15 December 2018
By Imogen Durant, PhD Placement Student working on the library’s contemporary British poetry pamphlets and artists’ books.
On Tuesday 11th December the British Library hosted the 10th Awards Ceremony of the Michael Marks Awards.
Luke Thompson of Guillemot Press won the Michael Marks Publishers Award. Andrew Forster, who introduced the award, highlighted the meticulous craftsmanship and innovate design of Guillemot’s publications, which particularly impressed the judges.
Thompson highlighted the multisensory nature of the pamphlets that he produces when he explained that in addition to the unique look and rich texture, several of his pamphlets also have a distinctive smell, as their covers are made from the spent grain from a brewery.
PR won the illustration award for her artwork in Zi-Zi Taah Taah Taah: The Song of the Willow Tit, published by Wild West Press, with poems by Steve Ely. The illustration award was introduced and presented by Sir Nicholas Penny, who gave a convincing imitation of a willow tit when announcing the pamphlet’s title.
Carol Rumens won the Poetry Award for her pamphlet Bezdelki, published by The Emma Press. The poetry award was introduced by Sasha Dugdale, one of this year’s judges.
Carol Rumens giving her acceptance speech for the Poetry Award
Bezdelki contains a series of elegies for Rumens’ late partner, Yuri Drobyshev. Rumens said that the pamphlet provided her with means of remembering Yuri, and allowed her to explore her own identity after his death.
In a poem entitled ‘Vidua’ (on p. 19), she says:
I wasn’t a bride
I wasn’t a wife.
I’m not a widow.
Rumens explained that the size of the pamphlet form provided a vehicle for her to capture the ‘Bezdelki’, or ‘small things’, such as a hat and an overcoat, which appear in these poems. Dugdale highlighted the strength of Rumens’ imagination and the breadth of the allusions in her poems, which Rumens demonstrates in this pamphlet by including poems inspired by Osip Mandelstam and one which is narrated in the voice of the Nubian Pharaoh Taharqa.
Bezdelki by Carol Rumens
The awards were presented by Lady Marks, who gave a warm personal introduction to the evening. She outlined the Michael Marks Charitable Trust’s aims of preserving art and the environment in the UK, and emphasized her belief in the poetry pamphlet as being vital form in the creative force of the country. Lady Marks also began the evening’s readings with some sonnets by her late husband, Lord Marks of Broughton, the founder of the Michael Marks Charitable Trust.
Congratulations to Luke Thompson, Carol Rumens and PR, and to all of those shortlisted for the 10th Michael Marks Awards.
30 November 2018
Judges Announce Shortlist for 10th Michael Marks Awards for Poetry Pamphlets: Library Celebrates Awards’ Anniversary
by Imogen Durant, PhD Placement Student working on the Library’s Contemporary British collections of poetry pamphlets and artists’ books. The Library will be holding a poetry reading on the 10th December in celebration of the 10 year anniversary of the awards. Poets include Christine de Luca, Omikemi Natacha Bryan, Charlotte Gann, Richard Scott and Phoebe Stuckes. You can read more about the event here.
The judging panel for the 2018 Michael Marks Awards have shortlisted five pamphlets and four publishers for the 10th anniversary of the awards. The judges were:
- Sasha Dugdale, poet, translator and editor
- Rachel Foss, head of Contemporary Archives and Manuscripts at the British Library
- Declan Ryan, poet and critic
- Sir Nicholas Penny, art historian
Pamphlets shortlisted for the 2018 Michael Marks Awards for Poetry Pamphlets
The judges commented on the diversity of the submissions they received, and shortlisted the following pamphlets:
- Gina Wilson, It Was and It Wasn’t (Mariscat Press)
- Rakhshan Rizwan, Paisley (The Emma Press)
- Ian Parks, If Possible (Cavafy Poems) (Calder Valley Poetry)
- Liz Berry, The Republic of Motherhood (Chatto & Windus)
- Carol Rumens, Bezdelki (The Emma Press)
The judges highlighted the calibre of this year’s shortlist, praising Wilson’s “dry wit”, Rizwan’s “tonal sharpness” and Parks’ “musicality”. They felt that Berry’s poems had an “electric charge”, and commended Rumens’ “savage and wild but beautifully cadenced” work.
