Oram and Nicholson both contribute excellent and introductory pieces that provide an historical overview and curatorial considerations (Oram) and information on the process of cataloging writer's private libraries (Nicholson), replete with jargon that for many will be like a foreign language. Both, however, are easy to read and expert, and complement the other pieces contributed by booksellers, academics, librarians, and writers. A library and/or archive can house myriad items. For the purposes of this book, Oram states that a writer's library is "a set of books or other printed works owed by the author at a particular moment in time" (1-2).
The next essay, by the Curator and Rare Books Librarian at Emory University David Faulds, "A Poet's Library Times Two: The Library of Ted Hughes at Emory University" was a letdown in some ways. It is a fascinating topic, but the absence of a bibliography and very weak notes were a curious and disappointing oversight. As well, there was a fairly heinous error made in discussing books Plath's received for Christmas in 1954 on pages 79-80. In discussing the importance of a book Aurelia Plath gave to her daughter in Christmas 1954, Grimm's Fairy Tales in German, Faulds writes "In August 1954 Plath had attempted suicide by taking a large overdose of sleeping pills and in October was moved from Massachusetts General Hospital to McLean Hospital … This is where she was residing when her mother gave her this book as a Christmas present" (80). Faulds, who works at Emory and should have access to the correct information, gets the year Plath attempted suicide wrong. It was in August 1953. Aurelia Plath did give SP the book in Christmas 1954, which of course makes sense as in the summer of 1954 for this was after her daughter took German in Harvard Summer School and was enrolled in an Intermediate German course at Smith (as well as auditing a second German course) in the Fall of 1954. The gift of a German edition of Grimm's Fairy Tales makes much more sense contextually than to be so careless as to give her daughter a book in the midst of her recovery when, as part of the symptoms of her breakdown, it is reported that she lost some of her reading and writing capabilities.
Even if you have never worked with a writer's library, this book will resonate and take hold of you. It makes you want to seek out and find where the books that belonged to your favorite (dead) writer are now held. Or, if you are on the fence about it, consider what Oram writers in the first chapter: "the sense of direct, even mystical, communion with a deceased creative individual through an item which once belonged to him or her" (13). This is exactly what it is like, in my experience, when I have worked with the books and other archival materials formerly belonging to Sylvia Plath.
Collecting, Curating, and Researching Writers' Libraries: A Handbook includes a series of interviews with living writers with large libraries. About half the book is dedicated to a list of writers and the locations which hold their books. It is an indispensable resource guide to writers throughout many centuries.
Overall, Collecting, Curating, and Researching Writers' Libraries: A Handbook, edited by Richard W. Oram and Joseph Nicholson, marks a significant publication on a largely ignored but hugely important aspect to archives and special collections. So often the focus of an archive is on the manuscripts, photographs, and other evidences of life. This may be right, but while we take much from written correspondence, it is sometimes the case that a person's library contains hidden conversations with a published author. There is value in this line of study, as this book makes unequivocally clear.
All links accessed 1 July 2014.