Life and Career
She had been married to Hadwin Houghton, the heir of the Houghton-Mifflin publishing empire founded by Bernard Houghton. Wells also had an impressive collection of volumes of poetry by others. She bequeathed her collection of Walt Whitman poetry, said to be one of the most important of its kind for its completeness and rarity, to the Library of Congress (New York Times, Apr. 16, 1942).
After finishing school she worked as a librarian for the Rahway Library Association. Her first book, At the Sign of the Sphinx (1896), was a collection of charades. Her next publications were The Jingle Book and The Story of Betty (1899), followed by a book of verse entitled Idle Idyls (1900). After 1900, Wells wrote numerous novels and collections of poetry.
Carolyn Wells wrote a total of more than 170 books. During the first ten years of her career, she concentrated on poetry, humor, and children's books. According to her autobiography, The Rest of My Life (1937), around 1910 she heard one of Anna Katherine Green's mystery novels being read aloud and was immediately captivated by the unravelling of the puzzle. From that point onward, she devoted herself to the mystery genre. Among the most famous of her mystery novels were the Fleming Stone Detective Stories which—according to Allen J. Hubin's Crime Fiction IV: A Comprehensive Bibliography, 1749–2000 (2003)—number 61 titles.
In addition to books, Wells also provided her talents to newspapers. Her poetry accompanies the work of some of the leading lights in illustration and cartooning, often in the form of Sunday magazine cover features that formed continuing narratives from week to week. Her first known illustrated newspaper work is a two part series titled Animal Alphabet, illustrated by William F. Marriner, which appeared in the Sunday comics section of the New York World. Many additional series ensued over the years, including the bizarre classic Adventures of Lovely Lilly (New York Herald, 1906–07). The last series she penned was Flossy Frills Helps Out (American Weekly, 1942), which appeared after her death.
Today, however, she is best known for her light verse, particularly for several classic limericks, including this one:
A canner exceedingly canny
One morning remarked to his granny:
“A canner can can
Any thing that he can
But a canner can’t can a can, can he?”
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