I was reading Paul Theroux’s account of his travels in Africa and noted especially his many references to Joseph Conrad’s Heart of Darkness. If I remember correctly, he had read the novella over ten times before reaching Cape Town. Well, I know the feeling, and I would just love to discuss it with him one day.
When we decided to print and publish an illustrated letterpress limited edition of Heart of Darkness it was a decision from the heart. We unanimously loved and admired the work, considered it a masterpiece, and felt honored to undertake such a project. We realized it wouldn’t be easy, but we never thought it would be as time consuming and intense as it turned out to be. Reading Heart of Darkness is like being suspended in a literary time capsule, but a strangely relevant one. You are eased into the story, lured in if you will, until all hope is gone and you are captured, not just for the duration of the tale, but forever. It is all consuming, emotionally draining, rewarding in so many unforeseen ways, and certainly unforgettable. There are few such works that irresistibly lead from the final page back to the first, to begin the journey all over again.
And what a journey it was. We started our project by locating the many editions of the text in print, edited and annotated versions, some containing numerous analyses and commentary, all fascinatingly serious and academic, and all betraying a sense of immense importance. It was obvious that this book had left its mark in many divergent ways, and certainly was a subject of editorial opinion from all camps of literary criticism. Upon digesting these learned yet mind spinning critiques, we decided early on to forgo any introductory material, and to allow the text to stand on its own. The next decision was which edition of the text we would use.
Heart of Darkness was first published in 1899, in three parts in Blackwood’s Magazine under the title “The Heart of Darkness”. It was revised in 1902 for inclusion in the book Youth: A Narrative and Two Other Stories, and it is this version that formed the base for further reprints. In 1917 there were several reprints, and in 1921 Heinemann in London and Doubleday in the USA published collected works. Conrad, according to his literary executor, considered the 1921 edition his final text, and although many other editions are in print today, we decided to use the 1921 version in the Chester River Press edition. For printing purposes we needed to locate an electronic version of the text, and that was our first major roadblock. We had in our possession the published paper version of the 1921 edition, but the only electronic edition to be found was a much later version, necessitating one of two solutions: retyping the 1921 edition into electronic format, or editing the existing later electronic edition to conform to the 1921 Heinemann. We chose the latter, and the real fun began.
Jim Dissette, Bill Frank and I divided up the editing, and we soon realized that reading Conrad was a much more pleasurable experience than editing him. In fact, it was very difficult as the two versions were significantly different especially in British spelling versus American spelling, and in punctuation. It seems Conrad loved to use the long and medium ‘dash’, the so called ‘2-em and 3-em dashes’ and many of these had been replaced with commas or hyphens in the electronic version, or eliminated altogether. It wasn’t long before we concluded we needed the help of Kathleen Jones, who had worked with us on editing previous projects. So with Kathleen in charge, we set off on the editing voyage, and in the end it took eight solid readings of the text, line by line, dash by dash, week by week, to complete the task. Needless to say, we can quote Conrad at an impressive clip.
Earlier in this process we approached Marc Castelli with the idea of illustrating Heart of Darkness. Marc is a renowned maritime artist, and his line drawings graced our earlier publication of The Chesapeake Voyages of Capt. John Smith. We were a bit apprehensive about this, since Marc draws and paints his own superb maritime subjects, and this was not strictly a 'nautical' book. Then again, we knew that not many artists had the fortitude to attempt to illustrate Heart of Darkness, and we decided Marc would not be one to shy away from such a challenge. So we told him about our plans, and before we could ask the question he said “It’s my favorite book. I love Conrad, and I’d love to illustrate it!” We were off and running.
We all went through the text with an eye for selecting possible images for the drawings, and naturally came up with many more than could reasonably be included. The selection process started and Marc went to work on the striking images that now appear in the book. We decided on about forty drawings, including thirteen full page, five half page, and many smaller drawings and portraits and three drop-capital letters with background images to begin each section of the book. Marc contacted an expert on Belgian Congo River shipping to make certain he drew proper images of the type of steamboats in use on the Congo in the late 19th century. Before long we had an impressive group of line drawings as accurate and artistic as anyone could hope for.
The real ‘fun’ was just beginning. Jim Dissette designed the book, and each time we made changes in the text or drawings, the layout was affected. The text blocks constantly needed to be adjusted, the drawings had to be placed in the correct section of the text, and those ‘dashes’ were always popping up where they shouldn’t be. Jim designed a striking double title page, and he and Chad Pastotnik of Deep Wood Press designed a four panel center fold-out of drawings printed on intaglio debossed panels. Jim selected Dante and Castellar typefaces, and Hahnemuhle Biblio cotton rag paper.
