Showing posts with label Books. Show all posts
Showing posts with label Books. Show all posts

Tuesday, 31 December 2013

The Last Post. Gulp.



FINAL BLUES [apologies ter that Auden mon]

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Everything else seems drowned in fog
Because Fiskyoomon's ending her blog

Let aeroplanes circle moaning overhead
Scribbling on the sky that her blog is Dead,
Put crepe bows round the clock on the market hall
As Darwin and Clive mourn with us all.

Fiskin North, and South, and East and West,
Full working week and no Sunday rest,
Pauline's "my tonight in Shrewsbury" became my song;
I hoped that it 'ould last forever: I was wrong.

Salopians are not wanted, she's spoke ter every'un
Pack up the moon and dismantle the sun;
Unplug yer computer,yer know that yer shud;
For nothing now can ever come to any good.







This was how my day began, thank you Shroppiemon, legendary Shropshire Tweeter, whom I've only ever met virtually but you've kept me smiling all year long.  Gulp.  My Tonight From Shrewsbury's final day, down to the Shrewsbury Coffeehouse to write its final post.   Instead of writing though, I drank more coffee than was good for me and talked to friends - which is why I'm writing now instead, crouched over my desk whilst everybody else is out around the town, in the pubs  having New Year's Eve  fun.  


It's been quite a day.  After the Coffeehouse, I went off to Castlefields to watch parents and children engaging in the annual launching of paper boats to float downriver to the weir, spluttering with candlelight and in some cases fireworks.  All those shining faces, those little Shrewsbury people growing up  - what will the future bring for them?  And what will they remember  of 2013?






I'll remember a year the likes of which I don't expect to have again.  Twelve months ago, I started out on this blog not knowing what I'd find except that I'd no doubt it would be interesting.  And interesting it's certainly been! Thank you everyone who's been interviewed for this blog, followed it, retweeted it, 'liked' it on Facebook and encouraged me to keep it going through the year [this especially includes you, Dave].  There have been moments when I've been exhausted, but even then there has always been something about our wonderful town that has kept me going.  



Shrewsbury is a place like no other. I feel privileged to live in it. It's given more to me than I could ever give back, no matter how many My Tonight From Shrewsburys I wrote. Next year it'll be back to my 'day job' [writing novels]. I'll be tapestry-weaving as well for a joint exhibition I have lined up at Nuneaton City Art Gallery in June.  If you want to read more blogs by me, the place to go is the 'Blog' section of my Pauline Fisk website where I post occasionally on all sorts of subjects, sometimes even  Shrewsbury.


And then of course there's the book. Yes, you heard right. The My Tonight From Shrewsbury book. It may not, of course, come off [I've been an author long enough not to hold my breath] but talks are underway with a publisher, and something may appear next autumn.  If it does, you'll be the first to know.   

Whatever happens though, My Tonight From Shrewsbury will stay online.  We live in a glorious town, one that deserves being shouted about from the rooftops.  And that's what I hope this blog will continue to do.   


This is the bit where I say goodbye and play the Last Post. Except that I don't want to end the year on a mournful note, so with an eye to the brand new day which is 2014, with all its wonderful new opportunities, I'm playing a Reveille instead:
  






Wednesday, 25 December 2013

An Affirmation of Incarnation



This is the last of my Open Studio posts, meeting Shrewsbury artists, visiting their studios and talking to them about their work. It's also a bit of a 'happy Christmas' post, which I hope will give you a bit of a different take on the Christmas theme of incarnation.  


Several weeks ago, on a visit to Shrewsbury School to write about its Ancient Library, I took this photo inside the school chapel. I'm afraid it doesn't do justice to what I saw, but even with my iPhone camera, you can tell that the artworks, by  painter and carver of sacred icons, Aidan Hart, are  not only stunning but hark back to an ancient tradition.  Aidan Hart is no typical modern artist, but he's an artist of prodigious talent and we're privileged to have him living and working in our town. A few days ago I met Aidan at his studio in the English Bridge Workshop and had the chance to talk about his life and work.

