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Summary
Summary
This groundbreaking volume, never before published in the United States, at last introduces the interior life of George Orwell, the writer who defined twentieth-century political thought. Written as individual books throughout his career, the eleven surviving diaries collected here record Orwell's youthful travels among miners and itinerant laborers, the fearsome rise of totalitarianism, the horrific drama of World War II, and the feverish composition of his great masterpieces Animal Farm and 1984 (which have now sold more copies than any two books by any other twentieth-century author). Personal entries cover the tragic death of his first wife and Orwell's own decline as he battled tuberculosis. Exhibiting great brilliance of prose and composition, these treasured dispatches, edited by the world's leading Orwell scholar, exhibit "the seeds of famous passages to come" (New Statesman) and amount to a volume as penetrating as the autobiography he would never write.
Author Notes
George Orwell was born Eric Arthur Blair on June 25, 1903 in Motihari in Bengal, India and later studied at Eton College for four years. He was an assistant superintendent with the Indian Imperial Police in Burma. He left that position after five years and moved to Paris, where he wrote his first two books: Burmese Days and Down and Out in Paris and London. He then moved to Spain to write but decided to join the United Workers Marxist Party Militia. After being decidedly opposed to communism, he served in the British Home Guard and with the Indian Service of the BBC during World War II. After the war, he wrote for the Observer and was literary editor for the Tribune.
His best known works are Animal Farm and 1984. His other works include A Clergyman's Daughter, Keep the Aspidistra Flying, The Road to Wigan Pier, Homage to Catalonia, and Coming Up for Air. He died on January 21, 1950 at the age of 46.
(Bowker Author Biography)
Reviews (6)
Publisher's Weekly Review
Reviewed by David Brooks. George Orwell has become a literary saint because of his moral commitment and intellectual honesty. In his diaries, edited by Davison (co-editor of Orwell's Complete Works), you see those two virtues coming into formation. In the early part of his career, Orwell spent much of his time living down and out with the poor, recording their habits and conversations, and his own efforts to stay nourished and alive. Orwell made judgments to himself, and his tone could be especially nasty when a Jew did something he disapproved of. But in general he is not in a judging mode, and he is certainly not describing his inner feelings. He often simply notes things: how much dried milk poor mothers get, how much beer they serve their children, what coffee shops allow tramps to sit undisturbed.The highlight of these diaries is the years of WWII. The diaries show Orwell working through the ideas that became Animal Farm. He spent the middle of the war years churning out propaganda at the BBC, and compares life there to "something halfway between a girls' school and a lunatic asylum.... Our radio strategy is even more hopeless than our military strategy." But at the same time, Orwell was thinking deeply about the world of spin and propaganda. At one point, he notes: "All propaganda is lies, even when one is telling the truth." In April 1942, he despairs: "We are all drowning in filth. When I talk to anyone or read the writings of anyone who has any axe to grind, I feel that intellectual honesty and balanced judgment have simply disappeared from the face of the earth." The diaries are not always scintillating reading. Orwell's journal entries can be described as horror interrupted by gardening. For long stretches, he simply records the weather, how the beans are coming in, how much weeding he did. But when times got hard, his pen came alive-in the 1930s with the poor, in the early 1940s during the war, and in the late 1940s, as he grew ill. The characteristic Orwell voice is there-the intense clarity, the obsessive need to get some sort of honest rendering of reality. This book is not for beginners. It is for Orwell aficionados who already know the man's life. Christopher Hitchens (Why Orwell Matters), who followed so faithfully and well in his footsteps, provides a fine introduction. Despite the longueurs, it is a pleasure to be around Orwell's mind and his perfectly clear prose style. Illus. Agent: Bill Hamilton, AM Heath, U.K. (Aug.) David Brooks is an op-ed columnist at the New York Times and author of The Social Animal. (c) Copyright PWxyz, LLC. All rights reserved.
