Grove Koger
An attractive paper edition of a Pulitzer Prize novel marked the beginning of a short-lived venture in subscription publishing.
Charles Boni and his older brother Albert had been in the business in New York City since 1923, and in 1929 they released the first in their series of Paper Books, inexpensive reprints featuring striking covers designed by noted artist (and writer) Rockwell Kent. Their plan offered discerning subscribers a dozen books a year for the relatively modest fee of $5, with a new volume published and mailed on the 25th of each month.
The series’ editorial board included Padraic Colum, Louis Untermeyer and Kent himself, as well as several now-forgotten figures. A statement printed at the back of each volume explained the laudable intent of the series: “to place good books, well-designed and carefully made, within the reach of any reader.”
Wilder’s novel The Bridge of San Luis Rey, which had been published in its first edition by the brothers in 1927, was printed as an “example of the format” in May 1929. It was followed in September by a second volume, and then, month by month, further titles through November 1930.
Alas, the series failed after 16 selections, a victim of the Great Depression. But by then, the editors had chosen a number of estimable titles, including The Master of the Day of Judgment by Leo Perutz (illustrated above), The History of Mr. Polly by H.G. Wells, The Lost Girl by D.H. Lawrence, and Cheri by Colette—this last the French writer’s masterpiece. In retrospect, the most surprising entry in the series may have been The Cardinal’s Mistress by one Benito Mussolini, an ambitious figure destined to make his name in another, entirely unrelated field of endeavor.
A subsequent series from the publishers, Bonibooks, reprinted a number of the Paper Books, but was not offered by subscription.
World Enough 
