Moore in the Borzoi Books
England and Ireland have shared a long and very complicated history for centuries, a theme reflected in many Irish tunes, especially Moore's. Interestingly, it was an Englishman who wrote this biography of Tom Moore, a prominent Irish figure. The book was then published in the United States in 1937 and in a way, is a product of three different nations.
In the Preface to his book, author L.A.G.. Strong explains the reasons why he decided to write a portrait of Tom Moore, as well as the methods he employed to do so. He writes, "I have tried less to write a history of Tom Moore than to draw his portrait, and to clear away some of the irrelevancies of criticism which have been heaped upon him" (Strong vii). Strong inscribed this book “To W.B. Yeats” and Yeats is also mentioned in the Preface as a source upon whom Strong consulted throughout the writing process. Yeats was a prominent figure in the Irish Literary Revival, so it seems fitting that a book about the man who revived Irish music be inscribed to another more modern Irish revivalist.
The title spread includes the traditional Title Page displaying the title, author, and publisher. There is an image to the left of this page of a painting of Thomas Moore by Sir Martin Shee, P.R.A. According to The Royal Academy of Arts, Sir Martin Shee was once the president of the organization (RA). The fact that Moore’s portrait was painted by the President of the Royal Academy of Arts speaks to the status and respect Moore garnered during the time he was alive. The Contents page contains the list of chapters--20 in total--as well as a smaller breakdown of the individual segments of each chapter. The text contains a total of 12 images; some of these are illustrations while others are replications of portraits, engravings, or letters from Tom Moore himself. Overall, this book is an extremely detailed account complete with primary sources of Tom Moore’s life and the impact he has had on Irish patriotism and freedom.
Knopf created this line of books to enhance the aesthetic value of his publications. He wanted his readers to view these particular books as more than simply physical books. They were designed as works of art, with decorations both inside the pages and on the bookbinding.
This book was published by Alfred A. Knopf as part of the Borzoi Books collection, a special collection of books. Alfred K. Knopf considered his Borzoi Books to be of special value. He took great pride in his publications, specifically the Borzoi Books, because of their unique aesthetic characteristics. According to Random House, Alfred K. Knopf was interested in publishing books by “the most distinguished writers of the day.” When printing these prominent writers, “he wanted to present their work in the most beautiful editions possible”(Random House). In doing so, Knopf published books that were renowned for their literary text, as well as for their aesthetic qualities.
Borzoi Books Advertisement
In this advertisement from Knopf, the reader is urged to preserve his or her books and not lend them to a friend. At first, the advertisement cautions that lending books “encourages borrowing, robs the author, and is in restraint of trade,” but goes on to conclude that the “we” at the publishing company “have little cause to complain.” The more important reason not to lend these books is because these books are more than just books. Each individual book is its own work of art, described as such: “It is beautifully bound, to begin with—a piece of real bookmaking—artistic in its covers and typography—and just a little too good to share the fate of an umbrella” (Random House). This advertisement reveals the great pride Knopf and his publishing team had in their work.
Borzoi Editions of L.A.G. Strong's "The Minstrel Boy" and "The Sea Wall"
Although the text remains the same, the aesthetics of The Minstrel Boy are different between the New York Borzoi and London editions. The American edition has a design imprinted on the front cover that seems to be an author logo of some sorts. There is a defined “S” in the center of the logo, and the letters above presumably read “LAG,” the author’s initials. The Minstrel Boy was one of a number of Strong’s books printed as part of Knopf’s Borzoi Books collection. This same logo appears on the cover of another of L.A.G. Strong’s Borzoi Books, The Sea Wall. Published four years earlier in 1933, the Borzoi edition of The Sea Wall is illustrated with much more color than The Minstrel Boy. The opening spread of The Sea Wall is printed with a repeating colored design of the Borzoi Books logo, and the title page is colored with teal ink, while The Minstrel Boy’s title spread appears in black and white. A comparison of these three different books raises questions about the process of bookmaking, both in America and the United Kingdom, and the way we view these books.
Perhaps the genre of the text has an impact on the way it is designed and displayed. It is possible that The Sea Wall was given more illustrative details because it is a novel whereas The Minstrel Boy is a work of criticism and biography. However, since The Minstrel Boy was published about four years after The Sea Wall, Knopf’s standards of aesthetics could very well have changed as time went on. Judging by the dignity Knopf displayed for his books in the advertisement above, this change in aesthetics would have been an intentional decision.
Knopf and Strong's decision to publish The Minstrel Boy as a part of the Borzoi Books collection shows how even a century after his death, Thomas Moore was still regarded as important in the United States.