Posts Tagged ‘Arden Shakespeare Second Series’

Oppressed by books

January 23, 2019

My study has needed re-painting for a while, and I finally tackled it last week; it took far longer than I expected, because of the books, and rather alarmingly, by the end of it, I felt quite oppressed by them. Although the study is quite roomy, it’s full of stuff, all of which had to be moved, along with the 1000 or so books on six different sets of shelves, before a particular section of the room could be painted. As I finally re-shelved the last of the books, I did a small cull, wishing I could do a bigger one. Am I ever going to read that again? I found myself thinking.

There’s always an – and yet – though.

There’s a particular physical comfort and sensual pleasure from being surrounded by books, most of which I’m quite attached to in some way or other. Many of them are physically nice objects, with quality paper, good quality binding, well looked-after… and that’s before I think about the contents. I love the Everyman’s Library series and have quite a lot of these: they are not OTT in the way I find the Folio Society collection, for example. And I also have quite a lot of cheap French paperbacks, which I like for their fine design – echoing Penguin in earlier days – and basic quality paper.

I like the various sections that line my study: almost a wall of travel writing which I’ve gradually collected over the last couple of decades, a wall of literature with its complete hardback Arden Shakespeare Second Series in individual volumes, shelves of history, atlases. I feel at home in this room, and it’s good to have so much within easy reach of my enormous desk.

And yet, I felt oppressed. Many of the books will go eventually, as I age, and re-read before reluctantly parting with them. But others need to go now. I piled up all the Polish albums of photos of cities, gifts from the socialist era when there was plenty of spare cheap printing capacity and the regime wanted to boast both of the nation’s past and the socialist construction: I probably looked through them a couple of times forty years ago and never since. I don’t have the time or the inclination to try and sell books online, so they will go to Amnesty. And there are many other lovely coffee-table type books that I cannot bear to part with at the moment.

I know that a disciplined approach would have me ruthlessly go through everything and select only the books I could definitely justify keeping (ha ha!). I recognise that my feelings are changing with age, and I do try and de-clutter, but I cannot understand the various lifestyle coaches who just say ‘get rid of it all, you can always buy it again if you need it’ and readers who claim to keep everything they need on their e-readers cannot really be serious, in my books. My books do increasingly remind me of my mortality: they can outlive me, and will not have the associations they have for me, for others…

Anyway, I now have a newly-painted study, in exactly the same colours as it was before but cleaner and fresher, and in another ten years I may well not care about re-decorating…

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Shakespeare: Love’s Labour’s Lost

December 26, 2015

4106MBV4HRL._AA160_This is quite an early Shakespeare play, which I’ve enjoyed in the past, but found a little tiresome this time round, for a number of reasons. For one, the plot is tiresonely symmetrical: a king and three nobles woo a princess and three ladies; all are ultimately successful. And for each of the three courstships, the stages are alike: you would not find such a lack of variety later on in the dramatist’s career. The comic subplots using the clowns and other menial character I therefore found rather more humorous and diverting.

The language is correspondingly limited, too: the blank verse is very structured, and very frequently moves into rhymed couplets, or alternate line rhymes, which grows tiresome after a while. There’s a great deal of wit and wordplay, much prized at the time and still very clever today, if you can penetrate it. My preferred edition of the plays is the Arden (second series) which appeared over about forty years from the 1950s onwards; this being an early edition, it’s interesting to see the editor doing his best to avoid having to explain the vulgarities and obscenities that abound, or couching them in euphemistic terms. Later editors of other plays were nowhere near this circumspect. But often, to understand much of the humour, a twenty-first century reader does need glosses.

One gets a clear picture of Shakespeare as a developing craftsman from this play; familiarity with a range of his work clarifies all sorts of different stages and experiments, and from this early work it’s possible to see a number of tracks that he would eventually explore: a lot more disguise and cross-dressing, a lot more experimentation with the versatilities of prose and poetry, bolder comic heroes and heroines (I was aware of how far he had yet to go to create the Viola of Twelfth Night, for example), much more complicated plots and subplots…

I suppose my closest comparison for anyone not familiar with this play would be Romeo and Juliet, which was written maybe a year or so later. it’s a tragedy (obviously), but, if you look closely at the text, rather than watch one of the quite heavily edited film or stage versions, you will still see some of the rather tiresome overuse of rhyme, and leaden emotional over-exaggeration (the Nurse’s lament at discovering the apparent death of Juliet), over-long set-piece speeches (Mercutio’s Queen Mab speech) and other signs of a still-developing playwright. Just read it alongside Antony and Cleopatra and you will see what I mean.

However, I always find it useful to be reminded that our greatest dramatist had to practise and learn his craft, and make a few mistakes along the way.

The Beauty (or not) of Books

November 2, 2014

Although I love reading books, I’m also often conscious of them as objects in themselves, and sometimes the physical book itself adds to the pleasure of reading, somehow.

Most paperbacks nowadays are banal, nondescript, the products of corporate marketing and design. Penguins used to be easily and unmistakably identifiable as such, with colour-coded spines and covers, and fonts that were part of that design; early Penguins with the single-colour cover and the white band with the title are classics that are a pleasure to look at as well as read. The French still do this marvellously with some publishers issuing first editions of new novels in a plain (no illustration!) cover and standard fonts giving author and title; I’ve no idea why this decades-old presentation has survived, but it looks good. I remember when the French paperback collection Folio was launched about forty years ago: they still use the same white cover, same font, although there has always been an illustration of some kind taking up part of the front cover. Again, I think it looks good; it has evolved into a classic.

Hardbacks are a different prospect. Occasionally I come across a beautifully produced hardback title in the UK: I’m thinking of books like Umberto Eco’s On Beauty, On Ugliness, and The Book of Imaginary Lands. The paper is good quality, the colour printing is clear, the binding is stitched and sturdy: I love having one of these open to read. Most hardbacks nowadays are manufactured down to a (high) price here, printed on poor quality paper and bound with glue, so that they don’t open and lie flat properly; I have no idea how long the binding glue will last before it crumbles. Often US editions are better made and worth buying in preference.

Why am I bothered? Because, with hindsight, some of the books I bought long ago and have loved, cherished and re-read many times, have not stood the test of time, and, quite frankly, I think they should be capable of outlasting me. If all I require of a book is to sit on a shelf, and have its pages turned every five or ten years, then it shouldn’t self-destruct after thirty years.

My favourites are probably the Everyman’s Library hardbacks in their new incarnation: cloth binding and sewn pages, decent quality paper (though some of my older volumes are, to my disappointment, slightly foxed now), always a pleasure to read. And the Arden Shakespeare Second Series hardbacks with their blue cloth covers and minimalist dust-jackets: I have now managed to collect the complete set over twenty years or so.

Good books speak to me across time: I get goosebumps looking at ones like Shakespeare’s First Folio or the King James Bible of 1611 in museums. Physical books can and should last: there is something wrong with them becoming transient junk like so many other things nowadays.

On the other hand, as Theodore Sturgeon once said, ninety-five percent of everything is crap.

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