(Created page with "==Overview== "The Golden Touch" is a short story by American author Nathaniel Hawthorne, originally published in 1851 as part of his collection "A Wonder-Book for Girls and Boys." The story retells the classic Greek myth of King Midas, who was granted the power to turn everything he touched into gold. The specific copy under consideration is a 1939 edition published by the Peter Pauper Press, a private press known for creating high-quality, affordable books that combined...")
[[File:chain.jpeg|thumb|left|350px|Chains made from binder rings which connect to the book with a magnet. According to the author, the paperclips symbolize government bureaucracy.]]
"The Golden Touch" is a short story by American author Nathaniel Hawthorne, originally published in 1851 as part of his collection "A Wonder-Book for Girls and Boys." The story retells the classic Greek myth of King Midas, who was granted the power to turn everything he touched into gold. The specific copy under consideration is a 1939 edition published by the Peter Pauper Press, a private press known for creating high-quality, affordable books that combined literary merit with artistic excellence.
==Book as Physical Object==
===Substrate===
==Introduction==
The 1939 Peter Pauper Press edition of "The Golden Touch" is a prime example of the press's commitment to crafting beautiful, handmade books using premium materials. The book is bound in a light-colored, cream-toned silk cloth, a luxurious and tactile choice that elevates the book from a mere container for the story to a work of art in its own right. The silk cloth binding, with its gentle wear along the edges and corners, bears witness to the book's history and the hands that have held it over the past eight decades.
The text block is printed on Canson and Montgolfier paper, a high-quality, mould-made paper produced by the renowned French paper mill founded in the 16th century. The use of this premium paper underscores the press's dedication to creating a book that is both beautiful and durable. The paper's subtle texture and slight variations in tone add to the book's handcrafted feel, while the deckle edges – a deliberate design choice that mimics the look of handmade paper – contribute to its artisanal charm.
The Fettered Lettered, created in Bologna, Italy by Angela Lorenz in 2007, represents incarcerated authors and works written while in confinement — including prison, jail, exile, mental institutions, and other places of confinement. This book was sold to Penn Libraries by [https://booklyn.org/ Booklyn] in 2022 with support from the [https://www.library.upenn.edu/giving/support-collections/supporters-collections/ruth-and-marvin-sackner-fund Ruth and Marvin Sackner Fund for the Arts of the Contemporary Book]. Part of the University of Pennsylvania's Kislak Center for Special Collections, Rare Books and Manuscripts, this artists’ book is one of many in the collection. Like many other artists' books, the Fettered Lettered is a highly limited edition, with only 19 copies.
===Format and Layout===
Presented in a folio format, "The Golden Touch" showcases the Peter Pauper Press's skill in creating visually striking, well-proportioned books. The generous margins and ample white space surrounding the text create a sense of elegance and invite the reader to linger over each page. The text itself is set in Lutetia, a typeface that combines readability with a touch of whimsy, its gentle curves and slight irregularities lending a warmth and personality to the printed word.
A rough draft of this book was exhibited at the Addison Gallery of American Art from September to December of 2007 in Andover, Massachusetts. This exhibition provided the opportunity for the public to anonymously contribute suggestions of additional incarcerated authors or works written while in confinement.
The book's layout is further enhanced by the presence of illustrations, such as the striking image of King Midas on his throne, rendered in rich, bold lines that seem to leap off the page. These illustrations not only break up the text and provide visual interest but also serve to deepen the reader's engagement with the story, offering a vivid, imaginative rendering of key scenes and characters.
Throughout the book, subtle details, such as the use of gold ornamentation echoing the story's central motif, demonstrate the thought and care that went into every aspect of the book's design. From cover to cover, the 1939 Peter Pauper Press edition of "The Golden Touch" is a testament to the enduring power of the handmade book as an object of beauty, craftsmanship, and creative expression.
[[File:List_of_names.jpeg|thumb|right|350px|The first three white panels represent authors who were incarcerated for political reasons.]]
==Metadata==
The 1939 Peter Pauper Press edition of "The Golden Touch" is rich in metadata, offering insights into the book's creation, ownership, and cultural context. The colophon, which states that "Three hundred eighty-five copies of this book have been set by hand in Lutetia type, and printed on mould-made Canson and Montgolfier paper at the Walpole Printing Office, Mount Vernon, New York," provides a wealth of information about the book's production and the press's dedication to traditional bookmaking techniques.
