Our Bright Young Collectors series continues today with Hazel Wilkinson of Cambridge and London:

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Where are you from and where do you live?

I am from Surrey originally, and I now live in Cambridge and London.

What did you study at University? What do you do now for an occupation?

My first degree was in English at Oxford University; I then did a Masters in Renaissance Literature at York, before doing a PhD in English at University College London. My PhD was awarded in September 2014, and I'm now a research fellow at Fitzwilliam College, Cambridge, where I am working on my first book, and teaching undergraduate English.

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

I collect books of poetry, from Spenser (1552-1599) to Tennyson (1809-1892). Since I was an undergraduate I've enjoyed buying attractive or unusual books, when I've been able to find them for affordable prices. When I was at university I would often go to a second hand bookshop and see if I could find a nice old copy of the poet I was studying that week. Owning a big nineteenth-century volume of Keats made me feel much more intelligent than reading the standard scholarly paperback.  I never thought of myself as a book collector until entering the Anthony Davis Book Collecting competition. I didn't expect to win, as I hadn't assembled my collection particularly deliberately, or spent much money on any of the books. When I thought about the books that I own, I realised that there was a coherent theme running through them, even if I didn't plan it. They are all editions of canonical poets, published after the author's lifetime. I am interested in how each generation reinterprets the literary past. So, for example, I have a copy of Spenser from 1758 which is illustrated in a Classical style, and a copy of Spenser from 1908 which contains Art Deco illustrations. It's interesting to see how Spenser was repackaged and reimagined. Similarly, I have a big, leatherbound Byron from the 1860s, and a Penguin paperback Byron from the 1950s. These books say a lot about how fashions and reading habits changed over the course of a century. A lot of the books in the collection are prize copies, with school book plates. I have a copy of Thomas Gray which was presented to a student leaving Eton, which is quite expected, since Gray wrote about Eton. I also have a Wordsworth which was given as a Botany prize at a Diocesan Training College in nineteenth-century Bristol. I found this provenance really surprising, and incongruous, and it got me thinking about the way books are sometimes produced and kept as trophies, and aren't necessarily read. That will certainly sound familiar to many book collectors, I expect.

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How many books are in your collection?

30-40. Me and my partner, Will, often buy books together, and since we have similar interests there are quite a few jointly owned items, so the collection doesn't have clear boundaries. 

What was the first book you bought for your collection?

I'm not entirely sure, as I never thought of myself as buying "for a collection". However, I won an essay prize when I was an undergraduate and was given £30 in book tokens. I used these at Blackwell's in Oxford to buy an edition of Milton's Paradise Lost with Gustav Dore's illustrations. The book is hughe--nearly a metre high. This might not be the first book in the collection that I bought, but it is the most memorable. 

How about the most recent book?

Will and I went to Alton for a literature conference earlier this year, and we bought an illustrated nineteenth-century copy of Edward Young's poems, and a copy of Tennyson's In Memoriam bound in leather. We often end up in book shops when visiting a new place.  

And your favorite book in your collection?

Probably my 1758 edition of Edmund Spenser's Faerie Queene, because it is the oldest book I own. It is also one of the only books that I tracked down and purchased on the internet. I don't do this too often as I like finding things unexpectedly in bookshops. However, my PhD thesis was on eighteenth-century editions of Spenser, so I thought it would be great to own one of them. Doing a PhD on book history also got me more interested in collecting books, and in thinking more about the ones I already own. I kept an eye on eBay and ABE for months, and finally managed to find a 2 volume illustrated Faerie Queene from 1758 for only £40. It's not in very good condition, but that didn't matter to me as I was interested in studying its paper, type, and illustrations.

Best bargain you've found?

A huge nineteenth-century edition of Byron's complete poems and plays, containing illustrations, notes, introductions, and even facsimiles of Byron's handwriting. It's a big, heavy volume, with an embossed leather spine, marbled covers, and gilt page edges, and it was only £12.50 in Blackwell's in Oxford. I think this is because it isn't a particularly "important" edition, in terms of being a first or early edition, or having a notable editor etc. Later editions of authors are exactly what I find interesting, which is very lucky when it comes to buying books!

