By Mario Gully, Roy Thomas

Written by means of Roy Thomas. Illustrated through Mario Gully. knowing that he stocks accommodation at the send Hispaniola with mutineers, younger Jim Hawkins makes his get away to shore and plunges deep into the island. in other places, the mutineers conflict the unswerving sailors to the loss of life! while Jim rejoins his shipmates, the top of the mutineers, lengthy John Silver, deals a ceasefire in trade for the map exhibiting the place the buried treasure is found. And if Jim and corporate do not settle for, they're marooned-or worse. Rated T+

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Extra info for Marvel Illustrated: Treasure Island #3

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For in the eighteenth century, a comparable kind of anthropomorphizing numbered among the several transformations that led to the emergence onto the cultural stage of literature in the modern sense of the term. This century witnessed various projects intended to affirm the humanity that was lodged in the artifacts of the book market and thus to close some of the gaps between the living world and the paper world. “Literature” owed much to new stories about authors, about the figure of the literary genius particularly, and to hermeneutic procedures that attached writing to a self-­ expressive, original, outsize personality—­as opposed, say, to casting it as an imitation of the best models, or a reiteration of favorite stories, or a citation from a Book of Nature conceptualized as an intertext of multiple correspondences and connections.

32 With this seemingly commonsensical expectation about how readers should comport themselves during their aesthetic experiences, Ricks was actually asking a lot. To suggest as much, I aim in this section to trace the manner in which some eighteenth-­century readers (both real and imagined) balked at such prescriptions. That resistance to an account of the love of literature as a grateful love may bespeak, I want to suggest, a resistance to the personalization of the aesthetic relation—­a resistance traceable even on the part of Samuel Johnson himself, even though as a proponent of literary biography and in this guise an architect of the author love so crucial to the institution of literature, he helped prepare its ground.

But adapting to literature was not something that just happened. Such formulae are too pat. Occluded by the oppositions between producer/consumer, active/passive, composition/ appreciation, and masculine/feminine that shore up these before-­and-­after narratives are the eighteenth century’s uncertainties about how readers were to comport themselves in relationship making it personal 31 to aesthetic objects, and just what the reader’s remit would be once certain special literary books were no longer to be used, but instead to be felt with and felt for.

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