THE BRITISH LIBRARY

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27 posts categorized "New collection items"

27 February 2017

First report from the Will Self archive: family matters

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Chris Beckett writes:

Will Self’s review (for the New Statesman) of Peter Ackroyd’s Albion: The Origins of the English Imagination (2002) begins with the suggestion that his grandfather would have enjoyed the book. Before telling us why (Cockney visionaries both, with a tendency to compendiousness), we are treated to a pen-portrait of grandfather Sir Henry:

‘Albert Henry Self was the son of the conductor on the Number 11 tram. A Fulham boy, he was waiting table in a cafe when a patron spotted his ability to add the bill up with a single saccade of his bulbous blue eyes. The cafe's patron became my grandfather's, putting him through school and sponsoring him while he took the civil service examinations. Henry Self ended up as a heavyweight mandarin, Beaverbrook's permanent undersecretary during the war and, latterly, chairman of the Electricity Board. A Knight of the Garter, and one time President of the Laity of the Church of England, in his old age, my grandfather's cockney origins only emerged when he'd had an extra Guinness or three over lunch. On these occasions, he'd beat time with his knife on the table and give us a rousing chorus of "Don't Have Any More, Mrs Moore", much to the consternation of my authentically genteel grandmother, who'd bleat: "Really Henry!"’

As an unexpected bonus, the archive of Will Self at the British Library includes a fascinating documentary foreground: an assortment of family papers – photographs, letters, diaries – that have passed into the author’s possession. Cataloguing of the substantial archive is currently well-advanced: the family papers have been addressed, and work has now commenced on the core of the collection, the multiple drafts of Self’s fiction. Among the family papers is Sir Henry’s compendious ‘The Divine Indwelling’, a grand philosophical summa in five volumes that attempts a ‘reconciliation of science, religion and philosophy’.

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Sir Henry Self, ‘The Divine Indwelling’. Annotations in blue ink are in the hand of his son, Peter Self.

It was this unpublished work (not unpublished for want of trying, however, as Sir Henry’s correspondence in the archive records) that prompted Self to compare his grandfather’s synthesising habit of thought to that of Peter Ackroyd. But Self quickly makes brutally plain the all-important difference between them – the pre-loaded punchline of his comparison – that ‘Ackroyd can write’.

‘Before he too expired from a surfeit of prolixity,’ Self’s review continues, ‘my father repeatedly enjoined me to "do something" about The Divine Indwelling’. In Walking to Hollywood (2010, p. 253), we glimpse ‘the yellowing typescript’ resting – waiting wordily for attention – on the top shelf in Self’s study. Perhaps the patrilineal burden of what to do about Sir Henry’s magnum opus – his laboursome philosophical folly – has now been resolved, custody secured, by its incorporation in the archive of his grandson.

The earliest item in the archive is a Victorian family photograph album, from Lady Rosalind Self, Will Self’s grandmother. The gallery of stiff portraits that fill most of the album give way in the later pages to less formal ‘snaps’ of her two sons, Peter and Hugh Michael. Rosalind Self was the daughter of Sir John Otter. As Mayor of Brighton (1913-15), Sir John initiated the building of The Chattri war memorial, a monument to the Sikh and Hindu soldiers who died in the military hospitals of Brighton. Sir John had served in the Indian Medical Service. The Chattri, a Grade-II listed structure, sits on the South Downs in a remote spot above Patcham, overlooking Brighton. It was unveiled by the Prince of Wales in 1921, as photographs in the album record. The archive includes photographs of some of the original architectural designs (which show that initially a somewhat larger monument had been envisaged).

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Lady Self was the granddaughter of the Anglican educationalist the Rev. Nathaniel Woodard, who founded eleven schools for the rising and increasingly affluent Victorian middle class. The first school was Lancing College, near Lewes, founded in 1848. In 1843, Woodard had published A Plea for the Middle Classes. He summarised his purpose as the provision of ‘a good and complete education for the middle classes, at such a charge as will make it available to most of them’. In 1925, Sir John Otter published a memoir of Woodard.

Henry and Rosalind Self lived in Brighton, not far from Lancing, in a house in Vernon Terrace that Rosalind had inherited. Peter, Will Self’s father (who held chairs in Public Administration at the London School of Economics, and subsequently at The Australian National University at Canberra) and his brother Hugh Michael (Queen’s Counsel) were both boarders at Lancing College. It had been their mother’s wish that her sons should board there (Henry had been in favour of Brighton Grammar School). From time to time, the brothers must have passed the impressive tomb of their great-grandfather, Nathaniel Woodard, in the grand Gothic setting of Lancing College Chapel, a stolid reminder of the weight of ancestry, and of scholarly expectation.

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The archive includes Peter Self’s unfinished draft memoir ‘Through a Glass Brightly’ in which he recounts his childhood and his memories of Lancing: ‘my life at Lancing, which seemed at the time interminable, sucked me into a complete, insulated world of intense experience, which made the “real” world outside, for which we were supposedly being prepared, seem remote and unreal’ (f. 45).

