Trends in Book Collecting

Thanks to Simon of http://www.hydraxia.com for permission to reprint this article. Hydraxia is a very interesting site for book collectors and book dealers. Their sister site: http://www.hyraxiabooks.com is a good source for purchasing collectible books.

Most products have a lifespan. Some are here for weeks (for example, 2010 World Cup souvenirs), some persist for months (Sunny Delight), some for years (The Ford Fiesta, Care Bears) and some for decades (Coca Cola). Those with a longer lifespan are updated regularly, be it a new design or a new feature. Whatever the product, it will be subject to trending. The same happens with every collectable book, but to very different extents.

Let’s start at the top and look at those least affected by trending, but remember, no book is immune.

Books Important in History

Take a book such as Charles Darwin’s Origin of Species, since its significance to science became established it’s been a collectable book, its price has generally risen through the intervening decades from then until now. This is an example of a book that’s subject primarily to positive trending, that is, events in the real world that increase the price beyond its usual rate of change. Events such as a renewed interest in the subject area, such as was recently observed with media attention on Richard Dawkins, fuelling the God vs. Science debate and thus an surge in popularity of Darwin. Such books do take dips too, the recession likely hit this book as it hit many other books, and in October people might be selling off Darwin in favour of buying Religious books when the Rapture hits (or the Zombie Apocalypse).

Books which have a massive relevance to contemporary culture are usually the least affected by trending, even where the content is outdated. If the item is of significant historical influence, then demand stays fairly stable. It’s only when they become less relevant that they become subject to negative trending (they can of course have a similar correlation with positive trending as mentioned above). As long as a book remains active in the collective conscience, it will remain collectable and increase in price. That sounds like a sweeping statement, and it is, but all it’s really saying is that if the demand stays constant, as it would if the book remains significant, and the supply decreases, as the print run gets older, tattier and rarer, then prices will increase.

The salient factor here though is identifying which books are important to mankind. On the Road, A Passage to India, Catcher in the Rye - all these books remain important as they are important historical artefacts documenting the changes of mankind. It’s hard to argue that the statements made by these books will be diluted over the next few decades, they cover a very large playing field. There are of course books that are important at the time of writing but soon disappear in to obscurity as their relevance lessens or narrows. Nineteen Eighty Four and Animal Farm are still pretty relevant and their message will probably remain for decades to come, but books such as Bonfire of the Vanities may become less and less relevant due in part to their scope (covering only a change in a small part of the global culture) and also their relevance (Wall Street in the 1980s was significant, but it’s not as significant as the Indian Independence Movement or the Second World War).

Of course, there are thousands of books having active historical relevance but the majority of those become less significant with time, usually because they either don’t say something new, or say something new but execute it poorly. This applies equally well to non-fiction as it does to fiction, though there’s much more room in literature for one to woo society with well written prose. Saying something new may be about the writer’s style or the basic premise of the story or scientific advances, executing it well may be something as simple as writing a good story, even if it’s been told a thousand times before. These books, these good books that have something important to stay, they ride the trends and they remain on university reading lists, these are valuable books and its hard to see them becoming suddenly unimportant and tanking.

Books Important to Literature

Ulysses is hardly a textbook of world history, it is however a landmark piece of literature. The style, the subject matter, even the route to market are all highly notable. The importance of this book to literature is likely to never diminish. Writers who contribute so massively to the advancement of literature are few and far between, but there are plenty whose contributions are not to be sniffed at Thomas Pynchon, William S. Burroughs, Franz Kafka, T.S. Eliot. There are also those geniuses that, although they exert very little influence on the style of literature, they are catalysts for entire genre: Wells and Verne for Science Fiction; Conan Doyle, Christie, Chandler for the crime genre. And those who progress a genre and keep it fresh.

Now, we’re only talking about particular books, not authors – not every H.G. Wells First Edition is valuable, but some books are. Those books that are important to literary style are subject to trending in a very similar way to the books in the previous section. But those books significant to a genre can be very subject to trending. Generally, authors who really define a genre can ride the trends, but those who seem to push it forward can really be subject to negative trending. This is being seen at the moment with a lot of 1980′s crime writers who quite recently were very collectable but now seem to be losing a bit of traction as their contribution to the genre is seen as being less important. Sara Paretsky did great things for female roles in crime fiction and remains influential, but has she been significant enough to be remembered in 100 years?

