Demons and Goblins in the Stacks

Children around the globe are no doubt rejoicing that Halloween falls on a Friday this year, giving them ample time to indulge in sugar-coated treats.  Adults have plenty of opportunities get in on the fun as well, with libraries offering macabre literary spectacles.  As part of a larger series of lectures, presentations and parties devoted to understanding Gothic subculture and mythology, The British Library is hosting a ticketed event this evening called LATE at the Library: The Sorting. For fifteen pounds, (roughly 24 dollars) visitors are invited to attend a very special funeral - their own.  U.K. theater company Les Enfants Terribles repurposed the Library as a funeral parlor, where attendees will be greeted by an undertaker as make their way through the afterlife, all the while enjoying live music and libations.

Le Vampire,engraving by R. de Moraine

Le Vampire,engraving by R. de Moraine (Photo credit: Wikipedia)

The Library will also open its latest installation Terror and Wonder: The Gothic Imagination tonight. It includes two hundred objects ranging from Mary Shelly's manuscript for Frankenstein to stills from Clive Barker's 1987 thriller Hellraiser  and celebrates Gothic literature's icy grip on public imagination. Since Bram Stoker's Dracula is part of the exhibition, the Library is offering visitors a chance to win a trip to Transylvania.  Through the end of January, visitors can continue exploring Gothic tradition by attending a lecture on a rare Victorian era vampire slaying kit, (similar to the one Christie's auctioned in 2013) or panel discussions on Gothic art's inspiration for contemporary designers, artists and musicians.  

Stateside, library patrons can slake their thirst for ghastly art at the Huntington Library in San Marino, California, which recently opened an exhibition of European prints and drawings culled from the Library's holdings.  Various works on paper depict images of witches, goblins, demons and various monsters in order to explore how Europeans conceptualized horror from the Renaissance through the 19th century.  This exhibit runs through December 15th, and includes works by masters like Goya, Dürher and Boyle.  




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A new scheme in the United Kingdom will allow millions of orphaned artistic works and historic documents to be released into the public domain.  The scheme is intended to provide wider access to about 91 million creative works that have languished for years away from public view because the rights holders were not identified.

The Intellectual Property Office can now issue a special license so that orphaned works can be displayed on websites, in books, and on television.  The new scheme also allows for renumeration for the rights holders if they identify themselves after publication of the material.

The announcement of the new scheme was timed to coincide with the introduction of a new initiative from the European Union called the Orphan Works Directive, which allows cultural institutions to digitize orphan works and display them online.  

In combination, the new schemes will allow greater access to archival records in the UK, about 50% of which are considered orphan works.

Examples of impacted institutions include the Imperial War Museum, which will now be able to display a variety of letters and diaries from WWI, and the National Records of Scotland, which will now be able to publish selections from 150,000 maps and plans considered orphaned.

[Image of the Imperial War Museum in London from Wikipedia]
Last week, a national colloquium on special collections was held at Case Western Reserve University's Kelvin Smith Library. Acknowledging the Past, Forging the Future, a two-day event, brought together librarians, private book collectors, and antiquarian booksellers.

KelvinSmithLibrary.jpgA recap of day 1: Sarah Thomas, vice president of Harvard Library and Roy E. Larsen librarian for the faculty of arts and sciences, gave the opening keynote address and spoke about providing "maximum access through minimal processing." Alice Schreyer, interim library director and associate university librarian for area studies and special collections at the University of Chicago Library, gave the session 1 keynote, in which she focused on the value of private collectors. FB&C columnist Joel Silver, director and curator of books at Indiana University's Lilly Library, moderated the first discussion on the changing nature of book collecting. A second keynote was given by Jay Satterfield, special collections librarian at Dartmouth College, who used his experience with students to talk about access to collections.

MarkDimunation copy.jpgA recap of day 2: Geoffrey Smith, head of the rare books & manuscript library, at Ohio State University, moderated a second panel on private book collecting and donors, in which Sotheby's Selby Kiffer mentioned the rise of "highlight" or "cool stuff" collecting as opposed to the "in-depth" collecting more common in the past. (We particularly appreciate collector Jon Lindseth's admonition to the audience: "You need to subscribe to FB&C.") Stephen Enniss, director of the Harry Ransom Center at the University of Texas at Austin, gave the third keynote on special collections in the age of digital scholarship. This was followed by a panel and audience discussion on that topic, moderated by Daniel Cohen, associate professor, department of history & art at Case Western Reserve University. Mark Dimunation, chief of the rare book and special collections division at the Library of Congress, seen above, gave the closing keynote, titled "The Once and Future Special Collections." He spoke of reconceptualizing special collections as a "center of knowledge" which requires unlocking the backlog, utilizing crowdsourcing, and "bring[ing] the data forward."

