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Thursday, December 11, 2025

Guillotine

Guillotine (pronounced gil-uh-teen)

(1) An apparatus designed efficiently to carry out executions by decapitation.

(2) In medicine, an instrument used surgically to remove the tonsils.

(3) Any of various machines in which a vertical blade between two parallel uprights descends to cut or trim metal, stacks of paper etc.

(4) To truncate or cut.

(5) A technical procedure permitted in some parliaments which provides for an early termination of the time usually allocated to debate a bill, forcing an immediate vote.

(6) In philosophy, as “Hume's guillotine”, a synonym of “Hume's law”, the idea that what ought to be the case cannot be deduced from what is already the case; named after the Scottish philosopher and historian David Hume (1711–1776).

(7) In law, as “guillotine clause”, a contractual stipulation that the adoption of the overall contractual package requires adoption of all of the individual treaties or contracts within it; the clause often appears in international treaties or agreements between sub-national entities.

(8) In historic French slang, as “dry guillotine”, the deportation to a penal colony.

Circa 1791: The guillotine was named after Joseph Guillotin (1738-1814), the French physician who advocated its adoption.  The surname Guillotin was of French origin and was from the Old French personal name Guillot, a diminutive of "Guillaume" (the French form of William, meaning “will” or “desire” + “helmet” or “protection” which, macabrelyis amusing given the later association with the guillotine). The “-in” suffix is a common diminutive in French surnames, meaning “little” (in the sense of “younger”) or “son of”.  Still today, the surname Guillotin is found primarily in western France, particularly in regions like Brittany (Bretagne), Normandy, and the Loire Valley and probably began as a patronymic, identifying the bearer as “the son of Guillot”.  Guillotine & guillotining are nouns & verbs and guillotined is a verb; the noun plural is guillotines.  Although use of the verb is attested only from 1794, etymologists seem to agree it would have come into oral use simultaneously with the noun.

The classic guillotine consists of a tall, upright frame in which a weighted and angled blade is raised to the top and suspended.  The condemned person is secured with stocks at the bottom of the frame, positioning the neck directly below the blade. The blade is then released, swiftly to fall, forcefully decapitating the victim in a single pass, the head falling into a basket below.  In 1789, having witnessed the sometimes prolonged suffering caused by other methods of execution, Dr Joseph Guillotin (1738-1814), then a deputy in the National Assembly, had commended the guillotine to the authorities, his notes at the time indicating he was concerned with (1) efficiency of process, (2) a humanitarian concern for the victim and (3), the effect less expeditious methods had on executioners (and of the three, it was only the first and third which would later induce the Nazis to abandon mass-shootings of the Jews and instead create an industrialized process).  The French administration agreed and several guillotines were built in 1791, the first execution the following year.  Approvingly reporting the efficiency of the machine, the Universal Magazine of Knowledge and Pleasure in January 1793 noted "The name of the machine in which the axe descends in grooves from a considerable height so that the stroke is certain and the head instantly severed from the body."  The device also affected Scottish historian Thomas Carlyle (1795–1881) who, in his seminal French Revolution (1837), was moved to observe "This is the product of Guillotin's endeavors, ... which product popular gratitude or levity christens by a feminine derivative name, as if it were his daughter: La Guillotine! ... Unfortunate Doctor! For two-and-twenty years he, unguillotined, shall hear nothing but guillotine, see nothing but guillotine; then dying, shall through long centuries wander, as it were, a disconsolate ghost, on the wrong side of Styx and Lethe; his name like to outlive Cæsar's."  For better or worse, historians no longer write like that.

Sterling silver cigar cutter (1994) by Theo Fennell (b 1951).

A finely crafted piece, the upright frame contained a sprung, angled blade with retaining chain, the cigar tip tumbling into a gilded silver basket after the blade descends to the stocks.  The base was of honed, black slate with a sterling silver cartouche ready for engraving, the unit supplied in a bespoke, two-door presentation case.  At auction, it sold for Stg£2,000 (cigar not included).

Born in Saintes, Dr Guillotin emerged as a prominent member of the Constituent Assembly in Paris and although philosophically opposed to capital punishment, he was a realist and wished executions done in a more humane manner and, very much in the spirit of the times, for the one method to be used for all social classes.  He recommended a machine known at the time as the “Louison” or “Louisette”, the nickname derived from the French surgeon and physiologist Dr Antoine Louis (1723-1792) who designed the prototype although it was built by German engineer and harpsichord maker Tobias Schmidt, the process typical of the division of labor in Europe at the time.  It was Herr Schmidt who suggested using a diagonal blade rather than the round shape borrowed from the executioner’s axe and, with his knowledge of anatomy, Dr Louis calculated what came to be known as the “angle of Louis”, an alternative term for the "sternal angle" (the point of junction between the manubrium and the body of the sternum).  The advocacy of Dr Guillotin however received more publicity and, much to his regret, “Guillotine” captured the public imagination, his family so embarrassed by the connection they later changed the family name.  A confessed Freemason, Dr Guillotin died of natural causes in his Paris home, aged 75 and was buried in the city’s Père-Lachaise Cemetery.

