With rising temperatures and increasingly unpredictable weather patterns, book collectors are facing new challenges in preserving their treasured special editions. Rare books and limited editions are particularly vulnerable to environmental damage, with elements like humidity, heat, and insects posing serious threats to their condition and value.

“Collectors often don’t realise how quickly environmental factors can permanently damage special edition books,” explains Taskeen Ahmed, Founder of Awesome Books, “The materials used in premium editions—from leather bindings to specialty papers—usually require more careful protection than standard books.”

So let’s move on to the Why and How of it: Why Special Editions Need Extra Protection against insects, humidity, and extreme weather conditions.

Unlike mass-produced paperbacks, special edition books typically contain materials that are particularly susceptible to damage. 

“Limited editions frequently include elements like handmade paper, leather bindings, specialty inks, and sometimes even fabric components,” Ahmed explains. “These materials can be magnets for various insects and are more sensitive to humidity and temperature fluctuations.”

The value of special editions can decrease significantly with even minor damage. Small insect holes, water stains, or warped covers can reduce a collector’s item from mint condition to fair or poor, potentially decreasing its value by 50% or more.

And now the How: Ahmed’s Tips For Protecting Your Special Editions

1. Control Temperature and Humidity. “The ideal environment for storing valuable books is cool, dry, and stable,” says Ahmed. “Aim for temperatures between 65-70°F (18-21°C) and relative humidity between 30-50%.” Fluctuations in temperature and humidity cause paper and binding materials to expand and contract, leading to warping and deterioration over time. Consider using a dehumidifier in damp areas or a humidifier in overly dry environments to maintain optimal conditions.

2. Shield From Direct Light. UV light causes fading and deterioration of book covers and pages, particularly affecting colorful dust jackets and illustrated pages. “Never display your valuable books in direct sunlight,” Ahmed advises. “Even artificial light can cause damage over time, so consider UV-filtering glass for display cases or protective book covers for items on open shelves.”

3. Use Acid-Free Materials. Regular cardboard boxes and standard plastic bags can release chemicals that damage books over time. “Always store special editions with acid-free materials,” recommends Ahmed. “Acid-free boxes, archival sleeves, and unbleached cotton or linen cloths are best for wrapping or storing valuable books. Avoid plastic containers, which can trap moisture and accelerate mould growth.”

4. Implement Pest Prevention Strategies. Insects like silverfish, booklice, and carpet beetles are attracted to the starch in book bindings and the protein in leather covers. “Regular inspection is your first line of defense,” Ahmed notes. “Look for small holes, tiny droppings, or shed insect skins. Keep food away from your collection area and consider natural deterrents like cedar blocks or lavender sachets, which many insects dislike but won’t damage your books.”

5. Create Air Circulation. Stagnant air creates conditions where mould can thrive, particularly in closed bookcases pushed against walls. “Position bookcases a few inches from walls and avoid overcrowding books on shelves,” says Ahmed. “This simple step improves air circulation and reduces the risk of mould growth, which can quickly spread through an entire collection.”

6. Use Proper Shelving Techniques. How books are positioned on shelves impacts their structural integrity over time. “Store books of similar size together and use bookends to keep them upright without leaning,” Ahmed advises. “Very large or heavy books should lie flat, but don’t stack too many on top of each other as this creates pressure on the bottom books. For particularly valuable editions, consider individual archival boxes that protect from light, dust, and physical damage.”

7. Prepare For Weather Emergencies. With extreme weather events becoming more common, collectors need emergency plans to protect their investments. “Keep valuable books on higher shelves to protect from potential flooding, and consider waterproof containers for your most precious items during storm seasons,” says Ahmed. “If you live in an area prone to extreme humidity or temperature fluctuations, investing in climate control equipment isn’t just a luxury—it’s essential protection for your collection.”

Taskeen Ahmed, Founder of Awesome Books, continued: “The preservation challenges facing book collectors are increasing as our climate changes. Higher average temperatures create more favourable conditions for book-damaging insects, while extreme weather events put collections at greater risk of water damage and humidity fluctuations. Taking preventative steps now is much more effective than trying to restore damaged books later.

“What many collectors don’t realise is that prevention doesn’t need to be complex or expensive. Simple measures like keeping books away from external walls, using proper shelving techniques, and implementing basic pest monitoring can dramatically extend the life of special editions. The key is consistency—regularly checking your collection for early signs of problems and maintaining stable environmental conditions.

“For those with particularly valuable collections, I recommend creating a preservation plan that includes both everyday care and emergency procedures. Knowing exactly what to do if you spot insect activity or face a sudden climate event can mean the difference between preserving your literary treasures and losing them forever.”