According to Melissa Hubbard, head of special collections & archives at the Kelvin Smith Library, a video recording will be posted to the university's YouTube channel in a couple of weeks.

For those of you who wish to read longer, intelligent analysis of the speeches and panels, I direct you to a series of posts (links below) on the Exlibris electronic mailing list by Terry Belanger, retired founding director and current faculty member of Rare Book School. He writes in his first dispatch, "...the presentations were without exception worth listening to, and conference arrangements were superb."

I was disappointed to read, in report #2, that the "CLIR has decided to discontinue its current hidden collections program, revamping it to focus it on digitization projects. There is a blog on the CLIR thought processes." Especially since, in report #3, Satterfield admits that even at Dartmouth, "we have 100-year backlogs."

I - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00168.html
II - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00169.html
III - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00172.html
IV - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00185.html
V - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00187.html
VI - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00190.html
VII - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00194.html
VIII - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00210.html
IX - https://list.indiana.edu/sympa/arc/exlibris-l/2014-10/msg00234.html

Images Courtesy of the Kelvin Smith Library, Case Western Reserve University. 
Our new Bright Young Collectors series continues today with Audrey Golden of Charlottesville, Virginia:

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Please introduce us to your book collection.  What areas do you collect in?

I collect books by Pablo Neruda.  A large part of the collection came from my travels to Chile and Argentina (including visits to Neruda's three homes), where I discovered many first editions of Neruda's works. 

Where are you from?

I'm currently in Charlottesville, VA, where I just completed my Ph.D. at the University of Virginia.  I went to college in Connecticut at Wesleyan University, and I've now been in the south for quite awhile.  Before moving to Virginia to study English literature, I graduated from law school at Wake Forest University in Winston-Salem, NC.

What did you study at University?

My academic experience has been quite varied, but my doctoral work has brought together many of my interests.  I studied film at Wesleyan, where I became interested in issues of human rights and documentary filmmaking.  At the same time, I took a number of Russian literature classes that introduced me to the ways literature can depict political struggle.  I became particularly interested in international human rights law while in law school at Wake Forest, which played a major role in my doctoral work on contemporary Anglophone literature, human rights, and restorative justice.

How many books are in your collection?

Currently, I have 121 books and pieces of ephemera from 22 different countries. I've added a few since finding out I placed in the contest, but I'm still ravenously hunting for an early Japanese translation of one of Neruda's works.  I spent time in Kyoto this summer and visited many antiquarian bookshops, but I couldn't find any Neruda.

What was the first book you bought for your collection?

The first Neruda book I bought was a used copy of the bilingual Cien Sonetos de Amor (100 Love Sonnets) published by University of Texas Press.  I bought it in high school after memorizing Sonnet XV for a Spanish class, and I loved the earthiness of his language. 

How about the most recent book?

I most recently found--by a sheer stroke of luck--a 1982 Farsi edition of Heights of Macchu Picchu published by an Iranian Press (in exile).

And your favorite book in your collection?

One of my favorites is Antologia, an anthology published by Editorial Nascimento with an introduction by Federico Garcia Lorca.  It has a magnificent woodcut of a ship figurehead on the cover (just like the many Neruda collected in his Isla Negra home).  I found it at a wonderful book market in Santiago, Chile.

Best bargain you've found?

Polemica: Neruda al Desnudo.  This is a rare hand-stapled pamphlet from the 1970s, printed in Santiago.  I found it tucked inside a Spanish dictionary at a bookstore in Pittsburgh, and I bought it for $1.

How about the One that Got Away?

I've actually finally come into possession of this one.  While in South America, I had my eye on a copy of Cantos de Neruda, printed in Lima, Peru in 1943.  It has magnificent red-ink woodcuts that accompany some of Neruda's WWII-era poems.  When I tried to buy it, it had been sold.  I ended up finding another copy of it at Thomas Goldwasser's rare books shop in San Francisco.  I used the money I won from the contest at the University of Virginia to buy the book, and I'm so thrilled to have it in my collection.