One of the kitten-heel shoes worn by Marie Antoinette (1755–1793; Queen Consort of France 1774-1792) on the day of her execution, 16 October 1793.  

While ascending the stairs to the guillotine, she tripped, stepped on the executioner's foot and lost her shoe, something of a harbinger to what she’d lose a few moments later.  The shoe was later recovered and is now on display at the Musée des Beaux-Arts de Caen.

Although Dr Guillotin regretted his name being associated with the contraption, the true origin wasn't even French.  While the date such a thing was first used is unknown it seems almost certainly a medieval creation, an early English record indicating a mechanical beheading device was in use in Halifax in West Yorkshire; then called the Halifax Gibbet, the decapitation of an unfortunate Mr John Dalton recorded in 1286.  A sixteenth century engraving named The Execution of Murcod Ballagh Near to Merton in Ireland 1307 shows a similar machine suggesting use also in medieval Ireland and Scotland, from the mid-sixteenth century until the abolition of use circa 1710; it was called the Maiden which seems to have been functionally identical to the Halifax Gibbet.  In Italy, most un-euphemistically, it was called the Mannaia (cleaver).  Over the years, it attracted many nicknames, some sardonically deployed as the equivalent of gallows humour including La Monte-à-regret (The Regretful Climb), Le Rasoir National (The National Razor), La Veuve (The Widow), Le Moulin à Silence (The Silence Mill), La Bécane (The Machine), Le Massicot (The Cutter), La Cravate à Capet (Capet's Necktie (Capet being Louis XVI (1754–1793; King of France 1774-1792)) & La Raccourcisseuse Patriotique (The Patriotic Shortener).

Marie Antoinette's execution on October 16, 1793 (Unknown artist).

The carts famously used to take victims to the guillotine during the Reign of Terror (the period in the mid-1790s after the declaration of the First Republic, marked by massacres, public executions, anti-clericalism and internecine political struggle) were called tumbrels although many illustrations depict the use of four-wheeled carts rather than tumbrels.  Presumably both types were used but historians generally believe it was usually the tumbrel because the revolutionaries preferred the symbolism of something used usually for moving dung or rubbish and suggest artists preferred the four-wheelers simply for compositional reasons.  The noun tumbrel (two-wheeled cart for hauling dung, stones etc) was from mid-fifteenth century French, a name, curiously perhaps, used in the early thirteenth century to describe what some eighteenth century dictionaries described as a mysterious “instrument of punishment of uncertain type” but which turned out to be (1) a name for the cucking stool used, inter alia, to conduct the dunking in water of women suspected of this and that and (2) was a type of medieval balancing scale used to weigh coins.  It was from the Old French tomberel (dump cart) (which exists in Modern French as tombereau), from tomber ((let) fall or tumble), possibly from a Germanic source, perhaps the Old Norse tumba (to tumble), the Old High German tumon (to turn, reel).

Public guillotining of Eugen Weidmann, Versailles, 1939.

The records from the early days of the revolution are understandably sketchy but the first guillotine was likely that crafted by German harpsichord maker Tobias Schmidt which first was used on 25 April 1792, the term “guillotine” appearing first in print in a report by the journalist Louis René Quentin de Richebourg de Champcenetz (1759-1794) who, in another journalistic scoop, was later guillotined.  Although synonymous with the French Revolution, during which some seventeen thousand were beheaded, the guillotine remained the nation's official method of capital punishment until the death penalty was abolished in 1981.  The highwayman Nicolas Jacques Pelletier (circa 1756–1792) was the first victim while the last public guillotining was of Eugen Weidmann (1908-1939) who, convicted of six murders, was beheaded in Versailles on 17 June 1939.  The final drop of the blade came when murderer Hamida Djandoubi’s (1949-1977) sentence was carried out in Marseille on 10 September 1977.

Boucles d'oreilles pendantes guillotine en laiton (guillotine drop earrings in brass), cut and engraved, Paris, circa 1880.

In France, until the onset of modernity with the coming of the twentieth century, artistic and decorative representations of the guillotine proliferated because the bloody events of the 1790s had made the instrument a symbol of republican patriotism.  Methods of execution now appear less as fashion items although there was a revival associated when the punk movement went mainstream in the mid-1970s (anarchists, revolutionaries and such less inclined to trivialize what they intended soon to be a serious business). In recent years, models in nooses have however strutted the catwalks generating outrage which, measured in column inches, photographs and clicks, was of course the point of them donning the macabre accessory.  For those nostalgic for the days of la révolution, made with a variety of materials, guillotine drop earrings are available on-line.

Paper trimming guillotine.