Four publishers were also shortlisted for this year’s publishing award:
- Bad Betty Press – Amy Acre
- The Emma Press – Emma Wright
- Guillemot Press – Luke Thompson
- Tapsalteerie – Duncan Lockerbie
This shortlist includes both new publishers, such as Bad Betty Press, which was founded last year, and more established publishers, such as The Emma Press, which won the award in 2016.
Luke Thompson’s Guillemot Press is an example of a publisher which plays with the possibilities of the pamphlet form, while Duncan Lockerbie’s Tapsalteerie Press shows a commitment to eclecticism, highlighting the crucial space the pamphlet offers to new and emerging writers.
The winners of the poetry, publisher and illustration prizes will be announced at the awards ceremony at the British Library on 11th December. The winning poet and publisher will each receive £5000, and the winning illustrator will receive £1000.
The winning poet will also be invited on a residency at the Harvard Centre for Hellenic Studies in Greece in the spring of 2019.
The Contemporary British Publications team at the British Library have created a new pamphlet to celebrate the 10 year anniversary of the Michael Marks Awards.This pamphlet features poems from each of the previous winners of the award, many of which were written during the poet’s residency in Greece. The winners of the illustration award have produced artwork in response to three of the poems in this pamphlet.The Michael Marks Charitable Trust and The Eccles Centre for American Studies have generously supported the production of this pamphlet.
Please join us in what promises to be an exciting evening of poetry and reflections on the success of the first 10 years of the Michael Marks Awards.
07 November 2018
By Imogen Durant, PhD Placement Student working on the Library’s Contemporary British collection of poetry pamphlets and artists’ books. More information about the upcoming event, Poetry Pamphlets Celebration, can be found here.
Pamphlets are a crucial site for poetic innovation, allowing writers to experiment and offering readers cheap access to new work. Often small enough to fit into your pocket, pamphlets are the ideal way to sample new poetry from an unfamiliar writer. This frequently overlooked form has provided a platform for almost all of our established poets, from Ted Hughes to Carol Ann Duffy, at different stages in their career.
A selection of poetry pamphlets from the British Library’s collections.
To celebrate the poetry pamphlet and the important role that it plays in the UK poetry scene, The Michael Marks Award is hosted annually by The British Library, in partnership with the Michael Marks Charitable Trust, The Wordsworth Trust, the TLS and Harvard University’s Center for Hellenic Studies (CHS). Since it was founded in 2009, the awards have grown to include prizes for publishers and illustrators as well as for poetry. Despite the ease with which poetry can now be accessed online, the pamphlet form has flourished over the last decade, and the quality of the submissions to the awards each year attest to this. To mark the 10 year anniversary of the Michael Marks Awards, we will be hosting a poetry reading on the 10th December, featuring shortlisted poets from previous years. Join us in hearing poems and reflections by Charlotte Gann, Christine De Luca, Richard Scott, Phoebe Stuckes, and Omikemi Natacha Bryan.
Charlotte Gann is a writer and editor from Sussex. Poems have appeared in The Rialto, The North and Magma, among many others, and her pamphlet, The Long Woman (Pighog Press), was shortlisted for the Michael Marks Award in 2012. Since then, she published a full collection, Noir, with HappenStance – in 2016. This book – which grew from the seed of the pamphlet – asks: what are we to do with the darkness? The things, and people, often left silent and invisible. Originally, Charlotte studied English at UCL; much later, an MA in Creative Writing and Personal Development at the University of Sussex. By day, she works as an editor – currently, editing a monthly magazine based in her hometown, where she lives with her husband and two teenage sons.
