blogis librorum. A blog about books. Rare books.

Steven Spielberg (who turns 73 today!) is more than just one of the most successful and well-respected directors in Hollywood—he’s also a prolific adapter of books and other literary works for the silver screen. Some of his best known works, from Jaws (1974) to the Color Purple (1982) to Jurassic Park (1990), were originally based on books of various levels of literary acclaim. Because one of the great all-time literary and filmic pastimes is comparing novels to their screen adaptations, the book lovers of the world owe Spielberg a huge debt of gratitude (the fact that many of these films are truly great on their own doesn’t hurt either). 

It has long been a tradition to adapt older, well-loved works into more modern versions. From the re-telling of fairy tales, each with their own flair, to the use of popular tropes instituted by some of the most popular authors, the practice of making the old new has long held reader’s and author’s interest. Technology has allowed for this tradition to transform into new medias. One of the best known providers of adapted classics is The Walt Disney Company. While sometimes they change little and sometimes they change much, Disney’s productions are all masterfully created to inspire and draw audiences into the classic tales. 

As you may know, a new adaptation of Louisa May Alcott’s much-loved novel Little Women will appear in U.S. cinemas on Christmas Day of 2019. The recent film adaptation, directed and adapted by Academy Award-nominated Greta Gerwig, stars Meryl Streep as Aunt March, Emma Watson as Meg, Saoirse Ronan as Jo, Timothée Chalamet as Laurie, and Florence Pugh as Amy. Given the recent fascination with and interest in Little Women, we thought it would be a fantastic time to revisit the numerous cinematic adaptations of the novel across the last century, and to consider how the continuing relevance of Little Women might inspire you to start a single-author, single-novel book collection.

Born Betty Perske on September 16, 1924, Lauren Bacall spent her childhood wanting to be a dancer before deciding to pursue acting. After high school, she studied at the American Academy of Dramatic Arts in New York where she participated in several off-Broadway productions. She started working in modeling after graduating, which led to the start of her film career when director Howard Hawks’ wife saw Bacall’s picture on the March 1943 cover of Harper’s Bazaar and arranged a screen test.

This blog post is not the first place it’s been pointed out that the Wild West era lasted a scant few decades—compared to the century-plus of folk songs, dime novels, movies, TV shows, and other forms of myth-making that take up (and sometimes interrogate) the inherent romance and drama of the era. Given all that, it shouldn’t really surprise us that Wikipedia’s article on “Cultural depictions of Jesse James” is almost as long as the article on James himself. And yet, the piece leaves out what is arguably the first piece of popular culture that took up the life (and death) of the one of the West’s most notorious outlaws: the touring stage show put on by Robert Ford, James’ assassin, dramatizing the moment when Ford himself put a bullet in the back of James’ head.

Today, “The Greatest Living Scot” (according to The Sunday Herald), turns 89. Just as much as author Ian Fleming, Sir Sean Connery brought James Bond to life and forever defined him as a character—so much so that Fleming eventually began writing details from Connery’s life into Bond’s backstory. Those of us here at Books Tell You Why who appreciate a good literary adaptation (read: all of us), can’t help but recognize the role that Connery played not just in bringing Bond himself to life, but to bringing the whole world of past and future literary superspies into the greater public consciousness. Without him, it’s hard to imagine a universe in which Tom Clancy and John le Carré entered the realm of blockbuster films. Connery himself even starred in the 1991 film adaptation of The Hunt for Red October (1984).

Each year, the Caldecott Medal is awarded to a children's book that exemplifies the best work being produce in the field of children's book illustration. The award is a massive professional accolade and often results in a certain desirability from the reading public and from collectors. It is hard to imagine a book more enduring and beloved than 1955's winner, Madeline's Rescue, written and illustrated by Ludwig Bemelmans. Come learn more about this iconic illustrator and his beloved Madeline series as we continue our Caldecott Winning Illustrator Series.

Writer and activist James Baldwin was born on August 29, 1924 in Manhattan. His plays, essays, novels, poems, and short stories embodied issues of race, class, and sexuality that were common in the mid-20th century and in many cases still exist today. After becoming disillusioned with the way African Americans were treated in his home country, he moved to France where he could be seen as more than just his race.

Raymond Chandler is one of those rare authors who reminds the literary establishment that genre has no bearing over a book’s quality. Chandler bridged gaps in his career. His work helped bring crime fiction to academics, and the serious novel to Hollywood studios. He considered himself an intellectual snob and loved Charles Dickens, Henry James, and Ernest Hemingway. He was a man who studied Greek and Latin, but Chandler emphasized that his own strange preferences brought him to the world of the detective story.

Sometime around Thanksgiving 1862, Harriet Beecher Stowe, author Uncle Tom’s Cabin (1852), met sitting-president Abraham Lincoln. Upon the initial introduction, Lincoln famously quipped, “So you're the little woman who wrote the book that made this great war!” Accounts of the exact wording vary, and in fact the whole story may be apocryphal, but it still speaks to the way that art and media help us make sense of history as it unfolds around us. Uncle Tom’s Cabin (or, if not Stowe’s novel, then perhaps works like Incidents in the Life of a Slave Girl (1961) or 1845's The Narrative of the Life of Frederick Douglass) gave 19th century readers new ways of understanding the “peculiar institution” over which the Civil War would be fought. As the war progressed, books like these continued to act as touchstones for anyone seeking to understand the conflict, the nation, and the world.