Rare Books LA Union Station, October 4th-5th

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Hi guys!

I wanted to share a fun book and possible extra credit event to write about.

Hosted by Netflix, in collaboration with Rare Books LA and The Library Foundation of Los Angeles, is hosting a Rare Book event celebrating Guillermo Del Toro’s new movie, “Frankenstein”, and Mary Shelley. It is a weekend event at Union Station in Los Angeles from Saturday, October 4th, to Sunday, October 5th. Ticket proceeds go towards The Library Foundation, including their Palisades Branch which was burned down. Tickets range from $15-$40 depending on day and special passes.

The event has many exhibitors showing rare books, maps, and special items. There are multiple talks about Frankenstein, Mary Shelley, and Californian Literature. Dr. Peter Weller has a talk as well about his upcoming new book, “Leon Battista Alberti in Exile” on Rennaissance Art. There is a talk on Friday, October 3rd, in Hollywood about “Frankenstein” with Del Toro and Ken Sanders though general admission tickets are $250. Union Station is also a historic building, completed in 1939, and still has some of its original Art Deco furnishings like the old ticket concourse and Fred Harvey restaurant so I think the building’s even cool because it’s symbolic of preserving history like the preservation of old books.

Union Station is located at 800 North Alameda Street. If you take the Amtrak Surfliner, that goes directly into Union Station.

Here’s a link to the online flyer, tickets, and information: Rare Books LA, Union Station October 4-5, 2025 | Rare Books LA

The Bibliography and Book History

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In class, we have been discussing the various components of the book and how every detail is crucial. In order to create one book, it has to pass through dozens of hands to get the final product. For even the smallest detail in a book, there is an unspoken craftsman behind it who spent an unimaginable about of time to create it. To understand a book, you have to understand the hard work and effort that went into the creation of it, from the paper and the binding, to the typography used and everything in between. In W.W. Greg’s article, “Bibliography – A Retrospect” he writes, “the object of bibliographical study is, I believe, to reconstruct for each particular book the history of its life, to make it reveal in its most intimate detail the story of its birth and adventures as the material vehicle of the living word. As an extension of this follows the investigation of the methods of production in general and of the conditions of survival.” With bibliograpies, these details are noticed and brought to light. In class, we have focused on the minute details of the book, even discussing how the source of paper and vellum how could be traced to a geographical region. Greg’s definition of bibliographical study explains why these small details are necessary to understanding the book.

Amarath Borsuk’s “The Book” demonstrates the history of books and how every component is extremely dependant on the others. Borsuk details how the Book is not just the content that it presents but ecapsulates the whole being of the book. The covers, paper, ink, and printing process is what makes the book a book. Even censorship, errors, and marginalia can help the reader understand more about the book, its history, and the society that valued it. Both Borsuk and Greg are pushing the limits on book studies and want their readers to understand the physicality of the book.

Bibliographies are crucial to book history in the way that they force us to read books from every aspect. They make us ask questions about the source of paper, how were the pages bound, and who were the ones to publish the work. Each book has such a rich history that we can learn a lot through the chain lines of paper and the marginalia left behind. Bibliographies allow us to make sense of these details so that we can glean more information from the life of a book.

Bibliographer and Historian

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After reading the main texts along with the further readings, I have come to the conclusion that I never really knew what the definitions were of bibliography, bibliographers, bibliographical and such. The only thing that I ever knew about bibliography was the Enumerative bibliography and even so, I never knew that exact term until the readings for this week. Using bibliography as a means to record the history of a text beyond its text form is something I would have never thought of considering that I had only known about enumerative which is a type of bibliography that doesn’t make its entire focus on the physical form of a book.

Looking more into the physical aspect of the book can teach us and also allow us to record things about culture, perceived meanings, and the transformation of the book during the time period it had existed in or rather created. McKenzie speaks on this topic about how a bibliography goes beyond the text itself and focuses on the physical aspects of the book and how a society affected its physical form.

“Beyond that, it allows us to describe not only the technical but the social processes of their transmission. In those quite specific ways, it accounts for non-book texts, their physical forms, textual versions, technical transmission, institutional control, their perceived meanings, and social effects.”(McKenzie 12-13)

The way McKenzie describes how a bibliography is made me remember the class discussion we had on Thursday talking about how the printing press was able to be controlled by institutions and how it shifted social processes which lead us to learning the history about how we must be wary of the information that we received no matter what. Bibliography to my understanding from McKenzie shows me that it tries to capture everything about a text’s physical form that is being studied and recorded for in which we will ultimately learn more meanings behind it and its social effects.