How about the One that Got Away?

Since I tend to just by books as and when I find them in bookshops, there's not been anything that really got away. 

What would be the Holy Grail for your collection?

The 1751 edition of Spenser, illustrated by William Kent. It's my favourite eighteenth-century edition of Spenser, but I'm sure I'll never be able to afford a copy. It was a luxury, high end edition in its day, and it still is now.

What is your favorite bookstore?

I like the Oxfam charity shops in Oxford, and the second hand department in Heffers in Cambridge. 

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

I don't think I would collect anything. I'm not really a collecting type. My book collection has arisen out of my studies rather than out of a desire to collect something.
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This Gonzo Sword, hand-cast in bronze in 2014, is one of only 100 copies of an art object created in homage to "Gonzo" journalist Hunter S. Thompson. Offered by Quill & Brush of Dickerson, Maryland, the kooky two-foot long, ten-pound artifact depicts, according to the booksellers, "Thompson's dual-thumbed, peyote-in-the-palm 'Gonzo fist,' first seen on the campaign poster created by Tom Benton when Thompson ran on the 'Freak Power' platform for Sheriff of Pitkin County, Colorado, in 1970." It is one of many incredibly cool items for sale at Boston International Antiquarian Book Fair this weekend (booth 206). Check out some more highlights here. See you there!

Image via Quill & Brush.
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A protest letter signed by 500 authors and artists has successfully halted Liverpool city plans to close 11 of its 18 branches. The letter described the proposed cuts as a "massacre" and pinpointed children as paying the heaviest cost for the closures.  "The loss would devastate Liverpool," wrote the supporters. "With recent figures showing that one in three children does not own a book, it seems to us terrifying that even the chance of borrowing a book is about to be taken away from many Liverpool children."

The letter was signed by children's laureate Malorie Blackman, poet laureate Carol Ann Duffy, Caitlin Moran, Jonathan Coe, Alan Gibbons, Cathy Cassidy and Meg Rosoff amongst many others. In addition to producing the protest letter, the campaign held rallies, stitched banners, and garnered international support.

Liverpool had seen a dramatic 58% cut in its government funding.  The Liverpool council said the cut would necessitate a £2.5m loss to the library service provided by the city, primarily in the way of branch closures.

In a statement issued yesterday, however, Liverpool city mayor Joe Anderson announced a reversal of plans.

Cathy Cassidy, young adult author and a primary organizer of the campaign, said in an interview with The Guardian, "I asked people to write 'love letters to Liverpool libraries' and send them to Liverpool's mayor, and hundreds of heart-breaking and uplifting letters flooded in from schoolchildren, families and library users as well as supporters all around the UK - this was devised as a positive, peaceful and non-political way for people to show the council how much the libraries mean to them."

[Image of Liverpool central library from Wikipedia]
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Seen here at left is the iconic book jacket for J.D. Salinger's 1951 novel, The Catcher in the Rye, featuring E. Michael Mitchell's angry red horse illustration -- or is it? Upon closer inspection, you will note that this Catcher's author is Richard Prince. And the publisher's name on the spine is no longer that of Little Brown, but instead something called American Place.

In 2011, Richard Prince, an artist whose paintings have sold at auction for millions of dollars, created this reproduction of the first edition of Catcher in a limited edition of 500 copies.

It was an act of "provocative appropriation," according to Swann Galleries, which will auction one of the now scarce artist's books on November 18, for an estimated $800-1,200. Prince sold unsigned copies at the 2011 New York Art Book Fair for several hundred dollars and--unbelievably--hawked them one day on a sidewalk outside New York City's Central Park for $40. You can read more about this stunt at the Poetry Foundation's blog.    