As the author of over 25 books, your editor should know these facts. Trust me, she didn’t, and thanks to Taskeen Ahmed (https://www.awesomebooks.com/) for tips that will serve for looking after books in general, but your precious collections in particular.

The concert began with a personal favourite of mine, namely the hauntingly beautiful, Prelude from Wagner’s Tristan and Isolde, the romanic tale of would be lovers, leaving Ireland by boat, the crashing of waves symbolising passion, as the waves rise and fall, ebb and flow, and the London Philharmonic did the piece justice. So much so, that I could happily have left at this point and counted the evening a success.

Thank goodness I didn’t, because Renee Fleming singing Four Last Songs, by Richard Strauss was an occasion not to miss.

Strauss sketched a setting for a poem, ‘At Sunset’ depicting an old couple, staring into the sunset, looking back over their long lives, and wondering ‘Can this perhaps be death’. He promptly wrote ‘At Sunset’ following up with three other songs, ‘Spring’, ‘September’ and ‘Going to Sleep.’ The songs were published posthumously as the ‘Four Last Songs.’

Renee Fleming, one of the most highly acclaimed singers of our time, graced the stage in a fitted pink and turquoise dress, subtly sparkling in the house lights. The dress may have sparkled, but could not compete with the thrilling voice of Miss Fleming, which captivated the audience from the outset. Each song seemed more beautiful than the last, and once or twice I could feel myself welling up. Put simply, this was a sublime performance, and we listened in awe to Fleming’s voice which cut like crystal – showing exactly why she is so revered.

We listened in worshipful silence to all four songs, but at the end of the last song, ‘At Sunset’ which is particularly poignant, such pent-up admiration for what we had just heard could not constrain the applause and cheers, which threatened to lift the roof. The applause would not die down quickly and it took three returns to the stage before we were treated to a final song, ‘Morgen’ – a perfect piece on which to leave the stage.

The conductor, Thomas Guggeis, was making his debut with the London Philharmonic Orchestra, and his youthful looks belied his skill, or perhaps that says more about me and my age. Oh for a scintilla of his talent. Guggeis conducts with dramatic energy, wielding his baton like a magic wand, urging the orchestra to ever new heights.

Wagner is something of a Marmite Composer, and people either love him or hate him. Fortunately, I fall into the former group, and so awaited the second part of the concert with great anticipation.

The Overture and Venusberg Music from Tannhauser is one of the most popular Wagnerian extracts in the concert hall and gloriously familiar. Venusberg incidentally is the underground realm of the Goddess Venus. The music transported us to a magical realm, about which the music pulsed and swirled in a frenzied orgiastic maelstrom.

The Prelude to Act 1 of Lohengrin is based on the Holy Grail, carried by a host of angels as it gradually materialises out of nowhere, and was summoned up in our imaginations by the violins and later the brass. The London Philharmonic Orchestra on top form, thrilling.

Finally the Overture to Die Meistersinger von Nurnberg, sumptuous. Magnificent brass and tympani dominated briefly but to great affect before giving way once again to the strings creating a sense of urgency. Utterly brilliant.

Image courtesy of London Philharmonic Orchestra.

Upcoming Concerts

Crossing Generations Wednesday 12 March 2025, 7.30pm – Queen Elizabeth Hall. Kevin John Edusei presents Zappa, Martinů and a new clarinet concerto with phenomenal Syrian clarinettist Kinan Azmeh.

Repertoire

Zappa – The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornado. Dinuk Wijeratne – Clarinet Concerto (European premiere). Martinů – Symphony No. 6 (Fantaisies symphoniques).

Mahler’s Fifth Wednesday 19 March 2025, 7.30pm – Royal Festival Hall. Robin Ticciati presents Mahler’s blockbuster journey from darkness to light.

Repertoire

R Schumann – Piano Concerto. Mahler – Symphony No. 5

Alina Ibragimova plays Prokofiev Wednesday 26 March 2025, 6.30pm – Royal Festival Hall. In a time of revolution, Prokofiev’s First Violin Concerto wove fairytale magic – and no-one makes it dance like Alina Ibragimova.

Repertoire

Saariaho – Orion.   Prokofiev – Violin Concerto No. 1.   Nielsen – Symphony No. 5

Tan Dun’s Water Concerto Saturday 29 March 2025, 7.30pm – Queen Elizabeth Hall. Eva Ollikainen rediscovers two modern classics, and Colin Currie – in the words of one critic, ‘surely the world’s finest and most daring percussionist’ – explores new ways of listening, with the extraordinary, culture-crossing Water Concerto by Crouching Tiger, Hidden Dragon composer Tan Dun.