My biggest takeaway of everything about bibliography now is that a book is much more important than its text and that its physical form has so many meanings, implication and thought put behind it and that it shouldn’t be severely overlooked. It honestly shocks me now that I realize how many people including myself were never really taught how to read into a physical book’s history and honestly, it was never mentioned at all in my times during school until now.

Bibliography as an act of resistance and defiance

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Bibliographies are commonly known as a list of: books, sources and articles– typically used to cite sources. Though, scholarly, there has been a shift regarding what is a Bibliography– challenging our preconceived notions and prejudices regarding the materialistic content of what constitutes a Bibliography; a Bibliography is not merely a works cited but material with intellectual depth– not with discourse but with the actual content characterization. A Bibliography is not a superficial list of works but examines the cultural value of texts, books and digital forms of literature. There are different aspects that should be considered when scrutinizing a Bibliography– the social-cultural framework surrounding the period in which book/ content was produced. In this instance, physical elements should be considered– the type of paper that was used/ produced, watermarks and the mechanism used to reproduce and spread literature; in this manner, converging material characteristics with our social-cultural time period and values– all dependent on our surroundings. This further demonstrates the fix set of objects in a culture that constantly shifts its values– acting in a feedback loop. And, unlike other branches in the department of arts and humanities were certain objects and materials are reserved for a particular demographic, bibliographies are entrenched in our society: scholars, professors, students, book collectors and libraries are all filled with Bibliographies– providing a sense of community and unity rather than alienating individuals that value academic curiosity and intelligence.

Maruca and Ozment’s position regarding Bibliographies converge material books with critical theory– the liberation of ideas that constrains society from ideology– ideology rooted in behaviors and rituals rather than merely ideas according to Althusser’s standards. The framing of critical theory intervenes against dire social prejudices– one that is intrinsically interconnected to the Bibliography– demonstrating how books are a symbol of power and resistance– echoing topics viewed in books such as 1984 and Brave New World.

Week 6: Bibliography Actually Matters

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When I first heard the term “bibliography,” I personally thought it was just a nonsense word for a list of sources that you have to format at the end of a paper. But after reading “What is Bibliography?,” I am realizing that there is so much more to it than I thought.

In the reading, the first line of it caught my attention. “Bibliography examines the artifactual value of texts – including books, manuscripts, and digital texts – and how they reflect the people and cultures that created, acquired, and exchanged them.” It brought me back to how I have been reevaluating my thoughts about books and texts (I know I sound repetitive but truly these readings blow my mind every time). It really just drives the point that books are not just vessels for information, they’re physical objects with their own histories and stories to tell.

But what truly struck me was learning about the difference between “bibliographic” and “bibliographical” because I never knew that there was a difference between the two. The difference is that bibliographic work focuses on metadata and citations (aka the stuff we’re familiar with), while bibliographical work examines the physical features of texts themselves (watermarks, printing practices, binding methods). It’s almost like being a detective, piecing together the story of how a book was made, who touched it, and how it traveled through time.

The example about Dorothy Porter Wesley’s work was really neat to me, her bibliographic research on Black authors’ works forms the basis of the study of American and Black bibliography. This offers a reminder that bibliographies are more than just a theoretical academic exercise, they have practical applications in determining whose voices have been preserved, whose works have been gathered, and whose tales have been repeated across time.

I’m also curious about who can become a bibliographer.They are from “across the disciplines in the humanities,” according to the reading, and are professors, librarians, curators, and dealers of old books. You should consider yourself a bibliographer if you are “thinking about or studying the materiality of texts” as part of your research. That is a relatively low entry requirement, and I love that. It makes the field feel accessible rather than exclusive.

This reading, once again, has me looking at my textbooks and books differently now. Who printed this? When? What does the paper quality tell us about the era it was produced in? 