What would you consider the Holy Grail for your collection?

The absolute holy grail is an original edition of España en el Corazón. This true first edition was printed near Gerona, by Republican soldiers in the Spanish Civil War, on a press with found and recycled materials.  If I never have one of these in the collection, however, the next "holy grail" item would definitely be the first edition of Residencia en la Tierra, published by Editorial Nascimento in 1933.  Each of these first editions was printed in green ink (Neruda's signature color) with Neruda's inscription in each.  I actually held one of these at Librería Helena de Buenos Aires, an amazing bookstore in Buenos Aires, Argentina.

What is your favorite bookshop?

What a dangerous question!  I have so many favorites.  I think Jeff Maser's book warehouse in Berkeley is phenomenal, and I had such an amazing time looking through his treasure trove of modern and contemporary poetry.  Librería Alberto Casares in Buenos Aires, Argentina is like a bookstore from a dream with its wooden ladders and shelves filled from floor to ceiling.  I could also spend all day (and nearly did) in Collectors Treasury in Johannesburg, South Africa. 

What would you collect if you didn't collect books?

Like Neruda's homes, my house is filled with various folk art collections from my travels, including matryoshka dolls from Eastern Europe, Southeast Asian shadow puppets, and masks from Guatemala, Japan, and Russia.


S&S.jpgCould it be that Simon & Schuster co-founder Richard "Dick" Simon failed to find a publisher for his own book trade memoir? Simon and partner Max Schuster launched the book publishing house of Simon & Schuster in New York City in 1924. An 84-page typescript document of Simon's reminiscences, titled Fools Give You Reasons, dating to the late 1950s, is currently being offered in a rare book dealer's catalog for $5,000. The fragmentary memoir discusses how he got into publishing, his thoughts on promotion and advertising, and his feelings about television: "From here television seems like a manifold blessing."

Several of Simon's contemporaries published memoirs of their lives in books, e.g. The Memoirs of a Publisher by F.N. Doubleday (1972), At Random by Bennett Cerf (1977), and at S&S, Turning the Pages by editor Peter Schwed (1984). Alas, Simon's manuscript went unpublished, and had been kept in the family until now. For anyone out there collecting publishers' memoirs, unknown pieces like this are rare.

Listed in the bookseller James Cummins' catalog alongside the typescript was a copy of S&S's first book, The Cross Word Puzzle Book (1924). Under the Plaza Publishing imprint, S&S printed it in a first edition of 3,600 copies, each with an attached pencil. The simple collection of puzzles, bound in blue cloth, had been the idea of Simon's aunt Wixie--and this particular copy in the Cummins catalog was hers, presented and inscribed by the publishers. It has already been sold for $10,000.

Prior to the Puzzle Book's publication, neither Simon nor Schuster had been in the book biz; Simon was selling pianos when he met Schuster, who was editing an automotive trade magazine. But that little collection of crosswords and the ones that quickly followed were huge successes, bringing in $600,000 by year's end. Ninety years later, the company remains among America's "big five" publishing houses.

(Disclosure: I worked at S&S in the late nineties and co-wrote its 75th anniversary book.)

Image: Courtesy of James Cummins Bookseller. 

A fit of despair over her troubled marriage to fellow poet Ted Hughes led Sylvia Plath to commit suicide in 1963. In the years that followed, Plath's work would achieve acclaim and accolades, assuring her a place in the pantheon of American poets. Plath's sharp, spare verses are the result of many drafts and revisions. Her journals, on the other hand, were an opportunity for Plath to write freely and unencumbered by critical eyes. 


In the summer of 1950, just before matriculating at Smith College, Plath began recording the events of her life in almost obsessive detail, and would ultimately cover topics from her never ending quest for poetic perfection to Hughes' spousal infidelity.  Since she died without a will, Plath's literary estate was left in the hands of her estranged husband. Hughes published her journals in 1982, however acknowledged that he had excised unsavory and unflattering entries from the last two notebooks spanning 1959 through 1962.  


plath.jpgIn 1981, Smith College president Jill Ker Conway facilitated the purchase of the Plath collection, which includes letters, poems, as well as the poet's personal journals.  The college's associate curator of special collections, Karen V. Kukil, transcribed twenty-three original manuscripts and published them in 2000, (Anchor Books) unabridged and including more than four hundred previously unpublished pages. (A full review and examination of these journals, written by none other than Joyce Carol Oates, can be found here.) 