Booklist Review
Collecting a dozen of Orwell's personal diaries from the Depression until his final days, this selection offers a glimpse of the great writer observing the world around him. Early entries include accounts of Orwell's immersive investigations into the hardscrabble routines of coal miners, hop-pickers, and the working poor, and later entries chronicle the first years of WWII. But the majority of his observations and, one senses, the rhythms of his days involve notes and tabulations of more quotidian activities of the agricultural sort: planting crops, milking goats, watching the weather, and, perhaps most significant, counting his hens' eggs. Although it's perhaps tempting to probe such material for a new perspective, its real merit may be in allowing readers a close and factual (if only rarely emotionally intimate) view of Orwell's life, mostly free of biographical narration. As Christopher Hitchens notes in his introduction, Orwell's determination to seek elusive but verifiable truth, however minor, is on constant display throughout. Thickly annotated, this selection will be appreciated by historical researchers as well as curious browsers.--Driscoll, Brendan Copyright 2010 Booklist
New York Review of Books Review
Christopher Hitchens's introduction to George Orwell's "Diaries," among the last things he wrote before his death, is meant as a tribute to one of the writers he most admired, but it can also be taken as a warning. "Read with care, these diaries . . . can greatly enrich our understanding of how Orwell transmitted the raw material of everyday experience into some of his best-known novels and polemics." Read with care? What is Hitchens trying to tell us with that phrase? A few sentences later we have: "This diary is not by any means a 'straight' guide or By Christopher Buckley MORTALITY By Christopher Hitchens. 104 pp. Twelve. $22.99. Christopher Hitchens began his memoir, "Hitch-22," on a note of grim amusement at finding himself described in a British National Portrait Gallery publication as "the late Christopher Hitchens." He wrote, "So there it is in cold print, the plain unadorned phrase that will one day become unarguably true." On June 8, 2010, several days after the memoir was published, he awoke in his New York hotel room "feeling as if I were actually shackled to my own corpse. The whole cave of my chest and thorax seemed to have been hollowed a trove of clues and cross-references." About the creative process that went into constructing one of the novels, Hitchens says Orwell "gives us little or no insight." Most tellingly, he refers to the entries as "meticulous and occasionally laborious jottings." Read with care, Hitchens's introduction alerts Orwell devotees that they should not expect the same pleasures from this book that they get from other of his writings. This collection contains all 11 of the diaries available to us, along with entries from two of Orwell's notebooks. Additional diaries may exist. Peter Davison, who has scrupulously prepared these documents and was the lead editor of Orwell's 20-volume "Complete Works," says that "it is as certain as things can be that a 12th, and possibly a 13th diary" - seized by authorities during the Spanish Civil War - "are secreted away in the N.K.V.D. Archive in Moscow." Orwell may also have kept a journal at the start of his professional life in the 1920s, when he was an imperial official in Burma, but that is almost certainly lost. Much of the material here can be found in other sources. "Hop-Picking Diary," describing Orwell's experiences as a migrant farm laborer in 1931, appeared in the popular four-volume anthology "The Collected Essays, Journalism and Letters," The diary from a journey to grimy non hern England in the mid-'30s, with its notes on slag heaps, dirt trains, blackened houses and half-naked miners kneeling at the coal face, was worked up into Orwell's book "The Road to Wigan Pier"; the entry that starts "In the early morning the mill girls clumping down the cobbled street, all in clogs, make a curiously formidable sound" is polished for the book into the attention-grabbing opening line, "The first sound in the mornings was the clumping of the mill-girls' clogs down the cobbled street." The most substantive of Orwell's diaries are two that he kept during the early years of World War II, against a backdrop of momentous events like the Dunkirk retreat, the fall of France and the London blitz (Orwell's apartment building was damaged by a German bomb). Orwell was serving in the Home Guard and working for the BBC, all the while complaining to himself about the disorganization and inefficiencies he had to endure. Yet he describes a people determined to keep to their daily routines despite the German attacks. Almost metaphorically, Orwell's barber continued shaving his customers even in the middle of the air raids, leading a disconcerted Orwell to muse: "One day a bomb will drop near enough to make him jump, and he will slice half somebody's face off." Mainly, Londoners tried to avoid any talk of current events: when he went to his pub one evening, Orwell found the radio silent, because, as the owner told him, "they've got the piano playing in the other bar, and they won't turn it off just for the news." The common-man side of Orwell was encouraged by his countrymen's get-on-with-it imperturbability, the puritanical side