Aidan grew up in Auckland, New Zealand. He read English Literature at university, then taught in secondary school. His father was a civil engineer and both his parents had a love of art, which Aidan did too, spending his spare working on sculptures.  


In 1983, however, as a result of his studies in Early Church history, Aidan’s life took an unexpected turn, one that was to have far-reaching consequences. Having previously attended both Baptist and High Anglican churches, he converted to Orthodoxy.  ‘I found an emphasis on whole-person commitment to God,’ Aidan said, ‘body, soul and spirit. I warmed towards that.’

Becoming Orthodox affected not only Aidan’s life of prayer but his life as an artist too. He began making carvings on religious themes and also studying the human body, which led him into painting. In particular, he started examining icons, taking them apart in an almost forensic fashion, applying his analytical mind to what he found, asking what were the component parts of beauty and why icons were so beautiful.  

In addition, Aidan studied Philokalia, a collection of writings on prayer. It struck him that the word meant love of the beautiful. Prayer, he said, was beautiful as well - a work of art as much as any icon.  But what was an icon, I wanted to know.  Was it just a religious painting, which was how I guessed most people, including myself, thought of it? Or was it, as Aidan seemed to be suggesting, something more?

An icon, Aidan said, was a painting of a holy person put together in such a way that one could be lead through the image to the actual person depicted.  A window between heaven and earth, he called it, one that abstracted the human form to express the spiritual. To make an icon, Aidan said, he had to be able to discern timeless principles and express them in his own indigenous way.  His icons, for example, draw on the Celtic and Romanesque traditions as well as the Byzantine. He’d lived in Greece for a while, on Mount Athos during his years of training as an Orthodox monk, and that had influenced him, and he’d also travelled widely in Russia and Serbia, learning a lot about icons from the people he’d met.

Currently Aidan is one of only three or four other full-time icon painters in the UK today.  He has two years’ worth of commissions ahead of him; a second studio out at Pontesbury [where his Royal College of Art educated assistant, Martin Earle, helps with carving commissions]. In addition he has another assistant working from Telford making his icon panels, doing gesso work and preparing cabinets to house the icons. Aidan has also written a book on icon painting, and he founded and teaches the Diploma in Icon Painting for The Prince’s School of Traditional Arts.

All of this is a far cry from the hermit’s life that for many years was Aidan’s, lived out on the side of the Stiperstones.  Rural myth has it that back in those days one of Aidan’s many visitors was Prince Charles. I put this to Aidan, and he smiled.  No myth, he said. Prince Charles did visit him, and these days Aidan sees him as a patron and a friend.

Aidan is now married, and has a young family. Looking back, he says that his years as an Orthodox monk, committed to prayer and the hermit’s existence, was actually one of the busiest periods in his life. Icon commissions were coming in. His daily church services took about four hours. He had twenty acres of land to manage - which he did by planting 5,000 trees - and then of course there were the visitors.  

People were curious about monastic life.  Aidan’s existence was hard for modern minds to grasp. He was a rasophone monk - more than a novice, but one who’d not yet taken final vows. As it turned out, Aidan left the hermitage without taking those vows. ‘I was able to leave behind another hermit in my place,’ he said. ‘And I may have left the institution, but most definitely I retain the inner calling.  I clearly see my ministry as an iconographer. However strange as it may seem,  as a hermit I had surprisingly little time to paint.’

Nowadays, Aidan supports his family primarily from his commissions for church icons, carvings, frescos and mosaics. He also gives talks and lectures and tutors. The day after I interviewed him, he was heading out to Huston, Texas to finalize details for a large church mosaic commission that will be made here in Shropshire in sections before being sent over to Texas. Snippets of mosaic were dotted about the studio - faces here, a single eye there. On Aidan’s drawing-board was a half –finished icon. 

