5 comments about Outwitting History: The Amazing Adventures of a Man Who Rescued a Million Yiddish Books.

1. 
   The best book I have read in a while. A must read. Dont waist time reading this review, just get it and read it. Enjoy. I did!



2. This desire to hang on to history and heritage is noble and necessary. Bravo to the author and his colleagues. There are things that can be expressed in Yiddish, that when translated, need twice as many English words to convey their meaning. Unfortunately, this book is incorrectly marketed as an adventure---we expect to encounter Indiana Jones! With so much built up anticipation, the reader is left with a "hmmm" instead of a "WOW!" at the end.



3. This book is the last present I bought my grandfather before he died. I walked into a small bookstore and the owner recommended it to me (you simply cannot get this kind of service from the major book chains). I must have read half the book in a day, before I sent it to him, and got to finish it only after he passed away.
   
   I'm glad I bought this book, he loved it and so did I.
   
   The book tells the story of a graduate student trying to rescue Yiddish books from elimination, and all the characters he meets along the way. The book is easy to read, funny, inspiring, well writing and a page turner. A story of how one man's passion triumph over the odds.



4. Seller sent book in excellent shape and the story is a great read on preserving history.



5. This is an interesting personal story about a guy doing something everyone else thought was stupid. It would have been a great 30-page essay for the Web, but in the world of commercial publishing a story needs to fit into a 5-page magazine article or be padded out to fill a 300-page book. This, then, is the padded version.
   
   If you read between the lines of the padded version, what you learn is that this guy got books for free from people anxious to clear out their basements. Then he got Steven Spielberg to pay for the books to be digitized and got some other rich folks to give him $7 million so that he could build himself a nice office in central Massachusetts. Now he sells hardcopy reprints of these books, whose authors and publishers have all died, for $53 per copy from his Web site. It is an inspiring story of entrepreneurship perhaps, but given the digital copies and his non-profit organization's mission statement to distribute this material widely, one would rather have expected to see these books available for viewing/searching online.

5 comments about The Book of Kells: An Illustrated Introduction to the Manuscript in Trinity College Dublin.

1. There is no lack of great vivid pictures to enjoy and the book is of high quality paper. The text is brief and has a nice flow. There really isn't much more I can say that other reviewers haven't already stated other than this is one of my favorite picture books :p
   
   If you enjoy celtic art or illuminated manuscripts this makes a fun addition to your library!



2. The Book of Kells is one of the most beautiful manuscripts in existence. This booklet enables those of us who are unlikely to ever see the real manuscript to feast our eyes on many of the illustrations as well as to learn a little of its history and preparation. Most of the illustrations are in colour and their vibrancy is still apparent across 12 centuries.
   
   I consider that this booklet is worth acquiring for the illustrations alone. It also contains a lot of useful information for those interested in the physical preparation of such manuscripts as well as the underlying historical significance of this particular manuscript.
   
   Highly recommended.
   
   Jennifer Cameron-Smith



3. The book was just what I was expecting. Shipping was quick.



4. I was glad I had this book along with me when I went to see the real Book of Kells at the Trinity College Library in Dublin. The lines of tourists waiting to view this famous eighth century manuscript were about a quarter of a mile long, and the museum proctors were really hustling us through the area where a small sampling of pages were actually on view.
   
   (If you take the tour, be sure to check out the main chamber of the Old Library with its first editions of Newton and Darwin, plus the harp that is (alas, falsely) attributed to Brian Boru, high king of Ireland).
   
   The first facsimile of the Book of Kells was published in 1974, and although this book only advertises itself as 'an illustrated introduction to the manuscript...' it contains good color plates of many of the most famous pages, e.g. the symbols of the four evangelists and the beginning of the 'Breves causae' of Matthew, among others.
   
