{"id":78350,"date":"2014-10-22T16:34:53","date_gmt":"2014-10-22T20:34:53","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=78350"},"modified":"2016-01-07T19:09:53","modified_gmt":"2016-01-08T00:09:53","slug":"material-objects","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/","title":{"rendered":"Material Objects"},"content":{"rendered":"

Lessons from Rare Book School.<\/em><\/p>\n

\"\"<\/a>

Edward Collier, Trompe l’Oeil of Newspapers, Letters and Writing Implements on a Wooden Board<\/i>,\u00a01699.<\/p><\/div>\n

Four stories underneath the stately Georgian campus of the University of Virginia, I was with a group of rare-book experts scrutinizing a five-hundred-year-old Italian woodcut of two chubby infants. They framed a capital letter L<\/em>. One, with a look of insouciant concentration, was thrusting his butt over the downslope of the L<\/em> to defecate on it.<\/p>\n

\u201cThe woodcut accompanies Andreas Vesalius\u2019s discourse on the muscles of excretion,\u201d Roger Gaskell, a rare-book dealer based in Cambridgeshire, told the group. It turns out that Vesalius, the Renaissance physician remembered today as the father of modern anatomy, had an intensely strained relationship with his publishers. \u201cThis initial letter differs from the others in the book\u2014despite the fact that the printing house had a perfectly good L<\/em> already cut,\u201d Gaskell said. \u201cSo I rather suspect this shitting putti was a message to his publisher.\u201d<\/p>\n

Over a coffee break, the members of Gaskell\u2019s seminar mingled with three others led by such luminaries as Mark Dimunation, the chief of the rare-book division at the Library of Congress. They were gathered in a warren of windowless basement rooms for an annual rite of passage in the world of antiquarian texts: Rare Book School. <\/p>\n

The classes marked the penultimate week of a summer-long series of intensive courses that delve into every aspect of books as material objects. The school\u2019s leader, Michael F. Suarez, S.J., a charismatic Jesuit and professor of book history, has been cultivating a new field that he calls \u201ccritical bibliography.\u201d Precisely what those words meant was a subject for debate among the participants (\u201cThe study of the physical characteristics of books and the process of bookmaking\u201d is the definition the Society of American Archivists gives) but they all agreed that Suarez was a force to be reckoned with. It\u2019s like a cult<\/em> was a commonly heard phrase at the School. As one participant put it, \u201cFinally, I found a cult I want to be a part of!\u201d<\/p>\n

Over drinks at the student bars lining the approach to Thomas Jefferson\u2019s Rotunda, seminar participants traded book-nerd credentials. \u201cMy friend cut out all the endnotes from Infinite Jest <\/em>and made them into footnotes by gluing them onto the bottoms of the pages,\u201d confided Courtney Roby, an assistant professor of classics at Cornell who studies Greco-Roman technology. Aaron Pratt<\/a>, an excitable Yale English Ph.D. student and rare-book dealer, was enthusing about the merits of another form of collectible media. Pratt owns more than a thousand VHS tapes\u2014\u201cmainly low-budget horror films between 1979 and 1983\u201d\u2014and was still feeling the afterglow of a recent triumph. \u201cI finally convinced the Sterling Memorial Library to start buying up first editions of early VHS tapes.\u201d<\/p>\n

The Portuguese have an untranslatable word for the ineffable nostalgia of something that has passed away and perhaps never was: saudade<\/em>. At Rare Book School, saudade<\/em> for the world of print was in the air. But the presiding emotion was joy, shaded with a kind of reverence. The next afternoon, Gaskell\u2019s class marveled over a unique copy of the Encyclop\u00e9die<\/em> in which Diderot had handwritten his own line edits. A UVA curator speculated that the gold-edged volume, recovered from the Nazis by American GIs during World War II, may have been Diderot\u2019s presentation copy to Catherine the Great, but no one was sure. It was an historical epic in miniature, a mystery bound up between gilt leather covers.<\/p>\n

