Credits and Acknowledgements

The text of Mary Shelley's The Last Man used in this hypertext edition was digitized from microfilm of a copy of the first edition of 1826 in the Charles Deering McCormick Library of Special Collections, Northwestern University. Materials from the Keepsake were also taken from the set in this collection. For permission to use these materials (and for expert help and general encouragement), I wish to thank the Curator, R. Russell Maylone.

For helpful replies to inquiries and research assistance, thanks to my colleagues Betty Bennett, Nora Crook, Doucet Devin Fischer, Charles Robinson, Emily Sunstein--and of course my collaborators, Neil Fraistat and Carl Stahmer.

For permission to digitize and reproduce the photograph of John Martin's 1849 oil painting, The Last Man, I am grateful to the Board of Trustees of the National Museums and Galleries on Mersyside, the Walker Art Gallery, Liverpool. (My thanks especially to Claire Croucher and Sam Line.)

For scanning that complex photograph and other images, I'm indebted to Ronald Tabeta of Loyola University Center for Instructional Design.

The Cruikshank satire on balloon flight, "Air-Um Scare-Um Travelling," is from Graphic Works of George Cruikshank, ed. Richard A. Vogler (N.Y.: Dover Publications, 1979).

Permission to reprint critical articles by Betty T. Bennett and Morton D. Paley granted by the authors (who hold the copyright), and by the editors of The Wordsworth Circle and the Keats-Shelley Review.

The audio sample of Haydn's Creation was produced (via MIDI synthesizer) by J. Kevin Cartwright. (Now I owe him one.) It was gamely translated into *wav format and edited by Nancy Norman of Loyola's Center for Instructional design--my thanks to her.

Other sources are credited locally, in notes to individual files. Any other materials are in public domain or are reprinted only in limited, fair-use portions (credited locally). This hypertext is strictly for educational purposes, not to be sold, in whole or in part.

I'm also grateful to my students at Loyola University: Brad Lewis (for early research assistance and scanning), Tom Dow (for eleventh-hour research assistance, cooly conducted, and for the maps), Peter Johnson (for proofreading the entire electronic text against the microfilm and still wanting to talk about the novel!), and Danielle Glassmeyer (for producing a useable ASCII text). My fall 1996 graduate class acted as more or less willing beta-testers. All errors, of course, including any unexpected error messages, are entirely my own responsibility.

Steven Jones