Tag Archives: Pitirim Sorokin

Shostakovich (Дмитрий Дмитриевич Шостакович)

 

русский перевод см ниже

 

The following is an email of mine to a friend which resulted from a conversation we were having yesterday.

 

— Roger W. Smith

  February 3, 2017

 

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You asked me yesterday if I liked Shostakovich.

The answer: do I ever!

He’s a quintessentially nationalistic composer. He wrote quite a bit of music with overt programmatic, thematic, or patriotic content. He also wrote much music that is very modern and very twentieth century — worthy of (and, in fact, better than, in my opinion) a Stravinsky.

It is hard to pigeonhole Shostakovich. A Wikipedia article

https://en.wikipedia.org/wiki/Dmitri_Shostakovich

states:

A polystylist, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; the composer was also heavily influenced by the neo-classical style pioneered by Igor Stravinsky, and (especially in his symphonies) by the post-Romanticism associated with Gustav Mahler. [Mahler was indeed a great influence on Shostakovich, and it has been said that one can hear echoes of the former composer’s works in the symphonies of the latter.]

I am not a musicologist, so I can speak only from experience as a listener, for the most part. But, I once said to my former therapist, who had an interest in Russian history and culture, that I believed Shostakovich to be one of the twentieth century’s greatest (if not the greatest) composers. A rival? I might suggest Bartók. I bet few others would make that choice.

Shostakovich reminds me of Aaron Copland. I feel that the two are comparable, except that I feel Shostakovich is the greater composer (which is not to detract from my admiration for Copland, whose works I do not know as well as I should).

Both he and Copland are infused with their country’s spirit, land, and grandeur. Both were prolific and composed in a wide variety of forms on the macro and micro levels, so to speak. Both composed supremely patriotic and nationalistic music which, when you hear it, results in your thinking, saying: it is so Russian or so American; it could only be Russian or American.

Both were not afraid to attempt grand themes — the Russian Revolution and The Great Patriotic War; Appalachia, the heartlands, Lincoln, the Great Depression, democracy — yet both composed highly cerebral, small scale works (e.g., their chamber works).

Nationalism and patriotism notwithstanding, both were fully in touch with the musical trends and styles of their times. Their music is anything but hackneyed, clichéd, or retrograde.

Neither composer was a political stooge or apologist. Shostakovich ran afoul of Stalinism and lived in fear of reprisal, it has been stated in books about him. (His music was criticized by Stalin himself.) Copland had leftist and Zionist sympathies.

 

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A word or two about my own experience of Shostakovich.

My parents gave me a portable record player as a gift upon my high school graduation. One of the first LP’s I purchased was a budget recording of Shostakovich’s fifth symphony conducted by Ernest Ansermet.

I was greatly impressed and stirred by the work, which I (by no means alone) regard as a masterpiece and one of the greatest symphonies ever. It is work which, in my opinion, is infused with the “Russian spirit,” whatever that means. It is haunting and powerful and has a sort of inner logic and sense of inevitability, a coherence, and a tightness of construction that remind me of Beethoven’s Fifth.

Another work of Shostakovich’s that I discovered early was his eleventh symphony (“The Year 1905”; 1957). The social philosopher Pitirim A. Sorokin, a Russian emigre who taught at Harvard, mentioned it in passing in his autobiography. Being an admirer of Sorokin, I had to hear the work. My uncle Roger Handy gave it to me as a Christmas present on an LP of a performance by André Cluytens. It was one of the first performances of the symphony; recordings of Shostakovich’s eleventh were rare then. The eleventh symphony is subtitled “The Year 1905”; it describes, musically, events of the Russian Revolution of 1905. It is extremely powerful and lyrical.

One notices here Shostakovich’s mastery of tone color, which sets him apart — in a class of his own, it would seem. A Wikipedia article notes that the eleventh symphony is scored for 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, orchestral bass drum, tam-tam, xylophone, tubular bells, 2 harps, celesta and strings. Similar eerie, powerful effects are accomplished in the composer’s fifteenth symphony, which includes a glockenspiel, celesta, vibraphone, castanets, snare drum, wood block, xylophone, and triangle.

One can also observe such mastery of tone color in, say, the fifth symphony. And, Shostakovich will often surprise, delight, or astonish the listener with original scoring, such as the piano passages in his first symphony and his fifth.