Will Self’s American Jewish mother, Elaine (née Rosenbloom) first enters Self’s fictional world in the early story ‘The North London Book of the Dead’, written following her death in 1988. Elaine later takes centre-stage as the (Joycean) Lily Bloom, the sharp voice and the lively dead consciousness of How the Dead Live (2000). The archive includes her diaries and journals (most as copies), which register something of her misanthropic tone and take on life, echoed in the acerbic voicing of How the Dead Live: ‘So many people left to disparage – so little time’ (p. 55). The archive includes the letters she received throughout her life from American and English family and friends, and from her husband Peter.

The Self family letters in the archive span three generations and the three continents of Europe, America, and Australia. After Peter Self emigrated to Australia in 1980, to teach at Canberra, he usually wrote an airletter to his mother on a Monday; they form the sort of tidy pile an archivist loves to find. Will Self’s letters to his father are of particular interest: they make frequent and illuminating reference to his writing. Some were sent from the remote island of Rousay in the Orkneys, a quiet location where many of Self’s novels from the 1990s received their final drafts.

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In a recent interview published in the Paris Review (2012), Self described his first book, The Quantity Theory of Insanity (1991) – a collection of short stories, most of which satirise the world of academic research in the social and psychiatric medical sciences – as an act of parricide: ‘It takes the piss out of my father and his friends and their irrelevance as I saw it and the perniciousness of their discourse and the way in which people believed it.’ The symbolic murder of the father, as Self recalls, was not an entirely conscious action but was ‘done with a sleight of mind’. In ‘My Old Man’ (The Guardian, 15 June 2008), he acknowledges a shift in his appreciation of his father: ‘Ours was an ambulatory, ludic and pedagogic relationship [….] As we come to resemble our fathers, so we re-encounter the individual who reared us’. Certainly, the physical resemblance of Henry, Peter, and Will, all standing at some six and a half feet tall, is striking. Temperamentally, they all enjoyed and enjoy, in Self’s felicitous phrase, the pleasures of ‘happy disputation’. In the light of family history, it is perhaps not surprising that Will Woodard Self has recently turned to teaching. In March 2012, Self was appointed Professor of Contemporary Thought at Brunel University.

Sir Henry Self, a working-class son, was, by all accounts, a man of extraordinary talents, not least in respect of his exceptional capacity for memory. He used his time commuting from Brighton to London to gain eleven degrees. Sir Henry’s prodigious memory is alluded to in My Idea of Fun (1993), in the eidetic – or photographic – memory of young Ian Wharton; his ‘eidetiking’ facilitates the ominous entry of The Fat Controller into his life. In the same novel (partly set on the Brighton coast familiar from Self’s childhood), the shadowy absence of Ian’s father – ‘little more than a ghost in the domestic machine’ – seems to reflect the absence of Peter Self from the family home (from the age of nine). Lily Bloom reflects that she married into a family of ‘true shabby gentility’, a family of ‘nursery names’. In the letters in the archive, we discover that Lady Self is always addressed as ‘Mumbles’ and always signs her letters by the same name, to everyone in the family. Sir Henry’s ‘nursery name’ was ‘Dids’.

Much of Self’s fiction is framed by an exploration of masculine identity, from Cock and Bull (1992) to Dorian (2002), and The Book of Dave (2006). Self’s memoir of his father in the introduction to Perfidious Man (2000), at once a warmly humorous and distancing account, is also enlightening on the subject. Drafts of the novel Umbrella (2012) have been filed by the author along with Sir Henry’s passport and several genealogical research papers. As the author commented when Umbrella was short-listed for the Man Booker Prize: ‘Having reached my 40s, like many another slightly nerdy man (and I think it is a mostly male preoccupation), I started looking into my immediate ancestry.’ The family papers included in Will Self’s archive at the British Library suggest that however extreme the alternative reality his fiction portrays, however skewed and re-scaled the world it depicts, its well-spring is quite likely to be, bubbling beneath, a family matter.

 

31 January 2017

A few ways through the window: welcoming Ken Campbell’s work to the British Library

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Richard Price, Head of Contemporary British Collections, reflects on the Library’s recent acquisition of Ken Campbell’s artist’s books.

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Pantheon (2000). Image used by kind permission of Ken Campbell

I was first in touch with Ken Campbell at the end of the millennium. I can’t now remember the circumstances of our introduction but it was probably through the art librarian Stephen Bury when he was a colleague here, or via the artist Ronald King, who I had been recently working with in my semi-secret life as a poet.

I don’t think we’d actually met until 2004, when I went over to the east end to see Ken at his home, just beyond Brick Lane. We then visited a separate studio space, a short walk away.

