Author: Henry Wessells

commonplace book : january 2025

early in January, and it is already a good year in books, having just received two long-awaited titles in this week’s mailbag

Billy Budd at 100 (continued)

— Herman Melville. Billy Budd. A Centennial Edition with Fourteen Illustrations Cut in Wood by Barry Moser.  Pennyroyal Press, 2024. Edition of 50 copies signed by the artist.
A spectacular new large format edition of Billy Budd Sailor (An Inside Narrative) — as the half-title names the book. The text of the novella is set from the Melville Electronic Library, with original woodcuts by American master Barry Moser.

 

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a Tim Young trifecta

— Timothy Young. Isness & Aboutness. Thoughts on Bibliography. Publication Studio, 2024.
With two single sheet ’zines, printed rectos only :
— 10 Reasons Libraries Matter, 2021.
— 10 Reasons Books Matter, [2015].

Isness & Aboutness is a really great essay on thinking about books and thinking about the world (it is the text of Tim’s Sandars lecture at Cambridge University in November). He cites Donald McKenzie to good effect, on bibliography as

the only discipline which has consistently studied the composition, formal design, and transmission of texts by writers, printers, and publishers; their distribution through different communities by wholesalers, retailers, and teachers; their collection and classification by librarians; their meaning for, and — I must add — their creative regeneration by, readers [. . .] no part of that series of human and institutional interactions is alien to bibliography

His essay moves beyond McKenzie’s assertion to identify new modes of bibliography and to assert the primacy of bibliography as a means of uncovering what books are and what they do in the world. Highly recommended.

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snow day, 11 January 2025

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great blue heron flying low over the silvered mere
alighting on the ice beside a stand of reeds
in the distance, the pulaski skyway

/ from the train window this morning [16 January]

/ file under : extreme commute

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ROUND-UP OF BOOKS FROM 2024 WORTH LOOKING FOR

— Christopher Brown. A Natural History of Empty Lots. Timber Press, [September 2024].
This was one of the most interesting books I read this year.  Chris has written three novels of near future  dystopias where characters are finding their way through an America  reshaped by climate change (and political turmoil). The first of them, Tropic of Kansas, was the best book I read in 2015. In A Natural History of Empty Lots, Chris looked at the world around him and questioned his own assumptions and prejudices (as Thoreau suggests in Walden), and tries to see how we humans might find a way to live in the world that does not involve devouring it. The fact they that I appear in the book and our friendship of many years, obliged me to exclude Empty Lots from the running for the book of the year. This is a book that traces its origins to the excellent Field Notes Chris has been publishing online ; he has entirely transformed them and has written a beautiful and thoughtful book. https://endlessbookshelf.net/2024/09/03/singular-interview-christopher-brown/
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— Mark Valentine. Lost Estates. Swan River Press, 2024.
Collection of a dozen stories, four unpublished, including the excellent title story.
——. The Thunderstorm Collectors. Tartarus Press, [2024].
Collection of twenty-nine essays and vignettes, including pieces on Arthur Machen, A. J. A. Symons, M. R. James, and lesser known figures from the “curious alleys and byways” of literature and folklore. Fifth volume in his series of collected essays.
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On afternoons my heart / feels like an out-of-season hotel
— Adrian Dannatt. Capacity for Loss. [Opium Books, 2024]. Edition of 300.  Yellow cloth, dust jacket with illustration, Gaia, from the painting by Danny Moynihan.
Collection of poems.
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— John Clute. The Book Blinders. Annals of Vandalism at the British Library : A Necrology. Illustrated. Norstrilia Press, [2024].
I wrote a notice, here :
https://endlessbookshelf.net/2024/03/24/the-book-blinders-by-john-clute/

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— This Is Only Earth, My Dear. Images by Trillian Stars & Kyle Cassidy with poems by Elizabeth Eleanor Siddal. Laurel Tree Press, [2024].
Selection of poems by artist Lizzie Siddal (1829-1862) and photographs in and around east London by Kyle Cassidy, with a smouldering Victorian palette. A delightful pre-Raphaelite counterfactual : what fun !
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— Ray Russell. The Woman Who Fell to Earth. Tartarus Press, [2024].