Eventually, I discovered Shostakovich’s quartets, which I feel are right up there with Bartók’s. Shostakovich wrote fifteen symphonies and fifteen quartets. I haven’t even mentioned his concertos. He was prolific!

An observation I would make about Shostakovich — being mindful that I am no doubt stating the obvious and that one doesn’t need my input to realize this – is that he is usually very original from one work to the next. One never knows what to expect or what one is going to hear. His fourth symphony, for example, was a complete break with his second and third symphonies, which were nothing like his brilliant first symphony, which was wholly fresh and original and which seemed to almost come out of nowhere; it did not seem to be indebted to a tutor or predecessor. His seventh, eighth, tenth, eleventh, and twelfth symphonies have similarities, but the fourth, fifth, sixth, ninth, thirteenth, fourteenth, and fifteenth symphonies are totally different, and each of them differs a lot from one of the others in that group. Similar astonishing variety of form and mood from one piece to the next can be seen in the quartets.

I should have also mentioned, individually, Shostakovich’s eighth symphony. It is a powerful work and one of his best. It doesn’t seem to be performed as often as it should. Don’t listen to it if you don’t feel like experiencing anguish — it is a work that conveys despair. There is very little sunlight; Vivaldi it is not.

 

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See also:

Posted on this blog are:

Shostakovich, symphony no. 11 (“The Year 1905”); Шостакович, Симфония № 11 («1905-й год»)

 

Shostakovich, “Песнь о лесах” (The Song of the Forests)

 

 

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Ниже изложен текст моего электронного письма другу, которое было написано после нашего вчерашнего разговора.

 

— Роджер У. Смит

    3 февраля 2017 г.

 

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Вчера Вы спросили, понравился ли мне Шостакович.

Ответ: безусловно!

Это композитор с ярко выраженными национальными особенностями. Он написал довольно много музыки с четким программным, тематическим или патриотическим содержанием. Он также написал значительное количество современных музыкальных произведений, отражающих дух двадцатого века, его творчество не уступает творчеству Стравинского (а, по моему мнению, даже превосходит).

Шостакович и сегодня интересен слушателям. В Википедии в статье

https://en.wikipedia.org/wiki/Dmitri_Shostakovich

говорится следующее:

В своих произведениях Шостакович использует уникальный стиль, в котором сочетаются различные музыкальные техники. Его музыка характеризуется резкими контрастами, элементами гротеска, амбивалентной тональностью; на его творчество сильно повлиял неоклассицизм, пионером которого был Игорь Стравинский, а также постромантизм (особенно в симфониях), с которым ассоциируется творчество Густава Малера. [Малер действительно оказал на него огромное влияние; говорят, что отголоски произведений Малера слышны в симфониях Шостаковича.]

Я не музыковед, мое мнение по большей части – это мнение слушателя. Но однажды я сказал своему врачу, который интересовался российской историей и культурой, что считаю Шостаковича одним из величайших (если не величайшим) композиторов двадцатого века. Есть ли у него конкуренты? Я бы назвал Бартока. Немногие сделали бы такой выбор.

Шостакович напоминает мне Аарона Копленда. Полагаю, это композиторы одного уровня, но все-таки Шостакович кажется мне более выдающимся композитором (что не уменьшает моего восхищения Коплендом, с чьим творчеством я знаком не настолько близко, как следовало бы).

Творчество и Шостаковича, и Копленда пронизано духом родной земли и ее величия. Оба плодотворно работали и создавали произведения самых разных форм на макро- и микроуровнях, так сказать. Оба сочиняли музыку в высшей степени наполненную патриотизмом и национальным духом. Слушая их произведения, люди думают: это настолько русская или американская музыка; что ее автор мог быть только русским или американцем.

Оба не боялись касаться великих тем – российской революции и Великой Отечественной войны; Аппалачии, самого сердца страны, Линкольна, Великой депрессии, демократии – но оба писали высокоинтеллектуальные произведения малой формы (например, камерные произведения).

Несмотря на национализм и патриотизм оба были хорошо знакомы с музыкальными тенденциями и стилями своей эпохи. Их музыку точно не назовешь банальной, шаблонной или ретроградной.

