April 2017 Archives

Pirsig2005.jpgPhilosophical novelist Robert M. Pirsig, author of Zen and the Art of Motorcycle Maintenance, passed away on Monday at age 88.


Pirsig only published two novels in his lifetime, Zen and the Art of Motorcycle Maintenance, and its sequel Lila: an Inquiry into Values, but both works were deeply influential, particularly with the counterculture movement of the second half of the 20th century.


Born in Minneapolis in 1928, Pirsig was a precocious child with a high IQ. He graduated high school at the age of 15, going on to earn a degree in philosophy. He taught philosophy for a brief time at Montana State College in Bozeman and worked as a technical writer before being hospitalized for schizophrenia and depression in the early 1960s. 


Pirsig wrote the loosely autobiographical Zen and the Art of Motorcycle Maintenance after a motorcycle road trip from Minneapolis to San Francisco that he undertook with his son Christopher in 1968. After being rejected by over 100 publishers, Zen was finally published by William Morrow in 1974, quickly becoming a bestseller.  Pirsig said of the novel that he “set out to resolve the conflict between classic values that create machinery, such as a motorcycle, and romantic values, such as experiencing the beauty of a country road.”


A Guggenheim fellowship allowed him to finally complete a sequel, Lila, which was published in 1991. In the novel, Pirsig expounds upon the value-based metaphysics he first established in Zen


Pirsig lived the last thirty years of his life in South Berwick, Maine. He is survived by his wife Wendy, as well as two children and three grandchildren. His son Christopher, who features heavily in Zen, died in a mugging in San Francisco in 1979.


[Image from Wikipedia]







Pardon our French, but a bizarre manuscript heading to auction at Christie’s London this week might provide a chuckle for your Monday. If, that is, you have a slightly scatological sense of humor, because this nineteenth-century Italian manuscript is about ... well ... excrement, scat, poo--and not of the Winnie variety. Titled Merda est salus hominis..., the 28-page manuscript is, according to Christie’s, a “discourse in the form of a mock-address to a learned society, retracing the ancient and noble origins of defecation, its cultural associations and health-giving benefits.” The handwriting is beautifully elaborate, which makes the prank all the better. Bound in black roan, the manuscript also contains an engraved frontispiece that is, shall we say, on theme.

Lot 17 copy.jpgThe auction estimate for this feces-focused volume is £500-800 ($650-1,000), inexpensive enough to be a terrific conversation piece. Perhaps Italy’s own Museo della Merda would make a perfect home for it?

Image: Christie’s Images LTD. 2017.

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Since 1942, Harvard’s Houghton Library has focused on preserving a trove of collections that together represent almost the full scope of the history of the written word. Yesterday evening, over one hundred professors, librarians, and friends gathered at Houghton to commemorate the library’s seventy-five years of existence. Festivities opened with a lecture held at the stately Loeb House by Carl Pforzheimer University professor Ann Blair, who discussed the importance of preserving and using primary materials while highlighting the enduring need for libraries to transmit knowledge to posterity, especially in the digital age. Afterwards, participants made the quick walk past trees unfurling their fragrant blossoms to Houghton Library, where a book launch party and exhibition awaited in the ground-level Edison and Newman Room.


Entitled Houghton Library at 75 ($25, Harvard University Press) and edited by assistant curator of modern books and manuscripts Heather Cole and Hyde collection curator John T. Overholt, the publication offers a glimpse of the myriad holdings that fill the library’s shelves. From third century Greek papyri and European incunables to the Gutenberg Bible and drawings by John James Audubon, how do you choose the cream of the crop? The curators gamely rose to the challenge of selecting seventy-five items that they felt represent the breadth of the library’s holdings. The Bullard portrait of Emily Dickinson and her siblings, William Blake’s hand-colored Europe a Prophecy, and Shakespeare’s First Folio are three examples included in the book.


Meanwhile, HIST 75: A Masterclass on Houghton Library, is the first in a series of year-long exhibitions, lectures, movie screenings, tours, and other events celebrating these precious pieces and the place that keeps them safe. Forty-six of Houghton’s treasures were selected for display by faculty members who based their criteria for inclusion on whether the item had been useful for research, teaching, or provided inspiration somewhere along the line. Blair chose an English writing tablet from 1581 with pages in the middle treated with a chemical to harden them, creating a reusable writing surface (portable stylus included), while fellow Pforzheimer University professor Robert Darnton selected a volume of Emerson’s Essays with Herman Melville’s lively annotations scribbled in the margins. 