The device was used in many European countries until well after the Second World War but, perhaps predictability, none were as enthusiastic as the Nazis.  Having been used in various German states since the seventeenth century and being the preferred method of execution in Napoleonic times (circa 1799-1815), guillotine and firing squad were the legal methods of execution during both the Second Reich (1871–1918) and the Weimar Republic (1919–1933).  For the Nazis however, it was just another way to industrialize mass-murder and under the Third Reich (1933-1945), 16,500 were guillotined including 10,000 in 1944–1945 alone although, after the attempt on his life in July 1944, Hitler wasn’t at all attracted to an efficient or humanitarian dispatch of the surviving plotters and for them specified a more gruesome method.  The guillotine was used for the last time in the FRG (Bundesrepublik Deutschland (Federal Republic of Germany; the old West Germany) 1949-1990) in 1949 though use in the GDR (Deutsche Demokratische Republik (German Democratic Republic; the old East Germany) 1949-1990) persisted until 1966, mostly by the Ministerium für Staatssicherheit (Ministry for State Security, better known as the Stasi) for secret executions.

Brandenburg prison fallbeil now on display at the Deutsche Historisches Museum.  Unlike most of the Tegel machines, it's un-painted and not fitted with a blade shield although the rather crude construction (using unfinished wood planks and four hefty, unadorned wooden legs) is characteristic of the Tegel design.  Some other Tegel fallbeils have had some of the timber members replaced with square metal tubing.

The German for guillotine is fallbeil (literally "axe-method" which is pleasingly informative).  The Nazis increased the number of capital offences in the criminal code and consequently, there was a drastic increase in the number of executions in the Reich.  To meet the demand, many prisons were designated as execution sites, sixteen gazetted by 1942, all equipped with metal (Mannhardt) fallbeils, the standardized procedure for execution as typically exact and bureaucratic as anything in the German civil service.  The first fallbeils were made from wood and built by the inmates of the Tegel prison in Berlin (hence the name) while the later Mannhardt design (fabricated from steel) was more sophisticated, including an external pulley frame and, thoughtfully, a hinged sheet-metal cover to protect the executioner from "blood spray".

The help admiring a SWB 600.

It’s at least arguable the Mercedes-Benz 600 (M100, 1963-1981) was the last car which, upon its introduction, could be called “the best car in the world”.  Some publications used exactly that phrase when their road-test reports appeared and about all the review in US magazine Road & Track found to complain about was (1) the choice of where to place the driver’s ashtray was obviously the decision of a non-smoker and (2) the air-conditioning (AC) was primitive compare with what was installed in Cadillacs, Lincolns and Imperials (or for that matter, Chevrolets, Fords and Plymouths).  The factory did improve ashtray placement (before social change drove them extinct) but it took decades for it to produce AC systems as good as those from Detroit although, impressionistically, probably nothing has ever matched the icy blasts possible in 1960s Cadillacs and such.

A 600 Pullman on location, 2011.

Lindsay Lohan (b 1986) & Grant Bowler (b 1968) during the filming of Liz & Dick (2012), a “biopic” of the famously tempestuous relationship between the actors Elizabeth Taylor (1932–2011) & Richard Burton (1925–1984).  The car is a Mercedes-Benz 600  four-door Pullman with the vis-a-vis seating.  The flagstaffs (installed in this instance above the front wheel arches) were usually fitted to cars used by governments or the corps diplomatique.

An extraordinary technical achievement, despite its run of 18-odd years, the 600 was a commercial failure with only 2677 built, the 408 (345 sedans & 63 Pullmans) which left the line in the first year of full production (1965) an encouraging start but that proved the high point, the decline precipitous after 1972 when the 600 was withdrawn from the US market, the costs of complying with the new regulations (as well as uncertainty about what was to come) just too onerous to be justified for such a low-volume model.  Although there were examples of special coachwork (armour plating, higher roof versions and even a couple of coupés)  the 600 appeared in three basic forms, the SWB ("short" wheelbase) four-door sedan, the LWB (long wheelbase) Pullmans (in four & six door form) and the Pullman Landaulets (with two lengths of retractable roof); the breakdown was 2,190 sedans, 428 Pullmans and 59 Landaulets.

The car of kings, dictators and real estate developers.

The 1970 Pullman Landaulet (one of twelve known informally as the "presidential" because the folding portion of the roof extended to the driver's compartment, the other 58 Landaulets having a convertible top only over the rear seat) was purchased by the Romanian government and used by comrade president Nicolae Ceaușescu (1918–1989; general secretary of the Romanian Communist Party 1965-1989) until he and his wife were executed (by Kalashnikov assault rifle) after a “people's tribunal” held a brief trial, the swiftness of which was aided by the court-appointed defense counsel who declared them both guilty of the genocide of which, among other crimes, they were charged.  Considering the fate of other fallen dictators, their end was less gruesome than might have been expected.  Comrade Josip Broz Tito (1892–1980; prime-minister or president of Yugoslavia 1944-1980) had a similar car (among other 600s) but he died undisturbed in his bed.  The blue SWB (short wheelbase) car to the rear is one of the few SWB models fitted with a divider between the front & rear compartments including hand-crafted timber writing tables and a refrigerated bar in the centre console.  It was delivered in 1977 to the Iranian diplomatic service and maintained for the Shah’s use.  The 1969 sedan to the right (identified as a US market car by the disfiguring headlight treatment) had a less eventful past, purchased by a California real estate developer, who took advantage of the Mercedes-Benz European Delivery Program (discontinued in 2020 after some sixty years), collecting the 600 from the Stuttgart factory.