Ни один из композиторов не был марионеткой или апологетом какого-либо политического движения. В книгах о Шостаковиче говорится, что его деятельность шла вразрез с идеологией сталинизма, он жил в страхе перед репрессиями. (Его музыку подвергал критике сам Сталин.) Копленд был сторонником левых взглядов и сочувствовал сионистам.

 

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Пару слов о моем знакомстве Шостаковичем.

Мои родители подарили мне переносной проигрыватель в честь окончания школы. Одной из первых пластинок, которую я купил, была пластинка с записью пятой симфонии Шостаковича в исполнении Эрнеста Ансерме.

Я был впечатлен и тронут произведением, которое я (и не я один) считаю шедевром и величайшей из когда-либо написанных симфоний. По моему мнению, это произведение пронизано «русским духом», что бы это ни значило. Это запоминающееся, мощное произведение, в котором присутствует внутренняя логика и ощущение неизбежности. Оно характеризуется логичной и четко выстроенной формой и напоминает пятую симфонию Бетховена.

Еще одно произведение Шостаковича, которое я открыл для себя одним из первых, – это его одиннадцатая симфония (“1905 год”; 1957). Социолог и философ Питирим Александрович Сорокин, российский эмигрант, преподаватель Гарварда, мимоходом упомянул его в своей автобиографии. Будучи почитателем Сорокина, я просто обязан был послушать это произведение. Мой дядя, Роджер Хенди, подарил мне на Рождество пластинку с этой симфонией в исполнении Андре Клюитанса. Это одно из первых исполнений симфонии; записи одиннадцатой симфонии Шостаковича тогда были большой редкостью. Подзаголовок одиннадцатой симфонии – «1905-й год». В ней при помощи музыкальных средств описываются события русской революции 1905 года. Это очень сильное и лирическое произведение.

В нем Шостакович мастерски использует разнообразные звуковые оттенки, в этом он отличается от других композиторов. В статье в Википедии описана оркестровка одиннадцатой симфонии: 3 флейты (плюс флейта-пикколо), 3 гобоя (плюс охотничий гобой), 3 кларнета (плюс басовый кларнет), 3 фагота (плюс контрафагот), 4 валторны, 3 трубы, 3 тромбона, туба, литавры, треугольник, малый барабан, тарелки, большой барабан, тамтам, ксилофон, колокола, 2 арфы, челеста и струнные. Такие же мрачные и сильные звуковые эффекты мы слышим в пятнадцатой симфонии, при исполнении которой используются колокольчики, челеста, вибрафон, кастаньеты, малый барабан, деревянная коробочка, ксилофон и треугольник.

Такое же мастерское использование звуковых оттенков наблюдается, скажем, в пятой симфонии. Кроме того, Шостакович часто удивляет, или поражает слушателя оригинальной оркестровкой, например, удивительными пассажами на фортепиано в первой и пятой симфониях.

Однажды я открыл для себя квартеты Шостаковича, которые, я считаю, не уступают квартетам Бартока. Шостакович написал пятнадцать симфоний и пятнадцать квартетов. И это не считая концертов. Это огромное наследие!

Еще одно наблюдение, которое я хотел бы высказать, – я знаю, что говорю очевидные вещи и что никому не нужны именно мои высказывания, чтобы понять, что каждое произведение Шостаковича оригинально. Никогда не знаешь, чего ждать от следующего произведения. Четвертая симфония, например, стала полным прорывом после второй и третьей симфоний, которые даже сравнить нельзя с замечательной первой симфонией, которая свежа и оригинальна и, кажется, возникла из ничего; она не была написана под влиянием наставника или предшественника. Седьмая, восьмая, десятая и двенадцатая симфонии имеют схожие черты, но четвертая, пятая, шестая, девятая, тринадцатая, четырнадцатая и пятнадцатая симфонии абсолютно другие, причем они совершенно не похожи друг на друга. Такое же удивительное богатство форм и настроений наблюдается и в квартетах.

Стоит отдельно упомянуть восьмую симфонию Шостаковича. Сильное произведение, одно из лучших произведений композитора. Его исполняют не так часто, как стоило бы. Не стоит слушать его, если вы не готовы пережить страдание – это произведение приводит в отчаяние. В нем мало солнечного света; это не Вивальди.