of him exasperated. At some point, Orwell hatched a plan to turn his wartime diaries into a book, but his longtime publisher, Victor Gollancz, concerned about giving offense, quashed the idea. Gollancz was right to worry. Though Orwell patriotically writes that he would rather die for England than become a refugee or expatriate, a great many of the entries display what, in another context, he called "my natural hatred of authority." Britain's rulers were treacherous, its generals imbeciles. "If there is a wrong thing to do, it will be done, infallibly." Even Churchill should be removed from the scene, possibly by means of a German torpedo or mine during his travels. This wasn't exactly the kind of stuff to lift people's spirits, and the British public never did get the chance to react to Orwell's sneers and crotchets. Not then, anyway. But apart from some minor omissions, the wartime diaries have long been available in "The Collected Essays, Journalism and Letters," and a few years ago George Packer reprinted a good portion of one of them in his Orwell collection, "Facing Unpleasant Facts." The surprises this new book contains lie elsewhere. What will not be familiar to Orwell readers are the "domestic" diaries, kept largely during a sojourn in Morocco in the 1930s and on the Scottish island of Jura near the end of his life. These constitute about half the book and are surely what caused Hitchens to reach for the adjective "laborious." Orwell once said: "Outside my work the thing I care most about is gardening." It's true. These pages bloom with flowers - dahlias, sunflowers, nasturtiums, marigolds; also vegetables - lettuce, radishes, carrots, spinach, turnips, cabbage. Animals, too, got his attention: goats, donkeys, rabbits, lobsters. Orwell recorded the first lizard he saw in Morocco, and the habits of the geese he kept on Jura (they were "not grazing much"). With his acute eye for detail and What patriotism meant to Orwell was the ordinary things of his life - pubs, cricket, even English cooking. Barry Gewen is an editor at the Book Review. his remarkable reserves of patience, it's clear he would have made an outstanding naturalist. But reading page after page of these undigested observations is rather like watching a star athlete perform two hours of calisthenics: you are impressed with the demonstration of the man's ability, but would prefer to hear about it, not experience it. One subject, apparently, engaged Orwell more than any other. On Oct. 12, 1938, he acquired 12 Moroccan hens and started waiting for them to lay. A week later he was still waiting. On Oct. 27 he reports the first egg, then another, and another. Five consecutive diary entries read in their entirety: "11.16.38: One egg. 11.17.38: One egg. 11.19.38: Two eggs'. 11.21.38: Two eggs. 11.22.38: One egg." Other eggs follow. In Jura it was the same: "4 eggs," "5 eggs," though now with Orwell's running tabulation of the total, and with the ever-attentive Davison on hand to tell us when he added incorrectly. At orwelldiaries .wordpress.com, Davison has launched a pre-emptive strike to protect the diaries and the eggs: "I was very conscious of the opportunity it would give to reviewers of a certain ilk to pour scorn on a major edition. Imagine the headlines! 'A One-Egg Wonder'?" But whatever one's ilk, even in the case of George Orwell sometimes an egg is just an egg. STILL, scorn must not be poured. The eggs may not make for pleasurable reading, but they, and the marigolds and the lobsters, are a window into the way Orwell's mind worked. More than one commentator has observed that he was an empiricist's empiricist, consumed by the thinginess of life. "He taught us what the actual meant," Robert Conquest said. Lionel Trilling applauded "his simple ability to look at things in a downundeceived way." His "pleasure solid objects" as Orwell himself put it, provided the grounding for his poliand morality. No piece of writing better defined Orwell than the first part of his book "The Lion and the Unicorn," entitled "England Your England." Written at the same time as the first wartime diary, it began with the memorable sentence, "As I write, highly civilized human beings are flying overhead, trying to kill me." The war represented an intellectual crisis for him. He had been an antimilitary socialist in the late '30s, convinced that only a revolution could set Britain right Now, with those German bombers above, he realized he was a patriot after all. But what kind of patriot? He continued to hate the upper classes and the injustices of capitalism, continued to believe in the necessity of revolution. Insofar as patriotism was equated with God, King and Country or, worse, the preservation of the British Empire, he was against it. What patriotism meant to Orwell was the ordinary things of his English life - heavy coins, stamp collecting, dart games, an irrational spelling system. In the essay "Notes on Nationalism" a companion piece to "England Your England," he said: "By 'patriotism' I mean devotion to a particular place and a particular way of life." It was around this same time that he wrote essays in praise of pubs, cricket, even (outlandishly) English cooking. He would lay down his life not for the granthose abstractions preached by politicians and the clergy but for gardening and warm beer. Orwell was against abstractions of every kind: fascism, Communism, especially nationalism; "Americanism," he once said, was a term that could easily be used for totalitarian ends. His socialism was pragmatic, anti-utopian, perhaps little more than an expression of his hope that the conditions of the poor and the powerless could be improved. Abstractions, he knew, were the enemy of the powerless. They destroyed the diverse particulars of everyday life and necessarily culminated in some type of inhumanity, killing people for the sake of an idea. And because intellectuals were especially susceptible to those "smelly little orthodoxies," Orwell repeatedly disdained the group to which he so evidently belonged. He placed his faith in common people, who went about their lives without the need for Big Ideas, practicing what he saw as the common people's singular virtue - decency. Decency didn't require an idea, let alone an ideology, for validation. It was the morality of the here and now, available to everybody. "One has the right to expect ordinary decency even of a poet," he said. Orwell was a populist of sorts, and like any populist he had his dark side. His occasional rants against homosexuals and feminists are anachronisms today. His caustic remark that "a humanitarian is always a hypocrite" sounds a note too sour. But he was a populist with an abiding commitment to openness, which meant, as he conceded, that sometimes one had to fight against the beliefs one was raised with. His larger point, the one he always held on to, was that morality had to begin from the sense of who one actually was, if only to avoid the abstractions that killed. Orwell knew who he was and he told us again and again. He was a friend of the common man who also had an appreciation of James Joyce. He was a socialist with little hope for real change unless decency could somehow prevail. And he was a man who enjoyed gardening and counting his eggs. out and then refilled with slow-drying cement." And so commenced an 18-month Odyssey through "the land of malady," culminating in his death from esophageal cancer last December, when the plain unadorned phrase that had prompted him to contemplate his own mortality became, unarguably, true. He was 62 years old. "Mortality" is a slender volume - or, to use the mot that he loved to deploy, feuilleton - consisting of the seven dispatches he sent in to Vanity Fair magazine from "Tumorville." The first seven chapters are, like virtually everything he wrote over his long, distinguished career, diamond-hard and brilliant. An eighth and final chapter consists, as the publisher's note informs us, of unfinished "fragmentary jottings" that he wrote in his terminal days in the critical-care unit of the M. D. Anderson Cancer Center in Houston. They're vivid, heart-wrenching and haunting - messages in a bottle tossed from the deck of a sinking ship as its captain, reeling in agony and fighting through the fog of morphine, struggles to keep his engines going: "My two assets my pen and my voice - and it had to be the esophagus. All along, while burning the candle at both ends, I'd been 'straying into the arena of the unwell' and now 'a vulgar little tumor' was evident. This alien can't want anything; if it kills me it dies but it seems very singleminded and set in its purpose. No real irony here, though. Must take absolute care not to be self-pitying or self-centered." "The alien was burrowing into me even as I wrote the jaunty words about my own prematurely announced death." "If I convert it's because it's better that a believer dies than that an atheist does." "Ordinary expressions like 'expiration date' . . . will I outlive my Amex? My driver's license? People say - I'm in town on Friday: will you be around? WHAT A QUESTION!" Fans of the movie "Withnail and I" will recognize "arena of the unwell" and "vulgar little tumor." Readers of his 2007 atheist classic, "God Is Not Great," will get the frisky "convert" bit; more than a few of the pages in "Mortality" are devoted - as it were - to a final, defiant and well-reasoned defense of his non-Godfearingness. AS for the "jaunty words," those are of course from Chapter 1 of the memoir whose promotional tour was so dramatically interrupted by the tap-tap-tap of the Reaper. Self-pity? Those of his friends (I was one) who witnessed his pluck and steel throughout his ghastly ordeal will attest that he never succumbed to any of that. "To the dumb question 'Why me?,'" he writes, "the cosmos barely bothers to return the reply: Why not?" He was valiant to the end, a paragon of British phlegm. He became an American citizen in 2007, but the background music was always "H.M.S. Pinafore": "He remains an English man." (Emphasis mine.) "Mortality" comes with a fine foreword by his longtime Vanity Fair editor and friend Graydon Carter, who writes of Christopher's "saucy fearlessness," "great turbine of a mind" and "his sociable but unpredictable brand of anarchy that seriously touched kids in their 20s and early 30s in much the same way that Hunter S. Thompson had a generation before. ... He did not mind landing outside the cozy cocoon of conventional liberal wisdom." Christopher's devoted tigress wife, Carol Blue, contributes a - I've already used up my "heart-wrenching" quota - deeply moving afterword, in which she recalls the "eight-hour dinners" they hosted at their apartment in Washington, when after consuming enough booze to render the