I am not a scholar and the majority of my references have been culled from my personal library, allowing me to check them without difficulty. But I read in zigzags, I travel from one book to the next, and this is not without risks. It is quite possible that here and there, certain interpretations or comparisons are stretched or simply gratuitous. However, this book is a journey—and travelers should be aware that paths leading nowhere are also part of the trip.
Isn’t a private library simply a universal legacy pretending to be an individual one?
Re-read this great story last night. I’ll have to try some other translations.
An adolescence of book stealing takes the author through the ancient, the modern, and the adult.
In 1800s America, Shakespeare productions had juggling and singing amidst the acts, and theatergoers would cheer the heroes, boo the villains, shout out lines along with the actors, even walk about on the stage. Opera divas would sing “Yankee Doodle,” “Home Sweet Home,” Irish ballads and other folk songs, and take requests from the audience. Orchestras would choose a few excerpts from Beethoven, Mozart, Bach, and mix them in with popular reels, jigs, and other dance tunes. It was a different world:
GRAND CONCERT OF MUSIC…
An African Monkey
Come One Come All
I dog-eared Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America more heavily than any book in recent memory. Lawrence Levine doesn’t argue that the old ways of interacting with art were necessarily better. But it is important to know that it was different. The book gives a whole different history and perspective on our inherited rituals, kind of like hearing a whole new arrangement of a familiar melody.
Levine opens the book with a focus on Shakespeare in American cultural life. Shakespeare was really popular. At home, in books (like Mark Twain’s parodies in Huckleberry Finn), on the road, in the theaters. Even the illiterate mountain man Jim Bridger knew it was worth hiring someone to read it to him enough that he could recite long passages.
In performance, this popularity and relevance made it fairly common for the actors to shorten or lengthen the monologues as they saw fit, and companies would commonly rewrite the endings. In a typical account from a local newspaper, when the audience disapproved, “Cabbages, carrots, pumpkins, potatoes, a wreath of vegetables, a sack of flour and one of soot, and a dead goose, with other articles, simultaneously fell upon the stage.” What’s cool is not only that the audience was carrying vegetables to the show, but also that they knew Shakespeare well enough to know the difference when changes were made to voice their opinion. And audience and performers alike weren’t just mutely receiving the Greatness of Shakespeare, but participating and engaging with it.
Events like the Astor Place Riot in 1849 helped mark the growing division between the audiences for art (the Cultured and the Masses), and the “sacralization” of the works themselves. A lot of it was tied to the economics of the art industry. Amateur actors and musicians were gradually replaced with professional payrolls. Wealthy patrons became the primary financial support for the organizations, so the programming was less reliant on popular approval and ticket sales at the door. With the Masses weeded out, the new superstar conductors began to program entire works, instead of just excerpts.
And along with that came programs of behavioral control (dimming the lights, refusal to encore, training audiences in when to clap, etc.). Levine ties in “the taming of the audience” to a broader cultural change that separated public and private space, and public and private behavior. As art became more hierarchical, the classes weren’t attending the same types of performances or sharing the same spaces. The cultural institutions were active in “teaching their audiences to adjust to the new social imperatives, in urging them to separate public behavior from private feelings.” By the early 1900s,
the masterworks of the classic composers were to be performed in their entirety by highly trained musicians on programs free from the contamination of lesser works or lesser genres, free from the interference of audience or performer, free from the distractions of the mundane; audiences were to approach the masters and their works with proper respect and proper seriousness, for aesthetic and spiritual elevation rather than mere entertainment was the goal.
In other words, it changed to the modern, frosty atmosphere that lingers in performance halls and museums today. No more audience outrage, no more spontaneous celebrations. The groups were transformed “strove to concentrate on the music rather than the performance.” The orchestra plays, the audience receives. You see a similar transformation in museums and libraries at the same time. They change from the fantastic freak shows and cabinets of curiosity to sacred archives, filled with carefully curated items for preservation or quiet contemplation.