   Author, Bernard Meehan, the current Keeper of Manuscripts at Trinity College states that "the sacred text itself was copied in the Book of Kells with a remarkable degree of inaccuracy." It consists of the Latin text of the Gospels, illuminated in the very ornate Hiberno-Saxon style ('Hiberno' refers to the Irish, or Hibernians).
   
   Legend has it that the Book of Kells was produced by St. Colum Cille on the island of Iona off western Scotland. Although it was probably begun in the Irish monastery on Iona, it was taken to the monastery of Kells in County Meath, after a series of Viking raids. The monastery on Iona was pillaged in 795, and again in 802. According to the author, "In 806, sixty-eight of the community were killed in another raid. The following year, the survivors migrated to Ireland and began to erect conventual buildings at Kells..." where the illumination of the manuscript was probably completed.
   
   If you are interested in the historical background of the Book of Kells, the author devotes a whole Appendix to it.
   
   Alas, according to this book's second Appendix, "Losses, Additions and Marginalia," the Book of Kells has not remained intact down through the centuries. "At present there are 340 folios, but around thirty folios, including some major decorated pages have been lost." The monks also used blank spaces in the manuscript to record details of property transactions in the late eleventh and twelfth centuries.
   
   Meehan's book is definitely worth viewing and reading. It also contains a wealth of the smaller decorative illustrations that do not always relate to the sacred text, e.g. hares, dogs, horses, and at least one moth. The color and minute details of these decorations are a source of endless fascination, and the scholarly text, although a trifle dry, is also very interesting.



5. I like how the author gives various images of the book of kells, but gets really confusing and goes all over the place while writing about it. I think a lot could be learned from this book, but the author crams so many examples into the work that it starts to get annoying. Ever line seems to have parenthesis around something and folio this or that. For that alone i give the book two stars, multiple examples are good, just not when you plague every line with one. It hardly gives the reader a chance to understand the first few.

3 comments about Penguin by Design: A Cover Story 1935-2005.

1. What a loving tribute to Allen Lane, the visionary who founded Penguin Books in 1935. Few publishers have consistently put their best `face' forward year after year over thousands of titles and I find it surprising that this Penguin cover history hasn't been written before 2005.
   
   Admittedly most of their covers until the Fifties, though distinctive in the three-tier horizontal design, were not that creative but things slowly changed no doubt because of market pressure from other paperback publishers. I thought Penguin covers really took of in 1962 with the use of Romek Marber's simple cover grid. Pages 104-5 in the book show eighteen brilliant covers using simple graphics with black, green and red inks. The grid cover style ran into the seventies with the non-fiction Pelicans and nicely still using everybody's favorite type: Helvetica.
   
   Author Phil Baines has done a lot of research for the book though it is basically visual with excellent short text pieces for the various title genres. A nice touch is spread of forty-eight Penguin logos from 1935 to 2005 at the back of the book and it is this kind of editorial thoughtfulness that makes the book so interesting.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



2. Hi from Barcelona.
   First of all, sorry for my really bad english.
   I really recomend the purchase in Amazon.
   No problem whit anything, all is perfect.
   I think that the book of Phil Baines (Penguin by Design) is one of the obligated purchases for any graphic designer. Perfect design and perfect information.
   Thanks Phil!!!
   
   Marc



3. I picked this up because of the book's physical beauty, but I've just read it in one sitting, couldn't put it down--a fascinating window into 20th-century British cultural history as well as book design.

3 comments about The Photobook: A History, Vol. 1.