KCNA (Korean Central News Agency) footage of the DPRK Youth Parade, Pyongyang, DPRK, 2012.  The KCNA (its headquarters at 1 Potonggang-dong in Pyongyang's Potonggang District) may be the world's most productive state news agency and is the best source for new Kim Jong-Un content. 

At the 2012 Youth Parade, all in the full stadium were happy and enthusiastic, delighted no doubt to be the only audience on the planet able to see two long-roof Mercedes-Benz 600 Landaulets together.  The DPRK (Democratic People's Republic of Korea (North Korea) should not be confused with the "puppet state" RoK (Republic of Korea (South Korea)).  Kim Il-Sung (Kim I, 1912–1994; Great Leader of DPRK 1948-1994) purchased a brace of presidential Landaulets which he passed down the line (along with the rest of North Korea) to his descendants Kim Jong-Il (Kim II, 1941-2011; Dear Leader of DPRK1994-2011) & Kim Jong-Un (Kim III, b 1982; Supreme Leader of DPRK since 2011).    Evil dictators and real estate developers are one thing but the television personality Jeremy Clarkson (b 1960) also owned a (SWB) 600 and from that the car's reputation may never have recovered.  

Staged publicity shot of 1966 Mercedes-Benz 600s.

A four-door Pullman (left) and SWB (right) parked outside the Hotel Vierjahreszeiten, Munich, Bavaria, FRG.  This shot illustrates the difference between the two platforms, the Pullman's additional length all in the wheelbase (the Pullman's was 3,900 mm (153½ inches) against the sedan's 3,200 mm (126 inch).  The factory initially called the sedans “limousines” because that was the traditional German term for a four door sedan (or saloon) but they’re commonly referred to also as the SWB (short wheelbase), the Pullmans very definitely a LWB (long wheelbase).

1966 Mercedes-Benz 600 SWB, Place de la Concorde, Paris, France.

The 600’s famously smooth ride and remarkably capable handling was achieved with a suspension system using air-bellows but more intricate still was the engine-drive hydraulic system with which could be controlled the raising and lowering of the windows and central divider (installed on all but one of the Pullmans and optional on the SWBs), the setting of the shock absorbers (dampers), the opening and closing of the sun-roofs (it was possible on Pullmans to order two!) and the positions of the seats.  Additionally, the closing of the trunk (boot) lid and doors were hydraulically controlled although the hood (bonnet) needed to be raised manually; the factory was clearly more concerned for the comfort of passengers than mechanics.  To achieve all this, the plumbing’s fittings included 30 hydraulic switches, 12 double-acting hydraulic cylinders, 10 single-acting cylinders, six self-resetting single-acting units, a pump, a reservoir, and an accumulator, all connected by 3.5 mm (⅛ inch) internal-diameter lines coursing with hydraulic oil at a pressure of 2,176 psi (150-bar).  As might be imagined, to even experienced automotive engineers & mechanics, the schematic appeared of Byzantine complexity but to those accustomed to the hydraulics of heavy machinery it seemed simple, the only novelty being components unusually small.  The pressure of the system was high enough (twice that of a typical fire hose), if ruptured, to pierce human flesh although, reassuringly, below what’s needed to cut through bone.  Just to prove safety warnings are not something recent, the high pressure warranted a passage in a notably thick publication: Workshop Manual, Type 600, The Grand Mercedes: “It cannot be too highly stressed that it is mortally dangerous to open the oil-pressure container!  Although the silently operating hydraulic system did offer the advantage of eliminating the noise which would have been generated had electric motors been used, the real attraction was the elimination of an estimated 800 metres (2600 feet) of wiring and more than a dozen motors (and it would have been a challenge to fit them all in the existing structure).

The Guillotine.

A Mercedes-Benz 600 sedan in the now closed Kemp Auto Museum in Saint Louis, Missouri, is used to demonstrate why the hydraulically activated trunk (boot) lid was known to wary technicians as “the guillotine”.  This is the lid closing with the hydraulics on the most hungry setting.

1966 Mercedes-Benz 600 Pullman Landaulet with the shorter of the two folding roofs.

The trunk-lid’s single hydraulic cylinder can bring the steel panel down with alarming force so service personnel decided it deserved to be nicknamed “the guillotine”.  It was however adjustable to reduce the potential to damage fingers (at least there was an attempt to minimize risk; from certain manufacturers, some of the early electric windows didn’t include a clutching mechanism and were capable of crushing the match boxes often used to demonstrate the danger to dawdling digits).  The 600’s hydraulic system was well-built and used high quality components but the factory knew nothing is indestructible and every car included in the trunk a box containing (1) four wedges to force between the glass and the jambs to keep the windows up and (2) a set of pins which could be inserted to keep the squabs of the front seats upright.  Indeed, the door closing apparatus proved troublesome (tales of expensive dresses ruined by a squirt of hydraulic fluid part of the 600 legend) and wasn’t fitted after 1967 but the guillotine remained standard equipment until the end.

