Word: jacketing
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Dates: during 1960-1969
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...plays, savors his stereophonic collection of Liszt and Chopin piano concertos, relishes Italian food (favorite is shrimp marinara), sips twelve-year-old bourbon when he works at home at night. He dresses in banker-conservative clothing, favors dark suits and dark Homburgs at the office, a plum-colored smoking jacket and black leather slippers at home. When he became HHFA director, Weaver promptly moved into an urban-renewed Washington apartment ("I wanted to put my money where my mouth was"), but within a year put his money into more luxurious accommodations ($300 a month) on fashionable upper Connecticut Avenue...
...Cuticle" in Herman Melville's White Jacket...
Over half of the Harvard and Kleist collections are from England, where the book-jacket first emerged from its lowly dust-wrapper status. Originally used by London booksellers to keep their wares free from fog and grime, the book-jacket underwent a crucial metamorphosis when Lewis Carroll's The Hunting of the Snark came out in 1876. Snark's humble grey wrapper shouted critical praise for the two Alice books. As the first known jacket to carry advertisements, it was the ancestor of the modern commercial jacket. The English publisher who pioneered designs for fiction jackets was T. Fisher Unwin...
Until the recent rise of book-jacket specialists, English publishers frequently paid recognized artists to design jackets. Since commercialized publicity jackets have proven ineffective in England, publishers have stressed tasteful, artistic appeals to a discriminating public. Kleist's favorite designer is Edward Ardizzone, an illustrator of children's books who Paints "typically English, Dickensian characters" in subduded watercolors...
...Kleist collection should convince anyone that the essentially ephemeral craft of jacket-design has yielded an enormous quantity of sensitive and valuable art. Furthermore, jackets can represent important trends in graphic arts and book design. But in the end, the greatest value in their preservation, as Kleist points out, may be their interest to future generations as relics of a dead culture. As the late printing expert Holbrook Jackson said, "ephemera may prove to be reliable a guide to historians as the congeries of books in the Bodleian or the British Museum. The historian of the future may yet learn...