‘It’s all about depicting the world as seen through the eye of the spirit,’ Aidan said. ‘What a finished icon presents you with is a transfigured world. An icon isn’t naturalistic, but it is realistic. In the way that Moses saw the burning bush alight but not consumed, and the disciples saw Christ’s garments shining with light at his transfiguration, so an icon depicts the world aflame with the presence of God.’  

Icons, Aidan said, had their place in the Western tradition every bit as much as that of Eastern Orthodoxy.  It all came down to understanding that worship was due to God, and venerating anything through which God presented himself. ‘Icons are an affirmation of the incarnation,’ Aidan said. ‘What they’re showing is that God has become man in Christ. That's what the Christmas story is all about. 


'We all have images that are important to us,' Aidan said,  'but those images differ depending on who we are.  All of us are made in God’s image, but it takes an attitude of humility to see the God-likeness in each other. A good icon doesn’t distort reality, but transfigures it. Everything in the icon tells you something. There’ll be a bright sadness in the saint’s expression, a balance between joy and compassion, and everything placed around that central figure will have spiritual significance.’


Even the actual, physical making of an icon, Aidan said, breaking down its component elements into a form of Nativity, is a bringing together of heaven and earth.  The pigment of the paint speaks for the mineral world; the egg that binds the paint for the animal world; the wood upon which the icon is painted for the kingdom of the vegetable.  And the icon painter’s is a priestly role, binding the elements together, discerning the word of God in each created thing.

All Aidan’s icons are painted in egg tempera, with some use of gold leaf. Once icons were painted in melted wax, Aidan said, in a technique taken from the Romans, but it’s many centuries now since egg tempera became the preferred method for iconographers.  Wax deteriorated over time and oil paint darkened, whereas egg tempera clarified.  ‘But it requires more precision to use,’ Aidan said.  ‘You can’t just slap it on.’

The mosaic commission in Houston is on the themes of the Crucifixion and Resurrection and each piece will be a massive 18’ x 12’. Other commissions Aidan is currently working on include a two metre high stone Mother and Child for Lincoln Cathedral,  two icons of British saints for Hexham Abbey and an Annunciation for Caius College, Cambridge. In the pipeline is a fresco for a Benedictine Catholic monastery and a Prince Charles commission to sculpt all the members of his immediate family [so far Aidan has completed the marble bust of The Duchess of Cornwall]. 

Previously  Prince Charles commissioned Aidan to sculpt a bust of Richard Chartres, the Bishop of London, and Patrick Holden, then chairman of the Soil Association. Prince Charles is a major patron of Aidan's work, his commissions including a fresco, about five icons and three sculpted portrait busts.


In addition, here in Shrewsbury Aidan teaches the Diploma in Icon Painting, which is a part-time three-year [four years for those who want to learn fresco-painting] course, running for a total of twenty-one days a year.  Though part of The Prince’s School of Traditional Arts, which is based in Shoreditch, London, the Diploma is taught in Meole Brace, on the outskirts of Shrewsbury, at the Trinity Centre. Currently it has twelve students from all around the country and beyond -  three commuting from Ireland, Germany and Sweden.  This is a huge commitment, but icon painting, Aidan said, required a long period of training. Setting good foundations was vital.  Aidan expected his students to work for five to eight hours a week in addition to their time in school.

I got up to go. Time to leave. Aidan had an icon to finish before flying out to America next day. It was good of him to make time for me. I picked up my bits and pieces, which included a modern icon, painted on glass, which I’d bought in auction at a Hall’s general sale. Aidan liked it. It was Polish, he said. A bit Chagallesque.  Quite unusual. It was amazing what you could pick up in Hall’s sometimes.

Was there anything I’d left out, I asked.  Anything I hadn’t brought up, that Aidan would like people to know. ‘Life with God is beautiful,’ Aidan said. ‘It makes you beautiful.  I’m trying to bring seeds of Paradise into the world, so that people can nurture them and make them into little trees.’