The festivites also aimed to raise awareness that the Houghton’s collections are not intended to gather dust and be forgotten; rather, these items are meant to help fulfill the core mission of Harvard--to educate through a commitment to the “transformative power of a liberal arts and sciences education.” Though access was restricted in the library’s early years, today many of the collections are available for up-close examination, either by visiting the library or by consulting Harvard’s vast and freely accessible digitized archives. The push to invite a new generation to Houghton is working: last year no less than 283 classes were held in the library, hailing from nearly every discipline.


After a tour of the exhibition and enjoying a spread of wine and cheese, partygoers departed, hopefully inspired to return and spend more time among the materials that define our shared human experience.


Learn more about Houghton’s 75th celebrations, including forthcoming events, here

knifeslipped.jpgCharles Ardai, founder and editor of the much-lauded Hard Case Crime, spoke to us over email about their recent publication of a lost Erle Stanley Gardner novel entitled The Knife Slipped:


Erle Stanley Gardner will be a familiar name to many of our readers for creating the Perry Mason series of detective novels. Could you introduce us to his Cool and Lam series as well?


While he’s better known for the Perry Mason books, which he began publishing in 1933, Erle Stanley Gardner was a writer of ferocious productivity - supposedly writing up to 10,000 words in one day, at which pace he could write a novel in a week or two - and in 1939 he kicked off a second series, somewhat more hardboiled than Perry Mason, about a pair of private eyes name Bertha Cool and Donald Lam. He published 29 books about the pair, between 1939 and his death in 1970, all of them under the pen name “A.A. Fair.” At first, the fact that Fair was really Gardner was a big secret, even within the publishing company that put the books out, but eventually critics caught on to the similarity of writing style and the secret identity was revealed. But even after that Gardner kept using the A.A. Fair name for the Cool & Lam mysteries, perhaps to keep some separation between the more staid and proper Mason novels and the slightly more tawdry, profane, and risqué Cool & Lam titles. Bertha Cool, in particular, the proudly obese, gluttonous owner of the detective agency, was a tough-talking, vulgar character, a far cry from the female characters you generally met in the pages of detective novels in the 30s and 40s. And Donald Lam, her junior partner, was a disbarred former lawyer some distance from Perry Mason in the area of ethics, having once tutored a client on how to commit murder and get away with it. The characters are delicious, and it’s easy to see how much fun Gardner had writing about them. They inspired radio and TV adaptations (starring Frank Sinatra and Art Carney, respectively) and have a passionate fan base to this day.


 The Knife Slipped was intended to be the second installment in the Cool and Lam series, originally slated for publication in 1939. Why was it never released?


The correspondence we found with the manuscript among Gardner’s papers revealed that Gardner’s publisher, Thayer Hobson at William Morrow, disliked the book intensely, complaining in particular that Bertha Cool was an unappealing character who spent all her time cursing, smoking cigarettes and trying to gyp people. Apparently, he felt the first book in the series, THE BIGGER THEY COME, had presented her in at least a somewhat more sympathetic light. He told Gardner he’d publish THE KNIFE SLIPPED if Gardner insisted - Gardner was one of their best-selling authors, after all - but said he thought the book would do his reputation no favors. So Gardner did what only a writer as productive as he was could afford to, namely stick the manuscript in a drawer and just write an entirely different book about the characters. That book was TURN ON THE HEAT, perhaps the best book in the series, and Hobson accepted it gladly. And THE KNIFE SLIPPED remained in that drawer for the next 70 years.


How did you find out about The Knife Slipped?  How did you secure the rights for publication?


A writer named Jeffrey Marks, who had been working on a biography of Gardner, came across references to THE KNIFE SLIPPED among Gardner’s papers and brought its existence to our attention. We requested a copy of the manuscript from the university where Gardner’s papers are kept, with the assistance of the author’s grandson, and after a bit of discussion a copy showed up. I read it fearing the worst - that it had been rejected for good reason - and was delighted to find that the book was first-rate, one of my favorites in the entire series. Since we already had a relationship with the Gardner estate, having reissued one of the other Cool and Lam novels a decade earlier, it was simple to put a contract together to do this one.


What can readers look forward to in The Knife Slipped?


THE KNIFE SLIPPED is very much a classic Cool and Lam yarn, with all the intricate plotting and delicious dialogue and wonderful character beats fans of the series would expect. But it’s also out of the ordinary since it was written right after the first book and depicts a point early in the characters’ relationship, when Lam was still more an ex-lawyer than a proper private eye and Bertha Cool had to carry more of the load of the detective work. In this respect it really does fill in a missing chapter in the series and is all the more enjoyable for that reason.


Are there other “lost” Gardner novels waiting out there?


Sadly, as far as we are aware, there are not.


What’s next for Hard Case Crime?


