The turn of the twentieth century was the Golden Age of Illustration in the U.S. and the U.K., when, thanks to advances in print technology, a vigorous public appetite for finely illustrated books was met with works by illustrators such as Arthur Rackham (English, 1867-1939). [Read more…] about Take a look at the sketches in the beloved books illustrated by Arthur Rackham
Edgar Allan Poe
James Shapiro, Larry Miller Professor of English and Comparative Literature at Columbia University, discusses Shakespeare in America at 7 p.m. this Thursday, May 1, at the Harry Ransom Center. A reception and book signing follow, and books will be available for sale.
Shapiro’s newest work, Shakespeare in America: An Anthology from the Revolution to Now, explores Shakespeare’s role in American culture. The anthology, published by the Library of America in celebration of the 450th anniversary of Shakespeare’s birthday, comprises 71 pieces from American poets, politicians, essayists, novelists, and more. It includes works by Edgar Allan Poe, Woody Allen, Cole Porter, Isaac Asimov, and James Agee.
The anthology aims to show that, although America declared its independence from Great Britain, Americans have adapted Shakespeare for use in cultural expression. In a recent interview, Shapiro said, “American history tends to be represented in a kind of clear-cut, steady march. What became clear to me through this book is the uses—disturbing and exhilarating in equal measure—to which Shakespeare has been put. People have used Shakespeare as a means to make arguments that are not easily made or expressed in this country about race, gender, war, social justice, identity.” The full interview may be viewed in the above video.
The Ransom Center holds three copies of the Shakespeare First Folio and several quarto editions of the plays, along with prompt books, costume designs, and many other materials relating to productions of the plays from the eighteenth century to the modern era.
The Welsh horror fiction author Arthur Machen turns 150 this week. Machen, an influential figure in the budding supernatural fiction scene of the late nineteenth and early twentieth centuries, is best known for his novella “The Great God Pan,” and for accidentally proliferating a legend about angels protecting the British army at the Battle of Mons in World War I.
The Ransom Center houses an extensive collection of items pertaining to the author, comprising 20 archival boxes of material. The Machen collection features handwritten drafts, page proofs with Machen’s notes, correspondence with family and friends including A. E. Waite and Oliver Stonor, and miscellaneous ephemera. Additionally, the Center’s Arthur Machen literary photography collection contains portraits of the author and his residences.
Machen’s accomplishments in fantasy and supernatural fiction inspired the admiration—and multiple pastiches—of a later generation of authors. “The Great God Pan” drew praise from such giants of the genre as H. P. Lovecraft and Stephen King. King credited it as the inspiration for his own novella N, proclaiming “Pan” to be “one of the best horror stories ever written, maybe the best in the English language.” Lovecraft, a contemporary of Machen’s, lauded “The Great God Pan” in his 1926 essay “Supernatural Horror in Literature,” saying: “No one could begin to describe the cumulative suspense and ultimate horror with which every paragraph abounds.”
The many who praised Machen often compared his writing to that of his American predecessor, Edgar Allan Poe. In a letter to a fan, which resides in the Ransom Center’s Poe collection, Machen addresses the sentiment with humility: “A good many people have compared my work with that of Poe… This was an immense compliment to me—but quite an undeserved one.” But Machen was also quick to differentiate his writing from Poe’s. He continues, “[Poe’s] terrors are as distinct as possible,” whereas Machen’s own are “vague, irrational, something like the broken recollections of a nightmare.”
Indeed, Machen’s style is of a uniquely Welsh variety. His works frequently cite those of his fellow countrymen, including George Herbert, who published a book of religious poems in 1633. The storied and ominously beautiful Welsh landscape is a frequent setting for Machen’s writing, particularly his childhood home in Monmouthshire, a county in southeastern Wales of significance to Celtic, Roman, and medieval history. In a letter housed at the Ransom Center, Machen describes his obsession with the eerie scenery behind the rectory where he lived: “From the windows one looked across a strangely beautiful country to the forest of Wentwood, above the valley of the Usk. Beneath this forest, on the slope of the hill there is a lonely house called Bertholly, and to my eyes and imagination this house was a symbol of awe and mystery and dread.”