1. This volume, along with its companion volume, offer little in the way of useful or intelligent commentary (it is otherwise recycled pabulum wasted on a body of books that, for the most part, were treated to celebrity status by Roth). Instead, we're treated to an obscure and incomprehensibly limited canon which is sold as if it were created in a vaccuum with only the purest of intellectual and aesthetic intentions and aspirations (please look at Parr's actual photographs before buying this book--you can get a better appreciation of his specific photographic style). The reality--both of these volumes (and the books contained therein) seem to have been selected primarily for their price in the rare book world (Roth is guilty of basing his selection process on the market as well, but at least he's tranparently a rare book dealer). This wouldn't bother me so much except that there are glaring omissions from both Parr/badger volumes (Misrach's Bravo 20, anything from John Pfahl, anything from Helmut Newton, Frank Horvat, Andres Serrano, Jan Dibbets, Ken Schles, James Van Der Zee, Jerry Uelsmann, Richard Prince, etc...) It is also troubling because up until perhaps even a year ago the rare photobook market was dominated by a handful of collectors (whose ability to judge photography, as far as I can tell, is somewhat suspect). The general proposed intent of the project is noble (cataloging the important photobooks of the world), but I don't think that these authors are qualified in any way to be the critics of what photobooks have actually been important (can we get Irving Penn, William Klein, Araki,and a panel of actual legends to make some selections?). And so, we are treated to a very strange mixture of blue chip photobooks, some of which are obviously important, and some of which are just expensive cult favorites with the collectors. Buyer beware--most of the books within have catapulted even higher in value almost exclusively based off of the premise that they were included in these books. There are plenty of photobooks worth collecting (perhaps even more worthy than most of the books included herein) and there are lots of little-known volumes from the greats (also not treated here) worth pursuing and, more importantly, viewing and enjoying. Photobooks were being produced before this list was assembled and will continue to be created long after these forgettable volumes are replaced with more academic and more interesting attempts. These books are not a terrible point of departure for the neophyte collector but be advised that these books repeatedly confuse monetary and artistic merit without apparently being aware of their own confusion. If you are interested in serious collecting, I'd advise either finding a copy of Roth (if you are interested in collecting a canon of well-established books that are unlikely to shift in value significantly) or, more simply and elegantly, spend some time at your local library learning who Mapplethorpe, Lartgiue, Saudek and rest really are (you can find the names on the internet fairly simply and looking through the actual books beats reading these surveys any day). It's free and you'll be able to craft your own tastes before you begin the process of investing in your won photobook collection.



2. This is a marvelous volume that can be enjoyed by book and photography lovers alike. As an object in its own right it exhibits a level of refinement in conception and execution that has become rare in our age of mass-produced books. Of course, there are many specialist photobook publishers but they seem to focus exclusively on print quality to increase the perceived value of their publications, whilst neglecting the vital contribution of design in a book's overall appearance (and desirability). In the Phaidon-volume, the exquisitely judged rhythm of layout and typography complement the vivid reproductions of vintage photobook material into a very exciting whole.
   
   To be sure, the care spent on the production of this book is not gratuitous. To the contrary, it is a statement that reinforces the basic conceptual tenets held by Badger and Parr. From the introductory pages we learn that not every and any book that has been conceived around a collection of photographs merits to be included in the class of "photobooks". A photobook - as Badger and Parr understand it - is more than just the sum of its parts: pictures, words, design, and choice of subject all contribute to something which transcends the meaning of a photographic portfolio. This is all illuminating and one could certainly say that the "Photobook" is an instructive example of this synergy between various elements.
   
   However, I wished that the editorial team would have left it at that. I think Badger and Parr are moving onto much more controversial ground when they hold forth that the emblematic photobook is a kind of dramatic event, "comparable with a piece of sculpture, a play or a film" in which the individual photographs lose their own character as things in themselves. Apart from being theoretically doubtful, I believe this criterion is simply too stringent and many vintage photobooks featured in this survey do not comply with it. For example, many of the early books were photo albums in the true sense of the word: bound collections of original prints glued onto white pages. Similarly, it is difficult to see in some of the modernist books - such as Erhardt "Das Watt" or Mendelsohn's "Amerika" - anything more than an expertly produced photographic portfolio. In each of these examples there is coherence, but it does not derive from some kind of dramatic or narrative logic. It can simply be a unity of style which holds a photobook together. Positioning the photobook "between the novel and film", therefore, raises more questions than it provides us with answers. It doesn't really help to make sense of "a ragged and sprawling subject, with more than its fair share of anomalies".
   
