“ A great corporation cannot take a real publisher's place in his attitude to the author he serves.""Every great publishing house has been built on the strong friendships between writers and publishers. There is in fact, no other sound basis to build on; for the publisher cannot do his highest duty to any author whose work he does not appreciate and with whom he is not in sympathy. Now, when a man has an appreciation of your work, and sympathy for it, he wins you. ”
Summary
The Building of a Book explores the intricate interplay between artistry and industry in the world of publishing, examining the technical and human elements that shape the creation and distribution of literature. Focusing on processes such as printing, binding, and the role of the press, the text delves into the symbiotic relationship between authors, publishers, and printers, emphasizing the necessity of mutual respect and cooperation.
Through discussions of machinery, ink, and the evolution of printing technology, it underscores the tension between mechanical accuracy and creative expression, while also addressing the challenges of promotion and the enduring importance of fostering authentic literary collaborations. The work ultimately frames the book as both a product of technical advancement and a testament to the enduring human drive to share ideas.
Quotes from The Building of a Book ()
“ Is there any likelihood of an improvement in literary criticism—any chance of a return by the daily press to what the Reviews of the past gave and those of England and the Continent still give? The standard of criticism is determined by two forces: the quality of books and the taste of would-be purchasers. If every book were really "criticised," the criticisms of many would be utterly incomprehensible to many of their possible readers. The public gets the books it desires; the books receive the attention they deserve. ”
“ A plate that left the etcher's hand a mere skeleton may be made to produce a print which is a thing of life. The possibilities of an etching in the hands of a skilful printer are almost limitless; the effects can vary with every impression, each showing a new picture. His processes are as interesting as those of the etcher himself, and it is within his capabilities to transform an etching from a broad daylight effect into a moonlight scene, including the moon, by judiciously, or injudiciously, inking and wiping the plate. ”
