscript copies among various minstrel troupes. After "Oh! Susanna" became a national hit following its performance by the Christy Minstrels in 1848, the song was widely pirated by more than two-dozen music publishing firms, who earned tens of thousands of dollars from sheet music sales. But Foster received a mere $100 from a single firm in Cincinnati. In that regard, "Oh! Susanna" was a financial failure for Foster, but he learned two valuable lessons: one, his potential to earn significant sums from songwriting and, two, the need to protect his artistic property. During 1848 and 1849, eight more of his minstrel songs were published, including "Uncle Ned," and "Nelly Was a Lady." Determined to make a full-time career of writing songs, Foster left his bookkeeping job in Cincinnati and returned to Pittsburgh in late 1849 or early 1850. On December 3, 1849, he signed a contract with the New York music publisher, Firth, Pond, & Co., thus officially beginning his professional career. At first, Foster wrote ballads and dances for parlor singers and pianists as well as minstrel songs, often referred to as "Ethiopian" songs, for professional theatrical performers. The minstrel songs, like the ballads, had simple melodies and accompaniments, but their texts, written in dialect, depicted African-American slaves as simple, good-natured creatures. Some of his earliest minstrel texts even had crude caricatures and terms, i.e. "Away Down Souf" (1848) and one verse that was later deleted form "Oh! Susanna." But as Foster grew more ambivalent about the earlier "Ethiopian" songs, he began offering a different image, that of the black as a human being experiencing pain, love, joy, even nostalgia. "Nelly Was a Lady" (1849) is an eloquent lament of a slave for his loved one who has died, apparently the first song written by a white composer for the white audience of the minstrel shows that portrays a black man and woman as loving husband and wife, and insists on calling the woman a "lady," which was a term reserved for well-born white women. "Angelina Baker" (1851) similarly laments a slave who has been sent away by "old Massa." "Ring, Ring de Banjo!" (1851), despite its apparent surface of frivolity, has the slave/singer leaving the plantation "while the ribber's running high," a reference to escaping while the bloodhounds could not pick up his scent, and traveling to freedom on the Underground Railroad. "Old Folks at Home" (1851), which was to become the most popular of all Foster's songs, conveys a sentiment that had almost universal appeal--yearning for lost home, youth, family, and happiness. Increasingly, the "Ethiopian" songs used the same musical style that Foster created for his parlor ballads. Foster informed Christy that--as we would put it today--he was trying to reform minstrelsy by writing texts suitable to refined taste, instead of "trashy and really offensive words," and that certain of his songs should be performed in a pathetic, not a comic style. (By "pathetic," Foster meant "to engender compassion.") Foster also began using the term "plantation song" for his new compositions, many of which were gentle and nostalgic in text with music that hinted at Irish or Italian ancestry. Soon he dropped dialect altogether from his texts and eventually referred to his songs as "American melodies." The verse-chorus structure of these songs made them suitable for both the minstrel stage and the parlor. In addition to "Old Folks at Home," some of Foster's characteristic songs of this type from the early 1850s are: Farewell, My Lilly Dear" (1851) ~ "My Old Kentucky Home, Good Night" (1853) ~ "Old Dog Tray" (1853) ~ "Jeanie With the Light Brown Hair" (1854) As the Civil War approached, Foster's once-promising songwriting career seemed to be doomed. His contracts with his publisher had ended, and he had sold all future rights to his songs to pay his debts. Possibly in an effort to revive his popularity, Foster reverted to writing plantation melodies. Of the four he wrote in 1860, one is among his most memorable (and infamous) compositions--"Old Black Joe." Belying the racial condescension its title epitomizes in the Civil Rights era, "Old Black Joe" comes closest of Foster's famous songs to the African-American spiritual, and it approaches that tradition with sympathy and respect. It is like a secular hymn, praising the noble spirit of the laborer at the end of his life.Sometime during that year, Stephen finally left Pittsburgh and moved his family to New York. About one year later, Jane took Marion back to Pennsylvania, and Stephen spent the remaining few years of his life in New York, living alone in lodging houses and theater district hotels. His trunk of manuscripts and letters was lost somewhere in these moves. Because of the uncertain economy of war time, he no longer could get a publishing contract, and like all other songwriters was forced to sell his compositions outright to publishers with no prospect of future earnings. Instead of writing his own lyrics, as he had done so successfully in the past, he began collaborating with a young poet, George Cooper, probably late in 1862 or early in 1863. Cooper's texts were of a light-hearted, humorous vein, designed to appeal to musical theater audiences. Songs they wrote together include: "There Are Plenty of Fish in the Sea" (1863) ~ "Kissing in the Dark" (1863) ~ "My Wife is a Most Knowing Woman" (1863) ~ "If You've Only Got a Moustache" (1864) ~ "Mr. & Mrs. Brown" (1864) The pair also produced some Civil War Songs--"Willie Has Gone to War" and "For the Dear Old Flag I Die!" for example--but Foster's earlier songs found far more favor among soldiers and civilians from both North and South than did these later songs. During these final years, Foster also wrote a group of Sunday school songs and hymns for song books published by Horace Waters. Some of them, such as "Give Us This Day Our Daily Bread," are lovely; "We'll Still Keep Marching On" is an example of the spirited homiletic style of many of these pieces, which were intended for children. Altogether, Foster produced almost one hundred songs during his final years in New York. While few are scarcely known today, one remains an all-time favorite--"Beautiful Dreamer," written in 1862 and published after his death in 1864. Because he did not perform music professionally, as most songwriters did to support themselves, Foster himself was not well known to the public. Even during his lifetime, his songs were often referred to as folk songs. For example, during the Gold Rush "Oh! Susanna" became a kind of theme songs for the Forty-niners, who improvised countless new lyrics for the jaunty tune as they made their way to California. Today, most school children (as well as adults) still know the tune, but comparatively few can identify Stephen Foster as the composer. Foster's only real income was the royalty he earned on sheet-music sales. Altogether he made $15,091.08 in royalties during his lifetime and almost nothing in performing rights (yearly average was $1,371 for his 11 most productive years). His heirs, Jane and Marion equally, later earned $4,199 in royalties, so that the total known royalties on his songs amounted to $19,290. Today, it would be worth millions. © University of Pittsburgh, 2003 http://www.pitt.edu/~amerimus/foster.htm Stephen Foster Site |
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