Christine De Luca lives in Edinburgh where her working life was spent in education. She writes in English and Shetlandic, her mother tongue. She was appointed Edinburgh's Makar (laureate) for 2014-2017. Besides several children’s stories and one novel, she has had seven poetry collections and four bi-lingual volumes published (French, Italian, Icelandic and Norwegian). She’s participated in many festivals here and abroad. Her poems have been selected four times for the Best Scottish Poems of the Year (2006, 2010, 2013 and 2015) for the Scottish Poetry Library online anthologies. She has been a member of Edinburgh’s Shore Poets for 25 years. Christine is a linguistic activist, visiting schools, writing articles and taking part in conferences on mother tongue issues. She is a member of Hansel Cooperative Press which publishes poetry and other literary writings in Shetland and Orkney. She also enjoys translating children’s classics from Roald Dahl and Julia Donaldson into Shetlandic.
Richard Scott was born in London in 1981. His poems have appeared widely in magazines and anthologies including Poetry Review, Poetry London, PN Review, Swimmers, The Poetry of Sex (Penguin) and Butt Magazine. He has been a winner of the Wasafiri New Writing Prize, a Jerwood/Arvon Poetry Mentee and a member of the Aldeburgh 8. His pamphlet 'Wound' (Rialto) won the Michael Marks Poetry Award 2016 and his poem 'crocodile' won the 2017 Poetry London Competition. Soho (Faber & Faber) is his first book.
Phoebe Stuckes is a writer and performer from West Somerset. She has been a winner of the Foyle Young Poets award four times and is a Barbican Young Poet. She has performed at the Southbank Centre, Wenlock Poetry Festival and was the Ledbury Festival young poet in residence in 2015. Her writing has appeared in the Morning Star, The Rialto, The North and Ambit. Her debut pamphlet, Gin & Tonic is available from Smith|Doorstop books and was shortlisted for The Michael Marks Award 2017.
Omikemi Natacha Bryan is a writer, poet based in London. Her work has been published in numerous magazines including Ambit and Rialto and featured in Bloodaxe's Ten: poets of the New Generation. Her debut pamphlet poetry collection, If I talked everything my eyes saw, was shortlisted for the 2017 Michael Marks Award. She currently works as an associate writer for Vital Xposure theatre.
19 October 2018
by Jerry Jenkins, Curator of Contemporary British Publications and Emerging Media. ARTIST’S BOOKS NOW is curated by the book artists and researchers Egidija Čiricaitė and Sophie Loss and the librarians Jeremy Jenkins and Richard Price. Each event explores an aspect of the contemporary through a selection of books, presented in an accessible and enjoyable style by artists and commentators. For tickets click here. For more information please contact email@example.com.
One of the purposes of Artists’ Book Now is to introduce our visitors to the rich collections of artists’ books within the British Library and to widen the use of artists’ books across the research community beyond the Library.
From the outset, the project was concerned with how to get the audience engaging with the material in manner which could inspire debate, discussion and greater interaction. Traditional Library mechanisms of dissemination such as the Reading Room, exhibition, digitisation or even show and tell present various limitations to what is possible, particularly when dealing with artists’ books. Hence, we hit upon the concept of a host conversing with the artist themselves while presenting their work. Presenting the work in this manner heightens intimacy between the work and its viewer, as well as allowing the maker's thoughts about the work, and its creation, to emerge more fully.
A key question for a national library, or any cultural institution for that matter, is how best to preserve the collection while ensuring maximum possible access and engagement. By negotiating this interchange between the audience and artists’ books, with the help of the artist, it is hoped that a richer and fuller experience will be possible. By using baggy themes as frames for the individual events, the co-curators hope that types of work not normally seen or discussed together will suddenly find common ground. It should be noted that this is all seen through a “Contemporary” lens, demonstrating that, while artists’ books certainly do offer up the pleasures of visual and physical artworks, and can and do use contemporary artistic techniques and aesthetics, they are also important witnesses to the the present, allowing myriad issues, concerns, and interests to surface for contemporary audiences.