   It is perhaps more useful to investigate how Badger and Parr have tried to organise their material within the confines of this volume (and the next). They seem to have relied on three different lines of thought. The first is chronological (it's a history after all). The survey starts with the very first publications, early on in the history of photography and will end with a section on "The Photobook and Modern Life". In this sense, the book can be studied as a remarkably lively and varied panorama of how photographers have engaged with their craft over the last 150 years.
   
   The second organising principle is geographical: some of the individual chapters focus on a distinct area of cultural production (the US, Europe and Japan; the next volume features a chapter on "The Worldwide Photobook"). Finally, there is "intention" as a structuring element. Photobooks have been produced to serve a variety of purposes: to tell a story, to tell a non-story (stream-of-consciousness-like books), to non-tell a story (to deconstruct), to document, to persuade, etc. Indeed, a valuable photobook can even limit itself to simply showing. Most of the chapters in the two volumes put some kind of "intention" at the center of the discussion.
   
   I think Badger and Parr's conception of their own book is to a certain extent at odds with their conceptual emphasis on the dramatic nature of photobooks. If there is drama in "The Photobook", it is mediated by the words that accompany the various chapters, not by the visuals. In other words: it is a conceptual not a photographic narrative that unfolds. As regards the visuals, curiously enough the daring use of white space and drop shadows around the book and page reproductions really make them stand out as preciously unique. Leafing through the book is akin to walking between carefully presented museum exhibits. In this sense, "The Photobook" clearly `shows' and, therefore pulls us away from the dramatic sweep of history.
   
   Despite these theoretical misgivings there is not a shade of doubt in my mind that this book deserves five stars. It is a fabulous book and I look forward with keen anticipation to the second and final volume.



3. 
   This book (and the next volume) will surely become the standard reference for anyone wanting to know about photobooks and in creating a new word for photographs in a book perhaps this will create a new publishing genre too. The author's rightly point out that photography is a printed-page medium and the four hundred and fifty titles examined, with just over two hundred in this first book, probably represent the best (or most interesting) titles ever published.
   
   The nine chapters give a lucid in depth review of photobooks to the 1970s with Anna Atkins 1843 'Photographs of British Algae' taking the first photobook prize. I particularly enjoyed chapter six, Medium and Message: the photobook as propaganda, basically dealing with Soviet books in the Thirties and the examples shown are quite extraordinary in their use of images and design. Reproducing the pages from these books would easily make a separate title. The other fascinating chapter was nine, dealing with postwar Japanese books, again the reproduced jackets and spreads show amazing creativity and vision, not only in the choice of photos but also in the use of printing and binding techniques.
   
   Stunning though this book is I thought there was one particular weakness, in so many of the books there are not enough pages shown. Many of them have two pages, for instance 'An American Exodus' by Lange and Taylor, there are fifteen spreads so it is possible to follow the flow of images or Avery Brodovitch's 'Ballet' with eighteen spreads to capture the feel of the subject. Most of the titles though are two or three to a spread allowing mostly a cover plus four or six pages from inside the book but annoyingly there is easily room for more pages had there been a slight adjustment to the book detail text that accompanies each photobook. The excess white space really should have been put to better use. Despite this the paper and printing of the book is first class, the images are reproduced in a fine screen as cut-outs with a drop shadow and run of varnish to really make them sparkle.
   
   Parr and Badger have almost created a unique book but Andrew Roth's 'The book of 101 books: Seminal photographic books of the twentieth century' (ISBN 0967077443) published in 2001 must be regarded as the first attempt to capture the essence of photobooks and in both titles the editorial concept is the same, reproduce the covers and pages rather than show individual photographs. As a designer this makes both books come alive for me but I prefer 'The Photobook' for its exhilarating coverage in both words and images.

No comments about Introduction to Manuscript Studies.

