The Biblio File hosted by Nigel Beale

Reading this on Library and Archives Canada's website:

Amid the threats to Canada's nationhood in recent months and in the global context of social division and eroding democracy, Library and Archives Canada (LAC) has a unique and critical role to play in asserting Canada's identity, promoting national unity and championing democratic principles.

then seeing this further down the page:

LAC is planning the following spending reductions:

2026-27: $11.1 million

2027-28: $14.7 million

2028-29: $22.1 million

It is anticipated that these spending reductions will involve a decrease of approximately 161 full-time equivalents by 2028-29. (my italics)

put me in mind of this

Dr. Dolittle's pushmi-pullyu

How can you assert, promote, or champion anything when your budget is being slashed? How can Canadians - historians, bibliophiles, citizens - understand, learn and write about their own country when they can't access the historial record in a timely fashion?

If these cuts are for real, then the Carney government is talking out of both sides of its mouth, happier when Canadians don't look at their own history. This, in fact, is exactly what some of Canada's top historians are saying.

To get to some kind of truth, I figured the time was right to go back in and talk with Leslie Weir, Canada's national Librarian and Archivist, in hopes she could set me in the right direction.

Leslie was appointed head of LAC in 2019 (we first talked shortly after her appointment. Listen to that conversation here). Prior to this she was Librarian at the University of Ottawa, from 2003 to 2018.

A past president of the Canadian Association of Research Libraries, Leslie is, in addition to her currently duties in Canada, President of the International Federation of Library Associations and Institutions (IFLA), until 2027.

We met at her offices in Ottawa at 395 Wellington Street.

I reference Voltaire briefly during our conversation. Voltaire revelled in pointing out gaps between rhetoric and reality. How, for example, could a church that preached love and forgiveness, at the same time condemn innocent people to be torn limb from limb in the public squares?

I end off the interview with three quotes from him:

"It's dangerous to be right in matters on which the established authorities are wrong"

" To the living we owe respect, but to the dead we owe only the truth."

"Doubt is not a pleasant condition, but certainty is absurd."

Here's another to end off this introduction:

"Those who can make you believe absurdities can make you commit atrocities."

Bloomsbury Publishing has been in business for almost forty years. Last year it earned £361.0 million. Over the past five years it's taken in more than £1.4 Billion. It's one of, if not the most successful publishing ventures of the past century. How does this work? I asked Founder and Chief Executive Nigel Newton.

Here we talk about, among other things, Frank Newton — Nigel's prospecting, race car-driving grandfather; about Peter, his wine-making father; about book publishing and stock picking; the acquisition A&C Black; The Garrick Club; 'romantasy' and Sarah J. Maas; Liz Calder; floatation in 1994; aspiring to be mid-sized; Christopher Little; J.K. Rowling and Harry Potter being a fluke; Amazon observing territorial copyright; AI licensing agreements as unforeseen backlist windfalls; suing AI companies; ideal publishing companies; surviving medically; Emotional Intelligence; The History of Bloomsbury Publishing coming out in April, 2027 to celebrate 40th years in business; Anthony Blonde's book - not The Truth about Publishing. It's either The Publishing Game (1971) or The Book Book (1983) (for sure I own at least one of these, and I'm going to say, almost 100%, it's signed); foreign rights; and how to lead a happy, fulfilling life.

​B. Traven's​ novels and stories​ have sold m​ore than ​3​0 million copies​ over the past century in more than 30 languages​ worldwide. He was Einstein's favourite novelist. Der Spiegel ranks his The Death Ship as the third greatest German novel ever written (okay in the past 100 years), after Thomas Mann's The Magic Mountain, and Kafka's The Castle; and yet, despite this, few today, in the English speaking world at least, have heard of him. It's only thanks to the movie, The Treasure of Sierra Madre, based on one of his stories, that he's known here at all. Why is this? Perhaps because no-one knows with absolute certainty who Traven was. No-one is 100% sure of his true identity. Timothy Heyman ​(CBE​) is 99% sure. We talk here about his hypothesis, plus the tasks he's set himself to re-establish Traven's reputation and re-gain an audience for his works. Heyman, a considerable person in his own right, is co-manager (recently promoted to managing director) of the B. Traven Estate along with his wife (who is proprietor), Malú Montes de Oca de Heyman​, Traven's stepdaughter. I met Tim up in the couple's beautiful apartment overlooking Mexico City to talk about what he's achieved to date with Traven's literary archive, and, again, who he thinks Traven really was. We were surrounded by a library of books written by the mystery man, accompanied by a glorious panoramic view of the city. After our conversation we went upstairs to a special room which holds the archive - the place where Tim occupies himself with the business of legacy building.