So if you’re collecting authors in a particular genre, you have to speculate on how they are going to be affected by trends – are the author’s books good enough to place them on the wall of fame or are they just best-sellers?

Good Books

And then there are those books that are just good. Some books don’t do anything for society, genre or literature itself. They’re just good books. A Clockwork Orange springs to mind, Do Androids Dream of Electric Sheep, The Prime of Miss Jean Brodie. These are books that are very subject to trending, generally they go up but as the generations change they become less-relevant, especially outside of established genres. Jean Brodie is a classic example, a great book by all accounts, not particularly significant to genre or the progression of literature, but a novel that literature should be proud of. The younger generation are less interested in it though, it’s taught on fewer syllabuses and is less relevant to the general reader as the general reader never ages with the book. Other books like A Clockwork Orange though still feel very cutting edge – they’re effectively timeless. I could be wrong about Jean Brodie, it’s still a very good book. It could see a resurgence and become a classic like Wuthering Heights or Dracula (I point these two out as they’re classics without being massively influential on genre or style). And this is my point, in fifty years Jean Brodie might be worth thousands, but it might spend the next fifty years gaining steadily. In Patagonia is another book like this – a veritable highlight ten years ago – but less read and less appreciated now. Prices aren’t what they used to be.

So here’s the point – if you’re buying a book because it’s a highlight of literature, take a look to see how significant it’s been to genre, literary style or society. If it doesn’t hit any of those then it’s just a good book that’s added to the list of classics. You then have to decide whether it really is timeless.

Children’s Books

Finally, a simple genre. The books we read as children are the books we want to collect as adults. My generation rarely read Biggles, we read Blyton. Over the next few decades a generation of Biggles readers will pass on. Biggles books may no longer be significant, then again they may. Similarly, a generation of readers of Jacqueline Wilson will in a few decades start collecting books, you may need to watch this space!

The point of this article wasn’t really to point out trends, but just to think about the environmental factors that can affect the value of a book. Every book is subject to this in some way or another. As time passes books become start to stick to the trendline of the market as a whole. The rate of change of the price of Gulliver’s Travels is likely to be tied tightly to the rate of change of the price of Robinson Crusoe, films or adaptations may move the price a little bit, but in general, they’re like the FTSE 100 – they are the market setters.

British Book Thief Jailed For Six Months Lies About Cancer Diagnosis

Jun 22 2011
Source: by Stephen Robertson, Stirling Observer

A THIEF who stole a rare book then claimed he had sold it to fund cancer treatment has been jailed after being exposed as a liar.

Sean Cowie (27), had previously admitted stealing the rare first edition of the poems of TS Elliot from a friend in Stirling, sometime between July and October 2008. He later went on to sell it for £4000 to a specialist bookseller down south.

At subsequent court appearances, however, he himself claimed to have suffered from three separate types of cancer and said that he had spent the bulk of the cash on treatment for the illness.

On one of Cowie’s previous appearances, fiscal depute Sonia Kalkat also told the court: “On eight occasions that he has been arrested since January 2009 he has advised custody staff that he suffers from either testicular cancer, breast cancer or bowel cancer.”

But Cowie’s illness story finally collapsed at Stirling Sheriff Court last Thursday as it was revealed that hospitals where he claimed to have had treatment had never even heard of him.

The court heard that police checks with staff at Ross Hall Hospital and the Gartnavel Beatson in Glasgow, and with NHS Forth Valley, where Cowie said that he had treatment, all drew a blank.

Sheriff Wyllie Robertson then asked Cowie: “Does that not astonish you?”

Representing himself in court, Cowie replied: “It does strike me as very odd.” Sticking to his story, though Cowie added that he had documents to back his version of events up, but had been unable to access them as he had been remanded in custody.

After consideration, Sheriff Robertson told Cowie: “I am satisfied on the evidence that I have heard that it is clear beyond any reasonable doubt that you have not been diagnosed with cancer, that there was no treatment undertaken by you and that your evidence to the contrary is a tissue of lies.”

Turning to the book theft itself, Sheriff Robertson continued: “This was an offence involving the theft of a valuable book of the order of £5000.

