After one week of abstinence I drove the mile or so to the used bookstore I go to too often and browsed.
I was specifically looking for the other Gormenghast books by Mervyn Peake, the 1956 novella Boy in Darkness, and the unfinished Titus Awakes, completed by Peake’s wife Maeve after his death. I’m in the last few pages of Titus Alone, and I guess I don’t want to exit his proseworld just yet. Anyway, I went to this bookstore almost every week of February looking for Peake books with no luck after having picked up Gormenghast there on a lark a while back. I ended up buying the first and third of the Gormenghast trilogy online, because I couldn’t find them there, but today I found the complete trilogy in matching Ballantine editions. I did not find the other Gormenghast books though.
As much as I hated to break up the triplets pictured above, I picked up the Ballantine Titus Groan and adopted it to fit my other Ballantine editions. There is a specific student I have in mind whom I think will love the Penguin edition of Titus Groan I’ll give him next week (even though my dog bit it).
I’m obviously a sucker for covers, as any one who’s followed this blog for a while probably knows, and the Ballantine covers are better, I think—the Penguin editions of Peake’s trilogy are great, but they shy away from the bizarre nature of the narratives, tilting toward respectability.
Indeed, I like browsing in large part because I like the aesthetics of books, particularly older books. I absolutely loved this Edward Gorey cover for a 1957 edition of Joseph Conrad’s Victory—but I settled for a picture. I mean, I doubt I’ll read lesser-known Conrad at this point. But I love the orange and the blue, and Gorey’s handlettering:
I often settle for just a snapshot of a beautiful cover, like this bizarre one for The Family of Pascual Duarte by Camilo José Cela. I didn’t pick it up a few weeks ago, but then wished I had.
I had left it on the shelf like this, face outward. It wasn’t there today, and I wished that I had picked it up. Apparently it is brutal and was banned for a few years in its native Spain.
So well and anyway when I spied another Avon-Bard spine with a strange title I pulled it out, wowed at the cover, and dove in. Brazilian author Ignácio de Loyola Brandão’s Zero instantly struck a chord with me. The book is typographically all over the place, with text offset in boxes or laid out in columns. There are diagrams, enormous fonts, glypsh, citations, footnotes, etc. The book is a dystopian satire that seems to be written in its own idiom. The translation is by Ellen Watson. The wonderful cover art is uncredited (as far as I can tell).
I’ve never been able to get through Julio Cortázar’s famous book Hopscotch (despite many attempts), but I liked the short stories by him that I’ve read. I’m also a sucker for anything supershort, so when I saw his collection Cronopios and Famas (translated by Paul Blackburn), I was intrigued. I love a book in slices and morsels that I can snack on for a while (I’m really digging Gary Lutz’s The Complete Gary Lutz for the same reason). Most of the stuff in here is under three pages; much of it is much shorter too, like “Theme for a Tapestry”:
While scanning for anything by Rudolph Wurlitzer (no dice), I spied the spine of Charles Wright’s The Wig. Wright has been on my radar for a while now, mostly due to Ishmael Reed’s consistent endorsement of him (in both fiction and nonfiction alike), and when I pulled the volume to reveal its beautiful cover, I saw Reed’s name on the margin (and on the blurb on the back), and had to have it. The cover art is by Phelonise Willie; design by Scott di Giolamo: