Nothing Better Than a Whole Lot of Books: In Praise of Bibliomania, by Ed Simon

 A few snippets:

Bibliomania, the only hobby which is also a mental health affliction. The person with piles of titles on their nightstand, in their closet, in the trunk of their car. Books in front of books on their bookshelf. 

Those who agree with [Alberto] Manguel that “Unpacking books is a revelatory activity” are lonely without this crowd of paper bodies; they understand how the cover is a flesh, the binding a nervous system, the chapters as organs, sentences veins, and the words the very blood that circulates meaning.

Enjoy your e-reader all you want, but a soul without a body is just a ghost, apt to suddenly flicker out of existence.

 Read the full article at Literary Hub.  

 

There Are Too Many Overweight Biographies, by Joseph Epstein

I have been reading Joseph Epstein's essays (collected in many books) for over thirty years--not always with agreement, but always with interest and illumination. His new essay "There Are Too Many Overweight Biographies", in the September 2020 issue of Commentary, is a good example.  Read it here.  One small observation:

 [There is] a new trend in publishing: accounts of the writing and publication of other books.

Strangely, I find myself currently engaged in just this sort of thing, in preparing my talk for Oxonmoot on "Humphrey Carpenter on Tolkien: Then and Now (Fifty Years Later)"  

Read in Order to Live

I found the below by accident, bouncing around the web, but the sentiment is perfectly good. 

It reminds me of a book I read about 45 years ago: The Illusionless Man: Fantasies and Meditations on Disillusionment (1966) by Allen Wheelis. Wheelis (1915-2007) was a noted San Francisco psychotherapist who also wrote stories, essays and novels. Most are of a pessimistic cast, and have frequent epigrammatic delights ("One can often recognize herd animals by their tendency to carry bibles" p. 132). 

The Illusionless Man is a collection of six items, four fantasies and two meditations. The one story that stayed with me the most is "The Signal" which concerns a man at a fortune cookie factory who starts writing original fortunes and becomes a notable success (while the recipe for the cookies remains unaltered). It seems like a good time for a re-read.

An Interview with Douglas A. Anderson by G. Connor Salter

A new interview with me, on "Excavating the Inklings and Little-Known Authors," is online at the Fellowship & Fairydust site, here.  

Dunsany Castle and the current Lord Dunsany

There is a new two-hour documentary titled Quintessentially Irish (2024) in which the current Lord Dunsany appears about a dozen times, discussing several things from his great grandfather to his own experience of watching a marriage scene in Braveheart being filmed by Mel Gibson at Dunsany Castle. He also discusses his re-wilding of part of the Dunsany land, and there are a number of interesting scenes showing both the inside and outside of Dunsany Castle. The documentary as a whole is much less interesting, framed by the self-aggrandizing reminiscences of a doddering Pierce Brosnan. It seems at most times to be a superficial advertisement for anything Irish.

The Big Five Publishers Have Killed Literary Fiction

I would substitute "literature" for "literary fiction" in the title of this short article by Elizabeth Kaye Cook and Melanie Jennings from Persuasion, but a lot of what it says about the state of publishing in the 21st century is spot on. Witness:

Mirroring many other American industries, publishing has followed the path of consolidation, starting when Random House bought Knopf in 1960. What followed was a fifty-year feeding frenzy of mergers and acquisitions. In 2012, when Random House and Penguin merged, we were left with today’s “Big Five”: Penguin Random House, Hachette, Macmillan, HarperCollins, and Simon & Schuster. 

And I'm not sure I see much hope in the current situation--certainly not for the writers who expect to be paid for their work. Small presses may be good for getting publication, but the terms are unpropitious. 

The full article can be found here.

The Expensive Business of Quoting Poetry

Sam Leith ruminates on the unsettled "rules" and sometimes ridiculous costs to quoting poetry in a work of nonfiction. The article is here at The Spectator.  Below are a few snippets. 

It was both a courtesy and the right thing to do to seek permission to quote their work. . . . But the A.A. Milne estate was asking what seemed to me a crazy amount of money to quote a single couplet from that poem about Christopher Robin saying his prayers – and my publishers advised me, if I didn’t want to pay, to snip it out. Which I did. The rights holders for another author of verse, who shall remain nameless here, not only asserted that ‘fair dealing’ legislation – the provision that allows you to quote without permission – didn’t apply to their author but claimed an absolute right of veto on any quotation for ebooks or audio.

Poetry, I was told, is very dangerous. Not as dangerous as pop lyrics (everyone agrees that they are ‘a nightmare’. . .) – but much riskier than prose.

The problem here is not exactly the law. The problem is that nobody wants to test the law. As media lawyer David Hooper put it when I asked him: ‘Copyright law is distinctly unpredictable and expensive to litigate, which puts the copyright holders in quite a strong position.’