5 comments about A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books.

1. Ok not normal, but there are people out there that love books as much as I. Basbanes has created a brilliant collection of book collectors and collections. Any bibliophile without this book in his collection is just a reader



2. I doubt that I can add much to all of the praises that have already been written about "A Gentle Madness." All I can say is that I love mine so much that I have already given away three copies of it to friends and family, and I have every intention of buying more so that I can have them on hand as gifts for appropriate persons.



3. It is possible to love books without necessarily loving or caring for what is inside them. It is also possible to love books because one wishes to possess the knowledge, understanding, beauty, that is within them. In this truly epic history of book- collecting and its most passionate and eccentric collectors Basbanes uses his considerable journalistic skill to tell a story which no lover of books, inside or out, will want to miss. Incredible collectors who were more the slaves of their books( The bibliomaniacs) and who were more their masters ( The bibliophiles) have their histories told here. In the background is the long story of the thing - itself, its making and its transformations in time.
   Basbanes also emphasizes the fact that the collectors have been great benefactors of human culture and learning. Their collections , as that of John Harvard have been the basis of great institutions of learning.
   While some were so obsessed by possessing the books for themselves ( The world's greatest bibliokleptomaniac Stephen Blumberg whose story is featured when asked why he did not sell the books and make himself rich said " I want them all for myself") others deliberately collected for the benefit of Mankind ( The story of Aaron Lansky's singlehandedly saving a considerable share of the Yiddish books which otherwise would have bee lost, is an extremely moving one) .The nineteenth century French collector Xavier Marmier willed his own large collection to his provincial town library. But he also expressed gratitude to the booksellers whose shops he would visit each day. And above all he expressed his love of collecting, and how much pleasure he had derived from searching through and finding the treasures of his collection.
   All in all this is a ' classic work' about one of humanity's most harmless obsessions, or as the title of the work calls it ' the gentle madness'. It provides what great literature of all kinds does, an enhanced sense of the possibilities of human life.



4. The only people impressed by Basbanes' books are those who don't really know very much about books, book collecting, libraries, or the antiquarian trade. This volume in particular is plagued with sloppy scholarship, conjecture, gossip, and unsubstantiated anecdote. He can't even get the names of major libraries right. It's certainly a fun read, but it shouldn't be taken seriously.



5. An amazing collection of folks who just couldn't put down a good book. Extremely well written, highly entertaining. A "must read" for anyone who ever finds themselves with an abundance of books (or knows someone with the same affliction). Alas, Mr. Basbanes offers no cure, but since you can't possibly measure up to the characters he profiles, you will feel better about your own collection.

5 comments about Books of Hours (Phaidon Miniature Editions).

1. I'm an art student, and we often study books of hours, but it's always just slides, so we don't get to hold an example. This little book is a wonderful example of the actual books of hours from this time period. It really gives you an appreciation for the craftsmanship of the artists; the intricate detail is so delicate and tiny, and it's clearly printed in this book. I highly recommend it!



2. In this tiny book are brought together a limited choice of the most exquisite medieval miniatures from 1230 ( artist William de Brailes ) until 1522. Other important artists are Jan Van Eyck, Jean Fouquet, and Simon Bening.
   
   Of course in large manuscripts most of the illuminations could hardly be called miniatures but were full paintings, so to speak, with their own set of aesthetic rules. The format of the Books of Hours are ideal to study miniatures. You will find in this little book ( approximate the same size as the miniatures included ) an amazing collection of breathtaking miniatures with very vivid and beautiful colors. It's eye candy, I agree, but that made the Books of Hours popular in the Middle Ages. Let's face it, the success of the Catholic Church in the Middle Ages depended - for a substantial part - upon the cultural wealth that was displayed in churches and cathedrals, in the Vatican and its sumptuous Library, and in the Books of hours with their initials decorated with burnished gold.
   
