If you’re like me and author Tom Mole, the first thing you do in any new acquaintance’s house is to scrutinize their bookshelves, whether openly or surreptitiously. You can learn all kinds of surprising things about what someone is interested in, and holds dear, from the books on display. (And if they don’t have any books around, should you really be friends?)
Mole runs the Centre for the History of the Book at the University of Edinburgh, where he is a professor of English Literature and Book History. His specialist discipline and this book’s subtitle – “Why They Mean More than Words” – are clues that here he’s concerned with books more as physical and cultural objects than as containers of knowledge and stories:
“reading them is only one of the things we do with books, and not always the most significant. For a book to signal something about you, you don’t necessarily need to have read it.”
From the papyrus scroll to the early codex, from a leather-bound first edition to a mass-market paperback, and from the Kindle to the smartphone reading app, Mole asks how what we think of as a “book” has changed and what our different ways of accessing and possessing books say about us. He examines the book as a basis of personal identity and relationships with other people. His learned and digressive history of the book contains many pleasing pieces of trivia about authors, libraries and bookshops, making it a perfect gift for bibliophiles. I also enjoyed the three “interludes,” in which he explores three paintings that feature books.
There are a lot of talking points here for book lovers. Here are a few:
- Are you a true collector, or merely an “accumulator” of books? (Mole is the latter, as am I. “I have a few modest antiquarian volumes, but most of my books are paperbacks … I was the first in my immediate family to go to university, and I suspect the books on my shelves reassure me that I really have learned something along the way.”)
- In Anne Fadiman’s scheme, are you a “courtly” or a “carnal” reader? The former keeps a book pristine, while the latter has no qualms about cracking spines or dog-earing pages. (I’m a courtly reader, with the exception that I correct all errors in pencil.)
- Is a book a commercial product or a creative artifact? (“This is why authors quite often cross out the printed version of their name when they sign. Their action negates the book’s existence as a product of industry or commerce and reclaims it as the product of their own artistic effort.”)
- How is the experience of reading an e-book, or listening to an audiobook, different from reading a print book? (There is evidence that we remember less when we read on a screen, because we don’t have the physical cues of a book in our hand, plus “most people could in theory fit a lifetime’s reading on a single e-reader.”)
I would particularly recommend this to readers who have enjoyed Anne Fadiman’s Ex Libris, Alberto Manguel’s various books on libraries, and Tim Parks’s Where I’m Reading From.
A personal note: I was delighted to come across a mention of one of the visiting professors on my Master’s course in Victorian Literature at the University of Leeds, Matthew Rubery. In the autumn term of 2005, he taught one of my seminars, “The Reading Revolution in the Victorian Period,” which had a Book History slant and included topics like serial publication, anonymity and the rise of the media. A few years ago Rubery published an academic study of audiobooks, The Untold Story of the Talking Book, which Mole draws on for his discussion.
Two more favorite passages:
“when I’m reading, I’m not just spending time with a book, but investing time in cultivating a more learned version of myself.”
“A library is an argument. An argument about who’s in and who’s out, about what kinds of things belong together, about what’s more important and what’s less so. The books that we choose to keep, the ones that we display most prominently, and the ones that we shelve together make an implicit claim about what we value and how we perceive the world.”
The Secret Life of Books will be published by Elliott & Thompson on Thursday 19th September. My thanks to Alison Menzies for arranging my free copy for review.