Image Courtesy of Swann Galleries. 
"Snow White," "Rapunzel," and "Hansel and Gretel;" three stories read and beloved worldwide in a narrative style that has remained unchanged in two hundred years. Evil stepmothers cast out the beautiful Snow White and Hansel and Gretel, while Rapunzel works on a ladder to join her prince. In the first edition from 1812, however, readers are confronted with evil biological mothers wishing their innocent children dead, and Rapunzel is cast from her tower because she is impregnated by her plucky prince. The cleaner, less subversive versions we know are from the seventh edition of tales, published by Jacob and Wilhelm Grimm in 1857. They are the result of the brothers' tireless efforts to refine and edit German folk and fairy tales, while the men simultaneously worked to preserve stories that had been part of an oral folk tradition. Now, Princeton University Press has released a translation of the complete first edition, including the Grimms' preface and notes. Translated and edited by Jack Zipes, professor emeritus of German literature at Minnesota University, these stories capture the varied voices of those people who originally told the Grimms these colorful tales. 
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The Grimm brothers were fascinated by what they called "natural poetry" (Naturpoesie), stories passed down from generation to generation. They felt that these ancient folk songs, proverbs and anecdotes were the foundation for German Kuntspoesie ("cultivated literature"). Viewing themselves as literary custodians of the origins of German literature, Jacob and Wilhelm spent years researching and recording stories of the German Volk. Contrary to popular belief, the Grimms did not travel the countryside in search of tales. Rather, they commissioned storytellers to share their stories. A list of contributors indicates the dozens of teachers, ministers, bourgeois women and poor peasants who provided tales.  With so many sources, the brothers often heard variants of the same story, and so included them in their first edition. As a result, there are multiple entries for some tales, such as "Little Red Cap" and  "The Little Magic Table, The Golden Donkey, and the Club in the Sack."
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The Original Folk and Fairy Tales of the Brothers Grimm. Image reproduced with permission of Princeton University Press. Illustration ©2014 Andrea Dezsö.

Many folk tales in this edition did not make it to later publications.  Certain stories were too gruesome for young readers and middle-class sensibilities, such as the disturbing "How Some Children Played at Slaughtering."  Indeed, as the Grimms published subsequent editions, the stories became more literary and refined, retaining the magic but losing some of the more absurd, raw qualities that lend some qualities later seen in work by Kafka. The tales of the 1812 edition are direct, simple, and full of raw emotion. Sometimes the hero (often a downtrodden underdog) doesn't live happily ever after, if at all. Children are frequently at the mercy of wicked adults, yet these stories belong to a world inhabited by fairies and talking animals, where innocents are tested and, if successful, rewarded for their bravery and honesty. Thoroughly engaging, Zipes' translations into colloquial American English breathe life into these stories. Award-winning artist Andrea Dezsö's cut-paper black and white illustrations capture the essence of this strange and enchanting world that will entice fans of mystical realms and those interested in better understanding the Grimms' enduring influence on literature.


The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition, by Jacob and Wilhelm Grimm, translated and edited by Jack Zipes, illustrated by Andrea Dezsö; Princeton University Press, $35.00, 568 pages. (November 5, 2014)

Our Bright Young Collectors series continues today with Kayleigh Betterton of Islington, England:

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Where are you from and where do you live now?

I grew up in a small town in rural Northamptonshire but moved to London six years ago to study English Literature at Queen Mary University; I currently live in Islington.

What did you study at University? What do you do now for an occupation?

At university I studied English Literature but whilst I was there I interned at Bloomsbury Auction house. This role involved working with first editions as a junior cataloguer and then authenticating and valuing these items ready for auction. It was during my time at Bloomsbury that I began to extend my book collection. However upon completion of my degree I left Bloomsbury to train as a secondary school English teacher and have now moved on to teach A-level English at a sixth form college in South London. Unable to leave Academia behind however, I'm also studying on the Victorian Studies MA course at Birkbeck College.

