For the Love of Books Read online

  Copyright © 2018 by Summersdale Publishers Ltd

  First Skyhorse Publishing edition 2019

  All rights reserved. No part of this book may be reproduced in any manner without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Skyhorse Publishing, 307 West 36th Street, 11th Floor, New York, NY 10018.

  Graham Tarrant has asserted his right to be identified as the author of this work in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

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  Library of Congress Cataloging-in-Publication Data is available on file.

  Cover images © Malchev (tall book stack), Kuroksta (chair), Don Pablo (open book), Isovector (glasses), vectorgirl (small book stack)/Shutterstock.com

  Open book icon on pp.5, 7, 9, 21, 34, 42, 54, 67, 82, 91, 102, 111, 122, 132, 142, 153, 159, 168, 178, 186, 194, 205, 216, 228, 236, 237, 240 © Don Pablo/Shutterstock.com

  Book stack icon on pp.19, 33, 40, 51, 64, 79, 90, 101, 110, 120, 128, 141, 152, 167, 177, 191, 192, 195, 204, 214 © vectorgirl/Shutterstock.com

  Cover design by Qualcom

  Cover illustration credit by iStockphoto

  Print ISBN: 978-1-5107-4157-7

  Ebook ISBN: 978-1-5107-4158-4

  Printed in the United States of America

  For Abigail, Francesca and Rose.

  And for Ricardo Oliveira Costa.

  CONTENTS

  Introduction

  The Coming of the Book

  Novel Approaches

  Ban the Book

  Writers’ Feuds

  Writers at Work

  Making Crime Pay

  Prison Sentences

  Family Connections

  Under the Influence

  Dear Diary

  Grim Reapings

  Other People’s Lives

  The Spying Game

  Worlds of Imagination

  Who’s Really Who

  Asteroids to Zombies

  Writers in the Dock

  Supply and Demand

  Glittering Prizes

  Naming Names

  Children’s Classics

  Bestselling Phenomena

  Coda

  Resources

  INTRODUCTION

  Books are companions for life – and ideal companions at that. They are constantly there when you need them, uncomplaining if cast aside, always ready to continue the relationship wherever it left off. You can take a book (paper or screen) on a plane or train, to the beach or to a hospital appointment. Sitting alone in a cafe or restaurant becomes a less solitary experience if you are accompanied by a book.

  Books, at their best, can nourish the mind and liberate the spirit. They can comfort, humour, thrill, intrigue and arouse. Reading can be a leisurely affair, allowing time for reflection or to retrace one’s steps in an intricate narrative. It can be a white-knuckle ride, pitching the reader, wide-eyed and dry-mouthed, into the on-rushing story. And few experiences are more rewarding than reading to children, especially a much-loved book from one’s own early years.

  It is hard to imagine a world without books, though some dystopian novels have painted a grim picture of such an eventuality. Even in the real world the decline, if not the actual demise, of the book has been confidently forecast from time to time. Cinema, television, video games, the internet and social media have all been cited as threats to its survival. Yet the latest market trends (in the UK at any rate) show the book to be in rude health, with sales of the traditional printed form more buoyant than those of the electronic upstart. To those of us with a love of books, this comes as no surprise.

  Authors vary as much as the books they write, though they all share the daunting challenge of getting words on paper. Some have led lives as unlikely and remarkable as any work of fiction. Many have struggled with poverty, prejudice, addiction and the dreaded writer’s block. Others have found it necessary (and financially fruitful) to channel their prolific outpourings through a pipework of pseudonyms.

  This is a light-hearted book about books and the people who write them. It has stories, characters and plots, which are all the more compelling for being true. There are books and writers to discover, or perhaps to revisit. Readers with literary aspirations of their own can pick through the mixed experiences of those who have come before. All this and more will hopefully keep the pages turning. That is as much as any author can ask.

  THE COMING OF THE BOOK

  I have always come to

  life after coming to books.

  JORGE LUIS BORGES (1899–1986)

  Before the invention of writing, the spread of ‘literature’ was by word of mouth. Folk tales, legends and epic sagas were transmitted in spoken form, often by itinerant storytellers. Many were embellished over centuries. Some were later written down and are still read today, such as the Mesopotamian Epic of Gilgamesh (c.2000 BC), said to be the oldest story in existence, and the Greek sagas of The Iliad and The Odyssey (c.750 BC), attributed to the allegedly blind poet Homer but probably a combined effort involving other bards.

  THE BOOK TAKES SHAPE

  Writing is generally credited to the ancient civilisation of Sumer, later known as southern Mesopotamia, round about 3000 BC. The book began to take shape in many different ways. The Sumerians themselves wrote on clay tablets, while in ancient China, the earliest forms were made from wood or bamboo leaves bound with cord. In Egypt and Greece, the written word was committed to papyrus scrolls, which were unrolled to reveal their contents. The Romans, in the first century AD, moved things on with the introduction of the codex: manuscripts of vellum or parchment, stacked sequentially and attached along one edge so that pages could be turned.

  IT’S A FACT!

  The word ‘book’ is derived from the Old English bōc, originally a document or charter. It is related to the Dutch boek and German Buch. Another associated word is ‘beech’, the wood on which ancient runes were often carved.

