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New York: Juniper Press, n.d., . Octavo, cloth. First edition of this collection. Collects eleven stories including "The Terribly Strange Bed."
New York: Avon Pocket-Size Books, n.d., . Small octavo, illustrations, globe endpapers, pictorial wrappers. First edition of the Avon paperback printing. [Avon 6] Not numbered but Avon number six. After Pocket Books started using independent distributors Avon Pocket-Size Books was formed as competition. After a lawsuit with Pocket, Avon would be forced to drop "Pocket-Size" on their releases.
New York: Harper & Brothers, Publishers, Franklin Square, 1859. 12mo, pp. [i-v] vi  8-472 [note: first leaf is a blank] 1-8: ads, flyleaves at front and rear, original decorated green cloth, front and rear panels stamped in blind, spine panel stamped in gold, brown coated endpapers. First U.S. edition. "The ten linked stories in THE QUEEN OF HEARTS (1859) show Collins at the height of his powers. Three of the pieces are macabre ['Brother Griffith's Story of Mad Monkton,' 'Brother Morgan's Story of the Dead Hand' and 'Brother Morgan's Story of the Dream Woman'], and two of the three are supernatural." - Bleiler (ed), Supernatural Fiction Writers: Fantasy and Horror, pp. 235-6. Additionally, the collection includes the detective story, "The Biter Bit." The three-volume 1859 Hurst & Blackett edition is a notorious rarity. Bleiler, The Guide to Supernatural Fiction 408. Tymn (ed), Horror Literature 2-25. Wilson, Shadows in the Attic, p. 141. See Barron (ed), Horror Literature 2-14. Queen's Quorum 3. Queen, The Detective Short Story, p. 27. See Glover and Greene, Victorian Detective Fiction 80 and 81.
New York: D. Appleton & Company, 200 Broadway, 1853. 12mo, pp. [i-v] vi-xii  10-317 [318: blank] [319-332: ads], flyleaves at front and rear, original black cloth, front and rear panels stamped in blind, spine panel stamped in gold and blind, fore and bottom edges rough trimmed, cream endpapers. First U.S. edition. Collins' second full-length novel and his first to be set in contemporary times. "With BASIL ..., his first characteristic novel, Collins began his search for a cosmic viewpoint that would encompass fate and chance, and the workings of human character with respect to both. He did not fulfill his objective until sixteen year later in THE MOONSTONE, but even in BASIL there is an oppressive feeling of foreordained events forever threatening, a feeling in which the weather is made to play a part. Although much of BASIL is weak, the symbolic thunderstorm during which Basil confronts Mannion and the visions seen by Basil in delirium have been praised. The text of BASIL usually read by modern readers is that of the 1862 revision, in which Collins dropped much of the quasi-supernatural background. This editing may simply have been an attempt to restore balance to the story by removing padding, but it is more likely to have been an early instance of Collins' uncertainty (evidenced again in the appendix to ARMADALE) of how far to go in attributing to Providence a series of coincidences otherwise inexplicable." - Bleiler (ed), Supernatural Fiction Writers: Fantasy and Horror, p. 234. Bleiler (1978), p. 47 Not in Reginald (1979; 1992). Hubin (1994), p. 180.