La Fin Des Livres by Albert Robida and Octave Uzanne (leveled readers TXT) 📖

The original drawings in the collection Contes pour les Bibliophiles were scanned as black-and-white drawings at 600 dpi, and cleaned up in Photoshop. The drawings were extracted and processed individually to reduce their file size and improve their visual presentation on computer screens. The text was run through Textbridge 9, which did a surprisingly good job at OCR.

The HTML layout merges the recovered text and the processed images back together again, and is designed to approximate that of the original. It is impossible to imitate it exactly, for all browser configurations, in HTML. You can do it in PDF; we looked at conversion to PDF but decided to keep things simple. One hopes also that future XML layout tools will provide this capability.

The original is in French, and providing a proper translation is outside the scope of this project. I wrote a summary in English for those us of who do not have the French language. Or see the "Scribner's Magazine" references below.

I have no idea what was originally written as the last word in the caption of the drawing of Gutenberg and the devil. It appears to have been scratched off the printing plate.

Contes pour les Bibliophiles was noted in "The Century Magazine" (May, 1895, page 354 ff.) in a review section on "Books in Paper Covers." I say noted; but actually, only the cover was reviewed. The cover was reproduced in a photoengraving in "Century" and its artistic values were denigrated; the contents apparently remained unread. Perhaps they were unhappy because Uzanne ocasionally appeared in English in "Scribner's Magazine", which competed fiercely with "Century".

The story itself appeared in a clumsy English translation in "Scribner's", Vol. 16 (1894), pp 221-231, with illustrations by Robida — some the same as those in the collection Contes, and some different. A few of those used in both places were printed more clearly in the magazine, but most were reproduced badly in the magazine and are clearer in the collection Contes. The page images are on the web in both JPEG and GIF format at Dave Price's website at Oxford

Another place to see this on the web, with a different set of JPEG images of the "Scribner's" pages, is at the University of Kent at Canterbury, which also has an HTML of the whole piece with the artwork located in approximately the right places (but of questionable size), and an HTML version with the art left out.

A fabulous resource for anyone interested in the history of American magazines (or American history in general) is the MOA project at Cornell. They have put up on the web full-page images of the complete editorial contents of long runs of 19C magazines. "Scribner's" is included; at MOA you can see what else was in the same issue with this piece. Unfortunately, their reproduction of the i llustrations is very bad, either because of their imaging methodology or because they were working from bad microforms. Also, it has always been common for libraries to discard the covers and ads from magazines before binding them, to save money and shelf space. Today we find the ads and cover illustrations generally more interesting than the stories and features. Most of the volumes at MOA lack the ads and covers. Such is life.

"Albert Robida's Imperfect Future" in "History Today," July 1998. (I have not yet seen this article myself.)

A page describing the "Association of the Friends of Albert Robida", (Les Amis) with links to some of his drawings on the web.

Some interesting pages at pansophist.com display Albert Robida illlustrations, as used by Disney at the recently closed Horizons pavilion (1983-99) at Epcot: Introduction and Follow-on.

A different piece by Uzanne, also from "Scribner's", (1892, p. 558) can also be found at the MOA project: "Conversations and Opinions of Victor Hugo - from Unpublished Papers Found at Guernsey". Yet another is "The Arts Relating to Women, and their Exhibition in Paris" (Vol. 13 (1893), page 503). You should be able to go directly to the "Scribner's" volumes at MOA.

All of the URL's given above are subject to sudden and unexpected change! The web is dynamic, changing, upredictable, and sometimes unreliable. They were tested, updated, and working correctly on 31 July 2000.

Copyright 1999, 2000 by Michael Ward

London. Bibliophiles and scholars, inspired by a lecture at the Royal Institution, in which the eminent physicist Sir William Thompson discussed the life and death of the sun, convene after the lecture at a gentlemen's club and discuss what they think the future will hold.

James Wittmore considered the rise and fall of continental powers. Julius Pollok predicted the futures of foods and the eradication of hunger; a green Eden that humorist John Pool laughed at as contrary to the rule that one must devour or be devoured. Arthur Blackcross decried the miserable state of current painting and sculpture, but predicted that in the future it would become great, done by a small number of talents, with color photographs and photoengravings satisfying the masses.