==Genre of the Artists' Book & Significance==
The inscription on the inside cover, "Mary Alice Willoughby April 12, 1940," adds a layer of personal history to the book, hinting at its journey from private press to individual owner. This inscription, a tangible link to the book's past, invites us to consider the role of books not only as vessels for stories but also as markers of time, place, and human connection.
The book's ownership history, traced through its inclusion in the Vilain-Wieck Collection and subsequent donation to the University of Pennsylvania Libraries, speaks to its cultural significance and value as a collected object. Its presence in an institutional collection ensures its preservation and accessibility for future generations of scholars, students, and book lovers, while also raising questions about the shifting roles and meanings of books as they move from private to public spheres.
The rise of the 20th-century genre of the artists’ book has muddled the very meaning of a book, “resist[ing] definition, taking multiple forms and pursuing multifarious themes.”<ref name="Miline">Milne, Jo. “Artists’ Books as Resistant Transmitters.” ''Arts'', vol. 8, no. 4, 9 Oct. 2019, pp. 1–10, https://doi.org/10.3390/arts8040129.</ref> Many scholars and artists have argued that there is no apt definition of this genre without flattening the diversity of these books (too vague) or being inherently exclusionary (too specific).<ref name="Drucker">Drucker, Johanna. ''The Century of Artists’ Books''. Granary Books, 2004.</ref> Artists’ books vary extensively in form, aesthetic, production, circulation, materiality, etc. As Johanna Drucker writes in The Century of Artists’ Books: <blockquote>“[a]rtists' books take every possible form, participate in every possible convention of book making; every possible ‘ism’ of mainstream art and literature, every possible mode of production, every shape, every degree of ephemerality or archival durability.”<ref name= "Drucker"/></blockquote>
==Content==
===Synopsis===
Artists’ books are typically published through independent publishers, which helps to illuminate the history in which the artists’ book is situated — a history of wanting “to make a voice heard, or a vision available…”<ref name= "Drucker"/> The genre of the artist’s book is intimately linked to what Drucker refers to as the “activist artist” or the leveraging of art to inspire political or social consciousness and change.<ref name= "Drucker"/> Because books can be circulated widely and freely; are low maintenance, long-lasting objects; and formally offer a means to communicate “beyond the limits of an individual life or contacts,” their formal and material aspects have a significant relationship to the typical content.<ref name= "Drucker"/>
Nathaniel Hawthorne's "The Golden Touch" is a retelling of the classic Greek myth of King Midas. The story begins with a brief introduction to Midas, a wealthy and powerful king who is obsessed with his riches. One day, Midas is visited by a satyr named Silenus, a follower of the god Dionysus. Midas shows hospitality to Silenus, and in return, Dionysus grants the king one wish.
Blinded by his greed, Midas wishes for the power to turn everything he touches into gold. Dionysus warns Midas of the potential consequences of his wish but ultimately grants it. Initially, Midas is thrilled with his new ability, turning everyday objects like roses, fountains, and even his food into solid gold. However, his joy is short-lived as he realizes the true cost of his golden touch.
Many artists’ books are either a unique work; a limited edition; or an inconsistent edition, making them “rare” and/or “auratic” objects.<ref name= "Drucker"/> Not only are many artists’ books literally rare, many might seem to have an “auratic” character, producing an unexplainable level of interest or fascination. As Drucker explains, “[t]his is not the same as respect, interest, or other forms of engagement. It has to do with tapping into a certain level of the fantasmatic…”<ref name= "Drucker"/>
The turning point of the story comes when Midas accidentally transforms his beloved daughter into a golden statue. Faced with the loss of the person he loves most, Midas realizes the folly of his wish and begs Dionysus to take back the golden touch. Dionysus takes pity on Midas and instructs him to wash his hands in the river Pactolus, which removes the golden touch and restores his daughter to life.
In the end, Midas learns a valuable lesson about the true nature of wealth and happiness. He comes to understand that the love of his family and the simple joys of life are far more precious than any amount of gold. The story concludes with Midas living a humbler, more contented life, having gained wisdom from his harrowing experience.