12 October 2018
by Jeremy Jenkins, Curator of Contemporary British Publications and Emerging Media. ARTIST’S BOOKS NOW is curated by the book artists and researchers Egidija Čiricaitė and Sophie Loss and the librarians Jeremy Jenkins and Richard Price. Each event explores an aspect of the contemporary through a selection of books, presented in an accessible and enjoyable style by artists and commentators. For tickets click here. For more information please contact firstname.lastname@example.org.
The morning after our Artists’ Books Now evening back in April, I was stopped in a stairwell and congratulated on contributing to such as wonderful event. I was somewhat surprised to hear this, mainly because the colleague I was speaking had been unable to attend! Nevertheless, as more feedback came in from audience members directly, I came to see this as a clear example of the power of word of mouth – last night’s enthusiasm had traveled quickly and perhaps was still travelling. And of course, I could only take a little of the credit as a co-curator – the artists and the books they brought to the event were the real stars.
So now as we find ourselves and the end of Summer with Autumn drawing in, it is a good time to remind my colleagues, and you, that all will have the opportunity to attend the next evening in the Artists’ Books Now series, which is due to take place on 5 November 2018 at 6:30pm in the Knowledge Centre, British Library. In a similar vein to April’s ‘Now’-themed event the evening will explore the meanings and pleasures of artist’s books in the contemporary scene, this time from the perspective of ‘Place’.
Professor Chris Taylor, the artist and academic, will be master of ceremonies, joined by the book artist and poet Nancy Campbell, the photography and video artist Véronique Chance, artist Leonie Lachlan, and fine artist and photographer Edmund Clark. The essayist, art writer, curator, librarian Clive Phillpott will be in conversation with Professor Taylor.
24 May 2018
By Jerry Jenkins, Curator of Contemporary British Publications and Emerging Media. Artists’ Books Now is curated by Egidija Čiricaitė, Sophie Loss, Jeremy Jenkins and Richard Price. The next Artists’ Books Now evening will be held on 5th November at the British Library, with tickets available in the Autumn.
April saw the launch of Artists’ Books Now, a series of events to explore the artists’ book and its place in contemporary culture. The British Library has a significant collection of artists’ books and, in the nature of a national library, has not only many examples of its ‘brother’ and ‘sister’ forms – children’s books, poetry pamphlets, zines – it has centuries of examples of its ancestors (bestiaries, herbals, illuminated books, and so on).
From the outset the term ‘artists’ book’ seems to stimulate a range of questions and contradictions. Is it art or is it a book? When is a book art, when a literary object, or a work of new information? Can it be handled, thumbed through or should it be admired (even revered) from behind glass?
In the first evening, entitled “Here and Now”, the aim was to bring the artists’ book and the audience closer to each other, leaving the glass case behind. Indeed a central goal was to introduce the artists and their books directly to the public, bringing the artists’ own works to a live audience. It seemed to the curators of the event that this was one of the best ways to demystify the artists’ book.
Beyond the theatre-style ‘proscenium’ presentation of traditional events, the first Artists’ Books Now placed the books and artists at the centre of the audience, seated on three sides around two central book tables. This inevitably lead to some Brechtian craning of necks and audience members balancing in on window sills in order to view the proceedings, but the atmosphere was quite unlike conventional events, and we think all the better for it.
Following a welcome from the Head of Contemporary British Collections, Richard Price, who emphasised the continuities between artists’ books and other book forms held within the Library, the series host for the evening, producer of books and builder of publishing spaces Eleanor Vonne Brown, began introductions.
Visual artist and graphic designer Danny Aldred speaks on contemporary practice in Artist’ Books.
First to be welcomed was the visual artist and graphic designer Danny Aldred whose talk offered a whistle-stop tour of creative practice in artists’ books, noting, for example, the rise of the distinctive productions of the risoprinter in the contemporary practice of making artists’ books.