entire population of the nation's capital insensible, Christopher would rise and deliver flawless 20-minute recitals of poetry, polemics and jokes, capping it off saying, "How good it is to be us." The truth of that declaration was evident to all who had the good fortune to be present at those dazzling recreChristopher Buckley's latest novel is "They Eat Puppies, Don't They?" ations. Bliss it was in those wee hours to be alive and in his company, though the next mornings were usually a bit less blissful. "For me," he writes in "Mortality," "to remember friendship is to recall those conversations that it seemed a sin to break off: the ones that made the sacrifice of the following day a trivial one." In support of this, he adduces several staves of William Cory's translation of the poem by Callimachus about his beloved friend Heraclitus: They told me, Heraclitus; they told me you were dead. They brought me bitter news lo hear. and bitter tears to shed. I wept when I remembered how often you and I Had tired the sun with talking, and sent him down the sky. He was a man of abundant gifts, Christopher: erudition, wit, argument, prose style, to say nothing of a titanium constitution that, until it betrayed him in the end, allowed him to write word-perfect essays while the rest of us were groaning from epic hangovers and reaching for the ibuprofen. But his greatest gift of all may have been the gift of friendship. At his memorial service in New York City, 31 people, virtually all of them boldface names, rose to speak in his memory. One selection was from the introduction Christopher wrote for the paperback reissue of "Hitch-22" while gravely ill: "Another element of my memoir - the stupendous importance of love, friendship and solidarity - has been made immensely more vivid to me by recent experience. I can't hope to convey the full effect of the embraces and avowals, but I can perhaps offer a crumb of counsel. If there is anybody known to you who might benefit from a letter or a visit, do not on any account postpone the writing or the making of it. The difference made will almost certainly be more than you have calculated." One of the "fragmentary jottings" in the last chapter of "Mortality" is a brush stroke on Philip Larkin's chilling death poem, "Aubade": "Larkin good on fear in 'Aubade,' with implied reproof to Hume and Lucretius for their stoicism. Fair enough in one way: atheists ought not to be offering consolation either." For a fuller version of that terminal pensée, turn to his essay on Larkin in his collection "Arguably": "Without that synthesis of gloom and angst we could never have had his 'Aubade,' a waking meditation on extinction that unstrenuously contrives a tense, brilliant counterpoise between the stoic philosophy of Lucretius and David Hume, and his own frank terror of oblivion." The essay ends with two lines from another Larkin poem that could serve as Christopher's own epitaph: Our almost-instinct almost true: What will survive of us is love. What discrepant parts were in him : the fierce tongue, the tender heart. There is no "frank terror of oblivion" in "Mortality," but there is keen and great regret at having to leave the party early. But even as he stared into the abyss, his mordant wit did not desert him: "The novelty of a diagnosis of malignant cancer has a tendency to wear off. The thing begins to pall, even to become banal. One can become quite used to the specter of the eternal Footman, like some lethal old bore lurking in the hallway at the end of the evening, hoping for the chance to have a word. And I don't so much object to his holding my coat in that marked manner, as if mutely reminding me that it's time to be on my way. No, it's the snickering that gets me down." IN his first collection of essays. "Prepared for the Worst" (1988), he quoted Nadine Gordimer to the effect that "a serious person should try to write posthumously. By that I took her to mean that one should compose as if the usual constraints - of fashion, commerce, self-censorship, public and perhaps especially intellectual opinion - did not operate." He refers back to that in "Arguably," the introduction to which he wrote in June 2011, deep in the heart of Tumorville. He was still going at it mano a mano with the Footman, but by then he was at least realistic about the odds and knew that the words he was writing might very well be published posthumously. As it turned out, he lived just long enough to see "Arguably" hailed for what it is - inarguably, stunning. What a coda. What a life. He noted there that some of the essays had been written in "the full consciousness that they might be my very last. Sobering in one way and exhilarating in another, this practice can obviously never become perfected." Being in Christopher's company was rarely sobering, but always exhilarating. It is, however, sobering and griefinducing to read this brave and harrowing account of his "year of living dyingly" in the grip of the alien that succeeded where none of his debate opponents had in bringing him down. In her afterword, Carol relates an anecdote about their daughter, then 2 years old, one day coming across a dead bumblebee on the ground. She frantically begged her parents to "make it start." On reaching the end of her father's valedictory feuilleton, the reader is likely to be acutely conscious of Antonia's terrible feeling of loss.