But what of the future of books? The narrator argues that Gutenberg's invention will soon disappear. Reading causes lassitude and wearies us tremendously. Words through the speaking tube, however, give us a special vibrancy. The gramophone will destroy printed works. Our eyes are easily damaged, but our ears are strong.

But, his listeners object, gramophones are heavy and the cylinders easily damaged. This will be taken care of; new models will be built which will fit in the pocket; the precision of watchmaking will be applied to them. Devices will collect electricity from the movements of the individual, which will power the gramophones.

The author will become his own editor. In order to avoid imitations and counterfeits, he will deposit his voice at the Patent Office. Instead of famous men of letters, we will have famous narrators. The art of diction will become extremely important. The ladies will no longer say that they like an author's style, but that his voice is so charming, so serious, that he leaves you full of emotion after listening to his work: it is an incomparable ravishment of the ear.

The libraries will be become phonographoteques. They will house famous works by artists in vogue, such as Coquelin's performance of Moliere, Irving's Shakespeare, Salvini's Dante, etc. Bibliophiles will become phonographophiles, and collect cylinders with the unique example of the voice of a Master of the theater, poetry or music, or those with new and unknown alternate versions of a famous work. Narrators will do comic pieces, sound effects, and dialects like Irishmen and American Westerners.

At the crossroads of all cities, there will be kiosks where the passerby can put in a penny and hear the works of Dickens, Dumas Sr. or Longfellow. The author can carry his works to buildings on the street, where multiple pipes will carry his words to all the windows for the people to listen. At four or five cents per hour, even the poor can afford this, and the wandering author will still make money because of the number of listeners at each house.

Our grandchildren will use phonographs everywhere; at every restaurant table, public transportation, steamship cabins, and hotel rooms; railroads will supply Pullman circulating libraries which will make travelers forget the distances they cover, while allowing them to look out the windows. Printing will be abandoned, except for a small possible use in trade and private communication.

The newspaper will go the same way, because no one will be satisfied with the printed word if they can hear what was actually said, the current songs, the voices of the divas. The post office will bring cylinders each morning to the subscribers; the servants will lay them out so the Master and the Mistress can hear the news, telegrams, stock exchange prices, whimsical articles. Journalism will be transformed, with the best places reserved for the solid young men with warm, strong voices, whose art will be in the pronunciation rather than in the style or form of the written sentences. While literary mandarinism will not disappear, it will be for a negligible number of listeners. The newspaper offices will have enormous "spoking halls" [sic] where the writers will record the news aloud; the telephonic dispatches will be transferred automatically. The resulting cylinders will be stereotyped in great number and put into the post office before 3:00 am., except that if it can be arranged with the telephone companies the newspaper will be carried directly by wire to the ears of the subscribers.

Blackcross objects to the loss of illustrations when books disappear. Ah! the Kinetograph of Thomas Edison, which the narrator saw the first tests of, when he visited New Jersey, will record the movements of the man as the gramophone records the voice. Within a few years this will illustrate everyday life. We will have these in our residences; the scenes of fiction and adventure novels will be performed by well-costumed actors. We will also have current events, to complement the phonographic newspaper.

Finally, just as eye-doctors multiplied when Journalism was invented, in the same way in the future ear specialists will prosper.

Books must disappear, or they will ruin us. In the whole world there are eighty to a hundred thousand books published each year, and at a thousand copies each this is more than one hundred million specimens, of which the majority contain only trash and errors.

How happy we will be not to have to read any more; to be able finally to close our eyes! Hamlet, of our beloved Will, could not have said it any better.... Words! Words! Words! ... words which will pass and which no one will read any more.

Copyright 1999, 2000 by Michael Ward

"The End of Books"

Suggestions d’avenir
LA FIN DES LIVRES

Introduction, digitally modified images, and Abstract in English are Copyright 1999 by Michael Ward.

Ce fut, il y a deux ans environ, à Londres,

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