Roger W. Smith, bibliophile

 

Strand Bookstore, NYC

my bookshelves

 

… I take pleasure from the fact that I can enjoy [books] when it pleases me to do so; my soul is satisfied merely with possession. I never travel without books, neither in peace nor in war. Sometimes whole days go by, even months, without my looking at them. But it might be at any moment now, or tomorrow; or whenever the mood takes me…. Books are, I find, the best provisions a man can take with him on life’s journey.”

— Michel de Montaigne

 

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I was watching a Ken Burns documentary the other day. There was a photo of FDR’s study in his home in Hyde Park, NY. The walls were lined with bookshelves. As often seems to be the case in such situations, the books were behind something or other: a mesh? glass?

J. P. Morgan’s library, in his residence (now a museum) on Madison Avenue in Manhattan, looks just the same. Books everywhere. Many, probably all of them, priceless.

It looks, however, as if most or many of the books in such studies did not get read by their owners.

 

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I am definitely a bibliophile, but I do not collect books solely to be able to say I own them, or for money, as an antiquarian might.

If I “adopt” a certain author — add him to my all time favorites/must read list — I find that I then want to acquire everything by or about the writer that I can lay my hands on. This includes — with respect both to the acquisition of books and actually reading them — minor as well as major works.

I have found that sometimes, indeed often, reading a writer’s early works and ones considered to be minor can be very satisfying. And, I have found that works deemed “minor” can turn out to be among the author’s best and most revealing ones.

I am interested in the man and his life as well as the works. So, I will obsessively look for works of a biographical nature and books that provide ancillary information about the writer. It might be a book by or about someone with whom the writer was closely associated or by whom the writer was influenced.

I won’t stop once I have started. Which is to say, I will acquire every book by or about that particular writer that I can find.

This often seems to bear fruit. So that acquiring books as a sort of “futures contract,” based upon the idea that you may want to get back to the writer, seems propitious. This recently happened to me, for example, in the case of a Russian-American scholar Pitirim A. Sorokin, whose work I have long been interested in. I recently got an inquiry from a visitor to this site, based in Moscow, who was interested in my posts on this site about Sorokin. I was able to go to my storehouse of Sorokin books and found much valuable, pertinent information there to share with her. Many of the books are out of print, or hard to obtain even in libraries. Some of the out of print ones are obtainable on the internet, but at what are now expensive prices.

I can remember approximately what I paid for most of my books, going far back, and where and under which circumstances I bought them.

 

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I once remarked to a therapist I was seeing that I had acquired many books in the manner described in my comments above and that I was unlikely to read a majority of them. I was thinking, ruefully, that it was perhaps foolish of me to be buying so many books without the likelihood that I would ever get around to reading most of them.

The therapist, an intellectual and writer, who himself had developed a private library in similar fashion — and for the same reasons — replied by saying emphatically (in so many words), “you’ll get around to reading them eventually.” He dismissed my concerns that I was overdoing it.

His comment made me feel better and less guilty about my sometimes extravagant book buying. And, I do realize that just having certain books on one’s bookshelf makes one feel good. There is a sense of security about it. You know that certain books, especially those of your favorite authors, are there waiting to be read. It’s a nice feeling. (I have had similar experiences and feelings in compiling a classical music collection.) And, I do get around to reading many of them.

It also surprises me that I turn to books on my shelf more frequently than I would have expected, to look up something or other or to remind myself of what a writer said about something (sometimes unearthing a pertinent quote).

My therapist also made the point that there is something very pleasant and cozy about having a book lined study. I myself feel this way. It is pleasant to be able to contemplate and, indeed, to admire one’s own book collection; to view one’s bookshelves; to peruse them and think about authors and their works, as well as thinking about what one might like to read next.

I actually like to feel books, to have them in my hands.

 

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I have become a shrewd book buyer over time. You have to know when to “pounce.” If you see a book that you really want, and you can afford it, I have found that you should buy it without further deliberation.

An example of would be Walt Whitman’s Blue Book: The 1860-61 Leaves of Grass Containing His Manuscript Additions and Revisions. This is a two-volume boxed set that was beautifully and expensively produced. It was published in 1968 by the New York Public Library. It has tipped in pages which show revisions in Whitman’s own hand that he made in a copy of his of Leaves of Grass which he kept in his desk drawer while working in a government office in Washington during the Civil War. There is extensive editorial commentary as well.