For any of you interested, Aidan’s book is called ‘TECHNIQUES OF ICON AND WALL PAINTING: Egg Tempera, Fresco, Secco’. It’s the most comprehensive book to date on the techniques of icon and wall painting and it can be bought HERE [LINK].






  

Wednesday, 18 December 2013

Candle Lane Books


The name ‘Candle Lane’ harkens back to the days before a certain Princess Victoria visited Shrewsbury, upgrading the street where candles had been made to the more upmarket 'Princess Street'.  Next year will be the fortieth anniversary of Candle Lane Books. Its proprietor, John Thornhill, was a collector long before he opened the shop.  Yesterday morning I met John with his son and business partner, Edward.  Over coffee in Renaissance, they outlined the shop’s history, their lives as hands-on farmers, their years as collectors and their mutual love of books.

For John’s son, Edward, the family’s book business was always a factor in his young life.  At an early age he learned pricing and handling from his dad. Helping out in the shop was a regular occurence. A Shrewsbury schoolboy, Edward was one of a handful who left before their ‘A’ levels - an unusual step, but one that certainly paid off. ‘I always knew I’d be going into the family business,’ Edward said.  ‘I also worked on the farm, and I still do. I did some travelling, visiting almost forty countries, and I worked in the shop.’

For John himself, a long life of collecting began aged eight with ‘The Book of the Farm’. Bought for him by his mother to encourage his love of reading, she could have had no idea that she’d started something that would be part of family life until the present day. ‘It’s a good job we’re farmers too,’ said Edward, ‘otherwise we wouldn’t have the space to keep all Dad’s books.’ ‘We always say no collection too large, no parcel too small,’ added John. ‘Once we purchased 10,000 books in one day.  The staff on the farm became good at handling books.’

Amongst John’s own personal library is the twelve volume classic, Eyton’s History of Shropshire. Only three hundred copies of this book were ever printed, as well as three large paper copies – and at one time John owned all three of them [he now owns only one].

Another treasure is George Garrard’s ‘History of British Livestock’. Edward said it was the only book of which he’d been unable to find another copy on the open market, which, given his contacts, makes it most likely the only of its kind still in existence.  The problem for Garrard’s, he explained, was its fifty-two fantastic hand-colour plates, which over the years had leant themselves to being extracted from the book, which is why a complete copy is now so very rare.  ‘When my father acquired the book,’ Edward said, ‘an article and photograph went up in the Farmers’ Weekly. A lady phoned in wanting to buy it for her husband.  We named a ridiculous sum, saying even if the offering price was that, we wouldn’t part with it.  The lady offered more - but we still said no.’

Candle Lane Books started out as an offshoot of John’s massive collection. ‘I’d bought so many books,’ he said, ‘that I thought I’d better start a shop’.  The shop in question was an old butcher’s shop half the size of the current premises. John filled it with books from country house sales - whole tea-chests full at a time.  A book binder, Mr James, was employed, coming in Saturdays, taking a couple of boxes of books and returning with them bound the following week. For thirty-two years he worked for Candle Lane Books.  Even in his eighties he was still coming in. ‘It was with his help that we saved many of our books,’ John said. ‘The Parish Registers for example – by buying and binding them they were preserved. We have registers for most of Shropshire in the shop.  They’re of particular use to people looking up their family history.’

It didn’t take long for the shop to be in need of expansion. The family bought the shop next door and went up three floors. Now even the furthest corner of Candle Lane Books is stuffed to the gunwales with good reads.  ‘We’ll buy anything we think will sell,’ Edward said.  ‘I tend to focus more on modern publications and my father on the older books.  But Candle Lane Books has no specialism, except of course for local books. We’ll take on any topic, buying what we can sell.’

Over the years, I’ve spent a prince’s ransom on local publications in Candle Lane Books.  I’ve also bought my share of other books that have caught my eye, including a first edition Graham Greene, a signed Malcolm Saville and several books by one of my favourite authors, A.G. Bradley. Candle Lane Books always has something that I want – and more often than not that something is in the window, pleading to be taken away.