“I have rejected the motivation that you have explained on ill health and treatment.

“This must have involved an element of pre-meditation.”

Sheriff Robertson then jailed Cowie for six months, backdating the sentence to May 3.

Interview with Nate Burgos Rare Book Feast

Nate Burgos is the author, designer and driving force behine Rare Book Feast, a newly released video series about the timeless character of books. His first installment, Herbert Bayer's Book of Maps can be found HERE

Detail WorldGeoGraphicAtlas HerbertBayer RareBookFeast1 25 Interview with Nate Burgos Rare Book Feast

Detail of Herbert Bayer's “World Geo-Graphic Atlas” (1953). Photograph by Joe Giovenco.

I contacted Nate and asked to interview him for this blog. He kindly consented and here is that interview:

1. Please tell us what inspired you to begin your project Rare Book Feast?
Curiosity was the start and I cherish the design of books. I’ve been telling myself, and others: What’s the use of collecting if it isn’t shared?

2. Are you a book collector?
Yes, though not an expert. I covet and collect specific rare books because they’re beautiful and rare.

3. If so – what area do you focus on?
Stemming from my schooling and job, I’m attracted to books made by people, mostly designers, who paid attention to both the material and its design—both inside and out—like the covers, how the spreads present themselves as they’re revealed, especially the typography—its grid, layout and detail, like ligatures and hanging punctuation. Book design and culture-focused blogs like Shawn Hazen’s “Book Worship” and Dan Wagstaff’s “The Casual Optimist” further nurture this fascination.

4. How do you select which book you will “Feast” on?
Since “Rare Book Feast” has thankfully made its debut, I don’t yet have a method to pick which book from my collection (or elsewhere) to highlight and share, and I may not come up with one. I chose to kick-off the series with the “World Geo-Graphic Atlas” for a number of reasons: it’s a book I’ve been sharing here and there with people, mostly design schools; it’s a stunning work filled with a lot of visual interest—high bar of craft realized here; and it has a direct connection to one of my teachers and mentors, John Massey, who became the Director of Design at the Container Corporation of America in Chicago where he met Herbert Bayer around 1957.

5. Are you an avid reader? In what area?
The last physical book I finished was Hugh MacLeod’s “Evil Plans: Having Fun on the Road to World Domination” (highly recommended). The next book to be in my hands is Gary Vaynerchuk’s “The Thank You Economy”. Both of these titles are under the category of “Business” but I wish to get back to reading fiction (and claiming that reading fiction is useless is nonsense).

Most of my reading is sporadic from site to site on the internet. I also enjoy listening to shows like those by Austin-based 5by5 Studios which cover topics like web design, typography and DIY-making.

6. Would you tell us a bit about your creative life?
Beyond my job, “Design Feast” is my passion project, a growing webliography of design. Related projects grew outward from here. I enjoy writing about anyone and anything which interest me on my design-related blog, an all-people-and-things-considered destination. Then there’s tweeting, lots of it. Twitter is newsprint. Designer Lorraine Wild said, “You have to be interested in culture to design for it.”

7. Have you worked on any other book related projects? If so, where may we see them?
How people articulate design and creativity from their angle interests me a lot. I self-published “Thought Leadership by Design” through Lulu. I encourage anyone, who wants to make and release a book, to try services like this. The site for this book turned into the blog, “Design Thought Leader”, where I curate and post quotes which I find insightful on a range of topics, from creativity to work.

ThoughtLeadershipByDesign NateBurgos1 Interview with Nate Burgos Rare Book Feast

“Thought Leadership by Design” self-published by Nate Burgos. Photograph by Michelle Litvin.

8. Would you give us some hints about what to anticipate from the Rare Book Feast?
To be determined. At this time, I’m toggling between a delightful children’s book “Sparkle and Spin” (1957) by Ann (words) and Paul Rand (pictures) or the ambitious “Design Methods” (1970) by John Chris Jones. Both are first editions. One of my friends, who is also a freelance client and shares a passion for rare books, mentioned that he has one printed by the Aldine Press—wow!

