A simple novel of a planned megachurch....an unpaid Las Vegas mafia team.....a paleontologist with another kind of secret.....and a collector of dinosaur bones with a sexual proclivity that is.....well, tied up in costumes.....the same old stuff.
I got the book as a inexpensive remainder copy....made more valuable because it was signed. As cheap novels....it was ok as a bedtime read, but nothing more.
# 0853
Sunday, August 30, 2009
Friday, August 28, 2009
"The Reading Nation in the Romantic Period" by W. St. Clair
It is not a simple read, if one were to define a text by its mere volume. And at 765 pages, its a monster of a book. But even if you were to remove the hefty appendices, the breadth of research still comes to the fore with a fluid hand. "The Reading Nation in the Romantic Period" identifies a time of transition, between the mid-18th century, and that of the early to mid-19th century and how this would define not only a nation but the printing strategies and cultural, societal milieu to come. Not a simple book indeed.
The book industry was, for so long, a patronage/cartel run business for much of its early stages. "The romantic period was to see the last sustained attempt by the British state to control the minds of the British people by controlling the print to which they had access." In the manuscript age, where texts were manually produced, church and government had control, in terms of content, and to some extent distribution, and price. The print age created a strong tie with state and business. "Only those members of the [book] industry who were sworn members of the official English church, and whose loyalty to the state was unquestioned, were permitted to" engage in the industry. The steps to modern publishing, and intellectual property rights began, in essence, with the abolition of state censorship in 1695. From there it was still a troublesome path.
Once the church and state broke ties with the book industry it "was now effected by the weight, [and] price". Further "the industry, by building up vested interests in the supply of certain favoured titles, and by its constant awareness of the need to maintain the share price of these properties by rationing the supply, encouraged a tendency towards cultural as well as towards technological obsolescence." The industry, by its control and greed, froze a nation. This lasted for nearly a century, at least up to 1774 when further legislation was enacted; meanwhile other nations developed new printing technologies, and authors were less taxed or at least could be published in another country. This is perhaps the most troublesome discovery of St. Clair's book. In effect, "the losses", by limiting the variety of texts, and propping up the prices so only the higher echelons of society had access, manifested "less literature of all kinds being written and published, less reprinting, less reading, a slow-down in the pace of the diffusion of new ideas, less access to the discoveries of science and medicine by those at the lower tranches [levels] of the book market, less education, more obsolete education, more illiteracy, more ignorance, more unwanted children."
The relationship between author and publisher would evolve. But by looking back at the actually production numbers of books, one can gain a clear impression of the state of the author in his or her time, rather than rely on 21st century historians interpreting "the classics" [by the way, this term originated as a framework of considerate, tender titles and texts suitable for cultured women to read, not the anthological listing of our impressing of literary giants]. For St. Clair access the actual production numbers of works of Shelley, Byron, Wordsworth, Austen and such reveal that Sir Walter Scott "whose verse works were sold in the largest numbers." Shelley, Keats and company, works we now think of a canonical, actually had less of a societal impact when published.
Meanwhile, the United States were only mildly scorched by the brutal heat of the British system of industrial monopoly. Their production was wider [more titles] and less skewed toward aristocracy. A reading populace is an educated populace. "The post-independence intellectual property regime helped the United States to become one of the most modern countries in the world."
In all "The Reading Nation in the Romantic Period" is full of discovery and thought. How the book industry affects a nation is often only brushed over. St. Clair anchors this idea with multitude of facts, not anecdotal quips. If you want to bite into something a little more textually and intellectually engaging, and had a sense of history with a purpose, this not-so little volume would be fulfilling.
#852
The book industry was, for so long, a patronage/cartel run business for much of its early stages. "The romantic period was to see the last sustained attempt by the British state to control the minds of the British people by controlling the print to which they had access." In the manuscript age, where texts were manually produced, church and government had control, in terms of content, and to some extent distribution, and price. The print age created a strong tie with state and business. "Only those members of the [book] industry who were sworn members of the official English church, and whose loyalty to the state was unquestioned, were permitted to" engage in the industry. The steps to modern publishing, and intellectual property rights began, in essence, with the abolition of state censorship in 1695. From there it was still a troublesome path.
Once the church and state broke ties with the book industry it "was now effected by the weight, [and] price". Further "the industry, by building up vested interests in the supply of certain favoured titles, and by its constant awareness of the need to maintain the share price of these properties by rationing the supply, encouraged a tendency towards cultural as well as towards technological obsolescence." The industry, by its control and greed, froze a nation. This lasted for nearly a century, at least up to 1774 when further legislation was enacted; meanwhile other nations developed new printing technologies, and authors were less taxed or at least could be published in another country. This is perhaps the most troublesome discovery of St. Clair's book. In effect, "the losses", by limiting the variety of texts, and propping up the prices so only the higher echelons of society had access, manifested "less literature of all kinds being written and published, less reprinting, less reading, a slow-down in the pace of the diffusion of new ideas, less access to the discoveries of science and medicine by those at the lower tranches [levels] of the book market, less education, more obsolete education, more illiteracy, more ignorance, more unwanted children."
The relationship between author and publisher would evolve. But by looking back at the actually production numbers of books, one can gain a clear impression of the state of the author in his or her time, rather than rely on 21st century historians interpreting "the classics" [by the way, this term originated as a framework of considerate, tender titles and texts suitable for cultured women to read, not the anthological listing of our impressing of literary giants]. For St. Clair access the actual production numbers of works of Shelley, Byron, Wordsworth, Austen and such reveal that Sir Walter Scott "whose verse works were sold in the largest numbers." Shelley, Keats and company, works we now think of a canonical, actually had less of a societal impact when published.
