Delights and agonies of publishing

As a publisher of books, I was able to bring out a unique title of Dr Ananda Coomaraswamy, a magnum opus called Time & Eternity, in 1992. This was done in a religious fervour to pay my respects to the soul of my departed father, the founder of our bookshop. This was our maiden venture and suitably named ‘Select Books’. The publishing was accomplished in a very short time.

While I was in the US, Prof Stoddart of Canada, at my request, forwarded a preface in his inimitable style. Dr Rama Coomaraswamy, the author’s son graced the occasion. When we organised its release in Bangalore, Dr Rama complimented his son, a distinguished writer on comparative religion saying: “Congrats on the excellent production.” We had arranged the printing and design of the book with the cover from Sri Aurobindo Ashram’s special craft paper.

When the thought first occurred to me, to jump into the field of publishing, I started referring to my favourite titles which came out of the celebrated presses in England and USA. I did realise that the production of this book cannot reach international standards given the limited resources we had. However, we put in every effort to get maximum assistance from the press at Pondicherry.

Publications from Nonesuch Press, Hogarth Press and similar other world-famous ones were studied for the cover design, their size etc. Ashley Montigue’s comments on Nonesuch Press are worth quoting. “The occasion was my introduction to the bookshop run by Francis Birrell and David Garnett at 30 Gerrard Street off Shaftesbury Avenue, now known as Soho.

Birrell & Garnett sold rare books, mainly in English literature. It was a lovely shop, stocked with enticing items.” It was only after six years, while staying at a friend’s house that Ashley first saw a Nonesuch book; subsequently charmed by its beautiful design. What struck me at once was the perfect appropriateness of the design to each book.

From the full orange vellum binding to the splendid typography of the Italian on one side and the English translation on the other, La Divina Commedia, with its 42 illustrations after drawings by Botticelli. The immediate enchantment I experienced in 1929 has remained throughout my collecting of, and pleasure, in Nonesuch Books. I am still collecting everything I can lay hands on relating to Nonesuch books.

I am wanting in some items. As a Nonesuchophile I remain devotedly hopeful. When I was young and knew no better, I gave away some of the very items I now lack.
In his Glances back through seventy years: Autobiographical and other Reminiscences, Henry Vizetelly made references to several episodes which brought many delights and agonies in his publishing life.

To quote some: “Mr Herbert Ingram, who was a restless speculator, conceived the idea of embarking on the publication of books, upon a large scale, and my eldest brother and I suggested to him the production of a cheap ‘National Illustrated Library’ for his opening venture.”

Having adopted the methodology, they produced nearly 50 volumes, all of which met with great success and continued to be popular even in the later years. Uncle Tom’s Cabin, the world-famous romance by Harriet Beecher Stowe, was selling very well in the States.

An offer was made to bring out the story in the series, Readable Books. The publisher was first offered 200 pounds and then 300 pounds, provided he would waive an account. The publisher claimed at least 500 pounds for ‘Uncle Tom’s Cabin’. Having realised that he was cheated, he was emphatic in getting the exact amount and not a penny less. The deal was finally accepted.

I have often heard of authors who are yet to become well known, complain about the non-payment of their share of royalty by publishers. But we should also see the other side of the coin. Many publishers face hurdles when they accept a project. We, the English reading public, are aware of the classic publishing firm Constable & Co UK which brought out, amongst several others, Complete Plays & Prefaces of G Bernard Shaw, The Black Girl in search of God, etc. But many of us are not aware of its collapse in 1826.

Thomas Carlyle, describing the collapse of this publisher, observed this to be the most spectacular collapse in publishing history that not only ruined the proprietor of two prominent Scottish firms, Constable (publisher) and Ballantyne (printer and bookseller) but also beggared readers of the most popular writer of that or any other age — Sir Walter Scott.

John Ballantyne died before he was declared bankrupt. Scott, as senior partner, accepted the responsibility of paying off the debts which he was well on the way to doing by the time of his death in 1832.