9. What reaction have you had regarding the first installment of the series? I noticed lots of chatter on the web about the project.
I’m super thankful and appreciative for all of the viewers, like you, who enjoyed the mini-film, in addition to all of the people who helped spread the word about the first installment. In particular, its feature at “swissmiss”, the personal visual archive and popular design journal of Tina Roth Eisenberg, stimulated an overwhelming interest from everywhere. It’s wonderful to see the ever-enduring interest in the beauty of printed matter. “Print is dead?” Bullcrap!

10. I notice that you are a design professional. What area of design do you focus on?
Most of the projects I work on are web-based. I completed a recent project which was the creation of a user-interface design pattern library for an eCommerce site. I try to be an agnostic when it comes to the type of project. Designer and author Paul Rand, a teacher of mine, said, “Design is everything.” Here’s to finding out the breadth and depth of this statement.

11. Would you give us an outline of your education and background?
My undergrad was in graphic design. For grad school, I went to the Institute of Design at the Illinois Institute of Technology. Day-to-day, I’m a designer for the “Fortune 5,000,000”, an awesome term (and awesome class of businesses) I discovered from a blog piece by Chicago-based webapp maker 37signals.

12. How do you anticipate this project will impact your design work?
In her piece about the first installment of “Rare Book Feast” in “The Atlantic”, Maria Popova, who founded and sustains “Brain Pickings”, a “discovery engine for interestingness”, emphasized “the remarkable intellectual and creative enrichment available to us from early design history and the creative problem-solving of eras past.” I share this “deep belief”, as Popova put it. I recall my courses about the history of design, including issues in design, taught by Professor Emeritus Victor Margolin of design history and criticism. Those courses were eye-openers. Lots of legacy to tap into and channel, somehow, into one’s thinking and rethinking about design and designing. From a wonderful excerpt of their essay called “Collecting History”, Brooklyn-based design office Kind Company wrote, “It’s not enough to own the object—it’s also about what the object can teach us.” To Kind Company, “Collections are stories.” What this project affords is a level of examination of meaningful objects and gleaning some guidance from them to inform one’s self-discovery with her/his work.

13. Is there a way we can be notified about new installments of the Rare Book Feast?
My Twitter handle, @designfeast, is the best way: http://twitter.com/designfeast

World's greatest collection of Oscar Wilde

Source Paul Frazier Collectibles

The Clark Library has the best collection of Oscar Wilde material in the world - a great feat for one of the most highly-regarded and perhaps the most quotable figures in all of literature.

The Clark Library has more Wilde material than the British Museum

A collection such as this, whether private or public, offers a chance to look back in time from the current version of a given book or play and see the revisions and recreations through the different editions, and even back into the author's mind with handwritten and/or corrected text.

It provides an excellent demonstration of why collectors covet the earlier versions of Wilde, and why autograph manuscripts can be so valuable, such as Jane Austen's The Watsons.

Oscar Wilde 3g07095u adjust 696x1024 Worlds greatest collection of Oscar Wilde

Rare Book Feast Film #1: Herbert Bayer’s Book of Maps

I have discovered a wonderful new video series on rare books. It can be located on Vimeo HERE.

I suggest you bookmark this site and look for upcoming videos. Each video should cover a rare book or rare book type. The videos are well shot and well presented. Enjoy!

500-year-old book for sale in Utah for $35k

NurembergChronicle 300x251 500 year old book for sale in Utah for $35k

Source: BRIAN SKOLOFF, Associated Press – 1 hour ago

SALT LAKE CITY (AP) — A partial copy of the 500-year-old Nuremberg Chronicle is now on sale for $35,000 at a rare book shop in Utah. The shop is Ken Sanders Rare Books.
heavenly chorus 500 year old book for sale in Utah for $35k

It's considered one of the earliest and most lavishly illustrated books of the 15th century and coveted by collectors. Published in Germany in 1493, the book is a world history beginning in biblical times.

Ken Sanders, who appraises items for PBS's Antiques Roadshow, came across the copy in April while volunteering at a fundraiser for the small town Sandy museum, about 15 miles south of Salt Lake City.

Nuremberg Chronicle Venerable Bede 236x300 500 year old book for sale in Utah for $35k

The book's owner says it was passed down by his great uncle and had been gathering dust in his attic for decades. He had no idea of its worth or significance until bringing it to Sanders in April.

