Even in the depressed conditions, publishers still dreamed of tapping a wider readership. This began to become a reality in 1935, when Allen Lane launched his pioneer Penguin series of paperbacks. It was a risky operation, involving speculatively high initial printings to keep down the unit cost. But, despite the strongly held belief that paperbacks would not appeal outside the Continent, where they had sold freely, and the resistance of booksellers, who feared a sharp reduction in their receipts, the new series quickly caught on. They represented remarkable value at the original price of sixpence, equivalent to the cost of a small item in a variety store. Though printed on cheap paper, the books employed good typography—far superior to that of any earlier attempts at paperbacks—and the original cover design was attractive in the bold simplicity of its orange and white stripes. A U.S. agency was arranged shortly before World War II and was later taken over by Victor Weybright, who subsequently established the highly successful New American Library for the mass promotion of paperbacks in the world market.
Nazi persecution of the Jews in the immediate prewar years and the impact of the war itself caused a wave of emigration, from Germany and Austria in particular, which brought fresh publishing talent to both Britain and the United States as well as to other countries, including Australia. Some of the striking developments in the production of art books, with beautiful coloured illustrations, were a direct result of this movement, which bore its fullest fruit after the war. World War II and the postwar period
The war that in 1939 European publishers had feared would utterly destroy their business proved in many respects less terrible in its effects on books than had been imagined. While the destruction of buildings, plants, and vast stocks of books, most notably in London and later in Leipzig, brought publishing to a standstill for individual firms, the activity as a whole continued. As in 1914 but to an even greater extent, the demand for reading matter for both instruction and entertainment grew enormously. The nature of the war, with its long periods of waiting alternating with intense bouts of frenzied activity, both induced the need and provided the opportunity for reading. As a result, book sales in the “free” countries rose to fresh heights. The occupied countries of Europe endured censorship and a tight control of materials; but most publishers survived and were swift to renew contacts with colleagues in London and New York City immediately after the war.
In the United States, though they were subject to some shortages and inconvenience, publishers were comparatively untouched by the war, and their business expanded rapidly. In Britain, however, because of the acute pressure on shipping, the importation of esparto grass, an essential ingredient for good book papers, was strictly limited, and a publisher’s paper ration was reduced to 37 1/2 percent of his prewar annual consumption. By closer setting of type and the use of much thinner paper, the ration was stretched to produce the maximum number of copies, but the final appearance of British books inevitably suffered, and they began to compare very unfavourably with those produced in the United States.
In countries that suffered severe paper shortage there was, of course, a sharp reduction in the number of new books and in the size of editions; consequently, with the increase in demand, the available books were rapidly sold out. The result was an enormous, if illusory, increase of profitability for publishers; and despite heavy wartime taxation they found themselves in far better shape financially than ever before. Instead of holding large and often very slow-selling stocks with insufficient cash resources, publishers had little stock but ample cash. There was, too, the marginal advantage that those new authors who were able to secure publication in the war years could be virtually certain that their books would be quickly sold out. In these artificial conditions, many publishers were more prepared to risk the work of an untried author. Against this, however, was the very serious shortage of standard works of every kind, including classics and educational and reference books; at one time the cry went up that “Shakespeare is out of print!” While a small extra tonnage of paper was released in Britain in 1942 for the reprinting of books that were considered “nationally important” in wartime, no one could possibly pretend that there was not a real book famine in most European countries. After the war it took about five years for paper to become reasonably plentiful again. Despite the disruption brought by the war, however, interest in books had increased enormously, and sales were furthered by the total disappearance or severe rationing in most of the warring countries of so many consumer articles that normally compete with books. Contrary to the fears of many publishers, a new reading public was emerging, and it was not lost in the postwar world. The postwar period
After the end of the war, there was an awkward year or so of reorganization and anticlimax, when many wartime publications suddenly became unsalable; but then publishing, in almost every country, once more expanded rapidly. People who had been cut off entirely from the rest of the world displayed an immense hunger for the books that had appeared during the previous six years. Much new business developed in the sale of the actual books and in translation rights. Such conditions continued at a higher level than they had attained in the 1930s, and they were to be further stimulated with the rise of the Frankfurt Book Fair. Social change came to many countries, bringing a broader spread of purchasing power and above all wider educational opportunity for much of the population. The change was to set book publishing upon a bolder and more adventurous course, turning it from a minor industry into one of sufficient growth and profitability to attract professional investors.
A feature of the early postwar years was the remarkable phoenixlike rise of the German book trade, literally from the ashes of the Allied air raids, which had destroyed the principal cities with their publishing offices and printing works. Because Leipzig was in the Soviet-controlled zone of Germany, however, the centre of the trade moved to Frankfurt for the first time since about 1650. As part of its drive to become the commercial capital of West Germany, Frankfurt developed its exhibition facilities rapidly. Thus, the book trade fair had ideal conditions in which to thrive. Before 1939 it had been largely a domestic affair at which German publishers displayed their new works to booksellers, with only a small number of foreign publishers participating and those almost entirely continental; but it steadily grew to be the greatest meeting place for publishers from throughout the world.
In the nations that formed the Soviet bloc following World War II, publishing was subjected to a state control similar to that initiated in Soviet Russia in 1917. Very few of the famous publishing houses of Poland and Czechoslovakia survived, and the houses that did survive came under the ownership and control of the state. The normal pattern was for all books on a particular group of subjects to be issued from one publishing house. Thus in Hungary, for example, the principal houses dealt with science, political history, agriculture, music, belles lettres, or military or technical subjects. The organization in Romania was similar; but in East Germany it was significant that many of the prewar firms remained, though all were subject to government control.