With the editing and design work completed, we decided to publish two editions: one would be a deluxe version, in full Nigerian blue goatskin, in a clamshell case, with an additional suite of four of Marc Castelli's drawings suitable for framing; and a standard edition of ¼ goatskin and marbled paper in a slipcase. We would limit the deluxe version to 15 copies, and the standard to 135 copies. The printing commenced at Deep Wood Press, and the binding was done at Bessenberg Bindery. The first books were completed in November, 2008, one year from the publication of Chesapeake Voyages.
While it seems to retain a universal appeal, I think it accurate to say that Heart of Darkness holds a unique meaning to each reader. Unfettered by analysis or literary criticism, the reader makes that connection with a time period and attitude that, depending on your view, have as much relevance today as one hundred years ago. My reaction to this book was altered each time I read through it, mostly because I was intently searching the text for technical reasons, but also because my focus changed as I noticed certain phrases and observations that seemed to escape my scrutiny during a previous reading. This is not unusual with such books, but in this case I was overwhelmed by the story’s ability to capture my interest and hold my concentration with each reading. I couldn’t help admiring the structure of the book, Conrad’s use of narrator within narrator, and the risky use of double quotations, lengthy monologues, and the many images subject to interpretation. It all seems to blend, a perfect mixture, a successful experiment in literary technique and pure story telling.
Publishing this edition of Heart of Darkness was a signal experience for us all. The pleasure of producing a truly fine edition is delight enough, but the privilege of traveling so far and long with Conrad and his Marlow is its own reward. In a few days I plan to sit down, open this magnificent edition, and read the story again. Or perhaps for the first time.
Friday, December 19, 2008
Wednesday, November 26, 2008
Sketchbook
It was a far from perfect landing at Omaha Beach in Normandy on June 6, 1944. The Allied assault faced unexpectedly strong opposition from the entrenched German forces, and within just minutes of hitting the beach every officer and sergeant of the leading U.S. infantry amphibious company had been killed or wounded. It was a nightmarish two days before headway was made and the beachhead established.
There are thousands of stories written and told about Normandy, and numerous archival photographs, but just as fascinating are the many drawings and sketches made by soldiers and sailors who participated in the invasion. One such artist was a Navy seaman named Fred Thrane. My connection with Fred began several months ago, unbeknownst to both of us.
Book auctions are notorious for providing the excitement of the unexpected, often in the shape of little gems found in old boxes or stacks of books. You soon learn not to look too closely and to go with your instincts, as long as the bidding is reasonable. We attended one such auction and left with several boxes of choice books, and some boxes full of doubtful ones to be sorted through later. It was when unpacking one of the latter boxes that I came upon the old sketchbook. It was small, about 8x11, and held seven original drawings, some in color, rendered in a quaint but professional hand. The scenes depicted were of soldiers and sailors of World War II. There were a few captions provided: one was Listening to the World Series 1944 on a black and white drawing of sailors crouched around an old radio set; another was USO Tour which captioned a color sketch of a singer at a microphone next to a piano; and another Setting up Tents described a color scene of GIs putting the final touches on their new camp. All of these were labeled Omaha Beach, Normandy, 1944. All were signed 'Fred Thrane'.
I had never heard of Fred Thrane, but I was now entrusted with his 64 year-old original sketches, and of course when something like that happens you have to do something about it, as Sam Spade would say. Was Fred alive and well? Did he make it home from Normandy? Did he become a famous artist? Is he a forgotten ex-sailor of WW II, impossible to trace? I had to find out.
I found the name 'Fred Thrane' on the internet, tiny mentions of him (was it him?) in a few websites, but nothing connected to WW II, or to artists or drawing, and not in the right time frame. Then I hit on a website for a ski club in upstate New York. The club's historian had written an article for the ski club's website on the history of the club, and it very briefly mentioned a Fred Thrane who had drawn the original logo for the club. This seemed promising, and the 1950s timing could be correct, so my hopes were raised. I composed an e-mail to the club's historian telling my end of the story and asking if this could in fact be the Fred Thrane of Normandy Beach. I received an immediate reply, and yes, it might very well be, as this Fred Thrane did serve in the Navy during the war, and was now thought to be living in Vermont with his nephew. I asked for further information and amazingly the club historian came up with the name of Fred's nephew. I made contact with Christopher Thrane the next day.
On Veterans Day I received an e-mail link to a video story from the local Vermont television news station. There was Fred Thrane himself being interviewed by a reporter, with those Normandy sketches laid out on the table in front of him. He had suffered a stroke so his speech was not perfect, but he was surely in touch with the event, describing the sketches and remembering his time in the war. He said that he never thought he would see those drawings again, and he was just thrilled to have them. Fred said he would have them framed so they could be handed down to future generations. The reporter sounded amazed that the sketchbook had finally found its way home after all these years, and so Fred became the symbol of Veterans Day, 2008, for Vermont.
