Tag: Books

Friday Fave: New York Review Books Classics

Book design deserves more attention than it gets from readers. We pay attention to a pretty cover now and then, but most of us are so accustomed to books being disposable, a story to be read once and then put aside, given away, or returned to the library, that what it looks like matters very little. There are a few stand-out covers every year from the behemoth publishers, but the majority, especially the bestsellers in most genres, are designed to grab our attention more like a flashing sign than a piece of beauty.

Aren’t they pretty? (Torn spine aside. This is one peril of buying second-hand books online…)

I find this to be a great pity. As much as I like e-books–and I do love my kindle–they just don’t provide the same experience as reading a paper book. There’s a sensory experience in reading a paper book that can’t be replicated by a screen. It isn’t just that the book has a smell; a  That sensory experience is heightened when a book’s design is as attractive as its content.

When I was a teenager I was an avid collector of the 90s Vintage covers: The color blocked designs and the stark font used on the spines were immensely appealing to me, and they published my favourite authors–A.S. Byatt, Michael Ondaatje, Jeannette Winterson, Stephen Mitchell’s translations of Rilke. They continue to publish a strong selection of authors, but their abandonment of the plain color spines and black borders was disproportionately disappointing to me.

Happily we now have the New York Review Books Classics imprint. I don’t suppose they’ve won an award for design, because, like Vintage, there’s a single pattern for the series, but each one of these books is a thing of beauty. The font, the plain-color spines and backs, quality of the paper, even the shape and pleasant weight of each book. The colours they use are eye-catching and attractive. The front-cover illustrations are simple, a photograph or other extant image that is relevant to the text, usually a fragment of a painting.  It’s a bit like the New Yorker covers, which often require you to puzzle out how they relate to the main story in each issue.

Beneath the covers is an impeccably curated collection of fiction, memoir, and biography from around the world. The imprint was launched in 1999 to re-publish out of print works from The Reader’s Catalogue, because it was found that many of the “40,000 best books in print” were in fact no longer in print. They have since branched out to include English-language translations of works that are highly regarded in other parts of the world but otherwise unavailable to those like me who never learned to read even a second language to fluency. Unlike Penguin Classics, for which a “classic” must be of a certain vintage–fifty or seventy years after death, I think, depending on when the author’s copyright expires according to U.S. or UK law–these classics are deemed so according to influence and reputation, and the range of interest covered is immense. They have re-printed all of Nancy Mitford’s non-fiction titles, which for a time were much harder to get hold of than her fiction; a collection of troubadour poems from mediaeval France; and a host of novels and memoirs from China, Eastern Europe, and South America that provide personal testimonies and insights into the wars and revolutions of the last century that we have variously lacked access to and ignored in the U.S.

A recent sorting through and reorganization of my library revealed that I have several shelves worth of Vintage and Penguin classics, collected in the many years since I began high school. My NYRB shelf is by comparison puny–only a handful of titles as yet–but I am working on that, bit by bit. They are books to be savoured, rather than devoured in one or two sittings, so I am taking it slow.

 

Friday Fave: Dark Hour of Noon

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This is the first novel that changed my life, that shaped a part of who I am. I was nine years old, wandering through my school’s library, looking for longer books with appealing covers because I was still at an age where I liked illustrations–it would be another couple of years before I started to dislike them because I found my imaginings of the characters to be so much more interesting. (This book is also the root of my dislike of the idiom that you can’t judge a book by its cover–I’ve discovered a number of excellent novels because I

was attracted by their covers. I do realize that’s irrelevant to the meaning of the saying, but it still irritates me.)

I knew about World War II–my father was a child in London during the Blitz, and my mother remembers the German POWs who worked for her father and other neighbours when she was very small. Our bookshelves at home are still lined with biographies of Churchill and dozens of histories of the military aspect of the conflict. I was always more interested in the social side of history, though, and beyond watching Hope and Glory every time it came on TV, I didn’t know much about that side of things at that point. I picked the book up because I was intrigued by the illustration, and I loved the title; there was no synopsis on the back of the book, and most of the excerpt on the inside of the front cover is a discussion between two characters about the mythological heroes of Poland. I may have thought it was in part a fantasy story–I’d already discovered fantasy at that age, and was enchanted by all things mythology-related.

Fantasy is is decidedly not, although it is nightmarish in many parts. It follows Trina, seven years old in 1939, as her world is torn up by the Nazi occupation of Poland. She watches what her friends and loved ones endure at the hands of the invading soldiers, and soon decides to fight back in whatever way she can. The novel chronicles Trina’s life during the war, and the ways that she and several like-minded children mounted what resistance they could to the occupation.

It is still my favourite novel about WWII, and my favourite YA novel. I don’t remember how many times I read in the three years between my discovering it and graduating the school whose library owned the only copy I could find. I looked for it in every bookshop I went into, every garage sale. Everyone always thought I was talking about Arthur Koestler’s Darkness at Noon. A few years later I found another copy in the library of the elementary school attached to my high school and seriously considered how to steal it, leaving money in its place, but I never had the chance–it was not a room I routinely had access to, and I could hardly have come and gone unnoticed, as the librarians knew all the children they worked with. Then came the age of online book stores, just after I’d finished university, and Margaret found a pristine first edition for me one Christmas–one of the many reasons she’s an amazing friend. I shrieked like my nine-year-old self when I unwrapped it, much to my parents’ consternation. I spent that Christmas day re-reading the book, and have done so again many times since. It isn’t one of the books I carry around with me from country to country, because I’ve done my best to keep it from damage, but it is always on my favourites shelf.

It grieves me every time I see a list of books for children and teens about the Holocaust and this is not on it. At times I wonder if this is because too many parents and teachers found it too grim–it is grim subject matter, and unsparing in its depictions of the violence committed by the Nazi army and by those who resisted them–but most of the time I’m inclined to think it’s just because it wasn’t advertised successfully. Since the recent success of Elizabeth Wein’s excellent Codename: Verity and Rose Under Fire, as well as other YA novels such as A Northern Light, I keep hoping that it will be republished and get more attention. I’ve seen it mentioned in a few scholarly works on the representation of war in children’s fiction, but it doesn’t have the readership it deserves. I continue to hope it will be rediscovered, and that this will change.