Repertoire

Pärt – Symphony No. 1 (Polyphonic). Tan Dun – Water Concerto. Lutosławski – Symphony No. 3. Re. Easter, these are our April events up until the end of the season:

Jurowski conducts Lyatoshynsky Wednesday 2 April 2025, 7.30pm – Royal Festival Hall. ‘Peace Shall Defeat War’ wrote Boris Lyatoshynsky on the score of his Third Symphony, and the message of this great 20th-century Ukrainian composer has never felt more urgent or compelling. Vladimir Jurowski presents a programme of uncompromising emotional power.

The music: Prokofiev – Selection from Semyon Kotko. Mussorgsky (arr. Denisov) – Songs and Dances of Death. Lyatoshynsky – Symphony No. 3

Tragedy to Triumph Saturday 5 April 2025, 7.30pm – Royal Festival Hall

Schubert’s unstoppable Ninth Symphony is known as ‘the Great’ – and with Vladimir Jurowski bringing all his insight and imagination, you’ll hear why.

The music. Beethoven – Coriolan Overture. R Schumann – Violin Concerto. Schubert – Symphony No. 9 (The Great)

Jan Lisiecki plays Beethoven Saturday12 April 2025, 7.30pm – Royal Festival Hall. There are few experiences in classical music more invigorating, or more stirring than Sibelius’s Second Symphony. For the young Finnish conductor Tarmo Peltokoski, Sibelius is a national hero. There’s another tale about memory to be told here, as Canadian pianist Jan Lisiecki takes centre stage to showcase the grandeur and glory of Beethoven’s mighty ‘Emperor’ Concerto.

The music. Sibelius – Pohjola’s Daughter. Beethoven – Piano Concerto No. 5 (Emperor).Sibelius – Symphony No. 2.

Daphnis and Chloé Wednesday 23 April 2025, 6.30pm – Royal Festival Hall. Wednesday 23 Apr 2025, 8.30pm – Royal Festival Hall. Ravel’s orchestral masterpiece is a ballet that resists staging, rarely being performed as a ballet. Enter Circa’s powerful acrobatics and aerials.

The music. Ravel – Daphnis et Chloé. Ravel – La valse

Mahler 8 Saturday 26 April 2025, 7.30pm – Royal Festival Hall is sold out.

There’s something exquisitely beautiful about perfect engineering, and I’m mesmerised by my Tormek T-1 Kitchen Knife Sharpener.

Professional chefs will tell you that a correctly sharpened knife is crucial in the kitchen, and that blunt knives can be hazardous. So, whether cooking is your passion, your career, or both, you absolutely must get your hands on a Tormek T-1 Kitchen Knife Sharpener. It’s the first real knife sharpener for the home chef and, unlike simpler sharpeners or honing steels, it sharpens the entire bevel of the knife, achieving professional sharpness in minutes.

This Swedish company is well-known for absolute top quality – clearly illustrated by the T-1’s fine-grained diamond grinding wheel. And if you’re not an expert, do check out this fabulous short video, where Tormek’s CEO , Samuel Stenhem, (also Innovation Team member), and Head of Sales, Sébastien Ehnevid show you simply how to use the sharpener and take advantage of all the clever technical features. I love their use of a black marker pen (even included with your sharpener in case you don’t have one to hand) to make sharpening simple for everyone.

The T-1 can handle knives with blades 12–60 millimeters (0.5–2.4 inches) high and up to 5 millimeters (0.2 inches) thick, with unlimited length.  Deeper blades and cleavers can be accommodated too, simply by removing the plastic clip from the angle guide  (see the linked video).

My T-1 is Carbon-black. I love the quiet understated elegance, and it’s in pride of place on my work surface (carefully positioned to be the first thing any visitor spots). RRP is £335.

However the new limited edition Tormek T-1 Florentine Vibrant, the result of an exciting collaboration between Tormek and Florentine Kitchen Knives is stunning. It features a playfully colourful handle designed by Tomer Botner, founder of the Barcelona-based knife-making studio and it speaks for itself in the illustration below. Each handle is randomly assembled from a shared colour palette, meaning no two machines are identical – each one has its own unique “fingerprint.” RRP £370 from shop.tormek.co.uk. T-1 Kitchen Knife Sharpeners carry an 8 year warranty. Treat yourself – you deserve it.

By Dr K Thompson, award-winning author of From Both Ends of the Stethoscope: Getting through breast cancer – by a doctor who knows
http://www.amazon.co.uk/dp/B01A7DM42Q http://www.amazon.com/dp/B01A7DM42Q
http://faitobooks.co.uk

Note: These articles express personal views. No warranty is made as to the accuracy or completeness of information given and you should always consult a doctor if you need medical advice.