John, Edward and Maureen [who’s been employed in the shop for the last twenty-six years, having worked previously at the family’s reproduction furniture shop in what is now Poppy’s tea room] have window-dressing down to a fine art.  They know that showing the right thing, whether or not it’s valuable, will bring in the customers.  They have their regulars, those who come at certain times on certain days of the week.  Many of these aren’t looking for anything other than a good read, but there are others on the lookout for certain books, who are prepared to pay for them, and to pay well.

Candle Lane Books has a ‘Wants List’.  If you’re looking for something special, then John and Edward will look for it too. And once a book’s on the list it doesn’t come off, even years later, if it hasn’t yet been found.

Nowadays John and Edward mostly buy from private collections.  Very often people will come in to them with something they wish to sell. ‘We never buy from auctions for resale in the shop,’ said Edward, ‘but we sometimes do for ourselves. We keep an eye on the auction houses, and if there’s something that we really want going at the right price then we’ll buy.’

‘How do you decide which books are for the shop, and which for your private library?’ I wanted to know. Edward and his father looked at each other. Plainly this wasn’t a simple question to answer.  If a book was rare, or it had a certain something about it, a uniqueness of some sort, they would keep it, they said.  Once they bought seventy tea-chests full of books from a known collector in Japan, mostly books dated before the 1850s.  Every single book was good enough to buy in its own right.  They kept three hundred, but sold the rest in the shop.  It didn’t take long for the word to get round, then they had dealers beating a path to their door.

Another book, too, is worthy of a mention.  ‘Shall I tell her about the…’ said Edward.  The word hung in the air. Again the two of them looked at each other. It was the Vaughan book they were talking about – a book that brings new meaning to the word unique.  Starting with Adam and Eve, the writer of this book had traced his family’s history from the beginning of humankind to his own times in the 19th century. Every word of this massive tome has been written by hand. To begin with the hand was steady. By the end of the book, though, it was shaky and plainly old.

As soon as I heard about this book, I wanted to see it. For twenty-six years I’d lived out at Worthen in a farmhouse bought from the Vaughan family, for whom it had been home for over a century. They’d even left their names etched in its window glass and graffitied in the soft plaster between its old beams.  ‘Doris Vaughan – a goodish girl’, ‘Maureen Vaughan – a devil’, and so on and so forth. 

Kindly, John and Edward agreed to bring in the book for me to see from John’s library, where it’s one of his treasures. We arranged to meet next day, ie. today.  Then I started asking John about his life as a publisher, which we hadn’t yet talked about.  Three books came out under the imprint ‘John Thornhill, Candle Lane Books’ - Georgina Jackson’s ‘Shropshire Word-Book’, Garbett’s ‘History of Wem’ and ‘Shrewsbury Street Names’.  John would have published Charlotte Burne’s ‘Shropshire Folk-Lore’ too, but his printer in Yorkshire went out of business and it never happened, which John regrets.

It’s hard to imagine how John has found time for it all, especially with a full-time other business to run as well. His love of books may have been inherited from his mother, but from his father he inherited the family farm. ‘My farm is my life,’ said John. ‘This other thing, books, well it just developed. There was one time, you know, when I worked for three whole years on the farm without coming into town once.’ 

John left school at thirteen.  He broke up for the Christmas holidays, had his thirteenth birthday and never went back.  That was a long time ago now.  Extraordinary changes in farming have happened in John’s lifetime.  He farmed through the Depression and the Second World War, and now his son, Edward, runs the farm. ‘We’re hands-on farmers,’ Edward said.  ‘Everything we have in town, this shop and other properties we own, come from the farm.’ 

The Thornhills have 260 acres and a herd of Pedigree Herefords.  Theirs is an old family farm with a big old manor house and its own church.  John remembers a time when all their staff lived on the farm, but things are different now. A few years ago when two of their workers - John Lewis and Michael Lewis [not related] - retired, the two of them clocked up between them a massive one hundred and five years. For a while Edward was left working the farm alone, but now - eighty-six interviews later – he’s found a replacement in Benjamin Fleming, whom he describes as ‘an old head on young shoulders’, exactly the right person for the job.