I wanted to obtain a copy of this book, but they are quite rare. I found that there were — if I remember correctly — two copies for sale on the Internet, both priced at around $300 for two volumes.

Then, I saw that the Stand Bookstore in Manhattan had a copy. I went to the Strand to check it out — it was in their rare books department — and found that it was in perfect condition. The Strand’s price for the two volumes: ninety dollars. I bought the book without hesitation.

 

 

Another example is a monograph by Thomas M. Curley: Sir Robert Chambers: Law, Literature, and Empire in The Age of Johnson. I have wanted to obtain this book for some time — I read a previous book by Curley about Samuel Johnson and was greatly impressed. The more recent book by Curley — the one about Chambers (an acquaintance of Samuel Johnson) that I have been seeking — is for some reason very hard to find. If you look for the book from on line second hand booksellers, it is egregiously priced. The available copies that are in “good” condition (which means good, but not mint, condition) are priced at around $550 to $650 — this for a one volume book published in 1998.

I saw a copy on line the other day for around $200. I ordered it. I knew that I was not likely to find the book at this price again and that, relatively speaking, $200 — while it seemed very expensive — was a good deal. I know from experience that I will not regret the purchase.

The bookseller charged me over $200 for the book plus shipping. It never came. I had great difficulty with the bookseller, but was ultimately able to get my money back through arbitration. Then, I miraculously found an online bookseller who sold me the book — a beautiful edition, in mint condition — for $100 including shipping.

 

Thomas M. Curley, “Sir Robert Chambers: Law, Literature, and Empire in the Age of Johnson” (The University of Wisconsin Press, 1998)

 

It’s like the eighteen dollars I spent during my senior year in college for a beautifully produced book comprising a facsimile of William Blake’s Songs of Innocence and Experience. The book seemed very expensive then, but I had to have it. It was solely a question of did I have the eighteen dollars, never a question of would I purchase it. I do not regret the purchase — it seems that you can’t find this particular edition anywhere nowadays. Nor can you find other editions that are so beautifully produced with magnificent reproductions of Blake’s color plates.

 

William Blake, “Songs of Innocence and Experience” (The Orion Press, New York, in association with The Trianon Press, Paris, 1967)

 

And, it seems that, for cherished books that I have paid a lot for, there are many others that I was able to buy cheaply.

 

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And, then you get lucky. On May 7, 2017, for example, at the Strand Bookstore, I purchased An Autobiography by Herbert Spencer (1904). Forty dollars. Two volumes, illustrated. Over 1,100 pages. Nice wide margins typical of books of those days and splendid black and white illustrations — books were well produced a century ago! In very good condition. A serendipitous, unanticipated acquisition. I was looking for a different book in the social science section. It’s the sort of purchase one makes in used bookstores.

Worth reading? Will I? I’m not sure. Spencer was once a widely read and influential social scientist; his books were very popular among the general readership. I have run across books like this before and am glad of having bought them. Given the condition that the book was in and its rarity, I knew I was a good deal. But, I don’t purchase such books thinking of possibly selling them. Would not purchase if I didn’t think I might want to read them.

 

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You have to be persistent and continually on the lookout for books you want that may become available. An example is a nine volume work by Horace Traubel (sometimes referred to as “Walt Whitman’s Boswell”): With Walt Whitman in Camden. The book was originally published in 1906 in three volumes. Then, over the years, six more volumes were published posthumously, the last one in 1996.

I bought several volumes at random at the Stand Bookstore, whenever I saw one for sale. Then I bought the first three volumes, in mint condition, from an online bookseller for three hundred dollars. It seemed a lot to pay, but I was glad to have them.

I now owned eight of the nine volumes of Traubel’s diary cum biography. I checked an online global library catalogue, WorldCat.org, and it seemed that hardly any libraries — perhaps none — owned a complete set. I was missing only Volume 4. I found that only about seven libraries in the world owned Volume 4, including just one library in New York City: the Lehman College Library in the Bronx. They had two copies!