Eleanor then moved on to the first of the artists’ books tables, inviting us to share the work of maker of zines Holly Casio. Holly exhibited and discussed her passion for Bruce Springsteen with her series of zines, Me and Bruce Springsteen.
Eleanor Vonne Brown and Holly Casio
Under the surface of artists’ books there is a radical tornado of creativity, practice, vision, and rebellion, all of which feeds in to creating published works which many, including their makers, would not identify as artists’ books. The idea of Artists’ Books Now is not to worry too much about classification where there is clearly enough in common to share ideas and enthusiasm. Zines fully fit that bill: this was a presentation which reflected on class, sexuality, daughters and fathers, and of course, the Boss – all through the prism of the zine, with its own graphic traditions.
Holly Casio’s zines Me and Bruce Springsteen & Me and Bruce (and my Dad).]
Visual artist and performer Lydia Julien talked us through her largely autobiographical works including Super Hero Washing Line in her artists’ book table. In her conversation with Eleanor, Lydia explained her use of sequences to grow a narrative based on lived experience. Following Lydia and Holly the evening adjourned to allow the audience the opportunity to more closely examine their work and talk to the artists themselves, again a break from conventional events and deliberately designed to get people closer to books.
Lydia Julien explaining her work during her section
Following the interlude Eleanor was in discussion with Gustavo Grandal Montero, from the library of the Chelsea College of Art, as well as an authority on artists’ books and concrete poetry. The ranging discussion came back to focus on the work An Anecdoted Topography of Chance which Grandal Montero highlighted, for him, as a central work in speaking about artists’ books.
Eleanor Vonne Brown in discussion with Gustavo Grandal Montero
First in the final set of artists’ tables which Vonne Brown introduced were the works of Amanda Crouch. Amanda’s works cut across media in her journey to research and reimagine the digestive systems. This is far more spectacular than such a description might indicate: as Amanda talked through her extraordinary works, she also held them up, with the scale of the unfurling of one particular concertina’d work surely astonishing the audience, watching frankly in awe and wonder.
The final artists’ books table was that of artist and researcher John McDowall. John talked about making his work Atramentum (2012), a work which pools the inky contents (theoretically) of Robert Burton’s The Anatomy of Melancholy. Perhaps the result is a kind of dark almost overwhelming teardrop. For our event it was a fitting full stop, bringing the sessions neatly to an end.
John McDowall displays an opening from Atramentum during his segment
Not a complete end, however, just a pause: the next Artists’ Books Now evening will be on the 5th November at the British Library.
Images are reproduced with the kind permission of Lydia Julien and Sophie Loss
15 December 2017
This is a guest blog from QI elf Anne Miller. Join Anne, fellow elf James Harkin and QI founder John Lloyd for a QI Christmas Quiz on 18 December at the British Library. This event will celebrate the publication of 1,423 Facts To Bowl You Over, the latest eye-popping, gobsmacking, over-bowling book from the top QI team.
Get your best team together and be in with a chance of winning a Quite Interesting prize!
QI Towers is an office of bookworms. We love all facts but have a soft spot for bookish ones such as there being a German airline which allows an extra kilo of hand luggage so long as it’s books, that there’s a bookshop in Shanghai which sells books by the kilo and that the British Library keeps its collection of over 60 million newspapers in an airtight building with low oxygen so they can’t catch fire.
The QI office is covered with towering stacks of intriguing books such as William Donaldson’s Rogues, Villains and Eccentrics: An A-Z of Roguish Britons Through The Ages, Caz Hildebrand and Jacob Kenedy’s The Geometry of Pasta and Fran Beauman’s The Pineapple which just make you want to stop everything until you’ve read them from cover to cover.