A wild short novel of doublings, tricks of memory, serious ontological ambiguities, and the perils of close involvement in the life and writings of a neglected author. Tanya and Caroline were friends from university days, though Caroline had become reclusive after her husband’s death. Caroline, literary executor of one hit wonder and horror novelist Cyril Heldman, had resurrected his name and formed an online community of readers (we see a bit too much of the hostile behavior that such small stakes games can provoke).  Caroline gets back in Tanya’s life when she lands on Tanya’s roof: a corpse fallen from the empty sky. At the heart of the novel is and a house in Wales where time stands still, and the the Sixtystone, the object from Arthur Machen’s “Novel of the Black Seal”, which confers dangerous powers upon those in proximity. The resolution is deeply shocking, sudden and unexpected and seamlessly integrated into the narrative, even if some of the interesting implications are not fully explored. The ending is restorative and curiously cozy, almost pastoral.

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(MELVILLE, HERMAN). Melville’s Billy Budd at 100. A Centennial Exhibitionat the Grolier Club and Oberlin College Libraries. Introduction and Descriptions by William Palmer Johnston. Frontispiece portrait of Melville by Barry Moser, color plates. The Grolier Club, 2024.
— Herman Melville. Billy Budd and Other Prose Pieces. Constable, 1924.
——. John Marr and other Sailors with some Sea Pieces. DeVinne Press, 1888.

2024 is the centenary of Melville’s Billy Budd, and there have been many phases in the year-long celebration. The catalogue of the Grolier Club show is well worth looking for. I was delighted to be a panelist on the symposium organized in connection with the exhibition. These events prompted me to publish A Melville Census, a bibliographical work looking at the last two books published in Melville’s lifetime : https://temporary-culture.com/product/henry-wessells-melville-census/#310899

It also prompted me to go back to primary sources, and and so on a recent visit to the Lilly Library I re-read John Marr, a book of ghosts and roll-call of the dead. The whole book speaks to Billy Budd, especially the quip of Captain Turret, “submission is enough”. De Vere was not so sensible an officer. There are other things I noticed which will require more time to contemplate ; these thoughts will show up in an essay sometime.

