Chapters (63)
- Title Page
- Copyright Page
- CONTENTS
- Foreword to The Cullen Collection
- Introduction to There and Back
- 1. Bookbinder and Son
- 2. Brother and Sister
- 3. Simon Armour
- 4. A Lost Shoe
- 5. The Library
- 6. Alice
- 7. Mortgrange
- 8. Barbara Wylder
- 9. Mrs. Wylder
- 10. Barbara and Her Critics
- 11. The Parson’s Parable
- 12. The Rime of the Ancient Mariner
- 13. The Beginning
- 14. Wingfold
- 15. Far From Home
- 16. A Sister
- 17. Barbara and Lady Ann
- 18. Alice and Barbara
- 19. Barbara Thinks
- 20. Wingfold and Barbara
- 21. The Shoeing of Miss Brown
- 22. Vixen
- 23. Barbara’s Duty
- 24. The Parson’s Counsel
- 25. Lady Ann
- 26. Dismissal
- 27. The Wylders
- 28. London
- 29. Nature
- 30. A Drunken Disclosure
- 31. To Be Redeemed, One Must Redeem
- 32. A Door Opened in Heaven
- 33. Doors Opened on Earth
- 34. Death the Deliverer
- 35. The Cave in the Fire
- 36. Duck Fists
- 37. Baronet and Blacksmith
- 38. Revelation
- 39. The Bookbinder’s Heritage
- 40. Stepmother
- 41. Flight
- 42. Gone
- 43. Uncle-Father and Aunt-Mother
- 44. A Meeting
- 45. Wylder Hall
- 46. Miss Brown
- 47. Wingfold and Barbara
- 48. The Will
- 49. The Heir
- 50. Wingfold and Arthur Manson
- 51. Richard and His Family
- 52. Heart-to-Heart
- 53. The Quarrel
- 54. Baronet and Blacksmith
- 55. The Funeral
- 56. The Packet
- 57. Barbara’s Dream
- ENDNOTES
* For the texts of the books of the series, and quotes referenced from them, I have preserved most British spellings. In my introductions, when I am speaking for myself, I use American spellings. In quoting from other books and authors, I obviously retain the usage of the original source.
Speaking further on my own behalf, there are some half-dozen instances in the titles of The Cullen Collection where I have exercised somewhat greater editorial latitude in my handling of MacDonald’s original texts. These have taken two primary forms. One, in certain cases I have added a “Prologue” or “Epilogue” where I felt a bit of introductory setting-the-scene would introduce the flow of the story more smoothly, or, in the case of the latter, wrap up the story a little more satisfactorily. These are clearly indicated as my additions. In the second instance (which includes this title,) I have rearranged MacDonald’s chapter sequence in order (from my perspective) to open the narrative and establish the story on a smoother and more fluid foundation. This is one of the advantages (some may consider it a drawback!) of the fact that I also wear an “author’s” hat. I am not merely an editor/redacter. I am also a novelist. I think as both an editor and an author. I cannot entirely turn off that side of my creative psyche. Nor do I want to. I believe that being an author of both fiction and non-fiction helps immeasurably in my thoughtful attempt to get inside MacDonald’s creative psyche, and then represent and interpret and restructure his writings as I feel he might were he writing for today’s audience. Whether I do so in every case effectively, of course, will be in the eye of the beholder. In any event, notwithstanding the objections that will surely be voiced, this is what I have done.
Introduction to There and Back
* Photograph, 1891.
† Anacosm—“Throughout/between the worlds” or perhaps “the world anew/throughout/inside.”
* So significant do I consider this principle in MacDonald’s calculus of spirituality that I made it the first and foundational of the nine primary truths identified in my small booklet, George MacDonald’s Spiritual Vision: An Introductory Overview.
Note
* Oddly, this dedication did not appear in the one-volume U.K. editions, though continued to appear in U.S. editions. The note about the dream, however, persisted in all editions.—MP
1. Bookbinder and Son
* Image from cover of 1891 Kegan Paul one-volume edition.