As I said, there are thousands of stories about Normandy Beach. Most of them probably didn't turn out the way Fred's did. Of course along with the thrill of enjoying his reunion with his sketches, I'm sure their return brought back memories that weren't quite so pleasant. We'll never know about those memories, he'll take them with him. Fred and thousands like him. What was endured on behalf of this country is frightening sometimes. Yes, we owe those veterans a debt of gratitude, but occasionally we owe them moments like Fred had on television, with his drawings in front of him, and his family around him, his pride in his work evident, and his broad smile betraying his total enjoyment.
Postscript - July, 2009: Christopher Thrane wrote to me with the sad news that Fred Thrane passed away on June 24, 2009. Fred was 86 years old.
There are thousands of stories written and told about Normandy, and numerous archival photographs, but just as fascinating are the many drawings and sketches made by soldiers and sailors who participated in the invasion. One such artist was a Navy seaman named Fred Thrane. My connection with Fred began several months ago, unbeknownst to both of us.
Book auctions are notorious for providing the excitement of the unexpected, often in the shape of little gems found in old boxes or stacks of books. You soon learn not to look too closely and to go with your instincts, as long as the bidding is reasonable. We attended one such auction and left with several boxes of choice books, and some boxes full of doubtful ones to be sorted through later. It was when unpacking one of the latter boxes that I came upon the old sketchbook. It was small, about 8x11, and held seven original drawings, some in color, rendered in a quaint but professional hand. The scenes depicted were of soldiers and sailors of World War II. There were a few captions provided: one was Listening to the World Series 1944 on a black and white drawing of sailors crouched around an old radio set; another was USO Tour which captioned a color sketch of a singer at a microphone next to a piano; and another Setting up Tents described a color scene of GIs putting the final touches on their new camp. All of these were labeled Omaha Beach, Normandy, 1944. All were signed 'Fred Thrane'.
I had never heard of Fred Thrane, but I was now entrusted with his 64 year-old original sketches, and of course when something like that happens you have to do something about it, as Sam Spade would say. Was Fred alive and well? Did he make it home from Normandy? Did he become a famous artist? Is he a forgotten ex-sailor of WW II, impossible to trace? I had to find out.
I found the name 'Fred Thrane' on the internet, tiny mentions of him (was it him?) in a few websites, but nothing connected to WW II, or to artists or drawing, and not in the right time frame. Then I hit on a website for a ski club in upstate New York. The club's historian had written an article for the ski club's website on the history of the club, and it very briefly mentioned a Fred Thrane who had drawn the original logo for the club. This seemed promising, and the 1950s timing could be correct, so my hopes were raised. I composed an e-mail to the club's historian telling my end of the story and asking if this could in fact be the Fred Thrane of Normandy Beach. I received an immediate reply, and yes, it might very well be, as this Fred Thrane did serve in the Navy during the war, and was now thought to be living in Vermont with his nephew. I asked for further information and amazingly the club historian came up with the name of Fred's nephew. I made contact with Christopher Thrane the next day.
On Veterans Day I received an e-mail link to a video story from the local Vermont television news station. There was Fred Thrane himself being interviewed by a reporter, with those Normandy sketches laid out on the table in front of him. He had suffered a stroke so his speech was not perfect, but he was surely in touch with the event, describing the sketches and remembering his time in the war. He said that he never thought he would see those drawings again, and he was just thrilled to have them. Fred said he would have them framed so they could be handed down to future generations. The reporter sounded amazed that the sketchbook had finally found its way home after all these years, and so Fred became the symbol of Veterans Day, 2008, for Vermont.
As I said, there are thousands of stories about Normandy Beach. Most of them probably didn't turn out the way Fred's did. Of course along with the thrill of enjoying his reunion with his sketches, I'm sure their return brought back memories that weren't quite so pleasant. We'll never know about those memories, he'll take them with him. Fred and thousands like him. What was endured on behalf of this country is frightening sometimes. Yes, we owe those veterans a debt of gratitude, but occasionally we owe them moments like Fred had on television, with his drawings in front of him, and his family around him, his pride in his work evident, and his broad smile betraying his total enjoyment.
Postscript - July, 2009: Christopher Thrane wrote to me with the sad news that Fred Thrane passed away on June 24, 2009. Fred was 86 years old.