Some of our favourite titles include:
This book takes its name from the fact that Tolstoy decided to learn to ride a bicycle (then a modern contraption) when he was 67-years-old. The book is full of facts about the great and the good (and the not so good) but with the facts divided up by the age people were when they happened. For example at two-years-old Hercules strangled two snakes in his crib, Judy Garland sang Jingle Bells on stage and that’s also generally the age when you become too old to travel for free on aeroplanes.
Consider The Fork: A History of Invention in the Kitchen
Interesting nuggets in Bee Wilson’s history of kitchens include that swingers, pinchers, tippers, perchers and floppers are all types of toaster. We were also fascinated to discover that there are actually precise measurements for quantities such as a 'dash' (1/8 of a teaspoon), a 'pinch' (1/16 of a teaspoon) and a ‘drop’ (1/72 of a teaspoon or 0.069ml).
Everything’s Coming Up Profits: The Golden Age of Industrial Musicals
Steve Young and Sport Murphy
1950-80 was the golden age of ‘industrial musicals’ - bespoke Broadway-style shows performed by companies to promote their products and to motivate employees. This book gathers the best together including such gems as 1969’s The Bathrooms Are Coming which was only ever seen by people in the bathroom trade.
One of the songs on the soundtrack was Look At This Tub! which included the lyrics ‘Look at this tub! It’s dangerous and certainly a hazard! It’s positively lower than substandard! Everything here is lower class, Why, I could slip, I could fall right on my... nose.’
The Oxford English Dictionary(OED)
The OED is one of our favourite reference books and where we found out that the word ‘omnilegent’ means being addicted to reading, ‘obdormition’ is when your arm falls asleep after you lean on it and ‘onomatomania’ is frustration at being unable to think of the appropriate word.
There are also some great facts about the OED itself. It was originally offered to Cambridge not Oxford and their first editorial assistant was sacked for industrial espionage.
With so many incredible books to get through we’re hopeful of avoiding alogotransiphobia which is the fear of being caught on public transport without a book to read.
01 November 2017
On the 10th November the British Library will be hosting Even Stranger Things: A Night for Robert Aickman. It will be an uncanny evening of readings and discussion to mark the arrival of Robert Aickman’s archive at the British Library. The archive has now been catalogued and this blog explores some of the riches to be found in the collection.
Many know Aickman the conservationist, who dedicated much of his life to saving the British canal system and co-founded the Inland Waterways Association in 1946. But many also know Aickman the writer, author of 54 short stories, 3 novels, 2 autobiographies, numerous articles, and other works that remain unpublished.
His archive reflects all stages of Aickman’s literary career, from the very early days to his death in 1981. For most of his literary output, it is possible to see the different stages of Aickman’s creation process: a holograph manuscript, a corrected typescript and/or a final clean typescript. This makes the collection an invaluable resource for those interested in his writing technique and style.
Examples of his early writing include essays, plays and poems composed during his time at Highgate School (early 1930s), and many articles from the 1940s, when Aickman started writing theatre and drama reviews for the periodical The Nineteenth Century and After (he became their dramatic critic in 1945) and film reviews for The Jewish Monthly.
Aickman’s most popular creation are his short stories, or ‘strange stories’ as he preferred to call them - the term ‘ghost stories’ he thought ‘unsatisfactory’. Fifty-three of them are included in the archive (the one missing is Ringing the Change), as well a few unpublished and unfinished stories.
In addition to his two published novels and autobiographies, the British Library holds manuscripts of Aickman’s only unpublished novel entitled ‘Go Back at Once’, written in 1975, and his philosophical work ‘Panacea’, which Aickman wrote in 1936 but never succeeded in getting published.
Title page of We Are for the Dark, Aickman’s first collection of stories, with Elizabeth Jane Howard, 1951. The working title 'Ghost Stories for Women' and Aickman's pen name Robert Vigo are crossed out - Add MS 89209/1/70 Reproduced with the kind permission of the Estate of Robert Aickman
Aickman’s work as editor is also reflected in the archive: typescripts of his first collection of stories We are for The Dark, produced in collaboration with Elizabeth Jane Howard and published in 1951, and 8 more collections, some of which were never published. Most notably, Aickman edited The Fontana Book of Great Ghost Stories from 1964 to 1972.