Week 6-Bibliographies and Books as a Living History

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If you had asked me before starting this class what a bibliography was, I would’ve said it’s a research trace of a project, but it doesn’t add any value to the project. It’s just there to insure we did thorough research, and our work is truly ours. But now I see what fully encapsulates that research trace. The Bibliographical Society of America state that “as a field of inquiry, bibliography examines the artifactual value of texts – including books, manuscripts, and digital texts – and how they reflect the people and cultures that created, acquired, and exchanged them.” By making a bibliography, you are making an imprint of your actions caused by thinking impacted by social and cultural systems. What search engine you use could come up with different results first and that engine put onto your computer could indicate what model and make you have, which you chose from the impact of cultural and economic influence. Our own bibliography tells a story of how we made the choices and thoughts from outside influences that got us to our research conclusion.

I did not consider before this class that physical objects or anything but a project or paper for school could have a bibliography. It is fascinating to me how much information about the world books hold. A book tells us about accessibility, culture, value, place, and time. A books bibliography and books as an object, is a living, breathing, history about humankind. W.W. Greg states in “Bibliography – A Retrospect” (1945), “For in the ultimate resort the object of bibliographical study is, I believe, to reconstruct for each particular book the history of its life, to make it reveal in its most intimate detail the story of its birth and adventures as the material vehicle of the living word. As an extension of this follows the investigation of the methods of production in general and of the conditions of survival.” (27) The history of a book and creating a bibliography for it crafts the intimate life and history of that book. Through bibliographers piecing together parts whether it be what material it’s bound in, where is it regionally from, is the making of it a cultural or period specific practice, are putting back a piece of history for us to be able to understand the past and people. A book is an imprint made by putting parts of different lives together and then is untangled and translated by bibliographers in the future for those lives and customs to continue on.

Critical Bibliographical Lens

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Throughout the entirety of my academia, I have never once considered a bibliography to be more than a “work cited” section at the end of a text. To me, it was always just a way to grant credibility for liability reasons and in order to maintain academic integrity. A bibliography expands far past a way to avoid plagiarism. As The Bibliographical Society of America explains, there is a difference between the words bibliographic and bibliographic. Bibliographic being a citational record and bibliographical referring to the study of the physical features of the material printed texts (a.k.a. the bookishness of texts). 

When thinking about texts from a bibliographical perspective I immediately thought of the feelings and emotions that occurred when I was in the presence of the various texts in Special Collections. Although I was unable to read or understand any of the content on the pages, I was able to comprehend the history, craftsmanship, and purpose of the books simply by observing the physical characteristics in the paper, binding, cover, etc. The textures, designs, and structures of these texts revealed stories beyond their written content, highlighting that meaning can be derived not only from what is written but also from how it is materially presented and preserved.

The further reading section portrays the evolving discourse about bibliographical studies. Lisa Maruca and Kate Ozment explain the intersection between critical theory and bibliographical studies as a critical bibliography. Maruca and Ozment (2022) write “critical bibliography explores how critical theories can (re)shape our histories of the book and bookish objects and in turn how bibliography can be used as a tool to resist oppression.” For example, cheap mass production of printed texts accelerated the spread of hegemonic beliefs by making certain ideologies widely accessible while excluding others. The printing press not only expedited the production of texts but also lowered their cost, making the spread and consumption of oppressive ideas much faster. As someone who loves to know the “why” behind most things, I am eager to take this new approach to Special Collections this week as we also begin to start our midterm project. I will continue to ask myself: What historical occurrences shaped this text? How might the material qualities of the book itself reflect systems of power or resistance? How can I use a critical bibliographical lens to uncover stories that may not be visible in the written content alone?

New understanding of „Bibliography“

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When I first heard the word “bibliography,” I honestly thought only about the list at the end of an essay you know, where you dump all the sources in MLA or Chicago style. That’s what I did in high school in Germany and it felt like the most boring part of writing. But after reading the Bibliographical Society of America’s page “What Is Bibliography?”, I realized that I had completely misunderstood the term.

The line that stuck with me was: “Bibliography examines the artifactual value of texts … and how they reflect the people and cultures that created, acquired, and exchanged them.” I had to pause on the word “artifactual.” It means that a book is not just words on paper, but also an artifact, like a piece of history you can hold. Thinking about it this way, even the small scratches, the kind of paper, or notes in the margins become part of the story.

The site gives the example of watermarks in old paper. I never thought about this before, but these tiny patterns can tell scholars where and when the paper was made. It’s like a hidden code inside the book. I find this so cool because it shows that books are physical witnesses of history. You don’t just read them you also “read” their material.