   Indeed, you could say that the luminous colors of the miniatures in this collection are making the Dark Ages less dark.



3. Lovely tiny book with absolutely gorgeous illustrations from real medieval books of hours, with jewel tones and lovely compositions. The binding should be different to allow it to more easily open fully.



4. Although this is literally a miniature publication from Phaidon, it truly encompasses the character of the Book of Hours. Historically, these were popular items, especially among pious woman to "show off" their devotion to God. The illustrations are just beautiful and so intricate. This is a true gem. A compact way to view illuminated manuscript.



5. A very small book containing 85 color plates of miniatures culled from various books of hours. The plates are reproduced at or near their original size, giving an idea of just how truly small most of these pictures actually are.

   The plates come from the best manuscripts owned by several museums. Most of the art is Franco-Flemish from 1475-1525, but there are a few earlier works and/or Italian works represented, as well.

   There is very little text. This book is intended, I believe, to provide just enough information to pique the curious. The art is splendid, though, and a better, more portable visual reference could not be found. I liked this book so much that I bought two copies; one to use as a reference when painting, and another to just enjoy perusing.

5 comments about A History of Illuminated Manuscript.

1. Christopher De Hamel's "A History of Illuminated Manuscripts" (now in its second edition) is certainly the definitive history for lay readers, but it is probably the best starting place for aspiring professionals as well. It is well-written, faultlessly researched, and copiously illustrated. I happily use it in my university course on illuminated manuscripts together with Ingo Walther's "Masterpieces of Illumination" (published by Taschen)--in my opinion, the perfect companion piece.
   
   The second edition of De Hamel's book is structured as was the first: an informative introduction is followed by chapters which divide and discuss the manuscripts according to their intended users (missionaries, emperors, monks, students, aristocrats, everybody, priests, and collectors); an extended bibliography precedes several useful indexes. This Phaidon paperback edition is a beautiful book, with a white paper cover adorned with a full-color dust-jacket. Many new illustrations have been added, and there are many more color illustrations than there were in the first edition. More importantly, the text has been updated to reflect ongoing research in the field.
   
   My only complaint about this edition is that many of the important full-color and full-page illustrations in the first edition (to which I often referred in my classes) have either been reduced in size or eliminated entirely in the new edition. There are also significant (and inexplicable) differences in the color reproduction of illuminations between the first (David R. Godine, Publisher) edition and this second (Phaidon Press) edition--sometimes the differences are so radical that only a close inspection (or a familiarity with the actual documents) reveals they are photographs of the same manuscript. And since many of these manuscripts are from private collections (to which Mr. De Hamel apparently gained access by reputation or through associations established during his tenure at Sotheby's), it would be impossible for most readers to know which of the differing reproductions are the more accurate. My own experience would suggest that not all the changes in the new Phaidon edition are indeed improvements.
   
   Publishing faults aside, this is a fine book by a scholar with impeccable credentials and a gift for clarity and sensibility in his writing. I highly recommend it.



2. The title explains exactly what is in the book. It is very infomative and has tons of color illustrations of illuminated manuscripts.



3. I am thoroughly impressed with this book. Its scholarship is impressive and helpful in my preparations to study medieval history at Oxford. And the thoughtfully written bibliography and through indexing of the manuscripts illustrated assist further studies. Even though it's not on my official reading list and is certainly not a light nor compact book, I'm packing it and taking it with me.
   
   But, as scholarly as this work is, if one simply wants an attractive coffee table book on the subject, this can certainly be one. If one wants a very readable, engagingly written, well illustrated introduction to illuminated manuscripts, this is for you as well.
   
   There is even some helpful guidance on collecting the more available manuscripts such as Books of Hours. And as the Fellow Librarian of Corpus Christi College, Cambridge and with his 25 years experience in evaluating manuscripts for Sotheby's, Dr. De Hamel's knowledge is not just theoretical.
   
   Yet the price is extremely reasonable for a book of this quality.