The genre of the artist's book is unique in a time in which books are becoming more digitized and art is relying more and more on technology, at times lessening the physical engagement with the text or object. As Miline explores in "Artists' Books as Resistant Transmitters," artists' books dependence on the physical engagement of the reader or viewer "do not surrender happily to passive display, as their ideal habitat is in the hand rather than a glass cabinet."<ref name= "Miline"/>
===Themes and Motifs===
"The Golden Touch" explores several universal themes that have resonated with readers across time and cultures. The central theme of the story is the danger of unchecked greed and the importance of valuing the truly important things in life. Through Midas's tragic experience, Hawthorne demonstrates how the blind pursuit of wealth and material possessions can lead to the loss of the very things that give life meaning, such as love, family, and contentment.
[[File:Pennyy.jpeg|thumb|left|300px|The pennies represent debtors and thieves.]]
Another significant theme in the story is the consequences of rashly made decisions and the importance of careful consideration before making a wish or taking action. Midas's impulsive wish for the golden touch, despite Dionysus's warning, highlights the dangers of acting on desire without fully understanding the potential ramifications.
The story also touches on the theme of appearance versus reality. The golden objects that Midas creates may be beautiful and valuable on the surface, but they lack the warmth, vitality, and functionality of their original forms. This serves as a metaphor for the superficial nature of material wealth and the importance of looking beyond appearances to appreciate the true value of things.
Motifs in "The Golden Touch" include transformation, both literal and figurative, as seen in Midas's ability to turn objects into gold and his ultimate transformation from a greedy, materialistic king to a humble, appreciative one. The story also employs the motif of the wish, a common device in folklore and mythology, to explore the unintended consequences of getting what one desires.
===Adaptation and Interpretation===
==Material Analysis of the Fettered Lettered==
Hawthorne's "The Golden Touch" is an adaptation of the ancient Greek myth of King Midas, which has been retold and reinterpreted countless times throughout history. Hawthorne's version is notable for its focus on the moral and psychological dimensions of the story, as well as its targeted audience of young readers.
By emphasizing the negative consequences of Midas's greed and the importance of valuing family and contentment over material wealth, Hawthorne transforms the myth into a didactic tale that reflects the values and concerns of his time. The story's moral message aligns with the growing emphasis on children's literature as a means of moral education and socialization in the 19th century.
The primary substrate of the Fettered Lettered is striped, pH neutral, dark blue and white cardstock produced by Cartiere Fedrigoni.<ref name="57.">“57. The Fettered Lettered.” ''Angelonium: Angela Lorenz Collected Works and Websites'', 27 Aug. 2018, https://angelonium.com/57-the-fettered-lettered/</ref> On the center of each piece of cardstock, there is a clear acetate square with printed names of incarcerated authors and/or works written while incarcerated. On the white pieces of cardstock, the text is printed horizontally, while on the dark blue pieces of cardstock, the text is printed vertically. The alternating horizontal and vertical text creates a grid-like design when the book is folded up, reminiscent of prison bars or a cage.
Hawthorne's adaptation also reflects the influence of the Romantic movement, which valued imagination, emotion, and the beauty of nature over the rationalism and materialism of the Enlightenment. The story's portrayal of the natural world as a source of joy and wonder, contrasted with the coldness and sterility of Midas's golden creations, echoes Romantic themes and sensibilities.
Moreover, "The Golden Touch" can be interpreted as a commentary on the social and economic changes of Hawthorne's time. The story's critique of unchecked greed and materialism resonates with concerns about the growing industrialization and consumerism of 19th-century America, offering a cautionary tale about the dangers of prioritizing wealth over human connection and moral integrity.
The Fettered Lettered has an accordion, sculptural format. Each sheet of cardstock is sewn together on both side margins with Tom's brand of dental floss. As described in the paratextual material, "[s]ome prisoners in the U.S. wove an 8-ply of floss and used it to escape. Distressingly, it has been used to steal precious maps and manuscripts by thieves, wetting it in their mouths so they can silently tear valuable images out of books. The brand of floss 'Tom’s' could represent Thomas Paine, Thomas More and Tommaso Campanella.”<ref name= "57."/> Many sheets of the cardstock have paper clips (attached by magnets), pennies (attached by magnets), or small circular magnets. The box that the Fettered Lettered is stored in has metal loose-leaf binder rings forming a chain. This chain attaches to the magnets on the first page of the book.
In adapting the Midas myth for a young audience, Hawthorne not only made the story more accessible and relatable to children but also ensured its enduring relevance as a timeless parable about the perils of avarice and the importance of valuing the truly important things in life. The story's themes and lessons continue to resonate with readers of all ages, making "The Golden Touch" a classic of children's literature and a testament to the enduring power of mythology to convey universal truths about the human experience.