I also liked how the page made a difference between “bibliographic” and “bibliographical.” At first, I thought this was just English being confusing again. But now I see that “bibliographic” means data like author, date, publisher while “bibliographical” means the actual study of the object itself. It’s a small detail, but it helped me understand the field better.

For me, the big takeaway is that bibliography is not only about organizing sources. It’s about looking at books as objects that carry the marks of people, cultures, and histories. As a student who mostly reads PDFs on a laptop, I think it’s important to remember that the material side of texts matters too even if the “page” is just a screen.

Bibliography Defined

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On the Bibliographical Society of America’s page “Bibliography Defined: Further Reading”, I was surprised how many different ways there are to define bibliography. At first, I thought it was just about making lists of books, but the readings show that it’s much more complex.

One sentence that stood out to me was from G. Thomas Tanselle, who defines bibliography as “a historical scholarship field investigating the production, circulation, and reception of texts as physical objects.” When I read this slowly, I realized how much is packed into it. Production points to the craft of bookmaking, from scribes copying manuscripts to modern printing. Circulation reminds me that books move through time and space. Who owns them, how they get into libraries, or how they are traded and collected. And reception shifts the focus to readers, how books are actually used, marked up, or even censored. This short definition opened my eyes to how dynamic the life of a book really is.

The other scholars on the page expand on this in different directions. For example, W. W. Greg focused on the material study of books, while D. F. McKenzie argued that bibliography must also include social and cultural contexts, not just paper and ink. More recently, Derrick Spires writes about liberation bibliography, which shows that the history of books is also the history of exclusion, who gets to be published, preserved, and remembered. Thinking about this makes me realize that bibliography is not neutral. Just like Tanselle says, books are physical objects, but the way they are made and circulated is shaped by power.

As a German exchange student, I think about how our libraries at home privilege certain “classic” authors while other voices are harder to find. Bibliography, then, can also be a way to uncover those silenced histories.

Overall, the BSA’s list shows that bibliography is both technical and political. It studies bindings, editions, and typography, but also the cultures that decide what counts as a book.

Lasting Impressions

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Until now, I assumed that a bibliography was another term for a works cited page. The section of a paper in which the author complies their citations. Now that I’m thinking about it, biblio means book and -graph means to study, so bibliography being the study of books should be obvious. But I had never heard the term used in such a way. Reading through the Bibliography Society of America’s website also revealed that bibliography refers to both books as objects and books as content. As modern day scholars, it’s important to realize that it is the content that decides whether we get to read an older book. I was thinking of this because of the following quote: “As an extension of this follows the investigation of the methods of production in general and of the conditions of survival.”

Conditions of survival might be the conditions of which a book was physical stored in. Was a book rarely used, and kept in a dark, dry room? Or was it touched often, stained by the oils in a hand, read in the sunlight on a wet, humid day which would effect the pages, ink, and bindings. But conditions of survival could also be about in content of the book. The importance of a book to an owner is directly connected to how it is kept. We have many versions of religious texts, because people went out of their way to preserve them. They found them important and considered that future generations would want to read them. But not all stories, all books, are given that same consideration. The only books we get to study are the ones that survived. There’s so much that has been lost to time, because the people in the moment were concerned with the present, not with saving their favorite stories for historians in the future.

As someone that reads online, as well as someone that owns a variety of digital content including video games, movies, and music, I do worry about the future of archiving and preservation. Not only can creators delete their stories at any time, but conglomerates can revoke access to previously purchased materials. It’s not truly possible to own a digital item, which will make it harder if not impossible for future scholars to truly understand digital humanities in the 21st century. How can we ensure that modern stories will survive? I know that some people do take it upon themselves to archive fanfictions; I’ve read stories from a Harry Potter archive account that I’ve really liked! So I know that their are people that worry about this as I do. I don’t have an answer for how to best preserve digital literature, but I do hope that congress passes some laws about buying versus licensing digital products. It should be clear to the consumer what we own and what we don’t.

In the end, we read what we’re told to read. We can only read from the options we have in front of us, and those options were meticulously chosen by people who don’t necessarily have our best interests at heart. As time goes on, I will continue to study older books with the question of why this specific item still survives for me to be able to interact with.