Monday, December 1, 2025

Edition

Edition (pronounced ih-dish-uhn)

(1) One of a series of printings of the same publication, each issued at a different time and differing from another by alterations, additions etc (historically sometimes referred to as impressions).

(2) The format in which a work is published (single volume edition, abridged edition, leather-bound edition, French language edition etc).

(3) In newspaper production, a form of differentiation between different versions of the “same” issue (late edition, city edition etc) and used in a similar manner in radio & television broadcasting.

(4) In book collecting, as “first edition”, a copy of a book from its first release or print run.

(5) The whole number of impressions or copies of a book, newspaper etc, printed from one set of type at one time.

(6) A version of anything (physical and not), often (sometimes misleadingly) in forms such as “limited edition”, “special edition” etc).

1545–1555: From the French édition, from the Middle French, from the Latin ēditiōn- (publication), the stem of ēditiō (a bringing forth, publishing), the construct being ēdit, the past participle of ēdere (to give out; bring forth, produce) + -iōn (the suffix appended to a perfect passive participle to form a noun of action or process, or the result of an action or process).  When the word entered English in the sense of “version, translation, a form of a literary work” (and later “act of publishing”) the dominant linguistic influence was probably the Latin editionem (a bringing forth, producing (although in specialized use it also carried the meaning “a statement, an account rendered”, from the past-participle stem of ēdere, the construct being e(x) (in the sense of “out”) + -dere, a combining form of dare (to give), from the primitive Indo-European root do- (to give).  Edition is a noun; the noun plural is editions.  The adjective editionism is non-standard and was coined to describe the practice in commerce in which different “editions” of essentially the same product are brought to market in an effort to induce customers to purchase multiple items even though the difference between them may be little more than the packaging.  It's a cynically profitable approach (the additional production & distribution costs marginal) which works especially well for those with a dedicated (hopefully obsessional) following.

More Issues Than Vogue sweatshirt from Impressions.

In publishing and (sometimes vaguely) related fields, the terms “issue”, “edition” and “version” have come to be used so loosely that they sometimes function interchangeably but within the publishing industry, there are conventions of use: Issue traditionally was used to refer to a specific release of a recurring publication (magazine, journal, newspaper etc) and tended to be tied to the release sequence (“October 2024 Issue”, “Fall 2024 Issue”, “Issue No. 215” etc).  Issue can however be used also as “re-issue” which refers usually to a “re-print” of a previous edition although it’s not uncommon for blurbs like “re-issued with new foreword” or “re-issued in large print” to appear, the implication being the substantive content remains the same.  Edition was used of a particular form or version of a publication that might differ from previous ones in significant ways which might include text corrections, foreign language translations, or updates, thus descriptions like “German Language Edition”, “Second Edition” or “Abridged Edition.  Some editions (especially those which appear in an irregular sequence) actually give in their title some hint of the nature of what distinguishes them from what came before such as the convention adopted by the American Psychiatric Association's (APA) Diagnostic for their Statistical Manual of Mental Disorders (DSM).  What the APA does is change the number if a DSM is regarded as a “new edition” but retain the number with an appended “R” (revised) or “TR” (text revision) if it’s an “updated edition”.  Thus has appeared the DSM-III-R (1987), the DSM-IV-TR (2000) and the DSM-5-TR (2022).  There’s some overlap in use for version and this perhaps reflects the influence of technology because it tends to be used of a specific form or variant of a publication such as language (eg Spanish version), format (eg audio version) or materials used in the construction (eg e-book version) rather than an implication of a chronological or iterative update (which in publishing tends to be called an “edition”.  In that the industry differs from IT where version numbers are almost always sequential although the convention widely used in the 1980s in which something like “version 2.4.3” could be interpreted as 2=major release, 4=update and 3=bug fix has long fallen into disuse.

Holy Bible, Revised Standard Version (RSV), 1952 limited edition, first printing by Thomas Nelson & Sons, brown full leather binding with inlaid gold lettering, silk end paper and green cardboard slip case, custom bound by the Chicago Bible Society.  US$750 from Abe Books.

