Phantoms on the Bookshelves

PHANTOMS ON THE BOOKSHELVES

JACQUES BONNET

Translated from the French by Siân Reynolds

With an Introduction by James Salter

An imprint of Quercus
New York • London

© 2008 by Jacques Bonnet
© 2010 by Siân Reynolds

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To Luiz Dantas

Translator's and editor's note

Introduction

Author's preface: Pessoa the Librarian

1. Tens of thousands of books

2. Bibliomania

3. Organizing the bookshelves

4. The practice of reading

5. Where do they all come from?

6. Reading pictures

7. Real people, fictional characters

8. The world within reach

9. Phantoms in the library

Acknowledgments

Bibliography

This is a book about books. It contains many titles in several languages. In the original, Jacques Bonnet lists details of the edition sitting on his bookshelves, which is usually in French: date, publisher, translator. The policy adopted for the translation is that, except for very well-known titles, such as
War and Peace
, the titles of books originally written in French (or other languages) are kept in the text, followed immediately either by the title, in italics, of the English translation, if there is one; or by a literal translation of the title, in roman type, if none exists. There is a full bibliography with dates and details at the end for readers who would like to follow up any titles: where possible the English edition is cited.

After owning books, almost the next best thing is talking about them.

CHARLES NODIER

As Anthony Burgess once commented, there is no better reason for not reading a book than having it, but an exception should be made for this one, which appears at a time when books and literature as we have known them are undergoing a great and perhaps catastrophic change. A tide is coming in and the kingdom of books, with their white pages and endpapers, their promise of solitude and discovery, is in danger, after an existence of five hundred years, of being washed away. The physical possession of a book may become of little significance. Access to it will be what matters and when the book is closed, so to speak, it will disappear into the cyber. It will be like the genie—summonable but unreal. The private library of Jacques Bonnet, however, comprised of more than forty thousand volumes, is utterly real. Assembled according to his own interests, idiosyncratic, it came into being more or less incidentally over some four decades, through a love of reading and a disinclination to part with a book after it was acquired. Among other things, he might need it some day.

Under the pretense of writing about this library, its origins, contents and organization, he has written instead this often witty tribute to and perhaps requiem for a life built around reading that
summons up all the magical and seductive power of books. You recognize, with a kind of terrible joy, all that you haven't read and that you would like to read. Titles and names strike what can only be called chords of desire. In these pages, as at a fabulous party, you are introduced to writers who have not been translated into English, or barely. Hugues Rebell, Milan Fust, Anders Nygren, Kaf
Å«
Nagai (1879–1959), the Japanese writer of the floating world about whom Edward Seidensticker wrote
Kafu the Scribbler
, or Osamu Dazai, “tubercular and desperate,” who attempted suicide three or four times, the last time successfully with his mistress. To these as well as to writers more famous, and to incredible characters: Count Serlon de Savigny and his beautiful fencing-champion mistress, Hauteclaire Stassin, who together murder the count's wife and live happily ever after in Jules Barbey d'Aurevilly's
Happiness in Crime
, or Edvarda, the trader's daughter in Knut Hamsun's
Pan
, who sometimes came to the cabin where Lieutenant Thomas Glahn lived near the forest with his dog, Aesop.

Bonnet did not resist these books. They became, in a way, part of him, and he manages to bring up the question of what one has read, what one should read, what one remembers and, in a paradoxical way, what is the use of it. This last question can be dealt with more easily: Reading has the power not only to demolish time and span the ages, but also the capacity to make one feel more human—human meaning at one with humanity—and possibly less savage. Bonnet admits that he has not read all his books
which, even at the rate of two or three a week, would take the better part of a century. Some he has read and forgotten, others he remembers, although not always perfectly—indelible, however, are “the two wild duck feathers which the lieutenant, Thomas Glahn,
with the blazing eyes of a wild beast
would receive two years later folded into a sheet of paper embossed with a coat of arms”—and a great number of books he has only glanced at or not read at all. As he describes it himself, books that he has acquired, that is, has bought rather than received because of his occupation as a writer and editor, can end up in one of three ways:

They may be read immediately, or pretty soon; they may be put off for reading later (and that could mean weeks, months and even years, if circumstances are particularly unfavourable, or the number of incoming books is too great—what I call my “to read” pile). Or they may go straight on to the shelf.