Cahokia Jazz by Francis Spufford : the Endless Bookshelf book of the year – 2024

— Francis Spufford. Cahokia Jazz [2023]. Scribners, [February 2024].
Cahokia Jazz is a Prohibition novel, a jazz novel, a detective novel, and an excellent science fiction novel set in an alternate America, and the best new book I read in 2024 (it was published in England last autumn but I did not see a copy).
The novel opens with the investigation of a gruesome crime by two Cahokia police detectives. Joe Barrow is a deracinated veteran of the an Indian orphanage school and the first world war. It’s a toss-up which was the harder school. Phin Drummond, is also a veteran of the trenches, a poor white opportunist and a joker in the face of death. Barrow plays piano in speakeasies and hotel nightclubs,  and Cahokia Jazz rolls out to the plink and rumble of piano music from ragtime to Satie to Jelly Roll Morton.
How many ways can the dominant Anglo-Norman colonial history of North America be subverted ?  It’s one thing to invoke a distinguished name, as Spufford does with the novel’s sly dedication ; it’s another to deliver the goods. The narrative of Cahokia Jazz is not rote or formulaic but organically rooted in language and anthropology and invented historical documents. To get technical for a moment, the Jonbar Point is a milder Columbian exchange and the introduction of a less virulent strain of smallpox to the Americas, so that indigenous populations survive in larger numbers and the political and cultural shape of the continental United States is altered. St. Louis remains a small rural trading post ; on the east back of the Mississippi, Cahokia is the industrial powerhouse and nexus of commerce and transportation. This is another America, but certain characteristics persist and Spufford plays the tensions well : the polity of Cahokia is a syncretic multi-ethnic Catholic commonwealth with an indigenous American aristocracy whose matriarchal line of succession contrasts with the Protestant merchant-industrialist capitalists slavering at the opportunities they seek to create by fomenting unrest and playing the Red Menace card. An investor says, “One hopes that when the, ah, obstacles of the present arrangements have been cleared away, the place will still preserve its character. As much as possible, anyhow.”
One arc of the novel is Joe’s recovery of his takouma (indigenous) heritage through his connections with the Sun and Moon. The Sun is the de facto ruler of Cahokia — Harvard-educated, cosmopolitan descendant of the long line of princes, with a Boston Brahmin drawl, “long hair and earrings and a face the color of old, oiled wood”, and someone deeply attentive to the power of symbols. “The Man” gives Joe his card (like the Provót “ASSIST” in Avram Davidson’s Eszterhazy tale “The Crown Jewels of Jerusalem”) to ensure the cooperation of the takouma population, and brings Joe along to witness the Green Corn Planting ceremony in a rural suburb. Joe meets the Moon — the niece of the Sun, stylish couturière and cultural benefactor of Cahokia. She tells him the tale of Thrown-Away Boy and his brother Lodge Boy, and he accompanies her to a dinner at the Frank Lloyd Wright designed Algonkian Hotel.
At any moment the relationship between the two detectives could edge into Laurel and Hardy — or Natty Bumppo and Chingachgook, or the Keystone Kops — but it doesn’t. Cahokia is a gritty, stinking, beautiful city, seething in the build-up to a KKK riot, and as the detectives criss-cross the map in search of the murderer, they meet and interview  individuals  so distinctive — German gangsters, a tough-talking red-headed newspaper reporter, hicks, takouma crazies and political activists and poets and office workers — that the moments of wit and levity never tumble into slapstick. There are many pleasures throughout the novel, some involving a sense of alternate possibilities. Spufford integrates ritual and mystery into a twentieth-century America : the appearance of the Four Winds Society when Joe joins the detective bureau is a rite of welcome by his colleagues in masks, but the power of that society is revealed when the police are suddenly ushered out of a takouma neighborhood by citizens whose masks no longer seem so benign. Another delight is the long scene in the Algonkian’s Catawba Room, where Joe meets the takouma cultural elite and a visiting professor of Anthropology, sits in at the piano with the band, and dances with the Moon. The week of the novel is packed with incident.
“To arrest, for the space of a breath, the hands busy about the work of the earth”, as Conrad wrote : the effect upon the reader, that’s what it all comes down to. Cahokia Jazz makes it happen.
The Endless Bookshelf book of the year 2024.

recent reading : november 2024

 

— Romance in the Library. The Romance Novel in English. Gallery Guide. [Cover title]. Illustrated. [64] pp. The Lilly Library, [2024].
Curated by Rebecca Baumann, this remarkable exhibition, Romance in the Library, likely the first of its kind, charts a revisionist history of English literature, with emphasis on women as readers of novels from the eighteenth century to the present, and claims an oft-scorned modern-day marketing genre construct — the romance novel — as a badge of honor. In the heyday of the gothic, which included the sentimental as well as the historical and supernatural, writing novels was an economic activity open to women even while the reading of them by women (especially young women) was viewed as unsuitable. Baumann’s retrospective claim is an assertion that works pretty well, but one has to abandon one’s preconceptions to find more than superficial kinship between The Wild Irish Girl or Pride and Prejudice and modern formula fiction. The shift from novels aimed at a genteel readership to a vast popular appetite for novels of romantic entertainment is rooted in greater educational opportunities for women at all economic levels and the nineteenth-century achievement of near universal literacy. A welcome and provocative exhibition.
Jane Austen’s Pride and Prejudice (1813) is in original boards, untrimmed. The stylish yellow and red dust jacket* for Boy Crazy by Grace Perkins (1931) is spectacular (and it’s inscribed to Upton Sinclair)! I wish I had taken a picture.
[lightly edited for clarity 16 Nov.]
* here’s an image of another copy of the book :

Grace Perkins. Boy Crazy, 1931. Dust jacket by WJH. Courtesy of Long Bros., Seattle.