Looking back, that morning seems altogether a perfect window into Ken Campbell’s artistry, its darknesses and its considerable areas of light. Impressions include the metallic traffic of Bethnal Green, particulates in the air – Ken’s books don’t dodge politics at the level of the industrialisation of the individual – the rich, argued-over layers of Brick Lane’s history. And then that crossing from the main road near Ken’s home into a vital backstreet. You stepped past pools of blood from halal meat, witnessing scuffed grey-silver shutters half-closed, half-open, all-hours business of some kind or another, openings and closings. Finally, as you walked, Ken was himself telling the stories of the poems and ideas and the making of his books.

That thick blood on the ground, moving at the speed of deliberation, and the strong working frames for those shutters– for a door, for a window the length of a building – these contrasting images, these sensations, rise to the surface of my mind when I think about Ken Campbell’s books.

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Firedogs (1991). Image used by kind permission of Ken Campbell

Kinds of argument and kinds of agreement - collision, scrap, conversation, conference, colloquium, tango – all kinds of interlocution are central to Ken Campbell’s books. He forces the hard components of printing to meet the soft ones, ink layered to a viscosity. Ken Campbell’s books are forensics in reverse, a crime scene de-enactment, with elegy and so love at their heart.

Another part of this is Campbell’s probing of limits. Erasure, superimposition, borders, a window / a black mirror / a printer’s forme / an enclosed garden; fire grate; the aperture of a camera, aperture of the eye; the case-hardened skull; the simple Pantheon, the complicated window frame. His work is always a tribute to, because a transgression of, defining restraints.

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EXECUTION (1990). Image used by kind permission of Ken Campbell

And these are very visceral books. At first they can seem austere, ‘pure’, but it soon dawns on the reader how hybrid and fluid – technically and thematically – they are, and of course how the books flow into each other.

For researchers and other pleasure-seekers at the British Library they will be the focus of hours and hours of immersion, of discussion, of I hope a kind of readerly joy.

They are perfect for us in so many ways. One is to do with their embodiment of an intensely self-reflexive book art – these are books which press a range of traditional printing methods up against modern ones, sometimes to destruction (warped zinc plates), but always physically, a material sub-text in each. Here are printerly zones where the physicality of letter press meets the surface sophistication of contemporary laser printing -- layering and replying to each other. In a way, centuries of book history are made metaphorical in Ken’s work.

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Dominion (2002). Image used by kind permission of Ken Campbell

The voice of the prophet, of a driven messenger, a voice which I believe is strong in Ken’s poetry, is in one of the earliest traditions of the artist’s book – The Lindisfarne Gospels, Blake’s poems, are testament – and I stress testament – to an urgency of creativity within the English artist’s book tradition.

Ken’s big, sculptural books and their compelling texts are the sort of events in space that this muscular part of the tradition recognises, delicate though they also are, and of course the British Library is a very good place to ground yourself in the tap-root tradition of artist’s books in these islands.

Even so, I don’t want to limit Ken’s work to the artist’s book tradition, or even to book history. Artist’s books are seldom ‘just’ about art or books and that’s the same for Ken Campbell’s work. Look here for the resonances of an old old Sanskrit song of the horse, of a fire god, of Halley’s comet from tapestry to our contemporary times; of Rodchenko as creator and, under extreme duress, censor; of Gaelic psalms of exile; British military history, British shipping history, Judaica, black flag anarchy, Shiva, show trials and trick photography, native American narrative and moving personal testimony. Ken Campbell’s books brim with the riches and questions of culture, of civilisation. In so being they are a perfect addition to a Library whose mission is to be a question-mark resonator, to safeguard information and text-based creativity in the cause of thought-provocation and particular kinds of book-related pleasure, particular kinds of reflection and even joy.

by Richard Price, Head of Contemporary British Collections.

21 December 2016

Will Self’s archive acquired by the British Library

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Rachel Foss, Head of Contemporary Archives, writes:

      The British Library has today announced its acquisition of the archive of Will Self. Probably Britain’s leading satirical writer, Self’s dystopian visions and outrageous scenarios hold up a distorting mirror to contemporary British society. Prolific as a writer of fiction and as a journalist, he is also prominent as a public intellectual, broadcasting at times controversial views in the mainstream media. The publication of his short story collection, The Quantity Theory of Insanity, brought him to public acclaim in 1991. Since then, he has written ten novels – among them Cock and Bull (1992), Dorian (2002), a re-telling of Oscar Wilde’s classic story set in late 20th century Britain, The Book of Dave (2006) and Umbrella (2012) which was shortlisted for the Man Booker Prize – as well as novellas and collections of shorter fiction, and five collections of non-fiction including Perfidious Man (2000), an exploration of modern masculinity. After graduating from Oxford, Self initially worked as a cartoonist for the New Statesman and as a stand -up comedian. He currently holds the position of Professor of Contemporary Thought at Brunel University.