‘They’re a wonderful family to work for,’ Maureen told me later, when John and Edward weren’t around. I’ve got the best job in town. I suppose that one day I’ll retire, but definitely not yet.’

The key, Edward told me, was that they as a family had always got on with each other.  ‘In the shop as well,’ he said. ‘There’s been Margaret, my mum, Jane, my sister, Dad and me, all involved in the family businesses.’  I asked John what stood out most in his long life.  I expected the answer to be a book, but I was wrong. ‘It’s the people who’ve worked for us,’ John replied. ‘We’ve had wonderful staff, right down through the years. That’s what stands out. Without them, we couldn’t have done what we’ve done.’

POSTSCRIPT

I wrote that yesterday. This morning I went back to Candle Lane Books to see John’s Vaughan Family History.  The shop had only just opened, lights on and bolts drawn back but no time yet for its table of discount books to go outside.  [‘When we close for lunch we leave it out,’ Edward said. ‘Shrewsbury people can be trusted to pay for their books. It’s nothing to come back and find ten or fifty pence pieces wedged under the door.’]

The Vaughan Family History is the other end of the spectrum to a fifty pence book. It’s folio sized, several inches thick, with craftsman-like penmanship and beautifully bound in leather.  Here, see what I mean. This is the page that links the Vaughans to Brutus, and King Locrinus of Sabrina-spirit-of-the-River-Severn fame. My jaw dropped when Edward opened it up. I can’t imagine what it’s like to own such a thing, let alone to have written it.  What a treasure it must have been to its family in its day.

I left Candle Lane Books in a bit of a blur, though not without spotting something in the window [well, several somethings actually] and coming back.  Then I headed off across the Square, where the stage was going up for carols tonight.  The first of the new shop fronts for Princess House jutted out into the space where, other years, the crowd would have stood.  You’d have thought the least the Princess House people could have done was make their shop fronts blend in with the colours of the Square’s stone flagstones and the Old Market Hall.  But oh no. Had they received planning permission for that clash of colours, I wondered. But that’s another subject. I mustn’t digress.

I went into Starbuck’s for a coffee, paper and cinnamon bun and found it half-empty for a change.  The girl sitting opposite me said she’d got to get home to Montgomery before bad weather broke this afternoon. Storms were on the way, she said. We talked about Montgomery. I’d never met her before, but Shrewsbury’s a town where even strangers will talk to each other.

The girl left, gathering up her bags. I finished my coffee and left too, carrying my brown-paper Candle Lane parcel. Only eleven o’clock. A good start to the day.



 




Monday, 16 December 2013

The Castle Gates Library



A while back I wrote a post on Shrewsbury School’s Ancient Library, now here I am writing about the Castle Gates Library which is housed in what used to be the old Shrewsbury School.  It’s a drop-dead beautiful library, housed in one of the finest buildings associated with public lending libraries right across the country.  It’s one of the finest buildings in our town as well. We Shrewsbury folk are lucky to have such a fine library - and the extraordinary thing is that all are welcome, seven days a week, and it can be used for free.

I first joined a library back in the dawn of time when I was nine years old, queuing on my little scooter outside the newly-built library in my home town, waiting for its doors to open for the first time.  I loved the smell of books when I got inside, and I still find myself savouring that smell when I go through the doors at the Castle Gates Library. It makes me feel at home.

But then so it should. I’ve been a member of Castle Gates Library since moving to Shropshire back in 1974. I was a newcomer to the county then, wintering amongst the library’s shelves while my house sale went through.  In more recent years I was to find my own books on those shelves, but back then it was Shropshire Folk-Lore that I stumbled upon, collected by Charlotte Burne, Georgina Jackson’s Shropshire Word-Book and A.G. Bradley’s Book of the Severn, all of which have been invaluable in my writing life, as has that other treasure from amongst those shelves, Brian Waters’ Severn Stream.