Some years ago I interviewed David McKnight about a collection of Canadian "little magazines" he'd hunted down and later donated to the University of Alberta's Bruce Peel Library. It was very easy to get caught up in David's enthusiasm, and I was really impressed by the catalogue he'd produced. Shortly after our conversation I learned that he didn't just collect Canadian poetry, he was also a serious Beatles collector.

We stayed in touch. I drove down to Philadelphia where David hosted me at his home for a weekend. We got a lot done. Took the train into New York for the opening of a film about a bookseller; went on a tour of the rare book and manuscript library at the University of Pennsylvania where David worked at the time as director; attended the Allentown Paper Fair where I picked up some old Fortune and New York Times magazines. It was great. A non-stop exchanging of excited thoughts about books, collecting, and cool periodicals.

Share

I've been wanting to interview David about The Fab Four ever since I learned of his passion. He's a real expert on the band. I was particularly keen to find out about his personal relationship to the music, and of course, about his experience collecting and documenting its impact on print culture, internationally, high and low. Finally, after years of talking about it, we got down to business. The albums, the books - from limited editions to paperbacks - the magazines, the fan zines, the ephemera, the scrap-books, the puzzles. Liverpool. It's all here.

Michael Erdman is Head of Middle East and Central Asian Collections at The British Library with overall responsibility for all manuscript holdings in Arabic, Armenian, Azerbaijani, Chagatai, Coptic, Hebrew, Kurdish, Ottoman Turkish, Persian, and Syriac.

I talked with him about my recent magazine hunting exploits in Istanbul, and how what we found fits into the overall history of magazine publishing in Turkey. Esoteric, I know, but hey, this is where passion takes you.

Michael Erdman is Head of Middle East and Central Asian Collections at The British Library with overall responsibility for all manuscript holdings in Arabic, Armenian, Azerbaijani, Chagatai, Coptic, Hebrew, Kurdish, Ottoman Turkish, Persian, and Syriac.

I talked with him about my recent magazine hunting exploits in Istanbul, and how what we found fits into the overall history of magazine publishing in Turkey. Esoteric, I know, but hey, this is where passion takes you.

I first came across Andrés Mario Zervigón's (Cuban) name while researching a magazine that filled me with awe the first time I saw it.

AIZ, the Arbeiter-Illustrierte-Zeitung (Workers Illustrated Magazine) is an illustrated, mass circulation German periodical that was published in Berlin during the 1920s and 1930s (in Prague after 1933). It contains some of the most emotionally charged imagery I've ever seen. The best work was by John Heartfield.

Zervigón is professor of the history of photography at Rutgers University in New Jersey. He obtained his PhD from Harvard University in 2000 and concentrates his scholarship "on the interaction between photographs, film, and fine art." His first book, John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage (University of Chicago Press, 2012), proposes that "photography's sudden ubiquity in illustrated magazines, postcards, and posters produced an unsettling transformation of visual culture that artists felt compelled to address."

Zervigón's work, says the Rutger's website, "generally focuses upon moments in history when these media [film, photography, fine art] prove inadequate to their presumed task of representing the visual."

We start our conversation by unpacking this passage, and then move on to a short history of illustrated, mass circulation magazines, (including VU magazine), then to the life of John Heartfield, and finally to AIZ.

