From The Jolly Tailor and Other Tales Translated from the Polish by Lucia Merecka Borski and Kate B. Miller and illustrated by Kazimir Klepacki, 1928.

It's nice when a book title gives you a sense of what's inside.  From Sentences and Paragraphs by John Davidson, 1895.

For the person who has everything -- Archaic Fictile Revetments in Sicily and Magna Graecia by E. Douglas Van Buren, 1923.  As we always say, as of just now, people who live within clay-walled houses shouldn't throw pottery, unless they're broken-tile mosaicists.

From The Field of Clover by Laurence Housman, 1898.

If a thousand and one nights in Arabia is inconvenient, still available are a thousand and one afternoons in Chicago.  From A Thousand and One Afternoons in Chicago by Ben Hecht and illustrated by Herman Rosse, 1922.

From I Rode the Black Horse Far Away by Ivy O. Eastwick, 1960.

From Mars Hill's 1972 yearbook.

Girls and Gayety by Carolyn Wells, 1913.

Ever begin a book and feel as though you arrived late, that it started without you?  This one's already open at the cover.  From Love and Death in the American Novel by Leslie A. Fiedler.

From Yet Icebound Rivers Flow by Miervaldis Birze.

There's no going back.  Plus, note that the sticker on the book cover constitutes a red nose.  From Once a Clown, Always a Clown by De Wolf Hopper, 1927.

From Pegasus Re-Saddled by H. Cholmondeley Pennell, 1877.

Great chapter title: "In Which I Salute the Statue of God and a Psychic Expert Explores My Brain and Finds Nothing."  From City of Endless Night by Milo Hastings, 1920.

Before House of Dark Shadows (1970) there was the House of White Shadows (1903)

There have been some setbacks in the ensuing years, but back in 1949 Science And Religion Agree! by Milton Jenkins Jones.

The hypnotic suggestions of this book cover really did get us to look inside.  From Hypnotism As It Is by Xenophon LaMotte Sage, 1900.

It's a phenomeon we see time and again on title pages.  Note that those two names, Louise Jamison and James M. Gleeson, are the same!  "Jamison" and "James M." are obviously both James-based.  "Louise" and "Gleeson" are both dominated by the "ees" sound.  And both last names end in "son."  Shift one syllable in the illustrator's name, and you have "Glees James M. Son," which tidily echoes "Louise Jamison."  We regularly see collaborator names that mirror one another, as if people choose their workmates based upon such affinities.

From The Real Fairy Folk by Louise Jamison and illustrated by James M. Gleeson, 1912.

We double-checked, and there's actually nothing funny about being on the wrong side of eighteen.

That's a handy pointer at the bottom, directing potential readers to the flyleaf.  From The Thing At Their Heels by Harrington Hext, 1923.