One really interesting bit that Levine touches on is how knowledge of these cultural manners (like knowing when to clap) helps classes distinguish themselves. In this way, knowledge becomes both a status symbol and a barrier to entry:
Thorsten Veblen constructed his concept of conspicuous consumption, he included not only the obvious material possessions but also the “immaterial” goods—“the knowledge of dead languages and the occult sciences; of correct spelling; of syntax and prosody; of the various forms of domestic music… of the latest proprieties of dress, furniture, and equipage”; of the ancient “classics”—all of which constituted a conspicuous culture that helped confer legitimacy on the newly emergent groups. This helps explain the vogue during this period of manuals of etiquette, of private libraries and rare books, of European art and music displayed and performed in ornate—often neoclassical—museums and concert halls.
It’s a really fantastic book. Levine to close it out:
When the art forms that had constituted a shared culture for much of the nineteenth century became less accessible to large segments of the American people, millions of them satisfied their aesthetic cravings through a number of the new forms of expressive culture that were barred from high culture by the the very fact of their accessibility to the masses: the blues, jazz or jazz-derived music, musical comedy, photography, comic strips, movies, radio, popular comedians, all of which though relegated to the nether world culturally, in fact frequently contained much that was fresh, exciting, innovative, intellectually challenging, and highly imaginative. If there is a tragedy in this development, it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them.
Audio and video from the New York Public Library is now on iTunes.
If you’ve ever worked in a library (I’ve put in a couple years), or if you just like libraries and spend inordinate amounts of time there (I’ve put in a couple dozen years), Don Borchert’s book may give you a bit of d?©j? vu. Somehow he got the same customers I got, even though he works in Los Angeles and I worked in suburban Georgia.
One of my favorite lines in the book appears when he’s talking about a custodian in his branch. Mr. Weams is hard-working, old, ornery, given to speeches about the injustice of the whole system. One night he was called in to do some emergency cleaning and shared some rants with Borchert the next day:
“Mr. Weams is so close to retirement that it makes absolute sense to him that the city deliberately puts him in harm’s way. His anger is like a big multivitamin for his immune system.”
His anger is a multivitamin. Ha! Love that. Borchert is a hardened librarian, beleaguered but still feisty. As he describes himself, “I know I could be a better human being, but I am an old dog content with my many shortcomings. I do not automatically try to cheer up small children because they are pouting, nor do I pander to adults because they are petulant and acting like small children.”
But he’s able to share the absurdities of modern public libraries with some heart. Not all of the stories are disaster scenarios. In one story he finally gets to know a little bit more about a regular troublemaker. Turns out the kid is from a crappy home situation. “Damn this stupid kid, I thought. He is no longer two-dimensional.”
Quick read. Good stuff.
Holy crap. I just noticed that there’s a LibX plug-in for Emory University libraries. There are a couple hundred other schools that use LibX. From the comfort of my own Firefox toolbar, I can search Emory’s catalog, journals, and databases, as well as Google Scholar and WorldCat. This makes me unreasonably happy.
The Book on the Bookshelf is a book about books… and shelving. If that doesn’t catch your attention, then there’s no hope. I’ve lost you already.
It’s a study of part of our relationship with books, the ways we created, studied, shared, and stored them. Henry Petroski touches on developments in bookbinding, the evolution of outward-facing spines, and the history chained books, among other things.
I love the research that Petroski did. In many of the chapters scrutinizes old photographs, architecture, and especially the illustrations that can be found in old books—Renaissance scholars in their studies, Medieval monks in their libraries, etc.. How big are the books? How are they bound? How are they physically organized? How do they lay? A book is both a container of information and itself a piece of historical evidence. Pretty cool.
The Nonist introduces us to Red-Hot and Filthy Library Smut. “Full-frontal objectification of the library itself,” featuring some pretty incredible photos. Books, shelving, tables all laid bare. Wish I were there…