==Book Use==
Since the book has an accordion structure, the reader can both slip through the sheets (like one would with a codex) and the reader can also unfold the entirety of the book into a singular line. Although there are no page numbers, table of contents, or other mechanisms to aid navigation of the book, the ability to see each page of the book at once when it is unfolded is a unique aspect of its structure.
The 1939 Peter Pauper Press edition of "The Golden Touch" bears little evidence of use, with no marginalia or annotations to suggest sustained engagement with the text. This lack of marking may be attributed to the book's status as a fine press edition, intended as much for display and appreciation as for reading and study.
However, the absence of marginalia does not necessarily imply a lack of use or engagement with the book. The clean, unmarked pages may be a testament to the reverence and care with which previous owners handled the volume, treating it as a precious object to be preserved rather than a utilitarian text to be marked up and consumed.
==Content Analysis==
The book's provenance, traced through the inscription from Mary Alice Willoughby and its inclusion in the Vilain-Wieck Collection, suggests a history of ownership by individuals who valued the book as a work of art and a collector's item. Its subsequent donation to the University of Pennsylvania Libraries speaks to its ongoing cultural significance and its potential to inspire new generations of readers, scholars, and book lovers.
In its current institutional setting, the 1939 Peter Pauper Press edition of "The Golden Touch" invites a range of uses and engagements. As a material artifact, it offers researchers a window into the history of private press publishing, the art of the book, and the role of fine press editions in shaping cultural and aesthetic values. As a literary text, it provides scholars and students with a rich subject for analysis, from its adaptation of classical mythology to its exploration of moral and psychological themes.
The works included in this book range from Adolph Hitler's '''Mein Kampf''' to Martin Luther King Jr.'s '''Letter From Birmingham Jail'''.
Perhaps most importantly, as a physical object that embodies the creativity, skill, and vision of its makers, the 1939 Peter Pauper Press edition of "The Golden Touch" invites us to consider the enduring power of the book as a medium for storytelling, artistic expression, and the preservation of cultural memory. In an age of digital media and mass production, this carefully crafted volume reminds us of the unique pleasure and value of the handmade book, and the ways in which the physical form of a text can shape our experience and understanding of its content.
==Conclusion==
The 1939 Peter Pauper Press edition of Nathaniel Hawthorne's "The Golden Touch" is a remarkable artifact that embodies the intersection of literature, art, and craftsmanship. From its luxurious silk binding and handmade paper to its elegant typography and striking illustrations, every aspect of the book's design reflects the care, skill, and vision of its creators.
[[File:Accordion_Large.jpeg|thumb|left|200px|While unfolded, the book is eleven panels long.]]
As a retelling of a classic Greek myth, "The Golden Touch" offers a timeless exploration of universal themes, from the dangers of greed and materialism to the importance of valuing the truly important things in life. Hawthorne's adaptation of the story for a young audience reflects the growing importance of children's literature as a means of moral education and socialization in the 19th century, while also speaking to the enduring power of mythology to capture the human imagination and convey profound truths about the human experience.
The book's history of ownership and its current institutional setting invite us to consider the changing roles and meanings of books as they move through time and space. From private press to individual owner to university library, the 1939 Peter Pauper Press edition of "The Golden Touch" has been valued and preserved as a work of art, a collector's item, and a cultural artifact. Its presence in the University of Pennsylvania Libraries ensures its ongoing significance and accessibility, offering new generations of readers, scholars, and book lovers the opportunity to engage with its content and form in meaningful ways.
==Notes==
Ultimately, the 1939 Peter Pauper Press edition of "The Golden Touch" stands as a testament to the enduring power of the handmade book as a medium for storytelling, artistic expression, and the preservation of cultural memory. In an age of digital media and mass production, this carefully crafted volume reminds us of the unique pleasure and value of the physical book, and the ways in which the form and content of a text can work together to create a rich, multifaceted reading experience. As we hold this book in our hands, we are invited to consider the stories it tells, the histories it embodies, and the enduring magic of the printed word.
<references />
Revision as of 18:18, 29 April 2024
Chains made from binder rings which connect to the book with a magnet. According to the author, the paperclips symbolize government bureaucracy.