Background here

Tony Fekete is a​ book collector who for years specialized in collecting erotica. ​H​e's best known for the catalogue he produced for a Christie's auction that took place in 2014 that featured highlights from his collection. ​M​ore than 200 books, manuscripts, lithographs and erotic photographs ​w​ent up for sale​,​ including a first edition of My Secret Life (1888), an eleven-volume memoir​ that describes​ in detail the sex life​ of an anonymous Victorian "Gentleman," of which only twenty-five copies were printed.​ The auction netted Fekete more than a million pounds. ​T​ony is a​ mobile bibliophile who travels frequently, primarily by train, in pursuit of books. Born in London in 1954​ of Hungarian​ descent, ​he worked for​ Citibank in Eastern Europe ​d​uring the mid-1980s​​ whe​r​e he cultivated both his love of books and an appreciation for the region. Today ​h​e shares these passions on Instagram and Facebook​, posting photographs of his journeys​throughout Eastern Europe​, that feature old bars and restaurants​ that he favours and, of course, highlights from his still significant (and stimulating) erotica collection. I spoke with him via Zoom.

Siegfried Lokatis is a retired professor of book history, and former head of the University of Leipzig's​ Institute for Communication and Media Studies. He is the author of Book ​Covers of the GDR and is currently working on a history of the S. Fischer publishing house, due out in 2026. We met in Leipzig recently where Siegfried treated me to a tour of ​t​he Bibliotop's splendid Insel Bucherei book collection. Founded in 1912, the series now ​contains some 2,000 titles (and still counting according to Jonathan Landgrebe, head of Suhrkamp Verlag, the company that today produces the books). The series is iconic in Germany and in many ways its publishing history reflects the history of the country. The books are known for their beauty and the care with which they're produced. Qualities include: individual typographical design, exquisite illustration (notably from the thirties - stay tuned) and photography, and printing on wood-free, age-resistant paper, plus they're thread-stitched and bound in decorative cover paper.​ They served as the model for Allen Lane's King Penguin series. The Insel Bucherie series includes both well-known and little known texts from world literature as well as art history, non-fiction, poetry, and fairy tales, plus gift anthologies from Germany and around the ​globe. Subjects covered in my conversation with Siegfried include Rilke and copyright, ​the decision to publish​ established, versus contemporary works; Stephan Zweig and the Nazis, poisonous mushrooms, the rarest volume, the Allied bombing of Leipzig, censorship, the separation of East and West Germany, wartime profits, collecting, pornography and more.

Richard Charkin has held senior posts at many major, and some minor, publishing houses in the U.K. over the past 50 years, including: Harrap, OUP, Pergamon Press, Reed Elsevier, Macmillan, Bloomsbury, and Mensch Publishing. He is former President of The Book Society, the International Publishers Association and the UK Publishers Association.

His book My Back Pages, An Undeniably Personal History of Publishing 1972-2022 came out in 2023. The book has sold more than 3,000 copies, and is being translated into four languages. It took me a year to figure out what questions to ask him.

Just so you know, Richard has been very good to The Biblio File podcast over the years. Thanks to him I've landed all sorts of great publishing guests. And John Banville! I'm grateful to him for this, and for his being so generous with his time and knowledge, sharing them as he has with me on multiple occasions during episodes that have dealt with, among other things, great publishers, the challenges facing the book business, and how to set up a small publishing house.

I wrote this about him a while back:

Richard does what all great publishers do. He pays attention to what's going on both in the world, and in the world of books. He pays attention to what people are doing and reaches out to them to learn more. He takes an interest. It's pretty simple. And pretty important. He also lets people know what he's up to. I got to know him through his blog. It gave me a wonderful glimpse into the daily life of a high-powered publisher - the workings of business, but also the workings of his mind, and occasionally his emotions…

His writing invited and welcomed a human response.

I'm happy to have been able to re-connect with Richard again recently, this time via Zoom, to talk about the changes he's seen, and lessons he's learned, over more than 50 years in the book publishing business, something, more than incidentally, that he's been rewarded for recently in the form of an OBE.

It's good to see that his exemplary work in, and on behalf of, the publishing business - his "service to literature," has been recognized.