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— Kasper van Ommen. Joseph Scaliger. His Oriental library, and the meaning of scholarship. [Cover title]. Illustrated. Brill, [n.d.].
——. Josephus Justus Scaliger. Sieerad van de Academie. Ornament of the Academy. [Cover title]. Text in Dutch and English. Illustrated. [Universiteit Leiden, 2020].
Two illustrated monographs on the great sixteenth-century polyglot and polymath Joseph Scaliger (1540-1609).

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— The Dagon Collection. Auction Catalogue of Items Recovered in the Federal Raid on Innsmouth, Mass. Edited by Nate Pedersen. Cataloguing by Rebecca Baumann, with assistance from Jonathan Kearns. Illustrations by Liv Rainey-Smith and Eduardo Valdés-Hevia. Layout and Design by Andrew Leman. [PS Publishing, January 2024].
A catalogue of imaginary objects, rigorously described, with their history in vignettes by a wide variety post-Lovecraftian authors. Lot 13, The Geometry of Nowhere, is a dizzying book ; and lot 33, the Tiffany Lamp, is an unsettling piece.

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— Michael Connelly. City of Bones. Dennis McMillan, 2002.

man about town

poet Adrian Dannatt gestures after signing a copy of his collection of poetry, Capacity for Loss. It's a pretty good book

— Adrian Dannatt. Capacity for Loss. [Opium Books, 2024]. Edition of 300.  Yellow cloth, dust jacket with illustration, Gaia, from the painting by Danny Moynihan.
Author Adrian Dannatt, debonair man about many towns, is seen in mid-gesture above, just a few minutes ago at the publishing party for the launch of his collection of poems, Capacity for Loss, at Nathalie Karg Gallery, amid an installation of Danny Moynihan’s paintings.
Danny Moynihan paintings at Nathalie Karg Gallery

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‘Sard Harker by John Masefield’ is an essay published for the centenary of this adventure novel set in Santa Barbara, most leeward of the sugar countries of South America, now up on Wormwoodiana. It is set in a South America of abandoned villages and mysterious temples, a land of adventure and visions, a paradise of metaphor and simile.

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Your correspondent will be at the Boston International Antiquarian Book Fair, Friday through Sunday 8-10 November, at the Hynes Convention Center (Cummins booth 514). Come say hello. I will have copies of The Private Life of Books and others available.

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return to ‘The Self-Reflective Page’

— Louis Lüthi. On the Self-Reflexive Page II. Illustrated throughout. 298,[4] pp. [Amsterdam: Roma Publications, 2021]. Pictured at right.

I pulled this from a shelf at IRIS, a nice bookstore in Montclair that just celebrated one year as an open shop. I remembered the title from a decade ago and was curious to see what the new iteration would hold. The emphasis is similar, reflections on pages in literature that perform in a different mood than prose text, from Laurence Stern’s Tristram Shandy (1759-67) to Walter Benjamin, André Breton, Harry Mathews, Donald Barthelme, and other recent writers. This new edition, with different images of marbled pages from Tristram Shandy for its covers, is much expanded, with more examples of pages : black, blank, drawing, document, photography, and text pages; and the essay is more discursive and takes in a wider scope of material than in the first edition (at left, above), which I had grabbed at a Printed Matter art book fair in the autumn of 2012 and noted here , with a visual nod to the allusions to Tristram Shandy that anchor the book. The 2010 edition is a book of 128 numbered pages, followed by a concise, unpaginated essay of 32 pages (including notes and bibliography).

The first edition included a loose leaf, a Prière d’inserer or “review slip” :

This reminded me of the playful review slip found in the S.P. copies of Raymond Queneau’s Exercices de Style (1947), which prints one of the exercices in the book :

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wish I were there : in the mission district

‘A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container’

snapshots from a recent Futurefarmers event, on a quiet street in the Mission district in San Francisco, wish I were there

with artist Michael Swaine, well known to readers of the ’shelf as one of the instigators of the Weedwalk in San Francisco, an informal botanizing ramble, which included two memorable Book Walks, in 2007 and 2009.