Meanwhile, the United States were only mildly scorched by the brutal heat of the British system of industrial monopoly. Their production was wider [more titles] and less skewed toward aristocracy. A reading populace is an educated populace. "The post-independence intellectual property regime helped the United States to become one of the most modern countries in the world."
In all "The Reading Nation in the Romantic Period" is full of discovery and thought. How the book industry affects a nation is often only brushed over. St. Clair anchors this idea with multitude of facts, not anecdotal quips. If you want to bite into something a little more textually and intellectually engaging, and had a sense of history with a purpose, this not-so little volume would be fulfilling.
#852
Saturday, August 15, 2009
"Melancholies of Knowledge. Literature in the Age of Science", M. A. Safir (ed.)
Frankly I have a limited knowledge base of "literature" and what is popularly considered the same. Sometimes I wonder if literary criticism, at times, is more about creating much ado about nothing, than simply enjoying a good book. That said, I do have some interest in how science is portrayed in the public sphere, as in literature. But who knows anything about Michel Rio and his assemblage of literary takes on science and how it plays in the broader human arena of experience? His books are not commonly in print in English, which makes it even more difficult. Yet, editor Margery Safir obviously does, assembling noted writers of culture, including a scientist or two, to pick apart a Rio's books to see how it all plays out - science and literature.
Frankly (again) I only read the introduction and one chapter. I agree with her that "Rhetoric, textual analysis, questions of style, and modes of expression are recognized in History and Philosophy of Science as crucial to the life of scientific concepts." Science is beyond white lab coats and test tubes. It is a human construct to understand the world around us. However, I disagree with Safir that science has special status in culture. That literature has to make up ground. "Are authors of fiction" she asks "seeking to share in the power and authority that contemporary society accords science?" Because of our collective ignoring of science, as a society, this is simply not true (a rant best saved for a specific essay).
Still, I wanted to hear what Stephen Jay Gould had to say. A follower of his, one who appreciates learning through his digressions on science and culture, I found his essay on Rio's Dreaming Jungles. Gould states the obvious of literature and science: "This form of "iffy" history [the incorporation of the two - I won't say cultures] can be so fascinating as a source of conjecture about alternative plausible pathways for our cultural lives." Where I found pause to concern is his final statement. "We need the integration of our disciplines, the end to false and extreme dichotomizations, the recognition that we cannot grasp human uniqueness unless we both practice art and understand science." That we as a society must all participate in art, but only understand and not participate in science. Here again a scientist has lofted science to a higher status. For this is a failure of society: to appreciate the technological and basic science that surrounds us, and a failure too of scientist in successfully translating and incorporating the ACT of doing science.
#0856
Frankly (again) I only read the introduction and one chapter. I agree with her that "Rhetoric, textual analysis, questions of style, and modes of expression are recognized in History and Philosophy of Science as crucial to the life of scientific concepts." Science is beyond white lab coats and test tubes. It is a human construct to understand the world around us. However, I disagree with Safir that science has special status in culture. That literature has to make up ground. "Are authors of fiction" she asks "seeking to share in the power and authority that contemporary society accords science?" Because of our collective ignoring of science, as a society, this is simply not true (a rant best saved for a specific essay).
Still, I wanted to hear what Stephen Jay Gould had to say. A follower of his, one who appreciates learning through his digressions on science and culture, I found his essay on Rio's Dreaming Jungles. Gould states the obvious of literature and science: "This form of "iffy" history [the incorporation of the two - I won't say cultures] can be so fascinating as a source of conjecture about alternative plausible pathways for our cultural lives." Where I found pause to concern is his final statement. "We need the integration of our disciplines, the end to false and extreme dichotomizations, the recognition that we cannot grasp human uniqueness unless we both practice art and understand science." That we as a society must all participate in art, but only understand and not participate in science. Here again a scientist has lofted science to a higher status. For this is a failure of society: to appreciate the technological and basic science that surrounds us, and a failure too of scientist in successfully translating and incorporating the ACT of doing science.
#0856
Wednesday, August 5, 2009
"Lempriere's Dictionary" by L. Norfolk
There are reasons books are remaindered, returned to their publishers for disposal. Some of these still are good works, with no fault to the authors. Others are obvious. And, after 152 pages, about a third of the book, I had no choice but to 'remainder' the book myself, thanks to the author. From the beginning, a thread was hard to pick up. There seemed no reasoning for the story....no pick up between the tales that were spun. You knew that somewhere there was a 'dictionary', something I had hoped that would start to tie the threads together (even loosely) .....but no. After 152 pages of abbreviated scenes...there was no choice but to find a dusty place on the shelf, and squeeze in another title. For this is my remaindering pile.
#0850
#0850
"Cemetery Dance" by D. Preston & L. Child
Not their best work. The two began this series with Relic, about things that go bump in the museum night, with a small character, FBI agent Pendergast. Reminiscent of an X-File case, the character has blossomed through nine books. Each one peeling away another layer of this mysterious, rogue-ish character, except for this latest. Cemetery Dance is a straight-on storey with cultish dimension, a story that could have been written on card board. Hopefully the authors will return in years time (usually in August) with a new tale with a strong subplot. One that suggest revealing another Pendergast layer.
#0851
#0851
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