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Will Self typing on his favourite typewriter

     Self’s work is predominantly set within London and the city’s location, colloquialisms and sub-cultures appear throughout his books. Drugs, addiction, aberrant psychology, dystopia, psychogeography and the politics of urbanism are also recurrent subjects in his writing. Along with William Burroughs and Hunter S. Thompson, Self cites J.G.Ballard as a mentor (the two men were good friends, particularly towards the end of Ballard’s life). Like Ballard, Self writes to shock and de-familiarize, deliberately to provoke and unsettle the reader. He has said: “I don’t write fiction for people to identify with and I don’t write a picture of the world they can recognize. What excites me is to disturb the reader’s fundamental assumptions. I want to make them feel that certain categories within which they are used to perceiving are unstable.”

     The archive that has recently arrived in the Manuscripts Store at the British Library consists of 24 large boxes of papers along with artwork, audio-visual material and the author’s computer hard drive. There are extensive successive literary drafts relating to all of Self’s major works as well as to his collaborations with Ralph Steadman and his journalism. The collection includes approximately 100 diaries and working notebooks: many of them used as commonplace books, which contain diary entries, research notes, literary drafts and sketches. Self’s correspondence is also included in the archive: highlights here include a series of letters from J.G. Ballard, in which Ballard discusses - among other subjects - the David Cronenberg adaptation of his novel, Crash, and his reading of Self’s re-working of the ‘modernist idea’. Other notable series of letters include those from John Banville, Iain Sinclair, Martin Amis and Oliver Sacks, revealing Self’s associations and networks and the ways in which his ideas and works have resonated outwards into the cultural landscape.

    Self’s archive joins the British Library’s extensive collections of the archives of contemporary writers, taking his place alongside the archives of his friends and contemporaries including J.G. Ballard, Hanif Kureishi, Graham Swift, Angela Carter, Beryl Bainbridge, B.S. Johnson and John Berger. It will offer a rich resource for future researchers, students and everyone with an interest in contemporary writing and culture. Work to catalogue the archive has already begun and we plan to make the collection available towards the end of 2017.

     Will Self said: ‘As a London writer I’m both honoured and pleased that my literary archive will be held at the British Library as a resource for scholars. Whether or not the jottings of a late twentieth/early twenty-first century novelist will be of much significance as the digital whirlwind continues to radically alter our culture and society, I don’t know – but there it is, and there it will remain, long after I myself have been pulped.’

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A box of notebooks from the Will Self Archive at the British Library

     Self’s archive, like most of the contemporary archives we acquire, is a hybrid archive containing both paper and born digital material. The collection includes his computer hard drive which holds a wealth of electronic manuscript drafts and approximately 100,000 emails along with a huge number of other files yet to be mined and identified (including downloads of his i-Tunes, which offer an intriguing line of investigation for future users of the archive).

     When Self came into the British Library recently to talk about his archive, he brought with him his favourite typewriter. His recent blogs and talks (which the Library has also preserved as part of the UK Web Archive) have frequently addressed the impact of digital culture on the future of writing. Self is a particularly interesting writer from the point of view of his working processes: earlier in his career, he wrote directly onto the computer; later on, he switched to writing long had and uses a vintage typewriter for earlier drafts. His shift to the typewriter is a creative strategy to address anxieties about the digital and its effect on the human mind and creative consciousness:  a deeply set need to feel the physical engendering of language and the weight of words upon the page. The opportunity for examination and analysis that Self’s born-digital traces offer are particularly interesting in the context of the cultural debate about the digital of which Self is at the forefront. The hard drive gives curators at the British Library an exciting opportunity to emulate the working environment of the writer as we continue to confront the challenges presented by these kinds of contemporary collections and work to make these valuable resources available for the future.

On Being Archived: Will Self, Hanif Kureishi and Guests, will take place at the British Library on 24th March 2017 at 7pm. Please see the Library’s Events pages for more details.

16 December 2016

P.G. Wodehouse Archive at the British Library

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Recently, as part of our cultural preview for 2017, we announced that the personal archive of P.G. Wodehouse has come to the British Library on loan and is to be made publicly available for the first time.

P.G. Wodehouse (1881-1975) was a prolific writer and is one of the most widely read humourists of the twentieth century. Publishing over ninety books in his lifetime, he is best known as the author of the well-loved series of novels featuring Jeeves and Wooster. He also forged a successful career as an acclaimed lyricist, satirist and social commentator.

Sir Edward Cazalet, who has made the archive available to the Library, said:

“I am so delighted that the British Library is to provide a home for my P.G. Wodehouse archive. Given that Wodehouse is now ranked as one of the leading, if not the leading, humourist authors of the 20th century writing in the English language, I believe that this broad-based collection will not only bring much pleasure and laughter to its readers but will also prove to be critical to any serious study of 20th century humour and literature.  