Friday, November 14, 2008
Poetry's Courage and Blessings
Poetry has always been a mystery to me. Maybe it's that way with most of us. I recognize and admire the talent, craftsmanship and beauty of poetry, and I place it on a step above narrative writing. In fact when complimenting prose writing I'll often refer to it as poetry. I've often thought of Scott Fitzgerald as a poet who wrote prose. Being a sometime prose writer, I marvel at the imagination, inspiration and discipline poetry demands. There's all those rules, for one thing, and I doubt that poets sit down in the morning and say to themselves "OK, time to write some poetry". I can't imagine it being that way at all. I picture a sort of channeling, or meditation session, where inspiration takes over and violins play in the distance and the lights dim and the poet's hand reaches for a pencil and trance-like the words begin to appear on the page. And afterward, exhausted and in a cold sweat perhaps, the poet withdraws from the writing table to rest on the couch and sleeps deeply for several hours until awakened by the chimes of a magnificent thunderstorm passing through. Yes, I'm serious, I believe in the mystery of it all.
I've had favorite poets now and then. For a long time Tennessee Williams was one, and his poem usually titled How Calmly Does the Orange Branch, and which I have personally titled Courage, was my favorite. There was a dangerous time in my life when I carried that poem folded up in my wallet, even though I'd memorized it. It is the poem Nonno is working on in Williams' play The Night of the Iguana.
I think what I admire most about poetry is its honesty. There is never a doubt in my mind that it comes from the soul. We at Chester River Press were indeed fortunate to be able to publish Fierce Blessings, by James Dissette, a collection of thirty-four of Jim's poems. The book's release was an event in itself, an hours-long book signing and reading that is still recalled as a wonderful, enlightening evening. One can't say enough about the poetry in this book, its truthfulness and wisdom shine through. It's a collection one returns to often, for its writing, design, and sheer pleasure. This is one of my many favorites, titled When In Rome:
I'd like to sack Carthage but the airfare's ridiculous.
I'd settle for a fiddle and box of matches
but I promise to spare the library --
Still, I like their columns,
strong enough to hold up the gathering darkness,
exclamation marks in marble.
O, no worries, I'd blend in
as an embezzler on vacation or stand still looking
very important as I read the instructions
carved across the Parthenon
which I believe loosely translated
means Do Not Steal This City With Your Eyes.
I promise not to embarrass my country
by plotting to add someone to the Last Supper
or yell, 'Fountains Rock' to anyone but the pigeons.
But I would like to sneak into the Colosseum
one midnight for a vegetarian picnic
and nap among imaginary lions
or sit alone among the statues of emperors and generals
so that anyone passing wouldn't notice
there was a break in the tradition of postures.
I might not be able to speak Italian
but I can wave my hands furiously at Etna,
even use the power fist if there's a plume.
Most of all though I would like to trace my fingertips
along the chiseled slots of letters
carved in the Trajan column.
It's not often we can touch a language as lovers.
I've had favorite poets now and then. For a long time Tennessee Williams was one, and his poem usually titled How Calmly Does the Orange Branch, and which I have personally titled Courage, was my favorite. There was a dangerous time in my life when I carried that poem folded up in my wallet, even though I'd memorized it. It is the poem Nonno is working on in Williams' play The Night of the Iguana.
I think what I admire most about poetry is its honesty. There is never a doubt in my mind that it comes from the soul. We at Chester River Press were indeed fortunate to be able to publish Fierce Blessings, by James Dissette, a collection of thirty-four of Jim's poems. The book's release was an event in itself, an hours-long book signing and reading that is still recalled as a wonderful, enlightening evening. One can't say enough about the poetry in this book, its truthfulness and wisdom shine through. It's a collection one returns to often, for its writing, design, and sheer pleasure. This is one of my many favorites, titled When In Rome:
I'd like to sack Carthage but the airfare's ridiculous.
I'd settle for a fiddle and box of matches
but I promise to spare the library --
Still, I like their columns,
strong enough to hold up the gathering darkness,
exclamation marks in marble.
O, no worries, I'd blend in
as an embezzler on vacation or stand still looking
very important as I read the instructions
carved across the Parthenon
which I believe loosely translated
means Do Not Steal This City With Your Eyes.
I promise not to embarrass my country
by plotting to add someone to the Last Supper
or yell, 'Fountains Rock' to anyone but the pigeons.
But I would like to sneak into the Colosseum
one midnight for a vegetarian picnic
and nap among imaginary lions
or sit alone among the statues of emperors and generals
so that anyone passing wouldn't notice
there was a break in the tradition of postures.
I might not be able to speak Italian
but I can wave my hands furiously at Etna,
even use the power fist if there's a plume.
Most of all though I would like to trace my fingertips
along the chiseled slots of letters
carved in the Trajan column.
It's not often we can touch a language as lovers.
Saturday, November 8, 2008
Doesn't Anyone Read Thomas Wolfe Anymore?