While there aren't many events or celebrations planned on the eve of what would be Plath's 82nd birthday, her influence continues to reverberate throughout the literary community. Author Meg Wolitzer (The Interestings; Sleepwalking) references Plath frequently in her work. Belzhar (September 2014; Dutton Juvenile) - the title evoking Plath's The Bell Jar, - examines how a young girl grapples with grief by studying Plath's oeuvre and then writing her own journal.  Two other recently published young adult books reference Plath as well - see Bookriot's reviews from earlier this month.  These novels target the 13-17 female demographic, a group who may in turn be inspired to pick up a volume of the genuine article and see for themselves the introspective, cathartic power of Plath's poetry. 


Ted Hughes & Sylvia Plath, Concord, MA, December 1959. Photograph by Marcia Brown Stern

Credit: Sylvia Plath Collection, Mortimer Rare Book Room, Smith College, © Marcia B. Stern

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Today on the blog we feature an interview with author Christine Jackson about her new book John James LaForest Audubon: An English Perspective. Of the book, Jackson said, "It records the background - places, people, politics - against which Audubon's book The Birds of America was printed and sold in England in the 1830s... This book throws an interesting perspective on some of the most influential Englishmen of the 1830s and Audubon's relationship with them." Jackson is a former librarian and a fellow of the Linnean Society of London who has written a variety of books and articles on natural history subjects. Copies of Jackson's book can be purchased via e-mail on her website.

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What surprised you most while researching the book?

1. The bravery of Audubon. After years travelling across wild, uninhabited America, collecting birds and drawing them, he had a heavy portfolio that he carried on his shoulder containing 400 paintings of birds. He then sailed from America in a steam packet bound for Liverpool to search for an unknown engraver in an unknown country equipped only with a few letters of introduction. The only people whom he knew in England were his wife's sister and her husband and they were hostile to him.

2. Little has been included in earlier books about Lucy and her English family. This has been rectified, with family trees. Portraits of Lucy and her family are included, as well as many other portraits of the men and women mentioned throughout the book.

3. The extent to which Audubon was entertained, wined and dined, staying in the homes of his subscribers and admirers, was remarkable. He possessed charisma and was so outstandingly talented, that he made, and kept, many friends in England. Without this hospitality, Audubon's finances would have been stretched to breaking point.

4. The fact that the aquatinter Robert Havell was prepared to devote 12 years to engraving 435 of Audubon's  huge prints (39 ½ x 29 1/2 inches) and overseeing the printing of them is extraordinary. Havell also had to organize some 50 hand-colourists to paint the prints which then had to be distributed to the subscribers. Havell was the most skilled aquatinter then alive. When he had completed his task, aquatinting became superseded by lithography and Havell emigrated to America to paint its wonderful landscapes. The chance meeting with Havell in London had led to his wonderful skill being put to Audubon's purpose of printing his birds life-size. They are still the largest and most skillful bird plates ever produced, yet little fame or praise is accorded to Havell today.

What makes Audubon such a perennially fascinating figure?

In his early career, Audubon was an abject failure, with one failed business enterprise following another. Once he knew exactly what he wanted to do he became a different person, totally concentrated on his project to record and paint all the birds of America. Apart from the art work involved, he had to organize the selling of the prints - a business enterprise that he carried out efficiently. 

Audubon's outstanding talent was a factor in his eventual success, combined with his own charismatic personality that engaged the trust of leading Englishmen in all walks of life.  The scale of his ambition was breath-taking, taking great stamina to sustain the project through to the end. He travelled thousands of miles by horse and boat in America, crossed the Atlantic  several times, criss-crossed England by stage coach and then the new railways, taking to each form of transport with gusto and resilience. 

Because of the prices now paid at auction for his book, on the rare occasions when a copy comes onto the market, it attracts huge interest. Complete copies with the 435 plates now sell in excess of  £6 million GBP, (approximately 9 million USD), no other bird book coming anywhere near those figures.

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To whom will your book particularly appeal?

There are collectors of Auduboniana - any books or articles to do with Audubon. This one is unique in being about the time he spent in England at a particularly interesting period, written from an English perspective with background historical details. 