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

My collection consists mostly of works by Oscar Wilde or books which are associated with the Aestheticism and Decadence movements. I tend to collect first editions, such as Wilde's 'The Picture of Dorian Gray', however I've recently become interested in privately printed editions and have one of the limited copies of 'The Portrait of Mr. W.H.' which was a published in 1904, as well as a privately printed copy of 'Vera; Or, The Nihilists' from 1902. My latest desire is to collect the thirteen volumes of the quarterly periodical 'The Yellow Book', of which Beardsley was the Art Director. But so far I only have the two.

How many books are in your collection?

In terms of late Victorian works, I probably have in the region of 30 books now and yet I'm on to my fifth floor-to-ceiling bookcase of modern texts. I'm dreading the day when I have to move out of my third-floor flat and carry them all down two flights of stairs!

What was the first book you bought for your collection?

The first book I bought for my collection was purchased unintentionally. It was the first edition of 'De Profundis'; Wilde's letter, written during his imprisonment in Reading Gaol, to Lord Alfred Douglas. I was on the lookout for 'Dorian Gray' and had been scouring Auction House catalogues for the novel but kept getting distracted by other books in the meantime. Walking through the auction room at Bloomsbury one day, I saw 'De Profundis' come up for sale and on a whim, bid for it.

How about the most recent book?

The most recent addition to my collection is the 1912 Bodley Head edition of 'Salome', featuring Beardsley's illustrations. Although it isn't the purple-wrappered 1893 edition, Beardsley's illustrations presented too much of a temptation. Although I am currently on the lookout for the 1907 edition with the previously suppressed peacock-feather cover illustration, in gilt.

And your favorite book in your collection?

It has to be 'Dorian Gray', and not because it's my favourite novel, but because of the thrill of the chase and the amount of time it took for me to locate and buy a copy. I waited for two years for the right copy to come up at auction!

I know this must sound sacrilegious to come book collectors but I now use my copy of 'Dorian Gray' as a teaching aid. For A-level English Literature, students must be aware of the significance of contextual factors in the production and reception of texts and so to be granted access to the first and early editions of texts they're studying, or from the era they're researching, is invaluable. Therefore I deliver lectures and workshops using my collection to give students a real hands-on, materialism-focused approach to analysing texts; I teach them how to 'read' books as physical objects and then allow them to interact with the collection themselves.

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Best bargain you've found?

The first volume of The Yellow Book that I purchased was from a university library sale. I wandered past the sale table and couldn't help but notice Aubrey Beardsley's distinct illustrations on the cover. Despite its location it was in remarkably good condition and I picked it up for about £5.

How about the One that Got Away?

Three months after 'Dorian Gray' was published by Ward, Lock & Co in 1891, the publishers issued a large-paper deluxe edition of the novel which was signed by Wilde on the limitation page. Only 250 copies of this edition were published.

Throughout my time at Bloomsbury, I only came across two editions of 'Dorian Gray', one was a copy of the 1890 Lippincott's magazine where the story first appeared but the other was one of these deluxe editions. Now whilst it may be inaccurate to say this was the 'One that got away' (as I would never have been able to afford the deluxe edition in a million years), I still feel as though I let it slip through my fingers, as there hasn't been a deluxe edition come up at auction now for some time.

What would be the Holy Grail for your collection?

I think my above response probably answers this one!

Who is your favourite bookseller / bookstore?

I'm more than likely biased when I say Bloomsbury, having worked there, but I still appear to have sourced most of my collection from the auction house. But if we're talking about bookstores in general then I love the second hand book store on Church Street in Stoke Newington. They permanently have jazz playing in the background and their literary criticism section always seems to have what I'm looking for.

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

Is it cheating if I say bookplates? I know the damage that can be inflicted on the price of a book with an ill-placed bookplate belonging to an unidentifiable owner, and yet I still adore them. I've yet to go so far as to collect them by themselves... I still much prefer them to be stuck inside a book!

Blame Johnny Depp. Or maybe Arturo Perez-Reverte, author of the 1993 novel The Club Dumas, which was then adapted into the 1999 film The Ninth Gate, starring Depp as a shady rare book dealer. Either way, we seem to have accepted this idea that the rare book trade is a dark underworld, peopled with deceptive booksellers, maniacal collectors, and greedy forgers. Two new novels pull on this thread in different and engaging ways.