We seem to have made something of a speciality of uncovering lost manuscripts from famous authors, and we have a real rarity coming this summer: FOREVER AND A DEATH by Donald E. Westlake, a novel Westlake wrote but never published around 1999, after being hired by the James Bond movie producers to plot out a film in the Bond series. When the producers opted not to use the storyline Westlake came up with, he turned it into a novel, but for whatever reason didn’t publish it while he was alive.


And for fans of Cool and Lam, we’re going to be reissuing three more of the Cool and Lam books, ones that haven’t been in bookstores for decades and that I especially like - one from the 1940s, one from the 50s, and one from the 60s. We’ll start with TURN ON THE HEAT, the book Gardner wrote to replace THE KNIFE SLIPPED. It only seemed appropriate.


[Image courtesy of Hard Case Crime. For more, see our 2015 interview with Charles Ardai about the publication of Gore Vidal’s Thieves Fall Out]. 















morgan2.jpgLiving in the shadow of her husband, author F. Scott Fitzgerald, Zelda Fitzgerald was a writer and, as evidenced by this incredible set of painted paper dolls, a visual artist too. Zelda had married Fitzgerald in 1920, and their lives were famously wild, unscripted, and discordant. Her biographer Nancy Milford suggests that Zelda began painting in the mid-1920s, perhaps to express her mercurial emotions. She began making paper dolls in 1927, “most likely as a way to engage with her then 6-year-old daughter Frances ‘Scottie’ Fitzgerald,” according to Sotheby’s. “Zelda continued making dolls throughout her life, creating depictions of her family, religious figures, animals, fairy tales such as “Goldilocks and the Three Bears,” King Arthur and his knights, and the court of Louis XIV (like the set reproduced in “The Romantic Egoists”). The figures are all curiously androgynous, with an exaggerated and distinctly modern musculature.”

Zelda 2.jpgThis collection of five dolls plus seven tabbed costumes made by Zelda comes to auction next week at Sotheby’s NY in Part III of the Maurice Neville Collection of Modern Literature. Its estimate is $25,000-35,000. Much of Zelda’s artwork was sadly lost--what was collected and compiled by her granddaughter in Zelda: An Illustrated Life (1996) is quite stunning. The paper dolls form a large part of her remaining artistic output.  

In a Q&A posted by Sotheby’s, Neville’s son, Morgan Neville, talks about his father’s book collecting mania and some of his favorite pieces: “[T]he most personal by far are the Zelda Fitzgerald paper dolls. My mom had those hanging in her dressing room my whole life. They’re beautiful, and when I see them I think of my mom. They make me happy.”

To see more, check out this slideshow of the auction’s top twelve lots.

Images via Sotheby’s.

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The British Library has announced plans to extend its iconic London Building, developing a neighboring 2.8 acre site into a major new center for both research and commerce.


Working in conjunction with property developer Stanhope and architects Rogers Stirk Harbour + Partners, the development will include 100,000 sq ft of new space for exhibitions and research. The new development will also serve as a bespoke headquarters for the Alan Turing Institute, and host commercial space for knowledge-based companies.


“The British Library is one of our finest cultural institutions, housing an unparalleled collection of knowledge. This innovative project will increase access to the Library’s first-class collections, providing new exhibition spaces, learning opportunities and facilities for visitors from Britain and around the world to enjoy,” said Secretary of State for Culture, Media and Sport Karen Bradley in a British Library press release.


The development will fall in line with the British Library’s stated “Living Knowledge” vision, an effort to become more open, creative, and innovative in its delivery of services.


[Image courtesy of the British Library]






Screen Shot 2017-04-17 at 9.42.00 AM.pngLast week the Wolfsonian at Florida International University in Miami Beach opened In the Shadows, an exhibition of mid-century American pulp magazine and paperback cover art. Focusing on the stereotypical ‘tough guys,’ and ‘helpless females,’ often featured on pulp covers of the era, the exhibition was organized in collaboration with FIU students to explore gender and violence.

In a review, Nicole Martinez writes, “Because pulps were cheaply produced, illustrations among their pages were scarce. Instead, pulps concentrated on creating exciting, melodramatic covers that incorporated color and movement to entice readers.” That drama was often depicted with stereotypical, violent, and xenophobic imagery. Kudos to FIU not only for engaging those topics, but also for encouraging students in this type of book and art history study.

The exhibit remains on view through July 9.

                                                                                                                                                    Image: Murder for What? by Kurt Steel (paperback, 1943) is one of the pulps on exhibit. Courtesy of the Wolfsonian.