PGW would have been so proud to know that he is now counted amongst his great literary heroes, headed by Shakespeare, Tennyson and so many others. This archive I have built up over a period of more than 40 years since Plum’s [Wodehouse] death in 1975. It contains many of his drafts and manuscripts, and has copious quantities of correspondence with composers, authors, relations and close friends, as well as a wide range of other interesting documents.”

The archive spans material dating from 1900-2005 and includes manuscript drafts and notebooks relating to Wodehouse’s fiction and essays, among them Aunts Aren’t Gentlemen, the last novel in the Jeeves and Wooster books, and his final published novel, Sunset at Blandings.

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“Keeping it from Harold”, story by PGW in the December 1913 issue of The Strand Magazine. Image reproduced by kind permission of the Trustees of the P.G. Wodehouse Estate. 

The archive also contains material relating to his writing for theatre, film and cinema. While in America Wodehouse wrote the lyrics for a number of American musicals in collaboration with composer Jerome Kern and Guy Bolton, playwright and librettist. The collaborators were very successful and at one point had five shows running simultaneously on Broadway. Wodehouse also worked in Hollywood where he was one of the script writers of Those Three French Girls. The screenplay for this is also part of the archive.

Wodehouse’s correspondence reveals his conversations with family, friends, authors and fellow artists. These include letters from Evelyn Waugh - who described Wodehouse as his ‘revered master’ - and from the American lyricist Ira Gershwin. One of his letters to his wife, written while he was under arrest in France, has a rather interesting story.  The letter did not reach Mrs Wodehouse until it was rediscovered in a house in Frimley in the summer of 1977, and sent to her by Peter May, whose neighbour had discovered the letter when sorting through her late husband’s effects. 

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Letter from PGW to his wife Ethel, 25 November 1944. Images reproduced by kind permission of the Trustees of the P.G. Wodehouse Estate. 

The archive also includes the handwritten manuscript of Wodehouse’s ‘Camp Diary’. Having been interned by the German Army in various temporary prison camps Wodehouse eventually arrived in a converted asylum at Tost, in Upper Silesia. During this time he kept a diary, which he turned into a series of talks with which he entertained his fellow detainees. With typical dry humour, these talks reflected the traditional code of honour of the detainees, their practice of making light of their discomforts and remaining stoic, and showed how they did their best to lift their spirits when faced with challenging and dangerous circumstances.

31 July 2016

Zines resurgent

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As we reach the end of International Zine Month it seems a good moment to look back and take stock of the situation of zines and fanzines in the Library now. I’m impressed by the current vibrancy of the ‘zine scene’ and the level of interest in zines, both as a resource for social research and as a means of expression for people who are marginalised by mainstream publishing or who favour a DIY aesthetic as a means of retaining control over their work. I was asked recently whether, as a curator, I judged the scene to be growing. It’s hard to tell whether there are more people involved in producing zines or whether interest in, and awareness of, the scene is simply greater, but if the popularity of zine fairs is anything to go on, there does seem to be a real buzz within DIY publishing.  In London, this year’s ‘DIY Cultures’ was agreeably crowded and filled several floors of the Rich Mix building. Across London, at Goldsmiths University, London Radical Bookfair offered a wide range of zines alongside other publications.

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Feminist and punk zines purchased at London Radical Book Fair.

If there is indeed an increase in zine production, there are various reasons. One aspect may be a feeling of disconnect associated with online zines or personal websites.  Putting something together in print brings people together: you can take your zine out and talk to people, find somewhere to distribute it, and table it at zine fairs as part of a community. The print format offers a means to connect with other like-minded people in the real word, rather than virtually. At the same time it does seem that the web has helped the print zine scene by allowing people to raise the profile of zines, publicise fairs, and create online distros to bring zines to a wider audience. The web has given zinesters a means to connect with each other more effectively to exchange ideas and experiences, rather than taking away the need for zines to be produced in print.

Allied with this there seems to be a growing desire to produce something that will last.  Websites may have a wide reach, but they are also ephemeral, and may not endure.  Many of the zines we acquire now show more care in their production than some of the early zines - the paper is of higher quality and covers are stronger, bindings have replaced staples, and there is more use of colour. There is a sense that, having taken time to put them together, their creators want them to last. The care taken in the production of these zines is also a means for their creators to give recognition to the people who have contributed their stories or artwork or whose experiences are represented.

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 Recently acquired zines produced by Rudy Loewe and Jacob V Joyce.

Another factor is the interest in zines within art schools, as well as media courses, given that zines offer students a way of taking their work to an audience.  In some senses this could be seen as a move away from the ‘not for gain’ ethos of many zinesters in the sense of zines being used as a means to further a career – but it also allows students and others to take charge of the way their work is presented and express themselves without being mediated to their audience by a third party. In many ways the early zines also served as a launch pad for their creators’ careers in journalism or the arts; this is apparent just as much amongst the more overtly rebellious punk zines as it is within the carefully crafted artistic works we are seeing now. For art students in particular, zines are a really good way to create an object that can showcase a style or approach in a self-contained way, and the community aspect of zine fairs allows for informal feedback that is both immediate and potentially supportive.  

