Almost as old as the idea of the library is the urge to destroy it. Author Lucien X. Polastron traces the history of this destruction, examining the causes for these disasters, the treasures that have been lost, and where the surviving books, if any, have ended up. Books on Fire received the 2004 Societe des Gens de Lettres Prize for Nonfiction/History in Paris.
Where they have burned books, they will end in burning human beings, declared German poet Heinrich Heine. This book identifies the regime-sponsored, ideologically driven, and systemic destruction of books and libraries in the 20th century that often served as a prelude or accompaniment to the massive human tragedies that have characterized a most violent century. Using case studies of libricide committed by Nazis, Serbs in Bosnia, Iraqis in Kuwait, Maoists during the Cultural Revolution in China, and Chinese Communists in Tibet, Knuth argues that the destruction of books and libraries by authoritarian regimes was sparked by the same impulses toward negation that provoked acts of genocide or ethnocide. Readers will learn why some people—even those not subject to authoritarian regimes—consider the destruction of books a positive process. Knuth promotes understanding of the reasons behind extremism and patterns of cultural terrorism, and concludes that what is at stake with libricide is nothing less than the preservation and continuation of the common cultural heritage of the world. Anyone committed to freedom of expression and humanistic values will embrace this passionate and valuable book.
Susan Orlean’s bestseller and New York Times Notable Book is “a sheer delight…as rich in insight and as varied as the treasures contained on the shelves in any local library” (USA TODAY)—a dazzling love letter to a beloved institution and an investigation into one of its greatest mysteries. “Everybody who loves books should check out The Library Book” (The Washington Post). On the morning of April 28, 1986, a fire alarm sounded in the Los Angeles Public Library. The fire was disastrous: it reached two thousand degrees and burned for more than seven hours. By the time it was extinguished, it had consumed four hundred thousand books and damaged seven hundred thousand more. Investigators descended on the scene, but more than thirty years later, the mystery remains: Did someone purposefully set fire to the library—and if so, who? Weaving her lifelong love of books and reading into an investigation of the fire, award-winning New Yorker reporter and New York Times bestselling author Susan Orlean delivers a “delightful…reflection on the past, present, and future of libraries in America” (New York magazine) that manages to tell the broader story of libraries and librarians in a way that has never been done before. In the “exquisitely written, consistently entertaining” (The New York Times) The Library Book, Orlean chronicles the LAPL fire and its aftermath to showcase the larger, crucial role that libraries play in our lives; delves into the evolution of libraries; brings each department of the library to vivid life; studies arson and attempts to burn a copy of a book herself; and reexamines the case of Harry Peak, the blond-haired actor long suspected of setting fire to the LAPL more than thirty years ago. “A book lover’s dream…an ambitiously researched, elegantly written book that serves as a portal into a place of history, drama, culture, and stories” (Star Tribune, Minneapolis), Susan Orlean’s thrilling journey through the stacks reveals how these beloved institutions provide much more than just books—and why they remain an essential part of the heart, mind, and soul of our country.
Examines the many reasons and motivations for the destruction of books throughout history, citing specific acts from the smashing of ancient Sumerian tablets to the looting of libraries in post-war Iraq.
Whether the product of passion or of a cool-headed decision to use ideas to rationalize excess, the decimation of the world's libraries occurred throughout the 20th century, and there is no end in sight. Cultural destruction is, therefore, of increasing concern. In her previous book Libricide, Rebecca Knuth focused on book destruction by authoritarian regimes: Nazis, Serbs in Bosnia, Iraqis in Kuwait, Maoists during the Cultural Revolution in China, and the Chinese Communists in Tibet. But authoritarian governments are not the only perpetrators. Extremists of all stripes—through terrorism, war, ethnic cleansing, genocide, and other forms of mass violence—are also responsible for widespread cultural destruction, as she demonstrates in this new book. Burning Books and Leveling Libraries is structured in three parts. Part I is devoted to struggles by extremists over voice and power at the local level, where destruction of books and libraries is employed as a tactic of political or ethnic protest. Part II discusses the aftermath of power struggles in Germany, Afghanistan, and Cambodia, where the winners were utopians who purged libraries in efforts to purify their societies and maintain power. Part III examines the fate of libraries when there is war and a resulting power vacuum. The book concludes with a discussion of the events in Iraq in 2003, and the responsibility of American war strategists for the widespread pillaging that ensued after the toppling of Saddam Hussein. This case poignantly demonstrates the ease with which an oppressed people, given the collapse of civil restraints, may claim freedom as license for anarchy, construing it as the right to prevail, while ignoring its implicit mandate of social responsibility. Using military might to enforce ideals (in this case democracy and freedom) is futile, Knuth argues, if insufficient consideration is given to humanitarian, security, and cultural concerns.
"This work provides a detailed account of book burning worldwide over the past 2000 years. The book burners are identified, along with the works they deliberately set aflame"--Provided by publisher.
From the author of Annie on My Mind comes an unflinching novel about prejudice, censorship, and homophobia in a New England town. As the editor in chief of the Wilson High Telegraph, senior Jamie Crawford is supposed to weigh in on the cutting-edge issues that will interest students in her school. But when she writes an opinion piece in support of the new health curriculum—which includes safe-sex education and making condoms available to students—she has no idea how much of a controversy she’s stepped into. A conservative school board member has started a war against the new curriculum, and now—thanks to Jamie’s editorial—against the newspaper as well. As Jamie deals with the fallout and comes to terms with her own sexuality, the school and town become a battleground for clashing opinions. Now, Jamie and the students at Wilson need to find another way to express their beliefs before prejudice, homophobia, and violence define their small town.
Fiction. "Holst has long been treasured in the underground New York literary scene. His impish delivery is filled with a childlike delight in tale-spinning, and yet his work is recognized for its inscrutable mysteries. Containing every story Holst has ever written, nearly a third of them never before published, this collection should establish Holst's reputation among a wider public. If there is a single aesthetic preoccupation in these tales, it is with storytelling itself. In the title piece, a Siamese cat speaks Zebraic,' bewitching zebras so that he is able to kill them, until he meets the zebra storyteller who has already imagined a Siamese cat speaking Zebraic. This allows him to kill the cat, and that is the function of the storyteller,' Holst concludes. Such postmodern concerns, however, do not become boorish. Above all, Holst seeks to entertain, not lecture; imagination and language receive no especial privilege here, but humor always does. In The Language of Cats,' at the end of one rather long and unsuccessful attempt to describe a confused state of mind, the narrator resorts to: imagine how the world would appear to a person after finishing such a ridiculously lengthy, pointless sentence.' Such authorial winks give a hint of what it is like to be in the presence of this master of the told tale"--Publisher's Weekly.