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William Addison Dwiggins, ca. 1941. Photograph by Robert Yarnall Richie.
Collection of the Boston Public Library.                                                                                                                                                                                                                      

Thank twentieth-century American polymath William Addison Dwiggins (1880-1956) for coining the term “graphic design” back in 1922 which he used to describe his contributions in the fields of book design, typography, lettering, and even puppetry, and the term has stuck to the profession ever since. Now, San-Francisco-based nonprofit Letterform Archive and author-designer Bruce Kennett have put the final touches on a forthcoming biography of Dwiggins and his career. This book is the first of many projected design-focused publications for Letterform which hopes such endeavors will help promote the history and beauty of letterforms in graphic design. To fund publication, Letterform launched a Kickstarter campaign on March 27, 2017, and within two days had surpassed its $50,000 goal, though fundraising continues in order to raise further awareness about Dwiggins and his work.        

                                                                                                                                                   

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W. A. Dwiggins, detail. (Boston: W. A. Dwiggins and L. B Siegfried, 1919). Collection of Letterform Archive.

                                                                                                                                                    W.A. Dwiggins: A Life in Design focuses on Dwiggins’ contributions to graphic design while also exploring his mastery of seemingly disparate art forms--in addition to designing roughly 300 book covers for publisher Alfred A. Knopf and creating Electra and Caledonia, two widely used typefaces, Dwiggins was a puppet master. His collection of marionettes--along with Dwiggins-designed books, broadsides, and furniture--were donated to the Boston Public Library in 1967 and represent his zealous attention to detail while crafting whimsical wooden playthings.

                                                                                                                                                                              

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Bruce Kennett. Used with permission from Letterform Archives.                                                                                                                                     

Surprisingly, despite his wide-ranging influence that continues to resonate in the graphic design community, Dwiggins has not been the subject of a comprehensive biographical treatment until now. Good things take time: in an effort to remedy the omission, Kennett has spent decades studying Dwiggins, and in his treatment explores the success of a designer in both the artistic and commercial fields of printmaking and design who didn’t sacrifice his unique aesthetic.

                                                                                                                                                                          

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W. A. Dwiggins, detail of stencil illustration from H. G. Wells, The Treasure of
the Forest (New York: Press of the Woolly Whale, 1936). Collection of Letterform Archive.


The Kickstarter campaign ends on April 28, and like most publicly funded endeavors, there’s swag involved: backers at the $25 level or more receive goodies ranging from Dwiggins-designed postcards, a commercial license for digital versions of Electra fonts, while $95 gets you a copy of the book. High rollers ($5,000 and up) can expect a book, Linotype slugs used to print the letterpress portfolio, and a private dinner at Letterform’s San Francisco headquarters (transportation not included).


Learn more at: https://www.kickstarter.com/projects/letterformarchive/w-a-dwiggins-a-life-in-design

Sylvia_Plath1.jpgA previously unknown series of letters that Sylvia Plath wrote toward the end of her life claim that her husband, poet Ted Hughes, beat her, leading to the miscarriage of her second child. The letters, which were offered for sale at the New York Antiquarian Book Fair, have been taken off the market as a result of a legal dispute.


Plath wrote the letters to Dr. Ruth Barnhouse between 1960 and 1963 (the year she died). They were written after Plath found out about Hughes’s infidelity with their friend Assia Wevill, and are thought to be some of the only surviving uncensored documents about Plath’s last months. The most shocking passages in the letters accuse Hughes of domestic abuse.


The letters were part of an archive collected by Harriet Rosenstein several years after Plath died. Rosenstein was compiling material for a biography that was never finished.


Antiquarian bookseller Ken Lopez offered the archive for sale on behalf of Rosenstein, which in addition to the letters included some other Plath ephemera, for $875,000. The letters were taken off the market, however, after Smith College filed a lawsuit claiming that the letters belonged to the Ruth Barnhouse estate, which was bequeathed to the college after her death. Rosenstein, meanwhile, claims that the letters were given to her by Barnhouse almost 50 years ago.


Until the legal dispute is settled, the letters wait in limbo, with 20th century poetry scholars anxiously awaiting the opportunity to dig into the archive. Ted Hughes’s widow, meanwhile, has called the claims that he was abusive “absurd” and “shocking.”


[Image from Wikipedia]






9781452145402.jpgBibliophiles, grab a slip of paper and a mini pencil: the Library of Congress has traced the history of a much beloved piece of library furniture (and knowledge repository) in The Card Catalog: Books, Cards, and Literary Treasures (Chronicle Books, $35), published this week to coincide with National Library Week. Boasting a foreword by Librarian of Congress Carla Hayden, the handsomely illustrated hardcover is a paean to library technology, old and new.   
Certainly book lovers will be drawn to the imagery--more than two hundred full-color images of original cards, first editions book covers, and archival photos from the library’s collection. More than a few will feel sentimental for the standardized penmanship--aka, “Library Hand”--used to fill out cards until the linotype and the typewriter took over. Nostalgia aside, the images of the cards make a convincing argument for retention. All of the various marks and stamps, indicating name or location changes or reclassifications, can be read the way a book historian might read an antiquarian book’s preliminary pages, noting the various owners’ signatures, scripts, and dates, to uncover its provenance.  