 
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A selection of zines purchased at this year’s DIY Cultures, London.

There is continuity too, in that the opening up of wider expression and discussion around gender, sexuality and non-binary sexual identities has been a boost for zine production. Zines allow for expression around a very wide range of issues, and whilst at many levels the last decade has seen greater acceptance of diversity, including around LGBT+ identities, body image, and mental health, there are still strong barriers blocking the access of ideas and experiences to mainstream publishing outlets.

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One of several rooms at DIY Cultures 2016 bringing together zinesters and those interested in their work.

Alongside the zines bought at zine fairs or from online distributors, the Library continues to gratefully receive zines sent in directly by their creators, whether they are single issues ‘hot off the press’ or longer runs carefully preserved from years gone by. Recenty, we were pleased to receive a full run of early 1990s Somerset rave zine, TAT (This and That) Mag from its author Terry Hanslip who describes the original aim of the zine as being ‘to inform, educate, protest and make people happy if I could’.

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TAT Mag, a free rave zine produced by Terry Hanslip in the early 1990s.

Not all aspects of print fanzine production are experiencing a boost as media moves online. The Library used to acquire a wide range of football fanzines, but very many of these have become online only, and a much-reduced number are produced in print.  Football fanzines in particular seem to have been affected by many of the same forces that work against print newspapers or magazines, partly because they are often professionally printed and need to be sold at a price that would cover rising production costs. This is hard to achieve when the same content can be made available for free online. Even so, many football fanzines are still going in print, especially those associated with the smaller clubs. A fuller exploration of the Library’s football fanzines is on my ‘to do’ list, so watch this space, but for now I’d like to mention the farewell print issue of Gary Firmager`s long running West Ham fanzine, Over Land and Sea that marked the club’s final match at the Boleyn Ground in May this year.   The Library holds a good run of OLAS from its first issue in August 1989, so it seemed important to add the last issue to the collection, to bring the series to a close. Steve Marsh’s ‘They Fly so High’ website sets OLAS in the context of the many West Ham fanzines over the years. Its 27-year run is truly exceptional, even amongst football zines.

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‘Over land and sea’/ OLAS fanzine, 10 May 2016.

For more about zines in the Library, see Steve Cleary's post on More On and Fearghus Roulston's piece about punk zines as a resource for research.

 

15 June 2016

P is for Printess: New Acquisition

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Christina Tacq’s latest artist’s book Printess & the p is a reimagining of the timeless Hans Christian Andersen fairy tale about a young woman who proves her nobility to her suitor prince, by detecting a pea through twenty feather mattresses. Only a princess would be so sensitive to be awakened by a pea. In this version, it is a woman printer, or ‘printess’, who is the person of discernment.

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The first thing that is striking about Tacq’s latest work is the interspersed monotone plates sit in sharp contrast to the vibrant rich imagery of the colour spreads illustrating the narrative. This contrast is beautifully underpinned by using different paper. The colour reliefs are printed on Zerkall paper, while, intaglio collagraphs are on Fabriano paper. By cleverly changing the medium it reinforces the initial contrast at the physical as well as on a visual level.

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The theme of contrast extends to the depictions. The seven richly coloured double-page spreads juxtaposed with the far more vulnerable black and white which offers an intimate glimpse into an inner darker world. Some of these prints spill out from the confines of the frame with hard edged intaglio  printing as if attempting to burst out from the page and ape the freedom a vibrancy depicted in the colour plates.   

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Tacq’s skill as a book artist are illustrated in the way this volume unravels and draws in a complex range of themes and concepts, techniques; - and then presents them in such an appealing way. Her use of Optima for the text balances with the rich relief collagraphs

The Printess &the p was published in July 2014, it is a first edition of twenty five copies. The volume was printed by p’s &q’s Press, Thame in Oxfordshire and bound at the Fine Book Bindery.  

The covers are bound in hand-printed linen designed with relief-blocks and comes in a linen slipcase.

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The images are created using the collagraphy technique in which the plate is constructed of adhered elements and inked with a roller or brush to produce in both relief and intaglio, and an embossed impression can be obtained by printing the plate dry without inking.

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The way the imagery and the narrative intertwine to create this volume weighted with powerful subtexts which engage with concepts of feminism and identity. In some respects it offers a self-portrait of a printer.  

On returning the volume to its slipcase one evening after working with it I noticed a small piece of paper squashed in to the back of the slip case. On retrieving and unfolding it, it read:

“18 Excellent Copy, British Library? Excellent”

Because of the way the creases appear it was possibly placed on the spine as part of the quality assurance process. Nevertheless, to come across such a note adds to an authenticity of the artistic process and speaks to the huge range of skills and processes it takes to create a tome of such outstanding quality.

