The Same Books

Being a non-drinking, non-smoking, monogamous bedmaking homeschooler whose idea of a really wild night is listening to a Sue Grafton book on tape (instead of, say, something from that series of recorded lectures on opera) while I wash the dishes, my one vice, other than dark chocolate with truly demonic levels of cacao content, is owning many, many copies of books I love.  There are books that I own, and then there are books that own me, and the latter take up a great deal of room in my smallish digs. 

When I refer to the books that own me, I mean the ones that I might at any moment need to have at hand, regardless of where I am or what time of day it is.  I keep copies of these liberally sprinkled about the place, and tend to take them with me on even the shortest vacation trips, along with all the books I've been planning to dig into whenever a great uninterrupted span of reading time opens before me.

I well remember, and shudder to recall, the trip to Cambria, California that I took one year.  I packed something like twenty books (hey, we were going to be gone almost a week), and was there so much as a single copy of Jane Eyre in the lot?  There was not.  Which is ridiculous.  JE is the book that's gotten me through all my most significant travels.  Leaving home for good and all at the age of sixteen comes to mind, as does my honeymoon.  But like an idiot, I didn't bring it with me on this particular trip, even though the proposal-in-the-garden scene had been nudging at the edges of my mind for days. 

So naturally I went through a bad case of withdrawals the second we got there, and after two days of the shakes, realized that I had to buy a copy.  I got one second hand, at a used bookstore tacked onto a gas station, and was glad to add it to my collection when we returned home because it was in decent shape and had an introduction I hadn't read before.

So now I own three copies of Jane Eyre.  I don't think that's excessive.  I have the one I bought for my honeymoon, which is the beautiful oversized edition with woodcut print illustrations that I started reading when I wasn't much older than the title heroine when first we make her acquaintance; and I have my Norton Critical Edition, which has no illustrations but is overflowing with footnotes and essays; and now I have my salmon-pink mass-market copy, perfect for tossing into backpack, purse, or picnic basket. 

Although my relationship with JE is longer and deeper than that I have with Pride and Prejudice, I have many more copies of P&P.  It's simply fallen out that way.  Let me say right now, before I launch my defense of my multiple copies, that I do not own seven copies of the same book.  I own seven editions of the same book.  Different editions.  Does that make it all clear?

Probably not.  Even the bookiest of book-people I know consider that I've gone perhaps a bit far in this department.  So let me explain myself.  Or rather, let me describe their selves, and let that be the only explanation necessary.

My oldest copy of P&P is an Oxford Illustrated Edition.  It is not, sadly, the first copy I read.  I culled that years ago, and have regretted it ever since.  It was worthless in almost every way.  It had no introduction to speak of, and was a small creased paperback with some cartoony picture of a woman wearing a bonnet that was probably wildly anachronistic.  The baked-mustard color of the rest of the cover gives me a headache even to remember.  But it was where I first met Elizabeth and Darcy and all their friends and foes.  It cost a dollar seventy-five, which sum (plus tax) I vividly remember giving to the surly owner of the bookstore several blocks down the street.  I didn't meet his eye as I handed him the money.  He scowled at anyone under the age of twenty who darkened his doorstep, and making purchases didn't soften him up any. 

P&P was one of the first "real" books I ever bought -- Austen has been compared to Shakespeare, and funnily enough I started buying and reading him in a halting fashion at about the same time, when I was around twelve.  The bookstore closed when the chains started opening (or closing in), and though the owner unnerved me, I missed the place and felt vaguely guilty for not having bought more books there.

As I was saying.  My oldest copy of P&P is a blue-flowered Oxford Illustrated edition.  I got it, along with all of Austen's other works, from one of those book clubs by mail where they swear you'll never have to make another purchase, ever, ever, if you'll only grant them the huge favor of buying seventeen books for fifty cents or whatever the rate is.  The set, all six volumes, counted as a single title, thereby reinforcing the unfortunate stereotype that those who enjoy the humanities are incapable of even the simplest mathematical equations. 

Anyone who has experienced the richness of the Norton Critical Editions will understand immediately why I purchased their P&P.  It is a truth universally acknowledged that any novel one cares deeply about must be owned in this form.  The lavish Norton footnotes (footnotes, not endnotes; on the same page as the text, so you don't have to use two bookmarks and keep flipping back and forth to check the references) make all other editions seem meager and grudging by comparison in this respect.  The Nortons also include wonderful background materials -- letters, essays and other writing to help the reader get grounded in the time and place of the work; contemporary book reviews.  Stop there.  I find nothing more wonderful than reading two-hundred-year-old book reviews and laughing mercilessly at the idiots who panned, say, Wuthering Heights.  I love knowing what was being said about a novel at the time it came out.  The Nortons also glean the best of current writing about the work at hand.

Which is why I own two Norton Critical Editions of P&P, because since I bought my first one they have come out with a newer, updated version, which of course I purchased.  And no, I wasn't stupid enough to get rid of the earlier one.  Two of the essays in it didn't carry over, and one of them is about marriage and sexual love in Austen's fiction, and if you think I'm giving up that you haven't been listening.

That is, even I'll agree, quite enough P&P for one person.  Unless that person doesn't own a dishwasher and gets some of her best reading done over the suds a la book on tape, and that selfsame person gets tired of never finding just the taped titles she wants just when she wants them at the library, especially since our library (I don't know if yours is like this) has an annoying habit of closing every night, and not opening at all some days.  (Priorities, much?)  So of course I had to purchase a copy of P&P on tape

And that would really be enough, even for me.  Except that one beautiful day, I looked at all my copies of P&P and realized that I wanted to read just the book.  No footnotes, no introduction.  Just beautiful words on beautiful pages with a pretty cover to keep them all tidy.  A hard cover.  All my copies were paper.  So off to the bookstore with me.  (No, a library copy wouldn't do.  I wanted something beautiful, with creamy pages and nice big bold type, and theirs were bound to be thrashed.)

And that would really be enough.  And it was.  Except that my local library has a small ongoing book sale going on, and one afternoon I found a copy of the Scholastic edition of P&P, in good condition, with an introduction by Katherine Paterson.  If there is one thing I can't live without, it's a new introduction to an old book I love.  And Katherine Paterson is an award-winning writer who has written some not-so-old books I love -- Of Nightingales That Weep, and Jacob Have I Loved.  Plus this copy of P&P is cute and pretty and green.  For fifty cents, I'm supposed to say no?

Of course not.  And so I shelled out another fifty cents at the same library on a different day when the Signet Classic edition of P&P showed up on the sale shelf.  It was one I'd considered paying full price for at the actual bookstore, since the author of the intro is Margaret Drabble, a powerhouse British novelist.  No footnotes, but at this point it's not as if I need them.  In a technical sense, it's almost not as if I need the text of the book itself at this point.  The last time I listened to P&P on tape, I was startled to find myself talking along with the book.  It won't be long until I'm like one of those guys at the end of Fahrenheit 451, memorizing whole books for the sake of posterity.  Or just my own entertainment, in this case. 

And that brings us up to seven, and I hope you now understand how a perfectly sane person could just happen to have that many copies of Pride and Prejudice littering her own particular landscape, and why she has no plans for getting rid of any of them.  This is not a static number, by the way.  Further bulletins as events warrant.

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