Page 129 - The Secret Museum
P. 129

Gordon, who would become a friend of Albert Berg, acquired Virginia Woolf’s

          papers in 1958. He took them home with him and laid them out on the living room
          floor so that he and his family could have a good read through them all.

              Isaac is in charge today, and he would never do such a thing. ‘That was a different
          time,’ he said. ‘Today we have works, printed and manuscript, by over 400 authors,
          with manuscripts and letters by and to Trollope, Keats, Wordsworth, Conrad, Hardy
          and Yeats, and the largest collection of Virginia Woolf and Auden papers in the
          world.’ They even have Virginia Woolf’s walking stick, which was found in the river
          after she had drowned herself.

              The Berg Collection is still growing: ‘We have the papers of Annie Proulx, Paul

          Auster and my favourite author, Vladimir Nabokov.’ I told Isaac I’d seen Nabokov’s
          butterfly cabinet at Harvard University, and he said, ‘Oh yes, we have most of the
          journals he annotated and his scientific drawings of butterflies.’

              I was interested to know what happens with modern authors, because surely so
          many first drafts are now on computer hard drives, and so many letters are sent by
          email. ‘Paul Auster tends to type letters and fax them, and keep the faxed copy, so the
          library has his outgoing and incoming letters, which is unusual. For several authors
          we have some floppy disks containing emails, and sometimes we get printouts of

          emails as well’.
              Everything is stored safely in the Berg vaults, except for material relating to the

          brothers’ two favourite writers – Thackeray and Dickens – and of course the letter
          opener made from the paw of Dickens’s beloved cat Bob.

              I asked Isaac what his favourite things are? ‘If the whole place were on fire and I
          could rescue only one item, I would probably save T. S. Eliot’s typescript of The
          Waste Land, with his annotations on it, because of its monumental status in the
          history of English literature. I also love William Blake and if permitted a second
          object I’d save his Songs of Innocence and Experience with its beautiful
          watercolours – created using a technique of relief etching which he devised, he said,

          through instructions given to him in a vision of his dead brother. Or maybe works by
          Nabokov…’
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