Of Ellen Glasgow: An Inscribed Portrait

About this collection
In February 1936 printer and writer Earl H. Emmons contacted James Branch Cabell to propose a project. Emmons and his close friend, the well-known type designer Frederic W. Goudy, hoped to create a fine press, author’s presentation volume of previously-unpublished Cabell prose. “The job would be hand set in one of Goudy's private typefaces and I would do the composition, printing and other mechanical work,” wrote Emmons. He explained that the volume they created would not be for sale, but for the exclusive delight of Cabell’s, Emmons’ and Goudy’s friends. Emmons continued, “The Maverick Press, incidentally is a one-man shop, is operated entirely as a hobby and is for the sole purpose of producing things I want to do for myself and my friends” (Earl H. Emmons to James Branch Cabell, Feb. 16, 1936).

Emmons and Goudy enjoyed and shared Cabell’s sometimes caustic wit and risqué humor. They hoped that Cabell might provide more adventures of Jurgen—perhaps seeking a position as Secretary of the Interior or Privy Counsellor with Cleopatra (June 8, 1936).

By May 1937, Cabell had agreed to the collaboration, but wanted to create a more serious, “unfrivolous” work. Emmons conveyed this good news to Goudy and then, writing back to Cabell reported, “Goudy said if it is to be unfrivolous then he hoped it may be something good and savage, as he thinks when you get into a first-class rage and undertake a bit of literary mayhem you are in a class by yourself. I join him in that pious opinion and trust something may come along and rouse your wrath and indignation to a nice slaughter-house degree” (May 30, 1937).

But James Branch Cabell had other ideas and continued to push the project further away from Emmons’ and Goudy’s original proposal. Having completed his 18-volume unified revision of the Poictesme fantasies The Biography of the Life of Manuel, Cabell had decided in the early 1930s to signal a new era in his writing by publishing under the name “Branch Cabell.”

In late 1937 or early 1938 after nearly two years of correspondence, Cabell brought fellow Richmond native and writer, Ellen Glasgow, into the project. Cabell would pen an encomium (“The Portrait”) of his longtime friend to which she would respond (“The Inscription”), thereby creating the first and only jointly-authored work by these two writers. Glasgow’s name would appear first on the title page, and Cabell, writing as “Branch Cabell” would take second billing.

Having settled on the subject matter, the project moved along quickly. Emmons reported on April 2, 1938 “The books were shipped to you today …. The job was delayed a few days because Goudy couldn't stand the initial letters I intended to use, so I had to wait while he drew a couple.”

Like Earl Emmons and Frederic Goudy, James Branch Cabell and Ellen Glasgow were devoted to their craft. They delighted in fine details, brilliant execution, and the camaraderie of fellow artists. Cabell especially loved literary forms, clever allusions, and beautifully constructed sentences. Of Ellen Glasgow. An Inscribed Portrait is a testament to friendship and to the pleasure of making something beautiful.

Cabell’s "Portrait" of Ellen Glasgow is warm and witty: filled with characteristic Southern formality and indirection, combined with a sense of irony that characterized both authors’ writing. In her "Inscription" Ellen Glasgow speaks of their shared subject: “the ironic perversity of human nature,” but approached from “opposite directions and controlling angles of vision.” The youthful Cabell, says Glasgow, exalted the glamour of chivalry, while she examined its shabbiness. For his part, Cabell describes Glasgow as radiating genius with a “vivid personality fortified by the tradition of aristocracy.” Cabell says "I like the alliance. I admire both the genius and the grande dame, as being strange rarities nowadays. When I find the two combined in one person, I applaud something rather like a miracle."

The finished volume was deemed too personal for Emmons and Goudy to send to their friends—their original intent—but envelopes with the authors’ return addresses were printed for both Cabell and Glasgow. Emmons and Goudy politely requested copies signed by both authors.

The booklet shown here is James Branch Cabell’s own copy with its mailing envelope. Cabell, who often slipped letters and memorabilia into his personal books, is recorded by Maurice Duke (Duke no. 1047) as having placed correspondence from both Goudy and Emmons in his copy along with several clippings. Those items, and Emmons’ other letters, may be viewed in VCU Libraries’ Special Collections and Archives (Margaret Freeman Cabell papers M 228, Box 4). Letters from Cabell and Glasgow to Earl Emmons are held by the Albert and Shirley Small Special Collections Library at the University of Virginia.

Additional images and information may be found in the exhibit "Friendship and Craft. Of Ellen Glasgow. An Inscribed Portrait."

Credits
This collection was digitized by Katie Condon in 2025. Digital Outreach and Special Projects Librarian Alice W. Campbell provided research on this work. She also created text for the landing page and item descriptions. Additional metadata was created by Digital Initiatives Librarian Irina Rogova.