Choice Review
This volume brings together all 11 of Orwell's available extant diaries (one, possibly two, additional diaries are held in the closed archives of Stalin's NKVD), previously published in The Complete Works of George Orwell (20v, 1987-2000), also ed. by Davison, and in the widely available The Collected Essays, Journals, and Letters of George Orwell, ed. by Sonia Orwell and Ian Angus (4v, CH, May'69). The late Christopher Hitchens provides an introduction (one of the last things he wrote before his death in 2011), in which he rightly claims that the diaries "enrich ... understanding of how Orwell transmuted the raw material of everyday experience into some of his best-known novels and polemics." The diaries reveal Orwell's domestic life and his capacious interest in the world: an oft-repeated phrase in these writings is telling--"must find out." Although one thinks of Orwell as battling abstraction and lies, these diaries show that some of his resistance to tyranny comes from relish of everyday life and the belief that people should be free to live a good life of small virtues. Covering Orwell's time in Morocco, his Jura (Scotland) farm, years surrounding WW II, and experiences informing The Road to Wigan Pier, this is an important resource. Summing Up: Highly recommended. All readers. J. M. Utell Widener University
Kirkus Review
A co-editor of George Orwell's Complete Works offers a lushly annotated edition of Orwell's diaries from 1931 to 1949. Born Eric Arthur Blair, Orwell, as these diaries reveal, lived a varied and even dichotomized life. A reader who visited the majority of these pages could never guess that they recorded the activities of the author of Animal Farm, Keep the Aspidistra Flying and 1984, a book he completed while suffering from the tuberculosis that would kill him. (Among the most poignant pages here are Orwell's lists of his hospital routines just weeks before he died.) Many of the author's entries deal with his activities on his farm. We learn how many eggs his hens laid each day, his battles with hungry rabbits and deer, his killing of the occasional snake, his observations of the weather, and his maintenance of the property. One moment of great excitement was his near-death in a whirlpool in the Gulf of Corryvreckran. Earlier sections of the diary deal with his abject poverty in the 1930s. He traveled around picking hops (a process he describes in some detail); he was down and out in Paris and London; he traveled to the Mediterranean. In all these places, he noted human customs and flora and fauna. In 1939, Orwell kept daily track of events that were leading toward world war but interwove odd moments about earwigs, a dead cat and the properties of goat manure. In the diary he kept during World War II, he found himself becoming accustomed to continual bombing in London. He joined the Home Guard but noted that their rickety weapons would hardly retard the expected German invasion. Editor Davison (English/De Montfort Univ.) supplies necessary contextual information and footnotes generously, but stays in the shadows and allows us to truly enjoy Orwell's impressive chronicles.]] Copyright Kirkus Reviews, used with permission.
Library Journal Review
Orwell's extensive diaries, published in Britain in 2009, are finally available in print form in the United States (daily postings from the diaries have been appearing online at http://orwelldiaries.wordpress.com). This volume contains 11 diaries, beginning in August 1931 and ending in December 1948, 11 months before Orwell's death. Two missing diaries, from the Spanish civil war, are thought to be housed in the former KGB archives in Moscow. The diaries reveal intimate details of Orwell's life-the death of his first wife, raising his son, his financial struggles, and his travels. Many entries served as primary material for later works, e.g., a 1936 diary used to write The Road to Wigan Pier. While there are many mundane entries, e.g., on chores and the weather, there are also lengthy ruminations about political and world events, as in the "Diary of Events Leading Up to the War" (titles probably by the editor) and his detailed and compelling notes during World War II. Davison, who has edited Orwell's complete works, provides helpful explanations and many notes. Christopher Hitchens's introductory essay is one of his last literary efforts. VERDICT The diaries will appeal to all-literary scholars, historians, and students of 20th-century literature-seeking the inner life of this profoundly influential writer. Strongly recommended.-Thomas A. Karel, Franklin & Marshall Coll. Lib., Lancaster, PA (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