One of the interesting and obvious advantages of running a bookshop is that you begin to have a sense of what the public is reading these days. Now, admittedly, an antiquarian bookshop is unlike a 'new-book' store, inasmuch as the customer base is a bit different, and generally visitors to our shop are not expecting to find a large selection of new releases or even shelves of paperback reprints of the classics of modern literature. Nonetheless, one does get a sense of what's being read, as well as collected, and the students from Washington College add to the variety of tastes. It is just as interesting to consider what is not being read. Some authors stay on the shelves an overlong period of time, except for the brief intervals when I pick them up and re-read their work. So who are these neglected 'modernists'?
Several come to mind right away. John Dos Passos, Gertrude Stein, Henry James, James T. Farrell, John O'Hara, Carson McCullers, Paul Bowles, and Malcolm Lowry to name a handful. I've had James Baldwin stay on the shelf undisturbed for a long time, and what a pity that is. Edmund Wilson wrote such marvellous essays as well as fiction, and his books are dusty as well. Gertrude Stein is still there, along with E.E. Cummings. Scott Fitzgerald doesn't exactly run out the front door either, nor do Dreiser, Sinclair Lewis or Nathanael West.
Hemingway and Faulkner occasionally sell, and Steinbeck, but not Thomas Wolfe. No, not Thomas Wolfe. But why? To what do we owe this neglect of the stalwarts of American literature? To be sure, no one reads as much as in past decades anyway, and tastes change. If one tries to keep up with new titles released each year, well, there goes the time to read the 'classics'. Too much computer time, TV time, and less actual leisure time, all contribute of course. And there is a tendency among us to regard these books as 'having been read'. "Oh, I read that as a college freshman." Do we seriously think it will be the same book if we read it again this afternoon?
The other day a customer was browsing the fiction shelves and I overheard him say to his partner: " Look, Thomas Wolfe's novels. Nobody reads Thomas Wolfe anymore." Well, perhaps. But that doesn't mean we shouldn't read him. Yes, his books are lengthy, a bit disorganized, and maybe could have withstood another editing session. But try this from You Can't Go Home Again:
"I believe we are lost here in America, but I believe we shall be found. And this belief, which mounts now to the catharsis of knowledge and conviction, is for me - and I think for all of us - not our only hope, but America's everlasting, living dream. I think the life which we have fashioned in America, and which has fashioned us - the forms we have made, the cells that grew, the honeycomb that was created - was self-destructive in its nature, and must be destroyed. I think these forms are dying, and must die, just as I know that America, and the people in it, are deathless, undiscovered, and immortal, and must live."
Well Thomas Wolfe knew a thing or two, as young as he was. And so did the others who share the shelves with him. Their writing is just as relevant today as it was yesterday. Perhaps even more so.
Several come to mind right away. John Dos Passos, Gertrude Stein, Henry James, James T. Farrell, John O'Hara, Carson McCullers, Paul Bowles, and Malcolm Lowry to name a handful. I've had James Baldwin stay on the shelf undisturbed for a long time, and what a pity that is. Edmund Wilson wrote such marvellous essays as well as fiction, and his books are dusty as well. Gertrude Stein is still there, along with E.E. Cummings. Scott Fitzgerald doesn't exactly run out the front door either, nor do Dreiser, Sinclair Lewis or Nathanael West.
Hemingway and Faulkner occasionally sell, and Steinbeck, but not Thomas Wolfe. No, not Thomas Wolfe. But why? To what do we owe this neglect of the stalwarts of American literature? To be sure, no one reads as much as in past decades anyway, and tastes change. If one tries to keep up with new titles released each year, well, there goes the time to read the 'classics'. Too much computer time, TV time, and less actual leisure time, all contribute of course. And there is a tendency among us to regard these books as 'having been read'. "Oh, I read that as a college freshman." Do we seriously think it will be the same book if we read it again this afternoon?
The other day a customer was browsing the fiction shelves and I overheard him say to his partner: " Look, Thomas Wolfe's novels. Nobody reads Thomas Wolfe anymore." Well, perhaps. But that doesn't mean we shouldn't read him. Yes, his books are lengthy, a bit disorganized, and maybe could have withstood another editing session. But try this from You Can't Go Home Again:
"I believe we are lost here in America, but I believe we shall be found. And this belief, which mounts now to the catharsis of knowledge and conviction, is for me - and I think for all of us - not our only hope, but America's everlasting, living dream. I think the life which we have fashioned in America, and which has fashioned us - the forms we have made, the cells that grew, the honeycomb that was created - was self-destructive in its nature, and must be destroyed. I think these forms are dying, and must die, just as I know that America, and the people in it, are deathless, undiscovered, and immortal, and must live."