There are also special uses which assume a life of their own, notably the Revised Standard Version (RSV), an English translation of the Bible published in 1952 by the Division of Christian Education of the National Council of the Churches of Christ in the US.  The RSV was a revision of the American Standard Version (ASV, 1901) and was published to render the text into the modern English which readily would be understood by a contemporary reader of modest education.  The object was not to change the meaning of the text but to preserve it and paradoxically this required editing the classic verses written by William Tyndale (circa1494–1536) or in the King James Version (KJV, 1611) because the over hundreds of years the language had evolved and the much of what was in the original needed to be interpreted for a general audience and the controversy of clerical gatekeepers between God and his people had for centuries been a thing.  The RSV however has not been the last word and those who track novel initializms will have been delighted by the appearance of the New Revised Standard Version (NRSV, released in 1989 by the National Council of Churches (NCC) and the New Revised Standard Version Updated Edition (NRSVue), published in 2021.  Students of such things aren’t expecting the next update for at least a decade but finding a name might prove more of a challenge than editing the Old Testament’s Book of Leviticus for a modern audience although those who have worked in biblical forks have found alpha-numeric solutions such as RSV-2CE (Revised Standard Version, Second Catholic Edition (2006))

First Edition of James Joyce’s Ulysses, "Copy No 1", held in the National Library of Ireland.  It contains in Joyce's hand an inscription to the English political activist Harriet Shaw Weaver (1876–1961) who was for decades his patron.

A first edition of Ulysses (1922) by James Joyce (1882–1941) in 2009 sold on the opening day of an antiquarian book fair London for Stg£275,000, at the time a record for a twentieth century first edition.  Ulysses is regarded in the industry as the most collectable modern novel and the first editions, printed on hand-made Dutch fine-paper, are well-catalogued and this was number 45 of the first edition print run (all signed by the author) of 100, one of four not previously accounted for.  It had been sold originally by the Manhattan’s obviously subversive Sunwise Turn bookshop (Ulysses at the times banned in the US) and remained in the possession of the same family, stored in its original box and thus not exposed to light, accounting for the preservation of the construction.  Proving that dealers in literary circles can gush with the finest used car salesmen, the dealer who arranged the sale explained: “The color is amazing – this lovely Aegean Sea, Greek flag blue which would normally have darkened into a more dirty blue but because it has been in a box it is a complete thing of beauty.”  The almost pristine condition was a product also of its history of use, an inspection suggesting it was seemingly unread except for the well-thumbed final chapter where the most salacious passages can be found.  The existence of unread copies of well-known books is not unusual and those notorious for sitting neglected on the bookshelf include “challenging” texts such as A Theory of Justice (1971) by John Rawls (1921–2002), A Brief History of Time (1988) by Stephen Hawking (1942–2018) and Joyce’s own, bafflingly difficult Finnegans Wake (1939).  Intriguingly, the antiquarian book business also includes the category “pre-first edition” (any limited run copy of a book printed before the “first edition” is published).  The apparent oxymoron is explained by “first edition” being an industry definition rather than a literal description; pre-first editions thus analogous with “pre-production” or “final prototype” cars which (if they’ve survive the crusher which claims many) can be prized by collectors.

Among special editions there are, inter alia, “Collector's Editions”, “Anniversary Editions” and even, in one instance, the “So Fetch Edition”.

In commerce, “special editions” have become notable income generators for content providers and the movie business has embraced the concept with editions such as “the making of”, “bloopers & out-takes”, “director’s cut” and others and the idea isn’t new.  Led Zeppelin's eighth studio album (In Through the Out Door (1979)) originally was sold with an outer sleeve of plain brown paper, stamped with nothing more than the while the cardboard sleeve proper within was released with six different versions of the artwork.  Buyers would thus not know which sleeve they were selecting.  There’s nothing to suggest it was anything but a gimmick and neither the band nor the record company were expecting many to keep buying copies in the plain brown wrapped until they’d scored all six covers but there were press reports at the time of “Led Heads”, doing exactly that.  The industry took note.

Taylor Swift's The Anthology, one of 34 available editions of The Tortured Poets Department.

The attraction of releasing multiple versions of essentially the same product with variations restricted to some added content or detail differences in the packaging is that the additional costs in production and distribution are marginal yet there’s sometimes it’s possible to charge a premium for the “non-standard editions”.  The practice had for decades been quite a thing with car manufacturers but the music business came also to like the idea because, unlike with the cars where customers tended to buy one at a time, obsessive fans of musicians might be persuaded they needed several copies of what was essentially the same thing.  Leftist UK student site The Tab noted few music fans were as obsessive as Taylor Swift’s (b 1989) Swifties and, more significantly, they were also impressively numerous and thus an irresistible catchment of disposable income.  What The TAB noted was the almost simultaneous release of a remarkable (and apparently unprecedented) 34 versions of Ms Swift’s eleventh album, The Tortured Poets Department (2024), something which as well as generating revenue has the statistical benefit of afforcing her presence on the charts, every sale counting as a 1.0.  Some were technologically deterministic in than four were released as audio cassettes and nine were exclusively digital but most were essentially the same product except for the inclusion of a bonus track and some were available only through the retailer Target.  The most obsessive Swifties obviously could buy all 34 editions but for those which want just an exhaustive collection of the music, it appeared all was included on the accurately named The Anthology so there was that.  One day, all 34, still (where appropriate) unopened in their original packaging, will begin to appear on auction sites.  The approach attracted some adverse comment (which the Swifties doubtless ignored) and probably confirmed in the mind of J.D. Vance (b 1984; US vice president since 2025) that childless cat ladies are evil.