People interested in the social and political background of the 1830s with which Audubon had to contend as a foreigner.

Anyone interested in the mechanics of producing such a monumental work as The Birds of America - the obtaining of subscribers, aquatinting, printing, colouring, distribution and the amount of effort required to finance and sell his own book.

Collectors of rare books - only some 200 copies of the full complement of 435 plates were issued, many of them now having been broken up and few remain in private hands. Even if a collector cannot afford to purchase a copy, the amazing saga surrounding the book still fascinates. Originally The Birds of America was bought by book collectors, a few by naturalists, several as investments and objects to display to dinner guests as a show of wealth and culture. This highly prestigious item has a glamour all its own for its beauty, rarity and value as a unique record of America's bird population. My book covers all aspects of the story of the book's compilation and publication.

What do you personally collect?

Reference books to assist with my publications and Chinese porcelain of the Kang Hsi period.

Any other publications in prospect?

Publication in progress: Menageries in Britain 1100-2000, Ray Society, c/o The Natural History Museum, Dept of Zoology, Cromwell Road, London SW7 5BD. Due later this year. Hoping to find a publisher for  Bird Art in the 19th Century.
 

The Thoreau Institute at Walden Woods, a research facility that holds the most comprehensive collection of Henry David Thoreau-related material in one place, has acquired what its curator of collections Jeffrey S. Cramer calls "a dream collection, the last truly great Thoreau collection in private hands." The collection was amassed over 45 years by bookseller Kevin Mac Donnell of Mac Donnell Rare Books in Austin, Texas.

The highlights are thrilling: A Walden first edition--"the cleanest copy in existence," says Cramer--plus Thoreau's Aunt Maria's annotated copy of A Week on the Concord and Merrimack, two manuscript leaves from his "Walking" essay, unbound sheets of "Civil Disobedience," two books from Thoreau's personal library, Thoreau family pencils, and unrecorded variant editions. Topping all of those is an extremely rare manuscript leaf from Walden that references Baker Farm (seen below). "That sold it for us," says Cramer. Baker Farm is where the Thoreau Institute is located, so it feels very much "like it's coming back home," he adds.  

Walden ms001 detail.jpgWhen Cramer received a notice from Mac Donnell offering the collection, he was immediately very interested. He flew down to Texas to meet the bookseller and survey the collection. Mac Donnell, Cramer says, hoped it would end up in an institution. "It's a wonderful thing for both of us." Mac Donnell agreed, saying that it is "easier to let it go" back to Massachusetts.

Mac Donnell recently decided to sell the collection, much of which was detailed in a 1999 issue of Firsts magazine, in order to concentrate on other projects. He told us, "I'm focusing on Twain, writing scholarly articles for journals, under contract editing a collection of essays on Twain, etc. My Twain collection numbers over 8,000 items but I still find things. I had not added any exciting Thoreau to that collection in years. My wife has moved her antique glass into the bookcases that housed my Thoreau books so she's pleased!"

The Thoreau Institute Library (a.k.a. The Henley Library, named for its founder, singer and songwriter Don Henley) collects, preserves, and provides access to 60,000 Thoreau-related manuscripts, books, maps, correspondence, art, and the Thoreau Society archives. Its location so near Walden Pond and other literary attractions and archives is a boon for both researchers and tourists. Cramer says the collection will be open in about a month. He is still sorting through the boxes and working on a catalog, a webpage, and some limited photography.

Image: A draft manuscript leaf of Thoreau's Walden, in which he writes, "Oh Baker Farm!" Courtesy of the Walden Woods Project.
Today marks the start of a new occasional series on the FB&C blog called Bright Young Collectors, where we will profile the next generation of book collectors.  The series accompanies our Bright Young Booksellers and Bright Young Librarians series, which remain ongoing. We begin today with Robert Thake in Mosta, Malta:

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Where do you live?

Mosta, Malta.

What did you study at University?

During my years at university I first read for a bachelor of laws degree and subsequently read for a doctor of laws degree, both at the University of Malta.

Please introduce us to your book collection.  What areas do you collect in? 

My collection is composed of antiquarian books on Malta and as a consequence, rather than by intention, on the Order of St John, who occupied the island between the years 1530-1798.  Though the two subjects are often considered to be synonymous I keep them as far apart from one another as they were in reality.  My collection is primarily intended to celebrate the literary achievements of numerous unsung Maltese authors whose unwavering desire for both intellectual and actual freedom from oppression gave Malta an identity when the rest of the world believed it to have none.  