As an author, I have much to be grateful for in the Castle Gates Library. But the other day it was as a reader that I met Caroline Buckley, Castle Gates’ Branch Manager, full of questions about the day-to-day mystery of how the library works. 

Caroline said that it depended for its smooth running upon a mass of tiny things. Even before opening to the public there were date-stamps to be updated, newspapers to put out, daily deliveries of requested books and returns to receive and record.  The hour before the library opened was always a busy one. Shelves would be tidied on a rolling rota system, which allowed for every section to be put in order before moving onto the next. 

Then, once the doors were opened, the day would be spent helping people find the books they wanted and use the computers.  For the weekly Story Times, they’d have up to thirty toddlers and accompanying parents, and on the monthly babies’ Rhyme Time the children’s library could become a bit of a buggy park. 

In addition, staff from Castle Gates Library would go out to the smaller libraries around town, like Bayston Hill’s library and the Lantern on Sundorne, and they’d help with activities in these. They were always responding to the time of the year, and to general interests that the public might have – books on sport activities around the time of the Olympics, for examples, or Booker short list displays.  There would be spooky stories on offer on Halloween week, and during the summer holidays there would be reading challenges.

Amid all this activity, one thing’s for sure – the Castle Gates Library might exude peacefulness and relaxation, but behind the scenes librarians are very busy people. In addition to their work in the library, they’re also organizing author events, school visits, book quests, poetry reading and composing competitions – you name it; if it’s to do with books and writing, they’ll be there. In addition, the library provides a quiet place for children to do homework.  It becomes packed during the exam season, Caroline said.  You never know who is going to turn up asking for what obscure piece of information, and it’s your job to help track it down.

Caroline has been at Castle Gates Library for fifteen years and seen many changes over those years.  Nowadays, she says, members of staff come in at a younger age than in her day.  The arrival of the internet, too, has brought about changes in the library.  Fifteen years ago there was no online referencing.  No emailing. No computers.  

Caroline can remember the library back to when she was a child. In those days, when the library included museum artifacts, it had stuffed birds in cases, children’s books in the Hobbes Room and an art gallery upstairs.  Then, in the 1980s a massive revamp took place. Then, in more recent years, the decision was made to open the library seven days a week. However, the biggest change of recent years, Caroline said, was the absorbing back into the Castle Gates building of the Reference Library, because of local government cutbacks.  

‘Some library services have faced far bigger cut-backs than that.  It was a shame to lose the reference library building, but in general terms  we’ve been lucky so far,’ said Caroline.   

It’s the books that count most, of course, buying new ones, repairing old ones – how does that all work? Caroline said that suppliers would put together book lists according to a library’s specific criteria.  Then librarians would go through the lists, which largely happened online nowadays [‘You mean there’s no actually physically handling of books any more?’ I naively asked] and decide whether to knock books off the list or arrange for their delivery. ‘Most days we have new books coming in,’ Caroline said.  ‘You hear in the papers about book funds being cut, but we still have some money left for buying books.’ 

Looking after stock is of vital importance.  When books become too tatty to keep on the shelves they’ll go into book sales.  Some books disappear altogether from the shelves, others - including the classics - will be ordered anew. ‘A considerable amount of time is spend repairing,’ Caroline said.  ‘The binding of a book will often be the first thing to go. A careful repair, or a simple re-jacketing, can give a book months more life.’

According to Caroline, Shrewsbury’s Castle Gates Library has a bit of every sort of book. Crime novels are massively popular, as are thrillers, Booker Prize winners and books that have been made into films. You got to know the regulars, Caroline said, and what they liked. And you followed the reviews and picked up trends. What was the best thing about her job, I wanted to know.  ‘The variety,’ Caroline replied.  ‘Two days in the library are never the same - and you’re never short of a good book to read!’