Well Thomas Wolfe knew a thing or two, as young as he was. And so did the others who share the shelves with him. Their writing is just as relevant today as it was yesterday. Perhaps even more so.
Friday, November 7, 2008
New Paths
After Chesapeake Voyages was released we suddenly found ourselves recognized as "Fine Press Publishers." As fledgling as we were, people contacted us to discuss publishing opportunities, or to seek advice on their writing projects, or to ask what our next book project would be. Our next book was in fact decided by a gentleman who is a regular client of the bookshop and had admired and purchased a copy of Chesapeake Voyages. We were asked to design and print a collection of fifty poems written by his son, who was recently deceased. He had found his son's poems, never realizing his son wrote poetry at all. He and his wife wished to have a special remembrance of their son for family and close friends, and they asked if we would produce a letterpress limited edition they could be proud of.
Jim Dissette set out on the book design, and I began editing the sheaf of fifty poems, consulting closely with the poet's family. Working with Chad Pastotnik at Deep Wood Press we printed a very fine book, bound by Campbell-Logan Bindery. The result was Chester River Press' second publication, The Path to the Beach, Selected Poems by Nicholas William Kirk, completed in March 2008. It is a moving tribute with very fine poetry, and a volume the family is very proud of, as are we.
Through this experience we entered the world of publishing for clients, rather than conceiving and developing our own ideas for publishing projects. I must say, it was a most rewarding circumstance, and I quickly realized the satisfaction of working with a third party who was so intimately concerned with the final product. As we were to discover, word travels quickly, and this was not to be the only such project for us. In fact we are working on a memoir for a client as I write this.
Jim Dissette set out on the book design, and I began editing the sheaf of fifty poems, consulting closely with the poet's family. Working with Chad Pastotnik at Deep Wood Press we printed a very fine book, bound by Campbell-Logan Bindery. The result was Chester River Press' second publication, The Path to the Beach, Selected Poems by Nicholas William Kirk, completed in March 2008. It is a moving tribute with very fine poetry, and a volume the family is very proud of, as are we.
Through this experience we entered the world of publishing for clients, rather than conceiving and developing our own ideas for publishing projects. I must say, it was a most rewarding circumstance, and I quickly realized the satisfaction of working with a third party who was so intimately concerned with the final product. As we were to discover, word travels quickly, and this was not to be the only such project for us. In fact we are working on a memoir for a client as I write this.
Wednesday, October 29, 2008
First Voyages
Our first Chester River Press publication was The Chesapeake Voyages of Capt. John Smith. This book was the brainchild of Jim Dissette. The year 2007 was the 400th anniversary of the 1607 Jamestown, Virginia settlement. In 1608 John Smith set off in a small boat with a crew of fourteen to explore the Chesapeake Bay. He made two voyages around the bay, recorded in his Generall Historie of Virginia, New-England, and the Summer Isles, published in 1624. His journal of the voyages is a fascinating account of exploration, a real-life adventure story.
We had decided to venture into the fine letterpress printing world, and we were searching for an appropriate topic to launch our ship. Jim's idea was the perfect subject: timely, of local interest, and exciting. The plan was to reproduce Capt. Smith's journal of the two voyages, seek a noteworthy scholar to write a foreword for the book, and entice an artist to illustrate the journal. Our first choice to write a foreword was Adam Goodheart, Director of the Starr Center for the American Experience at Washington College in Chestertown. Our choice for an artist was Marc Castelli, renowned maritime artist, and a resident of Chestertown. We were aiming high, especially for a fledgling press. To our amazement and delight, they both enthusiastically agreed to participate.
So we set to work, obtaining permissions to reproduce maps, deciding on paper and binding, editing the journal slightly to smooth out the presentation, writing an introduction and synopsis of the voyages, working with Marc to select drawings, captioning the drawings, and nudging things along to completion. Jim Dissette designed the book and printed it hand letterpress with Chad Pastotnik of Deep Wood Press. Kathleen Jones provided expert editing, and there is no better editor on the planet. We limited the edition to 100 copies, in slipcases, with two maps, six drawings, and quarter-bound in blue goatskin leather and Japanese silk/rayon. We published in November, 2007.
What a beginning. We sold our last copy a month ago. Practically unheard of for a publication of this sort, and certainly an auspicious launch. We still receive requests for copies regularly.
So Chester River Press was born, and we are certainly savvy enough to realize that this initial success is not the norm in fine press publishing. We were biting our nails all through the project, and will continue to do so throughout our new projects. But to create a beautiful volume so obviously attractive to the public was immensely satisfying.