All editions: The Tab’s The Tortured Poets Department discography:

1. Collector’s Edition Deluxe with The Manuscript
2. Collector’s Edition Deluxe with The Albatross
3. Collector’s Edition Deluxe with The Bolter
4. Collector’s Edition Deluxe with The Black Dog
5. Standard album and The Manuscript
6. Standard and The Manuscript (signed)
7. Standard and But Daddy I Love Him (Acoustic)
8. Standard and Guilty As Sin? (Acoustic)
9. Standard and Down Bad (Acoustic)
10. Standard and Fortnight (Acoustic)
11. Standard and Fresh Out The Slammer (Acoustic)
12. Target exclusive with The Albatross
13. Target exclusive with The Bolter
14. Target exclusive with The Black Dog
15. Target exclusive vinyl
16. The Manuscript vinyl (pressing one)
17. The Manuscript vinyl (pressing two)
18. The Albatross vinyl
19. The Bolter vinyl
20. The Black Dog vinyl
21. The Manuscript vinyl
22. The Anthology
23. Standard and The Black Dog ‘voice memo’
24. Standard album and Who’s Afraid of Little Old Me voice memo
25. Standard album and Cassandra voice memo
26. Standard album (digital)
27. Standard album and Daddy I Love Him (Acoustic)
28. Standard album and loml (live from Paris)
29. Standard album and My Boy Only Breaks His Favorite Toys (live from Paris)
30. Standard album and The Alchemy / Treacherous mashup (live from Paris)
31. The Manuscript cassette
32. The Bolter cassette
33. The Albatross cassette
34. The Black Dog cassette

1976 Lincoln Continental Mark IV, Lipstick edition.  The shade of red appears to be close to Dior's lipstick #744 (Party Red).

The car manufacturers have produced at least hundreds of “special editions” and while many of them really weren't especially special”, they kept returning to the concept because it was lucrative, the things usually profitable to an extent exceeding greatly the nominal sum of their parts.  Quite how many have existed over the years is difficult to estimate because, in addition to the well-documented examples from manufacturers which were sold nationally or even globally, some were offered only briefly or regionally and barely advertised.  Additionally, dealers or sometimes an agglomeration of them would also conjure up their own "special editions" so the total of such things is probably in the thousands.  Sometimes, fashion houses were paid to lend their name, AMC teaming with Pierre Cardin, Levi Strauss (Volkswagen also had a denim-trimmed Beetle though without a specific brand attribution) & Oleg Cassini while the Lincoln Continental at times was offered with themes by Emilio Pucci, Cartier, Bill Blass and de Givenchy although the most memorable were the reputed 500 “Lipstick editions”, a study in red & white, quite a sight given the expanse of sheet metal and leather.

1969 Dodge Charger R/T SE (left), 1972 Chrysler VH Valiant Charger 770SE E55 (centre left), 1976 Holden HX LE (centre right) and 2002 Mazda Miata Special Edition (MX-5 in some markets) (right).

In most of the “special” editions, offered over the decades, it was only in the advertising or press kits that terms like “special edition” or “limited edition” appeared.  Sometimes though, such physical badges did appear on the vehicles. In the US, on the 1969 Dodge Chargers with the SE option, the badge included both “SE” & “Special Edition while in Australia, only “SE” appeared on the 1972 Chrysler VH Valiant Charger 770SE E55 (one of the industry’s longer model names) although the marketing material called it a “Special Edition”, a usage borrowed from the parent corporation in the US and even the badge used was the same part as that which had been stuck on the 1970 Dodge Challenger SE.  Holden’s frankly cynical (but most profitable) 1976 LE spelled out “Limited Edition” under a “LE” (in a larger font) while Mazda used only the full term for the Miata (MX-5) Special Edition models.

Last Call: 2023 Dodge Challenger SRT Demon 170 (with two-piece “underwire”).

Dodge in 2023 embarked on a run of “special editions” on a grand scale, their “Last Call” programme a series of Dodge Challengers & Chargers packaged in a variety of ways but all distinguished by the inclusion of some flavor of Chrysler's third generation HEMI V8 (2003-), the significance of last call being the engine was being withdrawn from use in passenger-cars, a victim of government regulations intended to reduce vehicle emissions.  The programme yielded an array of Chargers & Challengers with specifications (ie horsepower and such) varying from “impressive” to “bonkers” and they were produced in batches of between 100 and 3,300.  The customers responded well with most editions soon “sold out” and, judging from the number with minimal mileage and still in “as delivered” condition which appeared rapidly on auction sites, many had been bought by those expected to “flip” them for profit.  Some did realise gains from the transactions but the market soon cooled, especially for the editions produced in the thousands but how many have been “stashed away” in the hope that years from now there will be those who will pay much, isn't known.

Last Call: 2023 Dodge Challenger SRT Hellcat Black Ghost Special Edition (with one-piece “underwire”).  As well as the impressive engineering, the Last Call programme yielded some unusually long model names.