NY Art Book Fair

save the date 250 NY Art Book Fair

Printed Matter, Inc. presents the sixth annual NY Art Book Fair, from September 30 to October 2, 2011, at MoMA PS1, Long Island City, Queens. A preview will be held on the evening of Thursday, September 29.

Free and open to the public, the NY Art Book Fair is the world's premier event for artists’ books, catalogs, monographs, periodicals, and zines presented by more than 200 international presses, booksellers, antiquarians, artists, and independent publishers from over twenty countries.

The NY Art Book Fair will also include special projects, screenings, book signings, and performances throughout the weekend. The Classroom—a curated series of artist-led workshops, readings, and discussions—and the fifth annual Contemporary Artists’ Books Conference—a dynamic, two-day symposium on emerging practices and debates within art-book culture—will engage visitors in lively conversation all weekend long.

Over 16,000 artists, book buyers, collectors, dealers, curators, independent publishers, and other enthusiasts attended the NY Art Book Fair in 2010.

“For those of us who reside mostly in a world of pixels and antialiased Web fonts, Printed Matter’s fifth annual New York Art Book Fair was a breath of fresh, ink-and-glue-infused air.” —The New Yorker

Visit www.nyartbookfair.com for further information and to join our mailing list. For exhibitors inquiries, write to nyartbookfair@printedmatter.org. For media inquiries, write to peter@printedmatter.org.

London International Antiquarian Book Fair June 9 - 11

Europe’s leading destination for bibliophiles and collectors

The 54th London International Antiquarian Book Fair at Olympia, organised by the Antiquarian Booksellers Association (ABA) returns to the London Olympia Exhibition Centre from 9-11 June.

At Olympia, visitors will find on sale an almost unparalleled array of books and related material, covering the vast range of collectors’ interests, from the genesis of printing in the 15th century to today: first, rare and fine editions in all areas of literature, the humanities and science; fine bindings, illustrated books, manuscripts, maps, prints, photography and associated ephemera.

Olympia is the leading destination for bibliophiles and collectors in Europe.

The Fair is officially sanctioned by ILAB (International League of Antiquarian Booksellers), the international trade body of the antiquarian book trade.

This year over 160 of the top dealers from the UK, the Netherlands, France, Germany, Austria, Switzerland, Italy, Belgium, Finland, Sweden, Israel, Canada, the U.S. and Australia will exhibit at the world’s oldest antiquarian book fair.

New and returning exhibitors in 2011

The Olympia Book Fair will welcome a number of new exhibitors and dealers who have not exhibited for several years: Librairie Auguste Blaizot, Bonnefoi Livres Anciens, Librairie Rodolphe Chamonal, Librairie Historique Clavreuil F. Teissèdre, Librairie Lardanchet, Oriens Librairie Orientaliste and Photo Verdeau from France.
Also: Martayan Lan Rare Books & Maps (U.S.), Antiquariaat Junk BV (NL), Lex Antiqua Studio Bibliografico (It), Antiquariat Dr. Paul Kainbacher (Austria), Douglas Stewart Fine Book (Australia), Kenneth Hince Old & Fine Books (Australia) and the UK dealers Roger Collicott Books, Charles Cox Rare Books, Sanders of Oxford, Henry Sotheran, Bernard Quaritch, Mark Westwood Books, Classic Bindings and Karen Thomson.

Hungary was recently accepted for ILAB membership and for the first time ever there will be two dealers from Hungary: Földvári Antikvárium and Musikantiquariat Adam Bosze.

Robert Frew, Fair Chairman: “We are happy to say that this year the fair was over-subscribed, but we have managed to accommodate all applicants. We are excited about our new charity partner, Shakespeare’s Globe Theatre, represented by Zoe Wanamaker. We very much look forward to welcoming our traditional mix of home grown and international dealers drawn from all corners of the globe and, most importantly, customers old and new.”