Neat trivia turns up in the fine print. For example, who knew that J. Edgar Hoover had been a library clerk? He later wrote that his job “gave me an excellent foundation for my work in the FBI where it has been necessary to collate information and evidence.” Or, how about the fact that it was a female mathematician named Henriette D. Avram who “devised the first automated cataloging system in the world, known as Machine-Readable Cataloging (MARC)” in 1966 at the LOC. It’s still in use today. The book also aptly conveys the enormity (and occasional tedium) of the LOC cataloger’s task; library rumor had it that card-filing clerks who failed to meet quotas “dumped their cards down the elevator shafts.”

While the LOC “froze” its card catalog in 1980--meaning it no longer physically added cards to the wooden cabinets--the library continued to make and distribute cards to other libraries using the LOC system until 1997. Amazingly, the LOC did not, like its peers, ditch its hefty card catalog once it had become obsolete in the eyes of others. There is still data to be mined. As one of its librarians put it: “In short, the information contained in the Main Card Catalog--and not found anywhere else--continues to be needed in many instances for efficient access to the Library’s millions of pre-1968 volumes because much of the needed information on the cards did not make the transition to the online catalog.”    
Read the book’s introduction by Peter Devereaux here.

Image courtesy of Chronicle Books

Our series profiling rare book accounts on Instagram continues today with book collectors. (See Part 1 for library institutional accounts and Part 2 for personal accounts of librarians).


And so, in no particular order, here we go...


@therarebookhunter (M. Daniel; Tennessee)

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@bookhawk (Corey Swartsel; California)

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@theperfumeofbooks (Australia)

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@annielauriesbooks (Laurie Baker; California)

annielaurie.jpg@michelesgp (Michele Rodda; Singapore)

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@lostinbookz

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@dark_occult_books (England)

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@i_bibliotaph

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@butterfliesofzembla (Sara Gran; California) (Check out Sara’s interview with us back in 2013).

butterfliesofzembla.jpg(A special thanks to Diane Dias DeFazio, a previous entry in our Bright Young Librarians series and an avid Instagram user, for her help in compiling this post).



Guest Post by Catherine Batac Walder

                                                                                                                                                             The event with Dame Hilary Mantel and renowned historian and broadcaster, Professor Sir Diarmaid MacCulloch, at the Oxford Literary Festival on April 1 was probably one of the most enriching conversations I’ve heard in my nine years of attending the festival. The pair discussed their different perspectives on the sixteenth-century lawyer and statesman Thomas Cromwell. Mantel is working on volume III of her Cromwell trilogy. MacCulloch is writing an historical biography on Cromwell--he said he admires the man: “my book covers up to 1532 when he hasn’t killed anybody yet.” There is a huge archive on the controversial historical figure and to have these two experts give us a glimpse of their research and writing processes was like listening to a private chat that wasn’t short of a steady flow of ideas.

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I specifically enjoyed their exchange about the challenges of going through Tudor correspondence wherein it wasn’t a practice for the authors of the letters to write the year so it could be confusing for scholars. Mantel talked about how she recently came across a letter that was written at midnight and that she could just sense the weariness of the writer. These documents are fascinating as they are a testimony to the circumstances and the urgency in which these letters were written (or in relation to the study of Cromwell, how leaders overworked their employees). An archive is obviously an in-tray, but MacCulloch noted that you would at least expect there was an out-tray kept as well, drafts of outgoing correspondence, but there was none. He surmised that in 1540, the household, warned of their master’s arrest, sat up all night burning the out-tray, as it was much less easy to be convicted on the contents of your in-tray than what you write to others (not that it had saved Cromwell’s life).

                                                                                                                                     

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I applaud Mantel’s comments on her stance as an historical novelist, commenting on the practice of affixing a bibliography to a work of fiction: “[I]n my view [it] is a complete misdirection of the reader and misdirection of what research is. Research is not taking bits out of one text to put into another text ... You have legitimacy, you have the authority of the imagination.” She urged her contemporaries not to spend their lives apologizing, cringing because “you think you are some inferior form of historian. The trades are complementary but they are different.” I believe these comments may also apply to other authors who don’t want their works labeled (e.g., as scifi or fantasy, for fear of not being taken seriously) when dragons or witches give the game away.