We had decided to venture into the fine letterpress printing world, and we were searching for an appropriate topic to launch our ship. Jim's idea was the perfect subject: timely, of local interest, and exciting. The plan was to reproduce Capt. Smith's journal of the two voyages, seek a noteworthy scholar to write a foreword for the book, and entice an artist to illustrate the journal. Our first choice to write a foreword was Adam Goodheart, Director of the Starr Center for the American Experience at Washington College in Chestertown. Our choice for an artist was Marc Castelli, renowned maritime artist, and a resident of Chestertown. We were aiming high, especially for a fledgling press. To our amazement and delight, they both enthusiastically agreed to participate.
So we set to work, obtaining permissions to reproduce maps, deciding on paper and binding, editing the journal slightly to smooth out the presentation, writing an introduction and synopsis of the voyages, working with Marc to select drawings, captioning the drawings, and nudging things along to completion. Jim Dissette designed the book and printed it hand letterpress with Chad Pastotnik of Deep Wood Press. Kathleen Jones provided expert editing, and there is no better editor on the planet. We limited the edition to 100 copies, in slipcases, with two maps, six drawings, and quarter-bound in blue goatskin leather and Japanese silk/rayon. We published in November, 2007.
What a beginning. We sold our last copy a month ago. Practically unheard of for a publication of this sort, and certainly an auspicious launch. We still receive requests for copies regularly.
So Chester River Press was born, and we are certainly savvy enough to realize that this initial success is not the norm in fine press publishing. We were biting our nails all through the project, and will continue to do so throughout our new projects. But to create a beautiful volume so obviously attractive to the public was immensely satisfying.
Monday, October 27, 2008
Old Books
Our bookshop customers are always interested in seeing 'the oldest book in the shop'. For a while the oldest for us was a German Bible printed in 1540. We sold it a few months ago, but it was a spectacular example of 16th century craftsmanship. Folio sized, with original hand tooled binding, metal clasps, black letter printing, marginal notes (which were uncommon) and about four inches thick. It was in superb condition for a 440 year old book, perfectly readable and still able to be opened and closed with ease. It was quite an attraction here; people would come in and ask to see the Bible.
Today our oldest books are from the 17th century. One is a very curious volume titled Theologia Moralis Expurgata, by Cassianus, 1684, which is a book that was banned by the Church for heresy, and which still appears on the Index Librorum Prohibitorum. It is bound in vellum, very thick, in nice condition, printed and bound in Venice. I'll need to brush up on my Latin to decipher all of the heresies it contains! Another is Thucydides and Xenophon L'histoire de la Guerre du Peloponese, obviously in French, Paris, 1662, also vellum, in very nice condition for its age.
The intriguing thing about these books, aside from the impressive printing and binding, is the speculation about where they have been, who owned them, who read them, touched and held them, and for what purpose. Someone famous or infamous in history? A monk in a lonely library, a member of the Inquisition perhaps, a scholar researching history 400 years ago, a nobleman with an impressive library with rarely opened books? Most often these facts remain unknown, and yet there is a certain connection with the distant past that one feels when holding and thumbing through these books, a connection with a time, place, and persons we can only speculate about. The books have survived, to intrigue us, and with them survives the legacy of unknown printers, binders, authors, scholars, clerics, statesmen, princes and thieves. Did they dare imagine that such volumes would survive so long?
It's obvious we are entrusted with much more than caring for old books. We are more importantly the caretakers of the human inquisitiveness and achievement that created these magnificent volumes, conserved them throughout the turbulent centuries, and finally placed them so very gently in our hands.
Today our oldest books are from the 17th century. One is a very curious volume titled Theologia Moralis Expurgata, by Cassianus, 1684, which is a book that was banned by the Church for heresy, and which still appears on the Index Librorum Prohibitorum. It is bound in vellum, very thick, in nice condition, printed and bound in Venice. I'll need to brush up on my Latin to decipher all of the heresies it contains! Another is Thucydides and Xenophon L'histoire de la Guerre du Peloponese, obviously in French, Paris, 1662, also vellum, in very nice condition for its age.
The intriguing thing about these books, aside from the impressive printing and binding, is the speculation about where they have been, who owned them, who read them, touched and held them, and for what purpose. Someone famous or infamous in history? A monk in a lonely library, a member of the Inquisition perhaps, a scholar researching history 400 years ago, a nobleman with an impressive library with rarely opened books? Most often these facts remain unknown, and yet there is a certain connection with the distant past that one feels when holding and thumbing through these books, a connection with a time, place, and persons we can only speculate about. The books have survived, to intrigue us, and with them survives the legacy of unknown printers, binders, authors, scholars, clerics, statesmen, princes and thieves. Did they dare imagine that such volumes would survive so long?