How many books are in your collection?

In all I have around a hundred antiquarian volumes.  This does not include contemporary publications of which I have a separate collection of a few hundred volumes.  

What was the first book you bought for your collection?

Leggi e Costituzioni Prammaticali (1724) affectionately known as the Codice de Vilhena, after Grand Master Manoel de Vilhena, who commissioned the publication.  This is the first printed codification of laws to govern the island.  Although the book's imprint states that the book was printed in Malta in 1724 this is in fact false.  The book could not have been printed in Malta since, following a spat with the local diocese and the inquisitor in the 17th century, the only press the island had was closed down and Malta was, as a consequence, plunged into darkness for a century.  The book was in fact published in Naples with a print run of a mere 230 copies.  It contains a beautiful engraving of Grand Master Vilhena executed by Pietro Paulo Troisi, a renowned Maltese silversmith and engraver.  This particular copy belonged to Fra Giuseppe Zammit, the surgeon general during Vilhena's magistracy.

How about the most recent book?

Il Vangelo di nostro Signore Gesù Cristo secondo San Giovanni, the first translation of a biblical text into Maltese, translated by Giuseppe Cannolo and printed in London in 1822.

How about The One that Got Away?

So far I can genuinely say that no book I set my heart on has gotten away.  This may have something to do with the overzealous manner in which I pursue books I want.  On one particular occasion I flew to Paris just a few hours after having found out that a very special book had just surfaced there.   In truth there was no reason why the book couldn't be shipped overnight to me but I felt I needed to chauffeur it home.  It takes all sorts.

What would you consider the Holy Grail for your collection?

Statuta Ordinis Domus Hospitalis Hierusalem (Rome, 1556).  Although this work is one of the few books in my collection not written by a Maltese and which holds a greater affinity to the Order of St John than to Malta, this book is one of the jewels in my collection.  This book contains the first set of statutes belonging to the Order of St John following their expulsion from Rhodes in 1522 and their resettlement on Malta in 1530.  These statutes pre-date the Ottoman siege of Malta by nine years and were compiled ten years before the foundation stone of the Maltese capital city, Valletta, was laid. The work was printed by Antonio Blado (1490-1567) who was also printer of the first edition of the 'Index Librorum Prohibitorum' as well as of Machiavelli's 'Il Principe' and 'Discorsi'.  This exquisite work, still bound in 16th century vellum, contains an engraved title page depicting the cross of the Order in red ink applied in stencil at the time of printing and also contains large historiated capitals throughout. 

Who is your favorite bookseller / bookstore?

I have bought books from all over the world and have had the pleasure of visiting countless bookshops and of having met many booksellers so it is difficult to say.  The bookseller who immediately comes to mind is Bégonia Le Bail.  My favourite bookshop would have to be Librairie Bertran in Rouen.  Though I never actually bought anything from this shop, its internal and external décor, coupled with the fact that it is strategically positioned behind the Cathédrale Notre-Dame de Rouen make it, in my opinion, the ideal bookshop.

What about your favorite book-related experience?

In 2010 I was alerted to the appearance of an especially important publication, the highly seditious Mustafà Bassà di Rodi schiavo in Malta (Naples, 1751).  I had been interested in this book since I had first heard of it and was eager to acquire it.  The bookseller who brought it to my attention, a French-Algerian gentleman, told me that I could collect it at the 2010 edition of the Salon du livre ancien de Paris.  Though initially deterred by the fact that I'd be sitting for my law finals just 10 days or so later, this apprehension only lasted a few seconds and I proceeded to book my tickets to Paris.