                                                                                                                                                    There was a space of three years between Wolf Hall and Bring up the Bodies, both of which won Mantel the Booker Prize. It’s been five years since the last book, and her reading from the upcoming The Mirror and the Light, enthralled the audience and gave us our Cromwell fix, at least for the time being.

                                                                                                                                                              --Catherine Batac Walder is a freelance writer living in England. She blogs at The Gaslight House.

                                                                                                                                                                   Images, above: Hilary Mantel signing books at the Oxford Literary Festival; below: the festival marquee outside the Sheldonian Theatre. Credit: Catherine Batac Walder

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The Monypenny Hours (Use of Paris) in Latin and French, illuminated manuscript on parchment France, Paris, c.1490. Credit: Les Enluminures. 

 

Aimlessly strolling through Paris in springtime may be a rite of passage for star-crossed lovers, but tomorrow rare books and manusripts dealer Les Enluminures invites walkers to promenade with purpose on Saturday, April 8 at 10:00 a.m., to examine the origins of the book trade when medieval booksellers, binders, and illuminators plied their trade in the heart of the city. Advance registration is essential, so call +33(0)1 42 60 15 58 or email info@lesenluminures.com tout de suite if you’re interested.


In a sort of bibliophile’s trip down memory lane, the group--led by medieval book and manuscript expert Christopher de Hamel and Les Enluminures founder Sandra Hindman--will meet outside the west front of Notre-Dame, right where the outline of the medieval street rue Neuve Notre-Dame is marked in the ground. The starting point demarks where the city’s book trade began to blossom starting around 1200. Medieval tax records pinpoint the exact locations of bookish businesses such as those of thirteenth-century booksellers Emery d’Orléans and Nicholas Lombard. Further along, participants will see where the bookstand of husband-and wife duo Richard and Jeanne de Montbaston once stood. The couple copied and illuminated dozens of manuscripts, most notably the popular and controversial romances of the Roman de la Rose. (Jeanne’s illustrations of monks and nuns harvesting nut phalluses from trees and performing other erotic acts have long fascinated scholars and casual observers.) 


From the rue Neuve-Notre-Dame the group will cross the Petit Pont and head up the rue Saint-Jacques where booksellers Alain Spinefort and Claude Jaumar set up shop in the shadows of the now-demolished Dominican convent that lent its name to the street. A right turn onto the appropriately named rue de la Parcheminerie reveals the former residences of scribes and illuminators such as Ameline de Maffliers. A quick glance down the diminutive rue Boutebrie (originally rue Erembourg de Brie) where the work of illuminators such as Jean le Noir, Jean Pucelle, and Honoré no doubt influenced the temporary name change of the street to rue des Enluminures in the mid-1200s. Finally, the group will retrace its steps across the Ile de la Cité and head back to Les Enluminures at rue Jean-Jacques Rousseau where a light lunch will be served, and participants will be invited to examine (and purchase) original manuscripts created on those very streets centuries ago.


The promenade coincides with an an exhibition on display at Les Enluminures entitled Made in Paris: Spotlight on the Medieval Book Trade, open to the public from now until April 28. Capping something of a book-lover’s trifecta, the Salon International du Libre Rare & de l’Objet d’art unfurls at the Grand Palais this weekend as well. (Les Enluminures will be manning Stand C5 if you feel like saying bonjour.)

                                                                                                                                                             L’amour des livres anciens is most definitely in the air this spring in Paris.

DSC_2170.jpgOur Bright Young Collectors series continues today with Micaela Beigel, a sophmore at Goucher College near Baltimore and third place winner in the 2016 National Collegiate Book Collecting Contest:


Where are you from / where do you live?


Originally, I am from Brooklyn in New York City. That is where I grew up, and it shaped my identity in a very impactful way. Now I live in Baltimore, where I attend school. However, when I started actively seeking the books in my collection I had been living in Israel for a year volunteering with a youth movement. I had been doing education for kids who are refugees, and I was thinking a lot about the history of my family when it all came together in a serendipitous turn of events to create my collection.


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


I am currently still an undergraduate in College. I am sophomore at Goucher College near Baltimore City. I am a peace studies major, with a minor in creative writing. I wanted something which would reflect my desire to take ownership over creating tangible solutions to various social conflicts in American society and peace studies has definitely been a good fit for that.


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


I collect books about Jewish resistance during the Holocaust. I was raised in a Jewish household, but I always really struggled to connect with Judaism through observational methods and thus have always been far more drawn to Judaism through its history and culture. While I was living abroad I started to uncover a whole section of Jewish history which is not really taught in mainstream Jewish education and I became intensely fascinated by narratives of Jews who resisted, in various ways, Nazi oppression during World War II.