VISITOR INFORMATION

Olympia Exhibition Centre, Olympia Two
Hammersmith Road, London W14 8UX

Dates: 9 -11 June 2011

www.olympiabookfair.com

Advance Tickets free of charge via the website
On the door: £10
Charity Preview Ticket: £25 each

Opening Hours:
Thursday 9 June Charity & Press Preview 2pm - 4pm
Fair opens 4pm - 9pm
Friday 10 June 11am - 7pm
Saturday 11 June 11am - 5.30pm

FAIR HIGHLIGHTS

London book fair Highlight London International Antiquarian Book Fair June 9   11

“Holy Grail” of English Bibliophily
BURY, Richard de (i.e. Richard Aungerville, bishop of Durham. 1281-1345)
Philobiblon... sive De Amore Librorum, et Institutione Bibliothecae, tractatus pulcherrimus. Ex collatione cum variis manuscriptis editio jam secunda; cui Accessit appendix de manuscriptis Oxoniensibus. Omnia haec, Opera & studio T[homas] J[ames]...
Oxford : Joseph Barnes 1599

FIRST ENGLISH EDITION
Small 4to, (180 x 127mm), *4, A-I4 (inc. H4 blank), the printed marginalia shaved in a few places, in one case affecting a few letters, some underlining and occasional ms. annotations in a 17th. century hand, bound in antique-style limp vellum, yapp fore-edges, green silk ties, edges stained red.
This is the first edition to be printed in England of the earliest published work on that theme which is at the very heart of ‘our’ world - the love of books. Written in the early 14th century by the great English book-collector and patron of learning, Richard d’Aungerville (better known as Richard de Bury), it was first printed in 1473 in Cologne, reprinted at Speier in 1483 and Paris in 1500. The eight-page Appendix de manuscriptis oxoniensibus is one of the earliest printed catalogues of an English library

STC 959 Madan 1599.8 Pforzheimer Catalogue no.21
£20,000
Exhibitor: H.M. Fletcher

Judge Withdraws Over Philip Roth's Booker Win

Source: guardian.co.uk

Philip Roth and Carmen Ca 006 Judge Withdraws Over Philip Roths Booker Win

Author and publisher Carmen Callil has withdrawn from the judging panel of the Man Booker International prize over its decision to honour Philip Roth with the £60,000 award. Dismissing the Pulitzer prize-winning author, Callil said that "he goes on and on and on about the same subject in almost every single book. It's as though he's sitting on your face and you can't breathe".

One of three judges on the panel for the literary award, alongside rare book dealer and author Rick Gekoski, who acted as chair, and novelist Justin Cartwright, this morning Callil revealed that, after the decision was made to give the prize to Roth from a shortlist which also featured Philip Pullman, Anne Tyler and Marilynne Robinson, she decided to retire from the panel.

"I don't rate him as a writer at all. I made it clear that I wouldn't have put him on the longlist, so I was amazed when he stayed there. He was the only one I didn't admire – all the others were fine," said Callil, who will explain why she believes Roth is not a worthy winner in an outspoken column in the Guardian Review on Saturday 21 May. "Roth goes to the core of their [Cartwright and Gekoski's] beings. But he certainly doesn't go to the core of mine ... Emperor's clothes: in 20 years' time will anyone read him?"

Founder of the feminist publishing house Virago, Callil is also the author of Bad Faith, a history of Vichy France. "I've judged many prizes before and I've rarely had my own favourite – it's always a question of 'I think X is a genius and you don't, so let's go for Y'. That didn't happen," she said. "We should have discussed everything more, but Philip Roth came out like a thunderbolt, and I was too surprised. We took a couple of days to brood, and then I spoke to Justin and said I thought I should give in, if I didn't have to have anything to do with the winner. So I said I didn't want my name attached to it, and retired. You can't be asked to judge, and then not judge."

Gekoski, speaking from the Sydney Writers' festival, said that the decision to give the prize to Roth had been reached "slowly and with a great deal of discussion and a considerable amount of argument".

"Three is a very dangerous number, a hard number to come to a decision. Two people came in very, very strongly supporting one writer, and one not," he said. "Literary prizes are generally pretty contentious [and] you have to guard against satisfying the judges rather than picking the right author. Saying let's compromise – nobody wants [this author] to win but we can live with it ... Well, my view is you want to get passionate support for someone."

All three judges, said Gekoski, "felt very, very strongly about the reading, about the process, about who should win". "We have read our guts out for the last 18 months, so to do that and not come up with someone you can care about is a painful thing and not a desirable thing. I entirely understand that," he said. But, he went on, in a field that included Roth, "tell me who else we could have picked".