First page of holograph manuscript of Pages from a Young Girl’s Journal  - Add MS 892092/1/37 Reproduced with the kind permission of the Estate of Robert Aickman
The collection also includes the author’s literary correspondence, which provides fascinating insights into his creative mind and his views on writing. Aickman kept carbon copies of most of the letters he wrote (on bright pink paper). Amongst others, he corresponded with many fellow authors from the U.K. and the U.S., including Lady Cynthia Asquith, L.P. Hartley, Ramsey Campbell, T.E.D. Klein, and Russel Kirk.
Letter from RA to Lady Cynthia Asquith (at James Barrie Publishers) sending her some of his stories, 9 Feb 1955 - Add MS 892092/4/36 Reproduced with the kind permission of the Estate of Robert Aickman
Three letters are particularly revealing:
- In December 1975, Aickman writes a letter to the Times Literary Supplement in which he compares ghost stories to poetry as ‘they enlarge not merely the imagination but also some other less definable aspect of the reader’s being’. ‘Nothing’ he adds ‘is more lethal to the effect that a ghost story should make than for the author to provide alternative materialist solution. This reduces a poem to a puzzle and confines the reader’s spirit instead of enlarging it’ (ref. no. Add MS 89209/4/55).
- In a letter to literary agent Carol Smith, in August 1976, he distinguishes between ‘entertainers’ who ‘write for a specific market’ and ‘artists’ who ‘ write in response to a voice inside them which they cannot control beyond a certain point – which indeed, almost dictates to them, an experience that has several times came my way and which regularly produces one’s best work (such as Pages from a Young Girl’s Journal)’ - This was officially recognised as one of Aickman’s best stories and won the World Fantasy Award for short fiction in 1975 (ref. no. Add MS 89209/4/57).
- And finally, in a letter to Ramsey Campbell in June 1978 he writes: ‘I always read each story aloud to a selected person after it has been completed; and thereafter usually revise various things which came to light only by that process. After these revisions, I generally read the story aloud to some other selected person…There is nothing like reading aloud for the tidying up of stylistic shortcomings’ (ref. no. Add MS 89209/4/59).
Large part of Aickman’s correspondence is with his American literary agent, Kirby McCauley, who became his good friend and great admirer. McCauley successfully got some of his stories published in the United States, by Charles Scribner’s Son.
In the U.K., Aickman was initially represented by Herbert (Bertie) Van Thal who wrote to him in 1963 after reading his story Ringing the Changes. According to Felix Pearson, Aickman’s literary executor, this was the turning point in his writing career: Aickman sent his novel The Late Breakfaster, previously refused by many publishers, to Van Thal who managed to get it published in 1964.
Aickman’s personal correspondence includes letters from Lord Douglas, who he met in 1941, Peter Scott, who was involved with the Inland Waterways Association, and actress Margaret Rawlings.
A smaller portion of the archive contains papers relating to the literary agency which Aickman named Richard Marsh Ltd., in honour of his grandfather, author of the supernatural novel The Beetle (1897). Aickman set up the agency in 1944 with his wife, Edith Ray Gregorson, who left her job at the World Press Feature agency and took some of the clients with her, including the caricaturist and cartoonist Victor Weisz, known as Vicky. Partners in the agency were also photographer Howard Coaster and his wife.
There are also family papers in the collection, which include some correspondence of Richard Marsh, typescripts of some of his short stories, and part of the holograph manuscript of his novel The Beetle. The posthumous papers included in the collection are helpful in understanding how Aickman was viewed by his friends and colleagues.
If Aickman the writer was perhaps not sufficiently appreciated during his lifetime, his archive opens up many opportunities to bring back to life some of his best stories and the man who was behind them.
by Silvia Gallotti, Manuscripts Cataloguer
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