Thursday, November 24, 2011

Top Ten Things to Thank (Artscroll)



























Back in 1976, While America was celebrating her bicentennial, a new publishing phenomenon was born. Artscroll released a Shloshim commemoration volume on the Purim Megillah, a conglomeration of short commentaries and insights, culled from the classic Jewish commentators. Due to the unusual enthusiastic response, AS embarked on more and more exciting projects, as they realized there was a void in the market for classic Jewish literature, translated and annotated using the aforementioned Meforshim.

Emboldened by the early successes, AS took on other projects, building themselves a reputation for producing top quality books, both on the inside and the outside.

Recently, I've seen some AS bashing on other Jblogs, so I felt that on this day of Thanksgiving, I should express my appreciation towards the AS revolution. Below are 10 things that we owe AS, not in any particular order.



1. Aesthetics:

AS has raised the level of Jewish book publishing to a new plateau. There was a time when the term "Seforim Store" conjured up images in one's mind of dilapidated quarters on the Lower East Side, where the proprietor would wait for his disheveled customers to choose a Sefer from the overladen, decrepit bookshelves. Eichler's of Flatbush changed that image, in the early 80's, expanding from a one-storefront to a three-storefront superstore; clean and immaculate, with music playing in the background. In my opinion, much of Eichler's success was due to the new AS market, as the customer was now the typical Flatbush Baal Haabos, not the nerdy bespectacled scholar. AS's Seforim, in addition to the content, were produced to be aesthetically pleasing to the eye, in addition to being well bound by their SeferCraft Inc. bookbinder.

2. The Shul Siddur:

In 1984, AS produced their first Siddur. It was a weekday/shabbos Siddur, yet it came with English translation, commentary on the bottom, contained every possible Tefilah one could ever need, and had easy instructions. In addition, they ensured that there would be minimal "flipping" around. They even produced an RCA edition, to satisfy the MO community that preferred the Prayer for the State of Israel and some other minor changes. Shortly thereafter they published the Siddur with a Russian translation, to ease the transition of Russian emigrants during the Glasnost and Perestroika era. AS also produced a children's edition, and finally an all Hebrew edition which has gradually taken over the Shul market, being cheap and sporting a superior binding. Additionally, their linear Siddurim, with bi-directional flow, have become favorites of many.

3. The Shul Chumash:

In 1993, they offered a Shul Chumash. This was a fantastic work, culling insights from a myriad of scholars over the centuries. Much thought went into it's production, even the height was altered so as to fit the average Shul shelf. A classic. In 2004, they initiated the all-Hebrew version, which is also slowly cornering the "Shul Chumash" market, being of long lasting quality binding and cheap in price.

4. Rashi/Ramban on Chumash:

Pure classics. Monumental works which required much research which clearly shows in the end-product. The old blue linear Rashi translations have been totally replaced by the AS Rashi (1995-1998). The notes are superior, explaining much of the French/Laaz and just about any question one could have on Rashi will be explained in those notes. The Ramban (2004-2010) is similarly a fabulous work, easily usable by the scholar and layman alike. Sure to become the definitive Ramban translation for anyone studying this work.

5. Machzorim:

Following on the successes of the Siddur, AS published the full set of Machzorim. RH, YK, Pesach, Shavuous and Sukkos. True to the AS tradition, these Machzorim provided easy instruction, simple translation, no flipping, and interesting footnotes. Also they complemented the works with a short summary of Halachos in the back. Upper end leatherbound editions were also marketed. In 2003 and 2004, they also introduced the bi-linear versions of the RH and YK Machzorim, to make it easier to know the meaning of what one is saying as one is saying it. Similar bi-linear versions of Tehillim, Selichos and Kinnos were also published.

Notable though, was an unheard of recall for the Sukkos Machzor. Due to a minor error, AS recalled the entire shipment of Machzorim, and replaced them with a brand new version. [Recently I've read how there are mistakes in the new Koren Machzorim, yet I have not heard of any such unprecedented recall as was done by AS.]