"In 1959 he writes Goodbye, Columbus and it's a masterpiece, magnificent. Fifty-one years later he's 78 years old and he writes Nemesis and it is so wonderful, such a terrific novel ... Tell me one other writer who 50 years apart writes masterpieces," Gekoski said. "If you look at the trajectory of the average novel writer, there is a learning period, then a period of high achievement, then the talent runs out and in middle age they start slowly to decline. People say why aren't Martin [Amis] and Julian [Barnes] getting on the Booker prize shortlist, but that's what happens in middle age. Philip Roth, though, gets better and better in middle age. In the 1990s he was almost incapable of not writing a masterpiece – The Human Stain, The Plot Against America, I Married a Communist. He was 65-70 years old, what the hell's he doing writing that well?"

In her Guardian Review column, Callil also writes of her disappointment that the prize failed to celebrate writers in translation – the shortlist also included the Chinese authors Wang Anyi and Su Tong, the Spanish Juan Goytisolo, Italian Dacia Maraini and Lebanese Amin Maalouf – honouring instead "yet another North American writer".

"Obviously [writers in translation] have a disadvantage and there's no sense pretending they don't, of being read in translation," said Gekoski. "They are disenfranchised in that way, [but] ask me who my favourite writers are and it's Flaubert and Dostoyevsky – if the quality's there, it will shine through."

The prize in his view, though, is "not about who's the best: I think that's fatuous". Instead, it's about honouring "achievement in fiction".

"Are we saying Philip Roth is the best living novelist in the world? I don't know I want to say that. But he is the one we have chosen to honour and there are very good reasons for that," he said.

There's a market for high-end, luxury books

By Michael D. Schaffer

How much would you pay for a book?

Not for a rare book, a Shakespeare folio or a Gutenberg Bible to keep under glass, but for a volume simply to grace your bookshelves or your coffee table.

Would $199 be too much? Sports artist Dick Perez hopes that 5,000 people are willing to put out that amount for The Immortals, a collection of his portraits of Baseball Hall of Famers.

20110515 inq dm1costly02 c Theres a market for high end, luxury books

What about $461.62? That's what online bookseller Amazon is asking for Microsoft executive-turned-chef Nathan Myhrvold's new, six-volume culinary compendium Modernist Cuisine: The Art and Science of Cooking.

How about $15,000, the publisher's list price for the "Champ's Edition" of GOAT: A Tribute to Muhammad Ali (Greatest of All Time), featuring more than 3,000 images, plus a small sculpture by Jeff Koons and four silver gelatin prints signed by photographer Howard L. Bingham and Ali? Or $4,500 for the "Collector's Edition," with a Koons photo-litho instead of the sculpture and without the silver gelatin prints?.

In an era when the popularity of e-books has exploded and hardcover volumes seem destined to go the way of the LP, high-priced books are holding on.

"Expensive coffee-table books are not facing the same pressures as other books," says Lynn Andriani, a senior editor for the trade journal Publishers Weekly. "The expensive books keep coming."

That's because e-books don't satisfy a book lover's yen for "that really nice special edition," explains her colleague, PW features editor Andrew R. Albanese.

Beauty sells, and costly books are all about beauty, usually in the form of art or photography. The book itself becomes a piece of art, "something tactile, that you can hold and feel and see the quality of," says Creed Poulson, public-relations manager for the American subsidiary of the German firm Taschen. Taschen publishes GOAT and other high-end books, including a "Collector's Edition" of Linda McCartney: Life in Photographs that comes in a clamshell box, is signed by Paul McCartney, and sells for $1,000. (The trade edition, not signed by Paul, is $69.99).

Rarely, an expensive book surprises even its publisher and sells a lot more copies than anticipated. The Red Book, a reproduction of an illuminated manuscript by the famed psychiatrist Carl Gustav Jung, has racked up about 50,000 sales in English language translation since W.W. Norton published it in October 2009, says James Mairs, its editor. The volume, which measures 18 inches long by 12.3 inches wide by 2.5 inches thick and weighs 9.4 pounds, carries a price tag of $195, but is available online for $109.

The Red Book is "an anomaly," Mairs adds. The manuscript, in which Jung worked out some of the essentials of his psychology, had lain unpublished for decades in a safe in Switzerland, where only a few people had access to it. "There was a pent-up demand that we don't see for many books we publish," Mairs says.

