This collaborative book uses Raymond Klibansky as a window through which the reader can become acquainted with the agents and circumstances the philosopher encountered and navigated throughout his life. Although the book demonsrates how Klibansky was the result of his context, it is also clear that his intellectual journey, his philosophical and philological enterprises, and his rigorous commitment to knowledge changed the intellectual landscapes of Art History, Medieval Studies, and Philosophy. The title accurately depicts the focus of the book; a discussion of Klibansky that does not acknowledge the network surrounding the Warburg Library is not possible, just as an attempt to revise the history of The Warburg Institute without mention of Klibansky’s contributions would be unimaginable.
Lise Jaillant’s edited collection Publishing Modernist Fiction and Poetry brings together twelve essays on a range of twentieth-century publishing houses – from B. W. Huebsch to Jonathan Cape subsidiary Cape Goliard – and their role as publishers of modernist and late modernist literature. The particular ‘gap’ in existing scholarship the collection seeks to address is the comparative dearth of critical literature on modernist book publishing, an area which Jaillant suggests has long been neglected in favour of periodical publications.
For centuries, humans have been surrounded by printed material. It is easy to ignore that certain typographic elements we take for granted now were, at some point, a novelty. John Boardley’s Typographic Firsts, published by the Bodleian Library, creates awareness for these developments that (mainly) started in the fifteenth century and still shape our books (even the digital ones) in the twenty-first century.
For this handbook, Angus Philipps, director of the Oxford International Centre for Publishing, well-known to the publishing studies world as the co-author of Inside Book Publishing (sixth edition 2019) and editor-in-chief of LOGOS, joined forces with London-based industry insider Michael Bhaskar, author of The Content Machine (2013) and Curation: The Power of Selection in a World of Excess (2016). The 25 chapters, written by an impressive range of experts from mostly anglophone backgrounds, can be used as stand-alone introductions to research areas and questions pertaining to publishing and book studies.
Thomas Howell’s study of the Writers’ War Board (WWB) joins the likes of Janice Radway’s A Feeling for Books on the Book-of-The-Month Club (1997) and the more recent work of Eric Bennett on American writing workshops (2015) and Sarah Brouillette in UNESCO and the Fate of the Literary (2019) in presenting the reader with a sustained study of an institution and its history, ideology, and material effects. Howell makes use of archival materials from the Library of Congress, Boston College, and elsewhere to recreate this history…