Also in tow at Rare Book School was Lee Powell, a video reporter from the Washington Post<\/em> with a thoughtful mien. He said he\u2019d been hired by the Post<\/em> the year before, part of a shift away from traditional print and toward video reporting engineered by his new boss, Amazon\u2019s Jeff Bezos. Powell watched the proceedings with a look of quiet attentiveness, a camera perched on his shoulder. It was his final hour of shooting, and he was trying to construct a narrative of the film-to-be in his head. \u201cI like to structure it with a beginning, middle, and end,\u201d he said. \u201cBut I haven\u2019t figured this one out yet. It often comes to me when I\u2019m in the car, driving back from an assignment.\u201d When I pressed him about his final shot, he hesitated and gave a wry smile. \u201cI\u2019m thinking about ending it with a closing book.\u201d<\/p>\n

\u201cWhat a glut of books!\u201d Robert Burton complained in 1621: \u201cWe are oppressed with them, our eyes ache with reading, our fingers with turning.\u201d What will be lost, though\u2014what new oppressions will come\u2014when we stop turning pages and start swiping sapphire? Rare Book School, at least, isn\u2019t going anywhere\u2014they\u2019re currently offering fellowships<\/a> to train a new vanguard of critical bibliographers, starting next summer.<\/p>\n

\"11427209524_d790dd4e29_z\"<\/a>

Andreas Vesalius\u2019s L<\/i>.<\/p><\/div>\n

Benjamin Breen is a Ph.D. candidate in history at the University of Texas at Austin and the editor-in-chief of<\/em> The Appendix<\/a>, a new journal of narrative and experimental history. His writings have appeared in<\/em> Aeon, <\/em>The Atlantic, <\/em>The Public Domain Review, and <\/em>The Journal of Early Modern History. He is currently writing a book on the origins of the global drug trade<\/a> and is on Twitter<\/a><\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Lessons from Rare Book School. Four stories underneath the stately Georgian campus of the University of Virginia, I was with a group of rare-book experts scrutinizing a five-hundred-year-old Italian woodcut of two chubby infants. They framed a capital letter L. One, with a look of insouciant concentration, was thrusting his butt over the downslope of […]<\/p>\n","protected":false},"author":701,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[489],"tags":[15735,15739,15738,15741,15737,15740,9404,15734,8252,3309,15736,6632],"class_list":["post-78350","post","type-post","status-publish","format-standard","hentry","category-books-2","tag-andreas-vesalius","tag-diderot","tag-lee-powell","tag-media-studies","tag-michael-f-suarez","tag-old-texts","tag-print","tag-rare-book-school","tag-rare-books","tag-richard-burton","tag-roger-gaskell","tag-university-of-virginia"],"acf":[],"yoast_head":"\nMaterial Objects by Benjamin Breen<\/title>\n<meta name=\"description\" content=\"October 22, 2014 \u2013 Lessons from Rare Book School.Four stories underneath the stately Georgian campus of the University of Virginia, I was with a group of rare-book experts\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Material Objects by Benjamin Breen\" \/>\n<meta property=\"og:description\" content=\"October 22, 2014 \u2013 Lessons from Rare Book School.Four stories underneath the stately Georgian campus of the University of Virginia, I was with a group of rare-book experts\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-10-22T20:34:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-01-08T00:09:53+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/edward_colliers_trompe_loeil_painting-res.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"586\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Benjamin Breen\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Benjamin Breen\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/\"},\"author\":{\"name\":\"Benjamin Breen\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/9dacda2283e3b3760e0eb5cebe4ea4ac\"},\"headline\":\"Material Objects\",\"datePublished\":\"2014-10-22T20:34:53+00:00\",\"dateModified\":\"2016-01-08T00:09:53+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/\"},\"wordCount\":897,\"commentCount\":7,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/22\/material-objects\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/10\/edward_colliers_trompe_loeil_painting-res.jpg\",\"keywords\":[\"Andreas Vesalius\",\"Diderot\",\"Lee Powell\",\"media studies\",\"Michael F. 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