That strategy may play out well for those speculating on a surge in value in the years to come when, for a certain class of customer, the specifications of a Last Call Dodge will seem intoxicating in a world in which such things have long been extinct.  That was for many the plan but the future has been clouded by Donald Trump (b 1946; US president 2017-2021 and since 2025), his second administration releasing plans to “roll-back” vehicle emission standards and Chrysler, thus encouraged, announced in 2025 the HEMI V8 would re-appear in passenger vehicles, a decision which wouldn't have much troubled the board because the market has greeted the replacement straight-six engines with restrained enthusiasm.  Doubtless there will be those who noted Chrysler's announcement and, contemplating the thought of their carefully stored Challenger(s) becoming a depreciating asset, will have consulted lawyers to find if grounds for redress exist, the argument being they were “induced” to purchase on the promise of a “last call” being exactly that.  Unfortunately, there is a precedent and it's not encouraging.

Another 
“last call”: The “last American convertible” ceremony, Cadillac Clark Street Assembly Plant, Detroit, Michigan, 21 April 1976.

In the US, by the late 1960s, sale of convertibles had for years been declining and with the growing volume of government regulations about vehicle safety (which included roll-over standards”, the industry was working on the assumption the body-style would soon be banned.  Given the declining demand for such things the manufacturers were sanguine about this and even pleased to have something to have to use to “trade off” against regulations they definitely did not want imposed.  By 1975 the Cadillac Eldorado was the only one of the few big US convertibles still available selling in reasonable numbers but the platform was in its final years and with no guarantee a version based on the new, smaller Eldorado (to debut in 1978) would enjoy similar success, General Motors (GM) decided it wasn’t worth the trouble but, sensing a “market opportunity”, promoted the 1976 model as the “Last American convertible”.  Sales spiked, some to buyers who purchased the things as investments, assuming in years to come they’d have a collectable and book a tidy profit on-selling to those who wanted a (no longer available) big drop-top.  Not only did GM use the phrase as a marketing hook; when the last of the 1976 run rolled off the Detroit production line on 21 April, the PR department, having recognized a photo opportunity, conducted a ceremony, complete with a “THE END OF AN ERA 1916-1976”) banner and a “LAST” Michigan license plate.  The final 200 Fleetwood Eldorado convertibles were “white on white on white”, identically finished in white with white soft-tops, white leather seat trim with red piping, white wheel covers, red carpeting & a red instrument panel; red and blue hood (bonnet) accent stripes marked the nation’s bicentennial year.

The “last American convertible” ceremony, Cadillac Clark Street Assembly Plant, Detroit, Michigan, 21 April 1976.

Of course in 1984 a convertible returned to the Cadillac catalogue so some of those who had stashed away their 1976 models under wraps in climate controlled garages weren’t best pleased and litigation ensued, a class action filed against GM alleging the use of the (now clearly incorrect) phrase “Last American Convertible” had been “deceptive or misleading” in that it induced the plaintiffs to enter a contract which they’d not otherwise have undertaken.  The suit was dismissed on the basis of there being insufficient legal grounds to support the claim, the court ruling the phrase was a “non-actionable opinion” rather than a “factual claim”, supporting GM's contention it had been a creative expression rather than a strict statement of fact and thus did not fulfil the criteria for a “deceptive advertising” violation.  Additionally, the court found there was no actual harm caused to the class of plaintiffs as they failed to show they had suffered economic loss or that the advertisement had led them to make a purchase they would not otherwise have made.  That aspect of the judgment has since been criticized with dark hints it was one of those “what’s good for General Motors is good for the country” moments but the documentary evidence did suggest GM at the time genuinely believed the statement to be true and no action was possible against the government on several grounds, including the doctrines of remoteness and unforeseeability.  If HEMI V8 powered coupés and sedans soon re-appear in Dodge's showrooms, it may not be only Greta Thunberg (b 2003) who will be upset.

Limited Edition, less limited profit: The Holden LE

1976 HX Holden LE

By the mid 1970s, the market had come to prefer the cheaper, smaller and easier to use cassette tapes which meant warehouses were soon full of the once desirable 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers; fashions change and both had become unfashionable.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special edition" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.  Thus created was the high-priced, limited edition LE (which stood for "Limited Edition", the Monaro name appearing nowhere although all seem still to use the name), in metallic crimson with gold pin striping, golf "honeycomb" aluminium wheels, fake (plastic) burl walnut trim and crushed velour (polyester) upholstery; in the 1970s, this was tasteful.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold with no need to resort to discounting.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based; these days, examples are advertised for sale for (Aus$) six-figure sums and anyone who now buys a LE does so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was high; slow and thirsty the price to be paid for the early implementations of the emission control plumbing bolted to engines designed during more toxic times.      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden HX typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take a fundamentally elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The 1971 HQ Holden was admired for an austerity of line and fine detailing; what followed over three subsequent generations lacked that restraint.  The HX LE was one of a number of "special" and "limited" editions offered during the era and it remains one of the few remembered.