I was the fourth person to enter the fair - the three before me being members of the press.  I rushed to the stand, bought the book, did a couple of rounds, and ran back to my hotel room as if I had stolen it.  That night I was meant to be flying back to Malta but little did I know that Mother Nature had other plans.  While browsing through the BBC website I came across a rather inconvenient article, the headline of which read 'Airspace over Charles de Gaulle airport closed'. After almost breaking the F5 key on my keyboard the headline refused to go away and instead now read 'Airspace over Charles de Gaulle and Orly airports closed'.  Ordinarily I wouldn't mind being trapped in Paris, however, with finals now mere days away, an indefinite holiday was not quite on.  A friend of mine at the airline told me that the cause was an ash cloud caused by an uncooperative volcano in Iceland and that there was no telling how long Parisian airspace would be closed for.  He suggested that I make a dash to Marseille as the ash cloud had apparently not reached there yet.  I left for Marseille first thing the next morning only to discover that the ash cloud had beaten me to it.  I'd have seen the funny side had I not been carrying a valuable, fragile book in my backpack.  Subsequent advice suggested that I go further south still - to Rome.  My thirst for adventure (read: crippling fear of failing exams) was overwhelming, and before long I had in my hand a train ticket to Rome.  After a picturesque train-ride through the Alps, a night in Nice, a brief stay in Monte Carlo, and an eight hour trip along the western coast of Italy, I finally arrived in Rome and then Malta, with the book still intact.  I've never been happier while placing a book on the shelf for the first time.

And your favorite book in your collection?

For a number of reasons, my favourite book is the one I bought in Paris, Mustafà Bassà di Rodi schiavo in Malta.  Apart from taking it on a weird sort of honeymoon just a day or so after having bought it, I also wrote a history about its publication, circulation and prohibition.  This wonderful publication was composed in the months following the bloody massacre of the slaves in Malta in July 1749.  Since it saw the light in Naples in 1751, the book was the source of much speculation and controversy.  The book was printed under the name 'Michele Acciard' but had been widely attributed to the Maltese priest, Francesco Agius de Soldanis, on the strength of various contemporary documents suggesting his authorship. When the book was first conceived it was intended to recount the failed uprising of the slaves, however, following alleged manipulation of the manuscript, the book was printed not as a mere history book, but rather as a work of significant political importance, due to the numerous subversive statements which had been added.  The author challenged the legitimacy of the Order's occupation of the Maltese islands and instigated the Maltese to rise up in arms against their rulers.  As a result, the book was mercilessly scoured from the Maltese islands and beyond by the Grand Master, causing the book to almost disappear entirely.

Have you ever published anything yourself?

Yes.  I have written a number of papers of the history of various prohibited and anonymous books in my collection and last year I wrote my first monograph on the history of Mustafà Bassà di Rodi schiavo mentioned above.  I am currently composing my second monograph. 

What would you collect if you didn't collect books?

I'd probably collect Maltese ephemera or eighteenth century French political caricatures. 

JaneAusten_final_300dpi.jpgTo be an Austen completist would be quite a diabolical endeavor! I spent the weekend paging through a new book called Jane Austen Cover to Cover: 200 Years of Classic Covers (Quirk Books, $24.95), a well designed book about book jacket design. From the first edition of Sense and Sensibility in 1811, in what appears to be bland, half-bound calf, to the 2009 Penguin PBS/BBC tie-in edition of Emma with actress Romola Garai gracing the cover, this book presents full-color illustrations of Austen cover art. The point is to see how Austen--both her work and her personal image--gets interpreted and re-interpreted, and how book packaging gets better (or worse) over time. It's heavy on the post-1980s flurry of Austen reprints, with every 'classics' publisher out there trying to cash in on Austen's popularity (thank you, Colin Firth).

Some of my favorite examples in the book: the 1894 "Peacock Edition" of Pride and Prejudice, with its lovely gilded cover design by Hugh Thomson; the 1930 World's Classics edition from OUP may be "shocking red," but is quite perfect in its compactness and simplicity; and a 2007 Daily Telegraph edition of Mansfield Park dons an "Edward Gorey-esque cast of black-clad characters, a butterfly with groovy sixties brightness, and snaking roses" by Brett Ryder. The book's author, Margaret C. Sullivan, who has also written The Jane Austen Handbook and edits Austenblog.com, comments on her favorite reprint: a 1960s Gothic Revival design of Northanger Abbey that presents the novel as a Gothic novel, full of terror and menace. She writes, "It's hilariously wrong and I think Jane Austen would have loved it!"

Jane Austen Cover to Cover is obviously a must for Janeites, and it will also be of interest to those interested in book design and popular book history. Although persnickety types might have preferred more in the way of bibliographical descriptions of size, binding material, etc. for each edition in addition the artistic details she offers, beginning and intermediate collectors will value Sullivan's book as a guide to an author so perennially in vogue that tracking her many editions would seem an impossible task.

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