Screen Shot 2017-04-02 at 11.05.08 PM.pngHow many books are in your collection?


Right now I have about thirty books. I also keep a variety of films, art, and collectible objects in addition to the books. 


What was the first book you bought for your collection?


A Surplus of Memory: Chronicle of the Warsaw Ghetto Uprising by Yitzhak Zuckerman was the first book in my collection. I bought it when I was twelve. I’m 21 now, so that was almost ten years ago. Written by a leader of the Warsaw Ghetto Uprising, the largest armed revolt led by Jews during The Holocaust, this is an extremely informative novel about the power of collective responsibility. Published upon Zuckerman’s death it gives truth to a legacy shrouded in shame, guilt, and pain for Jewish revolutionaries who survived to tell the tale of the uprising.


How about the most recent book?


The most recent addition to my collection is Knight Without Fear and Beyond Reproach: The Life of George Maduro 1916-1945 by Kathleen Brandt-Carey. I bought this book at the Jewish Museum in Amsterdam. It is about a man named George Maduro who was a major figure in the Dutch resistance. I had never heard of him before finding this book. That is something I will really try to do. This is a story which deserves to be known, and I want to collect as many different voices as possible. The next book I will be adding to my collection is Justyna’s Narrative which is the incomplete autobiography of Gusta (Tova) Davidson Draenger, code-name Justyna, who was a resistance fighter in the Krakow Ghetto. This is very exciting for me, because I have been trying to track down the identity of this author for a few years.


Screen Shot 2017-04-02 at 11.05.56 PM.pngAnd your favorite book in your collection?


Choosing a favorite really feels like choosing a favorite child, because I associate these books so strongly as being apart of one large family. If I was forced to choose two (which I know is still cheating) I would say it would be In the Days of Destruction and Revolt by Zivia Lubetkin and Spiritual Resistance: Art from the Concentration Camps 1940-1945. These two books are both so special to me. Zivia’s book is so deeply touching, and as a Jewish woman I really identify with her narrative of fear and courage during the Warsaw Ghetto Uprising. Spiritual Resistance is just the most amazing, far reaching collection of art. A lot of the work available in the book does not exist anywhere else as they are drawn from museums and private collections all over the world. It brings together the voices of authors who otherwise may never have been known for their work.


Best bargain you’ve found?


A lot of my books were bargains, especially at the beginning of the collection process (there are exceptions of course). Most of these books are not, in general, highly sought after and non are particularly old. I would say that maybe the best bargain I ever got was when I got a lot of five books on ebay for about fifteen dollars. Almost all of them related to the collection and I felt very blessed by my luck.


How about The One that Got Away?


Last year i was able to travel to Amsterdam, and while I was there I had a lot of books I was interested in getting but for various reasons I really had to limit the amount of books I brought home. This was particularly sad for me because when I went to the Anne Frank house I had a very hard time deciding what book to bring home with me. In the store at the Anne Frank house they have so many interesting and beautiful copies of The Diary of Anne Frank and I wanted all of them. I ended up picking up a book titled Outside its War: Anne Frank and her World by Janny van der Molen which is a children’s illustrated version of Anne’s story. I chose that one because I wanted something new to add to the collection. But every book I left behind in that shop is really my “one that got away” at the moment.


What would be the Holy Grail for your collection?


My holy grail for the collection is a set of books, not just a single work. Ever since my collection began I have had a goal to collect every book written by a leader of the Warsaw Ghetto Uprising.  I have still not managed to complete this set. I hope to collect the remaining few books by the end of the year. Budget permitting, of course.


Who is your favorite bookseller / bookstore?


I have two top picks. In America I would definitely go with Powell’s in Portland, Oregon. They have an amazing section on Jewish history. I was completely unprepared when I stopped in on a whim last year while I was visiting a friend in Portland. I actually had to buy another bag so I could get everything home with me. My other pick is Halper’s Books. This is an english language used bookstore in Tel Aviv. This bookstore is amazing, and 100% a must visit if you ever happen to be on, or around, Allenby Street in Tel Aviv.


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


Magnets. I actually do already collect magnets, and I really started because of my book collection. I bought a magnet for the collection and loved it so much that I started picking them up everywhere. Now it’s a bit of a tradition for me to pick up magnets whenever I am somewhere new, or to commemorate a special event in my life. I love my magnets very much. 

























3c03954v.jpgOn Monday, April 3, the John Burroughs Association (JBA) held its 92nd Literary Awards Celebration at the Yale Club in New York City. This annual luncheon honors the legacy of literary naturalist John Burroughs by recognizing the best contemporary nature writing.