He goes on to say that even these books immediately shelved have, in a sense, been “read.” He knows what they are and where they are; they can be of use one day. He is able, of course, to read quickly since this has long been his work, but some books should not be read quickly. One often hears the expression “I couldn't put it down,” but there are books that you have to put down. Books should be read at the speed they deserve, he properly notes. There are books that can be skimmed and fully grasped and others that only yield themselves, so to speak, on the second or even third reading.

All of this is normal, and you have probably formed an image of a pallid bookworm, serious and solitary. Bonnet is not like this. He is, to the contrary, convivial, good-natured, even jaunty. He has spent his life as an editor, as a journalist for
Le Monde
and
L'Express
, and as an art historian writing a book on the life and paintings of Lorenzo Lotto. These are what might be called the visible occupations. At the same time, and much of the time, he has read. He has always read. He likes to read, as he says, “anywhere and in any position” although for him—and he is a voluptuary in this regard—the ideal is lying down or, as he elsewhere mentions, in the bath. I have never seen him reading although I remember that the one visit I made to his Paris apartment was like walking into La Hune; the walls were completely covered with bookshelves and the shelves were filled with books. This was fifteen or twenty years ago, and I don't know if there was then the full complement of books, nor do I know what forty thousand books would look like, but it was an apartment dedicated to them. I didn't wonder at the time how they were arranged, and I did not consider what, after the joy of acquisition, must be an overwhelming reality for the owner of a large library; that it is almost impossible to move, both from the point of view of finding another place large enough as well as actually moving all the books, packing, transporting and reshelving them.

A private library of good size is an insolent form of riches, and the desire to have more books is difficult to rationalize, especially in view of the fact that you do not or cannot read them all but, as
Bonnet makes clear, still you might. The bibliophile is, after all, like a sultan or khan who has countless wives already but another two or three are always irresistible. Reading is a pastime and can be regarded as such, but it can also be supremely important. Walter Benjamin expressed it off-handedly; he read, he said, “just to get in touch.” I take this to mean in touch with things otherwise impossible to embrace rather than merely stay abreast of, although a certain ambiguity is the mark of accomplished writers. Benjamin's life ended tragically. He fled from the Nazis but was trapped, unable to cross into Spain, and he committed suicide, but that was the end only of his mortal life. He exists still with a kind of shy radiance and the continued interest and esteem of readers. He is dead like everyone else, except that he is not. You might say the same of a movie star except that it seems to me that stars are viewed years after with a kindly curiosity. They are antique and perhaps still charming. A writer does not age in the same way. He or she is not imprisoned in a performance.

Books, as Bonnet comments, are expensive to buy and worth very little if you try to sell them. The fate of a private library after the death of its owner is almost always to be scattered. There are exceptions, like the library assembled in Hamburg by Aby Warburg that was moved to London in 1933 to keep it out of the hands of the Nazis, and that became the heart of an institute for Renaissance studies. But even great libraries, those of schools and cities, have come to ruin, destroyed by fire, war, or decree: Alexandria's famous library, Dresden's in 1945, others. An emperor
of China, Qin Shi Huangdi, you will learn, the builder of the Great Wall, also ordered the destruction of all books that did not concern themselves with medicine, agriculture or divination. There were a number of sages who preferred to die rather than destroy their libraries.

The love of books, the possession of them, can be thought of as an extension of one's self or being, not separate from a love of life but rather as an extra dimension of it, and even of what comes after. “Paradise is a library,” as Borges said.

The writers of books are companions in one's life and as such are often more interesting than other companions. Men on their way to execution are sometimes consoled by passages from the Bible, which is really a book written by great, if unknown writers. There are many writers and many of some magnitude, like the stars in the heavens, some visible and some not, but they shed glory, as Bonnet makes clear without the least attempt at persuasion.