4. Simply a treasure in print, Christopher De Hamel's work on medieval manuscripts is an enjoyable and fact-filled romp through the Middle Ages as if no "darkness" in the period ever existed. Focusing on a descriptive narrative that is as delightful as it is informative, the text leads the reader from one interesting setting to another, belying the breadth and scope of its coverage. One meets the educational reformers in Charlemagne's court, the scribes of the cathedral schools of Laon and Chartres, the workers in English scriptoriums, and many others in this highly researched, but clearly and engagingly written book. The reader feels as if he is simply touring the European countryside from one location to another and watching the patient and unrelenting work of scribes, copyists, and illustrators as they seek to develop the most enduring artifact of the period. Underpinning the entire work is a series - no, a PLETHORA - of beautifully reproduced and highly detailed medieval manuscript reproductions, many of them full-page, to the extent that one finds himself questioning why the text doesn't cost three times the price. A rarity in that it contains both outstanding prose as well as stunningly reproduced photographs, this text should be in every medievalist's (and art lover's) own scriptorium.



5. I loved this book! I used it for a graduate course on Illuminated Manuscripts, and it was one of the main textbooks we used, but I used it often after the course as well. I really enjoyed reading it, and found that it was unlike most of the typical text books I had formerly used. For any art history student, it is an outstanding resource. For anyone who loves illuminated manuscripts, book arts, or the Medieval period in general, this is a wonderful resource. It is a book that I consider an indispensable resource in my personal library. It is very well written and easily accessible for anyone. Although some of the terminology may be unfamiliar, it isn't so esoteric that it is beyond the scope of general understanding. It is clearly one of the best resources on the subject that I have ever come across!

5 comments about The Codex Borgia: A Full-Color Restoration of the Ancient Mexican Manuscript.

1. Even if you, like me, don't have much of a knowledge base about ancient Mexican history, it's cool just to show people the book. I've flipped through it and gained a vague understanding of how it fits into history, and I appreciate that it brings to life an aspect of a culture that I really only know through mythology. The preface to explain the Codex is probably well-written, although, admittedly, I felt rather daunted by it. Skimming through it was still valuable, though. A good conversation piece!



2. I will not go over their 5 star comments except to say that I agree. The amazingly colourful and crisp art in this short book is rivetting. As much as one may credit the reknowned author, deep congratulations should also go to the publisher for a masterful print job.



3. Sin duda este es un título que no debe faltar en ningúna biblioteca personal, ya que la restauración de uno de los principales códices es perfecta, para aquellos interesados en la cultura y ciencia ancestral este códice es de gran ayuda.



4. This is a very strange and beautiful book in pictures. It reads like a dream if you tune in to it, and reveals very deep meanings about the relation between life and death, the human relation to the forces of nature, and time. Even though there are no words, it is possible to understand. If you get into it the symbols become more and more recognizable, and they begin to speak. the calendrical symbols and the spirit deities are completely recognizable. The sequences are all about times, and there is a big element about sacrifice. It has to do with the consequences of change; there is no life without death. The book has a very powerful image of life and death fused back to back that pretty much is the epitome of all the book is about. It's all about life and death in relation to time.



5. This is a wonderful resouce for those interested in ancient Mexico. Full photographic facsimilies of these codices are hideously expensive, and really, most are not in great shape. After extensive research, we have here a great reproduction of what this important work looked like when it was "fresh off the presses." It is beautiful, and in comparison to Dover's similar Codex Nuttall, this work comes with a MUCH better introduction that explains more of the text, the context, and the ideology. Readers will be able to better understand some of the religious principles of the ancient Mexicans (and there is some debate whether this book was painted by Aztecs or Mixtecs, which I won't bore you with!). It shows gods, ceremonies, the calender, and other religious iconography which is interesting, and would be a revelation for more the artisticly inclined. The visuals are wonderfully presented and all in all this is an astonishing bargain. Those with even a casual interest in New World archaeology or art NEED to get this book.

5 comments about The Care and Feeding of Books Old and New: A Simple Repair Manual for Book Lovers.

1. The backcover blurb reads "Here at last is a short, simple, inexpensive guide to book care and repair." Amen! While this book, as other reviews suggest, may not be ideal for rare or leather-bound books, it is great for the mundane volumes of any book collection, or for experimentation purposes, if you're a neophyte repairer. Their advice for removing old price stickers, e.g., is excellent and easy and less harmful than the use of a fingernail. In addition, the advice comes with a charming dialogue about dogs the authors have owned and loved, and the dogs' contribution, or lack thereof, to the book owning and cleaning process. I have thoroughly enjoyed this book and would recommend it as a first step toward book repair mastery. Just don't try it on your Gutenberg Bible!



2. This breezily written guide to repairing books (and many other aspects of book buying and collecting) is a good introduction to its topic for the casual collector. The writing is extremely clear and simple, and the authors do not give advice on more advanced repairs in which you might do damage to the book. It is more of the "how do I get the price tag off the jacket?" or "what do I do about a dirty fingerprint on a page?" variety. And that IS helpful.
   
   At some point, the reader becomes aware that the book is no longer talking about book repair but about various topics that become less and less related to the original topic: how to store books, how to handle books, libraries, book borrowing, and so on. I found this somewhat entertaining, though it does not fit into the book's putative topic, as given in the title and subtitle.
   
   The authors write in a style that is very informal, with many references to their own lives and experiences. This makes the book easy to read, and it is generally not overdone so much as to become cutesy-wutesy. However, the authors' constant references to dog, including the most far-fetched analogies between book care and dog care, did become tiresome. No matter how much the authors love dogs, they should understand that most such references are not actually useful and that some readers may be cat people--or even just book people. However, the effect of this was not to impede understanding; it was simply annoying a few times.
   
   Overall, a good, short introduction to this topic that is easy to read.



3. As a Librarian who specializes in Preservation Management, I found this book somewhat appauling. I found it to be full of factual errors. Many of the cleaning and repair procedures described in this book would actually do more harm than good in the long run - while book tape, rubbing alcohol, homemade paste, and Elmer's glue might seem like harmless substances, these items will break down over time, yellowing, cracking, and damaging your treasured book. The bookbinder's motto is not as these misguided souls profess "Don't make it any worse", but rather "Don't do anything you can't undo". Readers of this book will come away with just enough knowledge to do some real damage! If you're unsure of your methods, you're better off leaving your books alone! If you're really interested in learning book repair, there are many manuals written by trained professionals who actually have some idea what they're talking about.



4. The Care and Feeding of Books Old and New is a lovely little volume that provides the novice book repairer with all the information they need to make minor repairs on damaged books. The authors do an excellent job of describing the tools needed and methods to be used, and are very clear about what sort of damage should be tackled only by an experienced book binder. The repair of loose pages and broken hinges are covered, as well as what to do about a stinky book.
   
   I believe this is an excellent book for any bibliolater (defined by the authors to mean anyone with an extravagant devotion to books) to have on their book shelf. With the dust jacket in a protective cover, of course.



5. 
   
   This book got my attention when I saw it in a bookstore.As I have done some minor book repairing,I bought it without looking at it too closely;thinking one can always learn something new.This book is extremely elementary and a relaxing read; if you don't let the "dog talk" annoy you too much.
   Some of the few books I've seen on basic care and repair of books;are the books by Jane Greenfield,referenced on page 152.I feel they still are the books that cover the subject best.The rest of the material in this book is okay for someone who is just beginning to look into "books on books";but again it is extremely superficial.
   I am also surprised that "A Passion For Books",by Rabinowitz and Kaplan was not mentioned;one of the best I've read.
   Like I said,a very elementary book on books.It might serve the purpose for a collector just starting or for a Librocubicularist.*
   *Reads in bed