9780802123213 copy.jpgThe Forgers by Bradford Morrow (Mysterious Press, $24) stuns from its first line, "They never found his hands." A reclusive Long Island collector named Adam Diehl has been murdered. His sister is justly horrified, and her boyfriend, Will, a bibliophile with a talent for literary forgery, avoids telling her some secrets he knew about Adam. But as they begin to move on with their lives, Will receives a series of threatening letters, written in the script of dead authors.          

Morrow, formerly a rare book dealer and currently a collector of first editions and the author of seven previous novels, clearly knows his way around the subject and parlays that expertise into lovely lines about putting his pen nib to "antique leaf, its wire-and-chain lines singing like lyre strings beneath the flowing words." Roundly praised by all the pre-pub review magazines and a list of literary luminaries (Joyce Carol Oates, Karen Russell, Peter Straub...), Morrow offers a suspenseful plot that coexists with gritty characters and ominous imagery. 

9780525427247_large_First_Impressions.jpgFirst Impressions: A Novel of Old Books, Unexpected Love, and Jane Austen by Charlie Lovett (Viking, $27.95) has a pretty neat premise: someone has stumbled upon the fact that Jane Austen may have stolen the idea for Pride & Prejudice from a tale shared with her by an elderly clergyman. Getting to the bottom of that mystery will involve murder, theft, deceit, assault, and desire. The dual narrative moves back and forth between a Hampshire village at the end of the 18th century, where Austen finds a literary mentor, and present-day London, where recent Oxford graduate Sophie Collingwood is trying to rebuild the library of her recently deceased and beloved uncle and choose between two romantic partners. That is, until she is strong-armed into locating a rare, possibly unique, volume that will discredit Austen.

Lovett is also a book collector and a former antiquarian bookseller (he was featured in our spring issue's 'How I Got Started' column), and this is his second novel, following his 2013 bestseller, The Bookman's Tale. First Impressions is nimble and entertaining. Austen fans will surely flock to it, as will bibliophilic and publishing history geeks who can't pass up a novel with characters that include an unknown 18th-century printer and a man who keeps his fabulous family library locked at all times. 

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An ongoing copyright case closed on Monday after the US Supreme Court refused to hear an appeal about Sherlock Holmes stories in the public domain.  The Court left intact a ruling from the seventh US circuit court of appeals that 50 Sherlock Holmes stories published before 1923 are no longer protected by copyright.  An appeal to that ruling had been filed by the Arthur Conan Doyle Estate, but their last-ditch effort to preserve an undoubtedly generous stream of income was denied.  The Estate can, however, still collect royalties on the final 10 Holmes stories, which were published between 1923 and 1927 and remain protected by copyright.

All this hoopla began last year when writer and attorney Leslie Klinger put together an anthology of Sherlock Holmes stories from modern writers.  Klinger was asked by the Conan Doyle Estate to pay a $5,000 licensing fee, which he refused. Klinger then sued the estate and a legal battle ensued.

In the meantime Klinger's publisher, Pegasus Books, refused to publish the book after threats from the Conan Doyle Estate to stop sales from Amazon and Barnes & Noble. Presumably, the book - entitled "In the Company of Sherlock Holmes" - will now move forward with publication.

The case is Conan Doyle Estate v Klinger, US supreme court, No14-316.

[Image from Wikipedia]
M30105-1k copy.jpgThe top lot--and big surprise--at Swann Galleries' auction of prints and drawings last week was this late fifteenth- or early sixteenth-century manuscript prayer book with hand-colored engravings, after or attributed to Albrecht Dürer and Heinrich Aldegrever. The auction estimate of $3,000-5,000 was blown out of the water by a dealer who finally won it for $100,000 (including premium). The book contains twenty engravings pasted onto vellum pages, each vibrantly decorated in watercolor and gouache--but the buyer must have seen something beyond its beauty...?

Image Courtesy of Swann Galleries.