It's obvious we are entrusted with much more than caring for old books. We are more importantly the caretakers of the human inquisitiveness and achievement that created these magnificent volumes, conserved them throughout the turbulent centuries, and finally placed them so very gently in our hands.
Saturday, October 25, 2008
Beginnings
By way of introduction, my name is Gerard Cataldo, I'm in the book business, rare book dealer, small publisher, general bibliophile of sorts. So I will be writing primarily about those things, but I'll be rambling about other interests from time to time as well, so bear with me, if you want to.
Our bookshop is a small antiquarian shop, the Chestertown Old Book Co., in Chestertown, Maryland, on the 'Eastern Shore'. We deal in very rare and not-so-rare books. Not exactly something for everyone, but a nice selection nonetheless. Recently we formed a small press, Chester River Press, specializing in fine, limited edition letterpress books. Our first publishing project was a letterpress limited edition of The Chesapeake Voyages of Capt. John Smith. We also publish other types of books of the 'offset' printing variety, but I'll get into that later. Of course the rare and used book business today is far from what it used to be many years ago. We've been in the so called 'open shop' business for just a few years, but as you can find out with a little research, there are significantly fewer used book shops in existence today than, say, 20 or 30 years ago. There are many reasons for that and I'm sure you are well aware of them. Suffice it to say that we were taking a chance opening the shop in the times we find ourselves in.
But it's very nice to be surrounded by fine literature, history, etc. some in exquisite old bindings, many very rare, most very intriguing. They seem to take on a life of their own. We treat them kindly, no stacks of dusty old books in nooks and crannies, all arranged fairly neatly and cared for, so we like to think we have 'happy books'. If you've been in some used bookstores that are like old catacombs full of volumes leaning on volumes, then you will understand the difference. Of course I've found some wonderful 'gems' in those caverns, but I really think the books that live there, year after year, can't be very happy. I like happy books.
We have some interesting publishing projects underway, most notably our letterpress limited illustrated edition of Conrad's Heart of Darkness. We are also planning a two volume Iliad and Odyssey, limited and illustrated, as well as some 'reprints' of offset books. I'll take some time to explain our publishing ventures, past and present, in a future entry.
I want to say that without my two partners, William Frank and James Dissette, none of these things would be happening. Bill is a true classical scholar, who understands and devours the rare texts we deal with, and Jim is an extremely gifted letterpress book designer and printer, and a published poet in his own right. We are all very fortunate to have a wonderful affiliation with Chad Pastotnik of Deep Wood Press in Mancelona, Michigan, who has worked with us on our letterpress books, and with Kathleen Jones, editor extraordinaire, who has worked tirelessly on our projects.
Our bookshop is a small antiquarian shop, the Chestertown Old Book Co., in Chestertown, Maryland, on the 'Eastern Shore'. We deal in very rare and not-so-rare books. Not exactly something for everyone, but a nice selection nonetheless. Recently we formed a small press, Chester River Press, specializing in fine, limited edition letterpress books. Our first publishing project was a letterpress limited edition of The Chesapeake Voyages of Capt. John Smith. We also publish other types of books of the 'offset' printing variety, but I'll get into that later. Of course the rare and used book business today is far from what it used to be many years ago. We've been in the so called 'open shop' business for just a few years, but as you can find out with a little research, there are significantly fewer used book shops in existence today than, say, 20 or 30 years ago. There are many reasons for that and I'm sure you are well aware of them. Suffice it to say that we were taking a chance opening the shop in the times we find ourselves in.
But it's very nice to be surrounded by fine literature, history, etc. some in exquisite old bindings, many very rare, most very intriguing. They seem to take on a life of their own. We treat them kindly, no stacks of dusty old books in nooks and crannies, all arranged fairly neatly and cared for, so we like to think we have 'happy books'. If you've been in some used bookstores that are like old catacombs full of volumes leaning on volumes, then you will understand the difference. Of course I've found some wonderful 'gems' in those caverns, but I really think the books that live there, year after year, can't be very happy. I like happy books.
We have some interesting publishing projects underway, most notably our letterpress limited illustrated edition of Conrad's Heart of Darkness. We are also planning a two volume Iliad and Odyssey, limited and illustrated, as well as some 'reprints' of offset books. I'll take some time to explain our publishing ventures, past and present, in a future entry.
I want to say that without my two partners, William Frank and James Dissette, none of these things would be happening. Bill is a true classical scholar, who understands and devours the rare texts we deal with, and Jim is an extremely gifted letterpress book designer and printer, and a published poet in his own right. We are all very fortunate to have a wonderful affiliation with Chad Pastotnik of Deep Wood Press in Mancelona, Michigan, who has worked with us on our letterpress books, and with Kathleen Jones, editor extraordinaire, who has worked tirelessly on our projects.
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