Alberto Manguo
The 1 ji brai y al Nidi I
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PAGES II/III: Aby Warburg's Library, Hamburg, Germany
First published in Canada in 2006 by Alfred A. Knopf Canada. First published in the United States in 2008 by Yale University Press. Copyright © 2006 Alberto Manguel. All rights reserved.
This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.
Permission to reprint "The Mayan Books" by A.D. Hope from The Collected Poems 1930-1970, Angus & Robertson, 1972, granted by arrangement with the Licensor, c/o Curtis Brown (Aust.) Pty. Ltd.
Pages 357-360 constitute a continuation of the copyright page. Printed in the United States of America.
Library of Congress Control Number: 2007937419 ISBN 978-0-300-13914-3 (hardcover : alk. paper)
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In the sixteenth century, the Ottoman poet Adbullatif felebi, better known as Latifi, called each of the books in his library "a true and loving friend who drives away all cares."
This book is for Craig.
Contents
Foreword
2
The Library as Myth
6
The Library as Order
36
The Library as Space
64
The Library as Power
90
The Library as Shadow
106
The Library as Shape
128
The Library as Chance
162
The Library as Workshop
176
The Library as Mind
192
The Library as Island
214
The Library as Survival
234
The Library as Oblivion
252
The Library as Imagination
268
The Library as Identity
292
The Library as Home
306
Conclusion
320
Acknowledgments
326
Notes
329
Image Credits
357
Index 361
All that remains of an Athenian library: an inscription stating that opening times are "from the first to the sixth hour" and that "it is forbidden to take works out of the library."
FOREWORD
This roving humor (though not with like success) I have ever had, & like a ranging spaniel, that barks at every bird it sees, leaving his game, I have followed all, saving that which I should, and may justly complain, and truly (for who is everywhere is nowhere) . . . , that I have read many books, but to little purpose, for want of good method; I have confusedly tumbled over divers authors in our Libraries, with small profit, for want of art, order, memory, judgement.
Robert Burton, The Anatomy of Melancholy
The starting point is a question.
Outside theology and fantastic literature, few can doubt that the main features of our universe are its dearth of meaning and lack of discernible purpose. And yet, with bewildering optimism, we continue to assemble whatever scraps of information we can gather in scrolls and books and computer chips, on shelf after library shelf, whether material, virtual or otherwise, pathetically intent on lending the world a semblance of sense and order, while knowing perfectly well that, however much we'd like to believe the contrary, our pursuits are sadly doomed to failure.
Why then do we do it? Though I knew from the start that the question would most likely remain unanswered, the quest seemed worthwhile for its own sake. This book is the story of that quest.
Less keen on the tidy succession of dates and names than on our endless collecting efforts, I set off several years ago, not to compile another history of libraries nor to add another tome to the alarmingly extensive collection of bibliotechnology, but merely to give an account of my astonishment. "Surely we should find it both touching and inspiriting," wrote Robert Louis Stevenson over a century ago, "that in a field from which success is banished, our race should not cease to labour."1
Libraries, whether my own or shared with a greater reading public, have always seemed to me pleasantly mad places, and for as long as I can remember I've been seduced by their labyrinthine logic, which suggests that reason (if not art) rules over a cacophonous arrangement of books. I feel an adventurous pleasure in losing myself among the crowded stacks, superstitiously confident that any established hierarchy of letters or numbers will lead me one day to a promised destination. Books have long been instruments of the divinatory arts. "A big library," mused Northrop Frye in one of his many notebooks, "really has the gift of tongues & vast potencies of telepathic communication."2
Under such agreeable delusions, I've spent half a century collecting books. Immensely generous, my books make no demands on me but offer all kinds of illuminations. "My library," wrote Petrarch to a friend, "is not an unlearned collection, even if it belongs to someone unlearned."3 Like Petrarch's, my books know infinitely more than I do, and I'm grateful that they even tolerate my presence. At times I feel that I abuse this privilege.
The love of libraries, like most loves, must be learned. No one stepping for the first time into a room made of books can know instinctively how to behave, what is expected, what is promised, what is allowed. One may be overcome by horror—at the clutter or the vastness, the stillness, the mocking reminder of everything one doesn't know, the surveillance—and some of that overwhelming feeling may cling on, even after the rituals and conventions are learned, the geography mapped, the natives found friendly.
In my foolhardy youth, when my friends were dreaming of heroic deeds in the realms of engineering and law, finance and national politics, I dreamt of becoming a librarian. Sloth and an ill-restrained fondness for travel decided otherwise. Now, however, having reached the age of fifty-six (which, according to Dostoyevsky in The Idiot, is "the age at which real life can be rightly said to begin"), I've returned to that early ideal and, though I cannot properly call myself a librarian, I live among ever-increasing bookshelves whose limits begin to blur or coincide with the house itself. The title of this book should have been Voyage around My Room. Regrettably, over two centuries ago, the notorious Xavier de Maistre got there first.
albertq manguel, 30 January 2005
THE LIBRARY
AS MYTH
Night which Pagan Theology could make the daughter of Chaos, affords no advantage to the description of order.
Sir Thomas Browne, The Garden of Cyrus
The library in which I have at long last collected my books began life as a barn sometime in the fifteenth century, perched on a small hill south of the Loire. Here, in the last years before the Christian era, the Romans erected a temple to Dionysus to honour the god of this wine-producing area; twelve centuries later, a Christian church replaced the god of drunken ecstasy with the god who turned his blood into wine. (I have a picture of a stained-glass window showing a Dionysian grapevine growing out of the wound in Christ's right side.) Still later, the villagers attached to the church a house to lodge their priest, and eventually added to this presbytery a couple of pigeon towers, a small orchard and a barn. In the fall of 2000, when I first saw these buildings which are now my home, all that was left of the barn was a single stone wall that separated my property from a chicken run and the neighbour's field. According to village legend, before belonging to the barn, the wall was