Joan Burroughs, the writer’s great-granddaughter and president of the JBA, presented the day’s first prize, the Nature Essay Award for outstanding natural history writing published in essay form, to Sean P. Smith for his “The Slow and Tender Death of Cockroaches,” published in the Fall 2016 issue of the Georgia Review.

The Riverby Awards, so named after Burroughs’ Hudson River estate, praise “exceptional non-fiction natural history books for young readers.” This year’s winners were: Circle, written and illustrated by Jeannie Baker; Crow Smarts by Pamela S. Turner with photographs by Andy Comins and illustrated by Guido de Filippo; Finding Wild by Megan Wagner Lloyd and illustrated by Abigail Halpin; The Great White Shark Scientists by Sy Montgomery and photographs by Keith Ellenbogen; ¡Olinguito, de la A a la Z! written and illustrated by Lulu Delacre; One North Star by Phyllis Root and illustrated by Beckie Prange and Betsy Bowen; and Plants Can’t Sit Still by Rebecca Hirsch and illustrated by Mia Posada.

21853663.jpgThis year’s John Burroughs Medal for “Distinguished Natural History Writing in Book Form” went to Martin Marten by Brian Doyle, a coming-of-age novel about the relationship between a boy and a pine marten. It was only the second work of fiction to be awarded the medal in its ninety-year history. Finalists included Coyote Settles the South, John Lane; The Home Place: Memoirs of a Colored Man’s Love Affair with Nature, J. Drew Lanham; Coast Range: a Collection from the Pacific Edge, Nick Neely, and Mythical River: Chasing the Mirage of the New Water in the American Southwest, Melissa L. Sevigny.

A book signing followed the ceremony, and attendees received a “swag bag” containing many of the award winners. The JBA hosts this event on the first Monday in April every year.
 
Image at top: “The Last Photograph of John Burroughs,” c. 1921, by Charles F. Lummis. Courtesy of the Library of Congress. At bottom: Via Goodreads.

LMM_signed_photo.jpgA house in Norval, Ontario, where novelist L. M. Montgomery lived between 1926 and 1935 is set to become a museum. The L. M. Montgomery Heritage Society, armed with two $100,000 donations from private citizens, purchased the home from a pair of Presbyterian churches.


Montgomery and family moved into the house in 1926, which was given to her husband as part of a benefits package for accepting a position as a Presbyterian minister with the nearby church. The two were quickly elevated into community leadership roles, which they enjoyed.


While the beloved author is most closely associated with Prince Edward Island, she lived in Norval during a largely happy time in her life. The Anne of Green Gables series was selling well and she was earning good royalties. Her husband had found a successful position after struggling for several years. And her two sons were young and healthy.


After her husband retired in 1935, the Montgomery clan relocated to a large house in Toronto.


[Photo from Wikipedia]





ab10cccaffe8b6577a8fbf82f605f5f8.jpgStrange Bird: The Albatross Press and the Third Reich by Michele K. Troy (Yale University Press, $40), tells the astonishing and largely forgotten story of a publisher of uniform English translations in the 1930s that managed to elbow out the market leader, the German firm, Tauchnitz, and keep Nazi censorship officials at bay while it promoted edgy, modern Anglo-American literature. In this way, authors such as James Joyce, Sinclair Lewis, and Aldous Huxley acted as surprising “silent ambassadors” to German readers from 1932 to 1939. How? In short, the Reich desperately needed the foreign currency the publisher produced and was willing to look the other way, at least for a while. As Troy puts it, English-language books circulating in Germany were “less culturally troublesome than they were economically useful.”  

In design, content, and marketing approach, Albatross preceded Allen Lane’s Penguin Books by a few years. Albatross went after not only the tourist buyers but the continental readers who could read English, and Germany in particular was “a nation of book buyers.” The Albatross Press was based there, but it was funded by English/Jewish money, and it kept an editorial office in Paris--the labyrinthine structure helped to conceal its doings, according to Troy. Whether its output could be labeled propaganda is certainly one of the themes at play; as the German Foreign Office itself declared in 1941: “Propaganda sold is better than propaganda given.” Before the war made printing and publishing impossible, Albatross had distributed five hundred titles in color-coded paperbacks across Europe.

Strange Bird is intensely researched and eminently readable--there’s even a harrowing escape story at its center. The lingering mystery regarding its principal, German-born Englishman John Holroyd-Reece, who may have been a spy, adds an element of intrigue as well. Troy’s book is heartily recommended for anyone with an interest in publishing history, World War II, or modern Anglo-American literature.   

                                                                                                                                                                     Image via Yale University Press

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