 

The Library’s copy of the Printess &the p will be accessible at British Library shelfmark RF.2016.b.35. in the near future.

Images reproduced with the kind permission of Christina Tacq.

Blog by Jerry Jenkins, Curator, Emerging Media, Contemporary British Published Collections

14 May 2016

International Dylan Thomas Day: New Acquisition

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The British Library is delighted to announce the acquisition of manuscript items relating to Dylan Thomas from Professor John Goodby. We are grateful to receive this contemporaneous memoir and copy of a letter by Dylan Thomas to the publican Phil Richards. These items will enrich our research resources for Dylan Thomas, which already include early manuscripts, correspondence with fellow poets such as Vernon Watkins, and other papers relating to his poetry, prose and dramatic scripts. We are excited to be able to add these items to our collections, adding a further voice to our understanding of Dylan Thomas.

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Dr. Charles Barber, Prof. John Goodby, Abe Osborne and BL Curator of Performance and Creative Archives, Joanna  Norledge at the donation of the manuscripts (left to right)

Prof.  John Goodby and Ade Osborne, PHD student at Swansea University, have kindly written about the research value of these items:

A memoir, by the local G.P. to Dylan Thomas and his family during his years in Laugharne (1938-40 and 1949-53), and a copy of a letter by Thomas, are being donated by Professor John Goodby to the British Library on 13th May 2016. The memoir is hitherto unknown, and the letter does not appear in the 1985 or 2000 editions of Thomas’s Collected Letters and is not known to other Thomas experts. Both items have been transcribed by Ade Osbourne, a Ph.D. student supervised by Professor Goodby and funded by Swansea University to work on the Dylan Thomas notebook the university acquired in 2014.

The 26-page memoir is by Dr David Hughes, the St Clears-based G.P. for the Thomas family, and was written in 1961 for Charles Barber who had recently become interested in literature and was due to give a paper on Dylan Thomas to the Literary Society; his father, a friend of David Hughes, asked him to help his son, and the two MSS were his response, the memoir being handwritten by Hughes himself, the letter being a copy made by his wife Phyllis Hughes from the original, which was addressed to Thomas’s friend Phil Richards, the publican at the Cross House Inn, Laugharne, and dated 8 December 1950.

David Mendelson Hughes was himself a man of culture, an accomplished painter and a friend of Philip and Richard Burton. His relationship with Thomas was a doctor-patient one only, but his cultural interests tinge his account in places. Thus, he admits that his first impression of Thomas, in 1938, was of someone acting as a Chelsea bohemian in order to give the impression of being an artist. But this jaundiced view had changed by 1949; Hughes stresses Thomas’s ‘shy & self-effacing’ demeanour, habit of drinking only in moderation, and dedication to his parents, on whom he called every day before visiting Brown’s Hotel (‘before the Pint, the Parents’) where he would have a drink before heading to the Boathouse to work all afternoon.

For Hughes, whose attitudes to women were the patriarchal ones of his era, Caitlin is the villain of the piece; ‘fast’ is the kindest word he uses to describe her, and he speculates that she was responsible for driving Dylan to his death in New York in 1953. To some extent, Hughes’s account is also that of a local man determined to defend Dylan’s reputation against the lurid accounts given in John Malcom Brinnin’s Dylan Thomas in America (1957) and Caitlin’s Leftover Life to Kill (1958). He finds Dylan sad rather than humorous and adopts a protective attitude towards him.

For all the limitations of its time and place, however, this is a striking first-hand account of the poet which adds colour and detail to the others we possess, from the Thomas’s packing-case furniture to Dylan’s taste for pork pies and fear of the dark. For all that Hughes’s Dylan ultimately cuts a sad figure, his account is insightful and full of humorous incident.

The short letter is in typically whimsical vein; it refers to Thomas’s forthcoming trip to Persia of January 1951, and to a pig named Wallis, bought by Thomas with his friends Bill McAlpine and Phil Richards to fatten up for Christmas. The memoir references the letter, and tells us that when the time came to slaughter Wallis, Thomas found ‘Wallis’s dying words’ too much to bear, and sought refuge in the Cross House.

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The documents were kindly donated to Professor Goodby by Charles Barber at the suggestion of His Grace Rowan Williams during a Marlborough College reunion in 2015. They were exhibited at Swansea Museum until 12 May, and are the basis of a feature article to mark International Dylan Day in The Times on Saturday 14 May by Hilly Janes, the daughter of Fred Janes, Dylan’s close friend, and author of The Three Lives of Dylan Thomas.

Discover more about Dylan Thomas, including his work and life here: www.discoverdylanthomas.com

Photograph of David Hughes and David Hughes and his wife Phyllis Hughes, with kind permission of Frances Hughes.

  David Hughes David and Phyllis Hughes

28 April 2016

From poets to punk: Who is Barry Miles?