  The Chinese chipped in with two seismic inventions, that of paper and printing. Paper suitable for writing purposes was first manufactured in AD 105. Woodblock printing (the characters and images carved onto wood before being inked and applied to paper) came a century or two later. The world’s oldest-known printed book, The Diamond Sutra – a sacred Buddhist text, written in Chinese and dated AD 868 – was produced using this technique.

  The next significant development, in the eleventh century and again courtesy of the Chinese, was the invention of moveable type. Instead of cumbersome wood-carving, printers used individual characters made from fired clay to create an image or body of text. As a result, books could be created faster and in greater quantities.

  LIBRARY OF ALEXANDRIA

  Founded in the third century BC and dedicated to the Muses (in Greek mythology, the nine goddesses of the arts), this was the most famous library in the ancient world. The legendary book depository was created by Ptolemy I Soter (c.367–282 BC), a former Macedonian general who became king of Egypt. For close to 300 years under the Ptolemaic Dynasty, Alexandria would be a centre of Greek culture.

  The contents of the library consisted mainly of
papyrus scrolls, several of which might comprise a single piece of work. Estimates of the total number of books housed vary between 400,000 and 700,000. Some of the works were original, others painstakingly copied by hand. The Greek philosopher Aristotle (384–322 BC) and the playwrights Aeschylus (524–456 BC), Sophocles (c.496–406 BC) and Euripides (480–406 BC) were among those whose works lined the shelves. The acquisition of books was relentless, and at almost any price. Ships entering the harbour were often searched, any books found on-board being confiscated for copying. If a book was of particular value or interest, the library would hang on to the original version and hand back a copy.

  ILLUMINATED MANUSCRIPTS

  Book production was a major activity in many European monasteries. Monks meticulously copied texts in the scriptorium (a spacious room set aside for the purpose), working only in daylight hours for fear of candles setting alight the manuscripts. Some texts would be embellished – illuminated – with illustrations or other decorative features, many of them amazingly detailed. Richly coloured illustrations of religious figures and symbols, and of flora and fauna, were augmented by intricately patterned borders. The illuminating effect was achieved by the delicate application of gold leaf or specks of gold, a process known as ‘burnishing’. The earlier works were written on vellum or parchment, but by the Middle Ages paper was in general use.

  The bound manuscripts produced by monasteries became models for the first printed books. Some became treasured works of art, such as the Lindisfarne Gospels (remarkably the creation of just one artist, Eadfrith, Bishop of Lindisfarne, between 698 and 721) which is now on display at the British Library in London. Eadfrith used a mixture of animal, vegetable and mineral pigments to achieve the exceptional range of colours on display, and there are clear influences of Anglo-Saxon jewellery and enamel work in the ornate lettering and decoration, making the Lindisfarne Gospels an important example of early English art. The eighth-century Book of Kells, another monastic masterpiece, is on permanent view at Trinity College, Dublin – though only one page a day, so you may want to make several visits. Its 680 pages (just sixty have gone missing over the years) are exquisitely decorated, justifying perhaps the sacrifice of the 185 calves whose skins produced the vellum on which the text is written and illustrated.

  GUTENBERG’S BIBLE

  Born in the German city of Mainz c.1398, Johannes Gutenberg was a man of many talents: blacksmith, goldsmith, diamond polisher, printer and publisher. Through his invention of moveable metal type, which was more durable and simpler to manipulate than either clay or woodblocks, he revolutionised the printing process in Europe. His most famous printed work is known as the Gutenberg Bible; also as the ‘Forty-two Line Bible’ because it has forty-two lines to the page; or the ‘Mazarin Bible’, having been discovered in Cardinal Mazarin’s library in Paris in 1760. Whatever its name, the first printed edition of the Bible was published in 1455, though the work itself is undated. By this time, however, Gutenberg had fallen out with his financial partner Johann Fust and been forced out of the business, losing all claim to his magnificent creation.

  The indefatigable Gutenberg set up another printing establishment, with the help of a new sponsor, and continued to publish books. Later he was ennobled by the Archbishop of Mainz in recognition of his remarkable achievements. By the end of the fifteenth century (thirty-two years after Gutenberg’s death) it is estimated that some 35,000 separate editions of books had been printed. Many of these had religious, philosophical or scientific themes and were often written in Latin. Some resembled the illuminated manuscripts of the monasteries. All would help spread learning and the ideas of a new age.

  IT’S A FACT!

  The world’s smallest printed book measures just 1mm square. The 12-page edition of the nursery rhyme Old King Cole was produced in Scotland in 1985 and has to be read under a microscope.

  WILLIAM CAXTON

  England’s first printer was born in Kent c.1422. In his twenties, he moved to Bruges, in Belgium, where he lived for thirty years, becoming a successful dealer in textiles and governor of the flamboyantly named Company of Merchant Adventurers. In 1469, he changed career and embarked on a translation of a French text about the Trojan War, Recuyell of the Historyes of Troye (A Collection of the Histories of Troy), which would become the first book to be printed in the English language.