Machen paints a similar picture—one “written to fit Bertholly”—in the opening scene of “The Great God Pan,” which describes the view from a rogue surgeon’s unsettling house-turned-laboratory: “A sweet breath came from the great wood on the hillside above, and with it, at intervals, the soft murmuring call of the wild doves. Below, in the long lovely valley, the river wound in and out between the lonely hills.”
150 years later, Machen’s influence lives on. Stephen King novels are widely read, having sold 350 million copies worldwide. Supernatural horror dramas permeate popular culture, with successful television series like American Horror Story capitalizing on themes prominent in Machen’s own works. Were he to witness many of horror fiction’s modern incarnations, Machen might detect a familiar scene, reminiscent of the lonely house called Bertholly situated in the misty hills of Monmouthshire.
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Jeweled bindings, which use metalwork, jewels, ivory, and rich fabrics to decorate a book, date back at least to the Middle Ages, but the form was revived around the turn of the twentieth century by the English binders Sangorski & Sutcliffe.
Francis Sangorski and George Sutcliffe met in evening bookbinding classes in 1896. After a few years teaching bookbinding at Camberwell College of Art, they opened their own shop in a rented attic in Bloomsbury despite the difficult economic climate. Then on October 1, 1901, they founded Sangorski & Sutcliffe. Quickly, they became known for their sumptuous multi-colored leather book bindings complete with gold inlay and precious jewels. Their designs were intricate, bold, and creative. These early years were the golden age of the company. During this time Sangorski & Sutcliffe created dozens of fine bindings and grew in both popularity and notoriety. More than 80 Sangorski & Sutcliffe originals are housed in the Ransom Center’s collections.
Many of the Sangorski & Sutcliffe books at the Ransom Center are high-quality bindings but rather plain in appearance, while a few of them are quite ornate. A Sangorski & Sutcliffe binding of Thomas Moore’s Lalla Rookh, for example, has semiprecious stones inlaid inside the front and back covers. An edition of Lewis Carroll’s The Hunting of the Snark is bound in leather with stingray onlay, and semiprecious stones are inlaid inside the front and back covers. Two works, Oliver Goldsmith’s The Hermit and James Russell Lowell’s The Vision of Sir Launfal, are handwritten in calligraphy on parchment by Alberto Sangorski with decorative borders and illuminated miniatures.
One famous book that the Ransom Center doesn’t hold is a book known as the Great Omar, which was a magnificent Sangorski & Sutcliffe binding of Rubáiyát of Omar Khayyám, a narrative poem about the importance of living in the moment. Set in a Persian garden, the lyrical verses are filled with imagery of roses, celebrations of wine, and questions about mortality, fate, and doubt.
Sangorski & Sutcliffe was commissioned in 1909 to design the luxurious binding for the Rubáiyát. The front cover was to be adorned with three golden peacocks with jeweled tails, surrounded by heavily tooled and gilded vines. The Great Omar was the pride of Sangorski & Sutcliffe. Sadly, it was fated for disaster. The book was sent on the Titanic in 1912. The Great Omar went down with the ship and was never recovered. A second copy of the Rubáiyát was bound on the eve of World War II. This copy was kept in a bank safe vault to protect it. However, enemy bombing during the war destroyed the bank, the safe vault, and the second version of the Great Omar. Stanley Bray, the nephew of George Sutcliffe, created a third version of the book after he retired. This third version follows the original design and is housed in the British Library.
Sangorski drowned in 1912, but Sutcliffe continued the firm until his death in 1936. The business changed hands and names in the postwar years as interest in fine bindings declined. The firm was bought by Shepard’s in 1998, and the name of Sangorski & Sutcliffe was restored.
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Alyssa O’Connell is an English Honors junior in Professor Janine Barchas’s seminar, “The Paperback,” in which students used the Ransom Center’s collections to research the history of paperbacks. [Read more…] about Notes from the Undergrad: The Penguin Illustrated Collapse