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Key counterculture figure, bookshop manager, editor, publisher, author, music journalist, archivist, biographer: all of this, and more, is Barry Miles, or just ‘Miles’, as he is better known.

His archive, acquired by the British Library in 2013 and recently catalogued, is a rich and unique source of information not only to anyone interested in Miles himself, but also to those researching the Beat Generation, and the ‘60s and ‘70s culture and music.

Miles organised and arranged his papers thoroughly. Divided into correspondence, projects files, folders relating to his publications, and reference material, the archive reflects all stages of Miles’s life and career, from his time as a student at Gloucestershire College of Art in the early ‘60s to the present day.

At the centre of the London underground scene, as manager of Better Books, co-founder of Indica Gallery and Bookshop and International Times (IT), and organiser of many events, Miles developed an extensive network of contacts, within and outside the UK, many of whom were also good friends. Jim Haynes, Peter Asher, Pete Brown, Victor Bockris, Caroline Coon, Piero Heliczer, Richard Neville, Gordon Ball, Simon Vinkenoog, Lawrence Ferlinghetti, Urban Gwerder, to name but a few of his correspondents.

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Flyer on Indica Books limited headed paper advertising The Ginsbergs at the ICA, a recording of the reading given by Allen and his father on 22 August 1967. Reproduced with kind permission from Barry Miles.

With the same people, Miles collaborated on numerous adventures: there are over 100 files in the collection relating to projects in which he was involved, for example his work as editor of Horde and Long Hair, as London correspondent of East Village Other, as co-founder of Lovebooks, Miles, Asher and Dunbar Ltd., and ECAL, as Time Out editor, as manager of Zapple, and as music journalist for New Musical Express. The files include letters, publicity material, press cuttings, newsletters, photographs, reports, notes, press releases, events programmes, draft articles and unpublished material. 

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Trial proof of the cover of Long Hair magazine, Lovebooks second poetry publication, 1965. Miles edited the issue and contributed to the cover drawing. Reproduced with kind permission from Barry Miles.

The first interview Miles did, published in IT on 16 January 1967, was with Paul McCartney, a friend of Miles - the two had met through Peter Asher, whose sister, Jane, was Paul’s girlfriend at the time. Later interviews that Miles did with, amongst others, John Lennon, George Harrison, Mick Jagger, Ed Sanders, and The Clash, feature in the archive, either on tape or as transcripts.

After a period as a freelance editor for Omnibus Press, Miles became a prolific writer, publishing 50 books, some of which have been translated into foreign languages. Not to mention the over 400 articles he wrote and his numerous contributions to other authors’ books. For his writing, Miles conducted meticulous research and many interviews, as it emerges from the number of research files and tapes he produced. Also included amongst the material relating to his publications are various drafts, notes, correspondence with editors, letters from fans and colleagues, publicity material, royalty statements, press reviews, and cover proofs.

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Handwritten notes by Barry Miles, on airline napkin. The material from these notes was used for many articles written by Miles, for magazines such as International Times, Hot Ratz, Changes. Reproduced with kind permission from Barry Miles.

His first ‘proper book’ was the biography of Allen Ginsberg, which took him five years to complete and for which Miles recorded 40 tapes of interviews with Ginsberg, his friends and family, now part of the British Library sound collection.

Biographies of other influential figures in Miles’s life followed including William Burroughs, Paul McCartney, Frank Zappa, and Charles Bukowski. His two memoirs, In the Sixties and In the Seventies, together with his London Calling, are detailed accounts of the London underground life and his major and minor players.

Included in the archive are also some rare, limited, special or signed editions of Miles publications, including an unauthorised reprint of his article 1970 ‘The Rebirth of Joy’, the 1973 catalogue of Lilia Aaron exhibition in Switzerland, a 1963 clipping of Miles's article How To Undress a Painting in Slate 2, the magazine of Gloucestershire College of Art, and a typed copy of Horde number 1, 1964.

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Unused ticket for Poets of the World / Poets of Our Time, Albert Hall poetry reading, 11 June 1965. Miles was involved in the organisation of the event.

Miles created files of reference material for items he used most frequently, mainly for publications or exhibitions. Amongst these are a Better Books paper bag, designed by John Sewell; an unused ticket for Poets of the World/Poets of Our Time, the first large-scale Beat generation reading in Europe at the Albert Hall poetry reading, on 11 June 1965, which Miles helped organise; Indica Gallery and Books photographs and flyers; and a leaflet for the party at the Roundhouse for the launch of International Times, 15 October 1966.

A few items from the Barry Miles archive, including a leaflet for The Roxy club and the first interview with the Clash, will feature in the forthcoming free exhibition Punk 1976-78, which opens on the 13th May 2016.

The catalogue of the Barry Miles archive is available online from Explore Archives and Manuscripts.

by Silvia Galotti, Manuscripts Cataloguer