The coffee-table niche is seldom so wide. While expensive books may not be going away, their audience remains small and their production costs large, a combination that makes publishers cautious. Mairs' colleagues at Norton proceeded cautiously with The Red Book, rejecting Mairs' suggestion of a first printing of 15,000 in favor of a safer 5,000. Even Taschen does not deal exclusively in big-ticket books. Its catalogue includes a GOAT edition for $150 and other titles for less than $20.

Bookstores are even warier than publishers of expensive titles. Chain bookstores, which rely on moving large numbers of books quickly, don't want to carry books priced north of $200, says Publishers Weekly's Albanese. Independent bookstores are also chary of such costly books. Michael Fox, proprietor of Joseph Fox Booksellers in Center City, says he handles "maybe one or two at Christmas time."

Taschen solves the problem by having its own chain of 12 bookstores in the United States and Europe, but that's not a road many publishers want to travel.

Faced with cautious publishers and reluctant bookstores, some authors like Perez and Myhrvold opt for self-publishing, becoming part of what Albanese calls "a very strong trend."

"A lot of of authors are examining the price of production and finding that the margins kind of work for them," Albanese says. The Internet makes it possible for them to sell their books themselves rather than rely on a publisher for distribution. "It's not that difficult to reach a global market [online]," Albanese says, though he says it's "not exactly a mature market."

Still, Perez and Myhrvold think it's mature enough.

Perez, official artist of the Phillies and formerly official artist of the Baseball Hall of Fame, acknowledges that The Immortals is "a niche book, even though it's baseball and baseball is popular. It's not a Stephen King book, or Ken Follett, or whatever."

Which is why he decided to print only 5,000 copies of the 560-page book, which includes 1,400 of his paintings, about 400 of them not previously published. He has no plans for a second printing.

The former graphic designer put the book together himself. He got historian William C. Kashatus to write the text.

"It's a huge book," says Perez, in the living room of his Wayne home, which is lined with his work and lit like an art gallery. "The stock is 100-pound test, which is the best. The stock and the binding is probably more than the printing." He says each volume costs about $50 to $75 to produce, not including his time during the last three years.

Perez did his own marketing, designing a brochure and mailing thousands of copies. (The book is sold through Amazon.com and www.dickperezimmortals.com)

Perez' strategy has been to sell the book as a collectible. It helps that "people know me as the baseball artist," he says.

And while it's a product of passion, Perez wants it to be profitable. "I've got my legacy there," he says. "If I break even, maybe make a few bucks, I'm happy."

Like Perez, Myhrvold, Microsoft's former chief technology officer, decided to self-publish his big book. He talked to commercial publishers, but decided early in 2010 to go his own way, said Wayt Gibbs, the cookbook's editor.

"There were a couple of factors," says Gibbs, a former senior writer for Scientific American magazine. "Commercial publishers are limited in some respects with books for which demand is unproven. The natural thing is to err on the side of prudence and order fewer rather than more. There's a pretty steep manufacturing cost, so the price has to be pretty high for that reason - so much so that it's terra incognita for commercial publishers. Nathan comes from a different business perspective. It didn't make sense to sink all this capital into producing so few books that you barely make a profit at it."

Gibbs explains that Myhrvold "set out to make a smaller book that would be priced under $100," but the scope of the project "grew and grew," expanding to six volumes - five volumes of recipes and a one-volume kitchen manual.

About 50 people worked on the project at one time or another, says Gibbs: "Four full-time research cooks, an art director . . . dozens of free-lance writers and editors, as well as two indexers."

Why did someone like Myhrvold, with his extensive computer background, not just opt for digital publication?

The beauty factor.

"He chose print because it's the best way to show big, beautiful, explanatory photos," Gibbs says. "If you shrink that down and put it on a small screen, the text becomes illegible."

By mid-April, orders for the set had reached 8,000, exceeding the first printing of 6,000 copies, according to the Modernist Cuisine website. "The remaining 2,000 or so orders . . . will be filled when copies arrive from the second printing, starting in July," Gibbs continued.

Myhrvold and his team "are quite relieved and pleased with the demand for this book," Gibbs says. "We're looking for a much larger second printing."

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