Finally, in June 2017, after several years of looking, I found Volume 4 for sale on line! I couldn’t believe my eyes. This completed my set of all nine volumes of With Walt Whitman in Camden. Probably some Whitman scholar has them, but I doubt that a library anywhere does.

 

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An opinion I have long held is that books are a cheap commodity, comparatively speaking. When you consider how much pleasure you can get from them — their “entertainment value,” so to speak, compared to other things like movies — and how long that pleasure lasts (you can keep the book, you can reread it, often with profit and pleasure), they seem like an awfully good way to spend one’s money.

When you think of all the expense and effort involved in producing a book — research, writing, editorial, production, and so on — it seems remarkable to me that they are priced as low as they are. Yes, “expensive” books fifty years ago cost five or six dollars; now they cost thirty or thirty-five dollars, perhaps. But, when you consider their relative value, and how much prices have risen in other areas, the cost doesn’t seem prohibitive.

 

– Roger W. Smith

   June 2017; updated May 2025

 

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Addendum — Booksellers:

I have always had a nose for books and have made many serendipitous acquisitions. Among my best places to find books, currently, I would include:

(1) The Strand Bookstore at Broadway and 12th Street in Manhattan. I have been going there since the late 1960’s. It seems to be one of the few used bookstores left in Manhattan. I keep making finds there. Everything is reasonably pieced — underpriced (almost always) compared to the online used book market; this includes books just off the press. The books they carry are in excellent condition — they don’t seem to acquire books that are not. A great thing about the Strand is that the books are very well organized, alphabetically by author.

You have to get a feel for their system, to know what section to look in. For example, if you were looking for a biography of Walt Whitman by Justin Kaplan, you have to know to look under “Whitman,” not “Kaplan,” and you would have to know that it would be in the literary nonfiction section. Books are rarely where they should not be. Plus, the Strand now had an excellent web site so that one can buy books from them on line. I often order on line from them. You don’t have to worry about getting a worn, beat up book delivered to you.

(2) Amazon.com is good for most book buying. I find their reviews quite helpful — I have written quite a few myself. Their books are reasonably priced, often at a discount. They seem to have most books that are in print. I find them less useful for used books. I would say, avoid buying (on Amazon) from secondary sellers.

(3) abebooks.com is, in my opinion, the best site by far for finding used books, especially out of print ones. If it’s available and for sale, the book will be there, or not at all.

The search engine is great. Just now, I was looking for a paperback edition of Platero and I, , a book by one of my favorite poets, Juan Ramón Jiménez. An English translation was published in paperback in 1962; it is virtually unobtainable now. It happens to be an edition I like because of the translation (among other things). I couldn’t find it anywhere until I went to abebooks.com. There were several editions available on the site. Quite a few were expensive. But, there was one in excellent condition that was reasonably priced.

 

 

You can sort the search results by price, date published, condition, etc. The booksellers are very accurate in describing a book’s condition.

I do not like to buy a book with a torn or tattered cover, underlining, crumbling pages, etc. — I don’t want someone else’s beat up book. I am willing to pay more to get a book that is in mint condition.

 

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addendum, May 1, 2020:

This past month, I was able to purchase the original four-volume edition of Pitirim A. Sorokin’s magnum opus, Social and Cultural Dynamics (1937-1941).

The books arrived yesterday. The thrill of now owning such a book was palpable.

There were only two copies of the set for sale on the internet: one priced at $500, and the other, which I purchased, for $150. As an experienced book buyer, I didn’t hesitate.
I have become personally acquainted with quite a few Sorokin scholars, most of them abroad. I know they would be thrilled to own this work of Sorokin’s, which is for all practical purposes only available at the present time in a paperback one-volume abridgment.

 

 

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Addendum:

Posts re books in my private library are on this site at:

 

my personal library of works by Walt Whitman, and books about him

 

my Melville and Hawthorne books

 

inventory of Dreiserana (books, etc. by and about Theodore Dreiser) in Roger W. Smith’s personal library

 

my Henry Miller books

 

my books on transcendentalism

my personal library of books by and about Samuel Johnson and James Boswell

 

my Blake books

 

my George Eliot books

 

my Gissing books

 

Juan Ramón Jiménez – the books in my library

 

my Sorokin books

 

my books on baseball