  Having studied printing on a prolonged visit to Cologne, Caxton returned to England in 1476 and set up his own press at Westminster. Over the next fifteen years until his death in 1491, he produced around 90 books, among them Geoffrey Chaucer’s The Canterbury Tales and Sir Thomas Malory’s Le Morte d’Arthur. He translated (generally from French) many of the works himself, including the first English edition of Aesop’s Fables.

  POETIC PILGRIMAGE

  The English poet Geoffrey Chaucer (c.1343–1400) is one of the greatest literary figures of the Middle Ages. A well-connected public servant, he worked in the king’s service and was entrusted with several diplomatic missions abroad. As a writer, his most famous and ambitious work is The Canterbury Tales, which he began in 1387. A diverse group of thirty pilgrims assembles at the Tabard Inn at Southwark, before setting out for the shrine of St Thomas Beckett in Canterbury. To pass time on the journey, they engage in a storytelling contest.

  Chaucer died before he could complete the work. As it stands, there is a general prologue and twenty-four tales, amounting to 17,000 lines of verse and prose. A character sketch introduces each storyteller, and the tales are as varied as the pilgrims themselves – from the courtly knight to the uncouth miller, from the prim prioress to the five-times-married wife of Bath. Together their stories provide a vivid and vastly entertaining portrait of medieval England.

  PUBLISHERS LAUNCHED

  Until the nineteenth century, printers, booksellers and sometimes authors themselves acted as the publishers of a book. The English novelist Samuel Richardson (1689–1761) was entirely self-sufficient in this regard; the proprietor of a thriving printing business in London, he wrote, printed and published two of the most successful novels of his time – Pamela (1740) and Clarissa (1748).

  The Church and academic institutions both commissioned and purchased quantities of books, along with other publications, with the result that many printers and booksellers located their businesses close to universities and centres of religious study. Dealings with authors became a straightforward commercial transaction (though payment was often erratic and a matter of fierce dispute), replacing the earlier system of patronage in which writers were financially supported throughout their creative endeavours by a wealthy patron: Shakespeare’s benefactor, for example, was the Earl of Southampton.

  As the book market expanded, driven by the demands of a wider reading public, cheaper book production and better distribution, publishers came into their own as distinct from printers or booksellers. A new player in the game, the literary agent, emerged towards the end of the nineteenth century and would change the relationship between author and publisher. In 1926, the Book of the Month Club was launched in America and promptly spawned imitators on both sides of the Atlantic. With television not yet invented, and computers only the stuff of science fiction, the future seemed an open book.

  IT’S A FACT!

  As a young man, America’s first president George Washington (1732–99) worked as a book salesman, once selling several hundred copies of a volume with the catchy title The American Savage: How He May Be Tamed by the Weapons of Civilisation.

  LIBRARY MATTERS

  There were many private collections of books from antiquity onwards, some housed in monasteries, others in stately homes or at the great universities. The Greek philosopher Aristotle boasted an impressive library and advised others on how to create their own. The first public library in Europe was established in Rome around 37 BC by Gaius Asinius Pollio, a contemporary of Julius Caesar and of the classical poets Virgil and Horace.

  More than a millennium and a half later, in 1602, Sir Thomas Bod
ley founded the famous Bodleian Library at Oxford. In 1653, a prosperous Manchester textile merchant and banker, Humphrey Chetham, bequeathed to the city Chetham’s Library, the oldest public library in the English-speaking world. The British Museum library, later to be housed in the dome-shaped Reading Room on the same Bloomsbury site, opened its doors to the public in 1753.

  The eighteenth century saw the introduction of the circulating library, which operated on the basis of an annual subscription from readers. Like public libraries today, subscribers could borrow books for a fixed period of time, with fines imposed for late returns or any loss or damage. Fuelled by the growing popularity of the novel, circulating libraries sprang up around the country, becoming a key feature of the cultural scene. Subscription figures reached their peak in the mid-1800s with improvements in road, rail and the postal service speeding up distribution of the latest titles.

  The spread of literacy and thirst for knowledge created a demand among the less well-off for free access to books. An 1850 Act of Parliament gave local boroughs the power to establish a public library within their community. The Lancashire town of Salford’s Royal Museum and Public Library, opened in November 1850, was first off the blocks. The move spelled the end of the subscription library, though some would limp on until after the Second World War. For generations of dedicated readers, the local public library became the place to go.

  BATTLE OF THE BOOKS

  At the end of the seventeenth century, a fierce debate broke out among academics regarding the comparative merits of ancient and modern authors. Each side attracted vociferous support, though the Anglo-Irish satirist and poet Jonathan Swift (1667–1745) viewed the controversy with contempt. Swift, not known for suffering fools gladly, pitched in with a mock-heroic satire entitled The Battle of the Books (1704), which ridiculed the entire affair. In his sharply entertaining tale, books ancient and modern come to life and fight it out in London’s St James’s Library. The conflict is widened to include not just authors from the respective camps, but literary critics too. In an allegorical diversion to the main event, the bee is seen to represent the ‘ancients’ with the spider standing in for the ‘moderns’ (and the all-consuming critics). There is no definitive conclusion to the battle; Swift left it to the reader to decide which side comes out on top.