After gaining access, you will see the first entry, which is most likely to be by Aarre.
Let us look at the various boxes.
Author: If the author worked with others, they will be listed. The first author is listed by surname first. All subsequent authors are listed by first names first. So, had an item been written by Joan Smith as first author with Michael Jones as second author, the entry for this item would be: SMITH, Joan and Michael JONES. Searches can be made for second authors, in an identical manner to that used to find the first author
As is good practice, I have used the title page and transcribed all the information therein. The
Title is from the title page, and includes any additional information regarding editing, illustrations, the artist involved, if listed.
The small box on the the third line is the date when
First Published. This may well differ from the edition about which information is being given, which is the edition that I have been able to access.
The next, larger box gives
Publication Information: Place of publication; publishing house; year of publication of the edition being cited; number of pages of that edition.
In the large box beneath, are
In some entries, the number of pages are given on the first line, but this information will be moved to Publication Information over time.
Information on other editions: If the edition about which information has been given in Publication Information is not the first edition, publication information about the first edition will be given.
If the book went to two or more editions, every effort is made to give Publication Information about these editions
Changes of title where known. If a title is changed, OR if the author on the title page is changed, then a separate entry has been made
If the American publisher changed the title, as happens quite frequently, I have not made a separate entry, as this is a British bibliography.
Annotated notes: The annotations often started life as publishers’ puffs, hence their somewhat adulatory tone. Given they were anonymous, they remain so. The one exception is quotes from Donald Holm’s The Circumnavigators. He gives a chapter to Bibliography (pp.466 -488 in the English edition, published by Angus & Robertson). His views, let alone his English, are so idiosyncratic that I felt they must be acknowledged when used. Donald Holm’s copyright is held by the Joshua Slocum Society – he was a Commodore of the Society – and I am deeply grateful for the Society for allowing me to quote his trenchant comments.

Underneath the box containing the above information, are three sets of category choices: a chronological period; type of text; and gender issues.
1. Chronological Period
I have used the following categories
Pre- 1837: Carolinean and Georgian but also earlier texts
1837 to 1875: Early Victorian :
1876 to 1919:
Later Victorian and Edwardian:
1919 -1945: Interwar
1946 to 1965: Postwar
1966 to 1985: Modern
1986 to 2005: Recent
A text can be given multiple entries, and often is. For example, a history of a yacht club, founded in 1860, written to celebrate its centenary, will be coded 1837 – 1875; 1875 – 1918; 1919 – 1945; 1946 -1965.
The period seen as most relevant is
not the date of publication, but the period the text is about. However, I usually include the date of publication as the second entry. Thus, a book, written in 2003, about the interwar races of the J-class, will be coded as 1919 -1945 and 1986 -2005.
In the first two time periods of the twentieth century, the periods continue till the end of the relevant World War, since I consider that the literature – usually limited during wartime – will relate more to
the regime that was in power when the war started, than to the regime that comes into the power after the end of the conflict.
2. Narrative Type
The second column codes for content:
Yacht Cruising: Primarily concerned with yacht or dinghy cruising
Yacht Racing: Primarily concerned with yacht or dinghy racing
History of Yachting: : Concerned with the history of yachting: the history of yacht or dinghy classes; important yachts, important passages and voyages, and the history of yacht clubs
History of Yachting does not include general accounts. A book on Victorian leisure pursuits would be coded as a Contextual.
Instructional: Any text concerned to educate the reader in some aspect of yachting, e.g. mend a sail, how to cook on board, read a chart, find out who holds the record for what, etc.
Fiction: fictional accounts, including children’s stories
Other Media: Texts primarily utilising media other than the written word, such as painting, photography, film; or music concerned with yachting.
Commercial/Naval: Commercial sail and Tall Ships; also the Royal Navy.
Humour : Humorous accounts of sailing.
Biography, including Autobiography.
Contextual: Wider accounts than purely sailing accounts. For example, where the sailor stops to offer lengthy onshore accounts; wider historical, social, political or economic overviews.
Miscellaneous: Motorboating, kayaking (But note that most Victorian canoeists carried a sail for use down-wind, e.g in Jerome’s Three Men in a Boat, and would therefore be included in Yacht Cruising). Also, this category includes texts not related to sailing. For example, an author of sailing texts writes a book on gardening or God.
Again, many, if not most, records will receive more than one narrative code (e.g Instructional and Yacht Cruising).
3. Female Involvement
The third column notes whether a woman was involved in the text’s production. I think is an important aspect of yachting texts is whether they relate to women. Since yachting has been such a predominantly male sport, it is useful to chart the involvement of women in the construction of yachting texts. Because women are not very often involved in text production, any form of involvement is included
Female Involvement, therefore, includes any account which indicates that a girl or woman takes part in the action; or which was written by a woman; or which involved a woman in the production of the text, for example, by editing or illustrating.