The Fettered Lettered, created in Bologna, Italy by Angela Lorenz in 2007, represents incarcerated authors and works written while in confinement — including prison, jail, exile, mental institutions, and other places of confinement. This book was sold to Penn Libraries by Booklyn in 2022 with support from the Ruth and Marvin Sackner Fund for the Arts of the Contemporary Book. Part of the University of Pennsylvania's Kislak Center for Special Collections, Rare Books and Manuscripts, this artists’ book is one of many in the collection. Like many other artists' books, the Fettered Lettered is a highly limited edition, with only 19 copies.
A rough draft of this book was exhibited at the Addison Gallery of American Art from September to December of 2007 in Andover, Massachusetts. This exhibition provided the opportunity for the public to anonymously contribute suggestions of additional incarcerated authors or works written while in confinement.
The first three white panels represent authors who were incarcerated for political reasons.
Genre of the Artists' Book & Significance
The rise of the 20th-century genre of the artists’ book has muddled the very meaning of a book, “resist[ing] definition, taking multiple forms and pursuing multifarious themes.”[1] Many scholars and artists have argued that there is no apt definition of this genre without flattening the diversity of these books (too vague) or being inherently exclusionary (too specific).[2] Artists’ books vary extensively in form, aesthetic, production, circulation, materiality, etc. As Johanna Drucker writes in The Century of Artists’ Books:
“[a]rtists' books take every possible form, participate in every possible convention of book making; every possible ‘ism’ of mainstream art and literature, every possible mode of production, every shape, every degree of ephemerality or archival durability.”[2]
Artists’ books are typically published through independent publishers, which helps to illuminate the history in which the artists’ book is situated — a history of wanting “to make a voice heard, or a vision available…”[2] The genre of the artist’s book is intimately linked to what Drucker refers to as the “activist artist” or the leveraging of art to inspire political or social consciousness and change.[2] Because books can be circulated widely and freely; are low maintenance, long-lasting objects; and formally offer a means to communicate “beyond the limits of an individual life or contacts,” their formal and material aspects have a significant relationship to the typical content.[2]
Many artists’ books are either a unique work; a limited edition; or an inconsistent edition, making them “rare” and/or “auratic” objects.[2] Not only are many artists’ books literally rare, many might seem to have an “auratic” character, producing an unexplainable level of interest or fascination. As Drucker explains, “[t]his is not the same as respect, interest, or other forms of engagement. It has to do with tapping into a certain level of the fantasmatic…”[2]
The genre of the artist's book is unique in a time in which books are becoming more digitized and art is relying more and more on technology, at times lessening the physical engagement with the text or object. As Miline explores in "Artists' Books as Resistant Transmitters," artists' books dependence on the physical engagement of the reader or viewer "do not surrender happily to passive display, as their ideal habitat is in the hand rather than a glass cabinet."[1]
The pennies represent debtors and thieves.Dental floss binding.
Material Analysis of the Fettered Lettered
The primary substrate of the Fettered Lettered is striped, pH neutral, dark blue and white cardstock produced by Cartiere Fedrigoni.[3] On the center of each piece of cardstock, there is a clear acetate square with printed names of incarcerated authors and/or works written while incarcerated. On the white pieces of cardstock, the text is printed horizontally, while on the dark blue pieces of cardstock, the text is printed vertically. The alternating horizontal and vertical text creates a grid-like design when the book is folded up, reminiscent of prison bars or a cage.
The Fettered Lettered has an accordion, sculptural format. Each sheet of cardstock is sewn together on both side margins with Tom's brand of dental floss. As described in the paratextual material, "[s]ome prisoners in the U.S. wove an 8-ply of floss and used it to escape. Distressingly, it has been used to steal precious maps and manuscripts by thieves, wetting it in their mouths so they can silently tear valuable images out of books. The brand of floss 'Tom’s' could represent Thomas Paine, Thomas More and Tommaso Campanella.”[3] Many sheets of the cardstock have paper clips (attached by magnets), pennies (attached by magnets), or small circular magnets. The box that the Fettered Lettered is stored in has metal loose-leaf binder rings forming a chain. This chain attaches to the magnets on the first page of the book.
Since the book has an accordion structure, the reader can both slip through the sheets (like one would with a codex) and the reader can also unfold the entirety of the book into a singular line. Although there are no page numbers, table of contents, or other mechanisms to aid navigation of the book, the ability to see each page of the book at once when it is unfolded is a unique aspect of its structure.
Content Analysis
The works included in this book range from Adolph Hitler's Mein Kampf to Martin Luther King Jr.'s Letter From Birmingham Jail.