6. Font:

AS has produced their own fontpopularized a font , which is easy on the eye and has become easily recognizable world-wide as the AS font. My only complaint about this font, which is fine for adults, is that children who are learning to read would do better with a fuller version of the letters.

7. Daf Yomi:

A good portion of the Daf Yomi success can be claimed by AS. Their Shas project, begun in 1991 with the publication of Mesechta Megillah, and recently completed (2005), made learning the Daf something that anyone could do. While many may argue that it is a crutch, no one can deny that thousands have been added to the Daf Yomi rosters since the advent of the AS translation. Going from the Felt Forum to Madison Square Garden to dual arenas and now a stadium, AS can be proud to have had a hand in this Kiddush Hashem. Additionally, AS has produced a Hebrew version, French, and now they embark on the Yerushalmi. Heroic!

8. Halacha:

Classics have been produced in many areas, inclusing Kashrus, Shabbos, Niddah and Aveilus. Their "Mourning in Halacha" is certainly a classic, enabling one to know what to do in the time of need. Rabbi Forst's Seforim are excellent references for one to be guided by.

9. Biographies:

Great for the youth to have role models. Reb Yaakov, Reb Moshe etc.and many of the Gedolim of yesteryear come to life in these well written books.


10. Shaar Press:

A new Label created primarily for Rabbi Berel Wein and now includes any publication that does not fit 100% Hashkafically under the AS umbrella. Notable is the History Trilogy begun by RBW in 1990 and completed in 1995. Shaar Press has a picture of a "gate", as their monogram, but sometimes I wonder if Shaar Press was named for the other meaning of Shaar...as in remainder, left-over.

12 comments:

  1. Seems to me that the choice of words...plateau, heroic, were purposely placed here. No?

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  2. "AS has produced their own font, which is easy on the eye and has become easily recognizable world-wide as the AS font. "

    Artscroll uses Hadassah, which "was named after the Hadassah Apprentice School of Printing, located in Jerusalem."

    Although I agree that it is definitely distinctive and a good example of effective branding.

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  3. Very perceptive, Anon. :-)

    S. Thanks for the correction. I always thought that they had patented their font. Do you have a replacement for #6? I also thought you would have more to say than that. :-)

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  4. I don't think you can patent a font, although you can copyright and (certainly) license it. It's conceivable that they own the rights to it now - but I doubt it. I've seen it elsewhere and not in places which likely licensed it from Mesorah Publications.

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  5. the criticsms on the blogs , for the most part , refer not to what artscroll puts in , but rather what is left out. in halachic works they get to define 'minhag artscroll'
    in anthologies [such as the chumash] , they of necessity decide who to leave out as well
    but of course it is mostly in the biographies, where what is left out is genrally factual material that would conflict with current haredi zeitgeist...

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  6. While I agree that it is important to remember the benefits Artscroll has brought to the Jewish world, one could quibble:

    1. Aesthetics:

    AS has raised the level of Jewish book publishing to a new plateau. There was a time when the term "Seforim Store" conjured up images in one's mind of dilapidated quarters on the Lower East Side,

    One could argue that the increasing number of baalei teshuvah drove the aesthetics revolution as much as Artscroll did although I would agree they forced others like Feldheim and Ktav to up their game.

    2. The Shul Siddur:

    A favourite complaint of mine: yes, their siddur was beautiful but then, in its day, so was the Birnbaum which it replaced. One could argue that Artscroll's success destroyed the Birnbaum company and really, other than a few things thrown in at the back, it was basically the same idea.
    In addition, I have to disagree with your comment on the quality of their binding. Ask many people and we'll agree - nothing falls apart as fast as an Artscroll.

    As for the Russian, Chabad had been publishing a Russian-Hebrew siddur for years.
    ad of scholars over the centuries.

    4. Rashi/Ramban on Chumash:

    Pure classics.

    Again, part of the Artscroll business model - a great Metzudah version of Rashi existed but was wiped out by Artscroll, just like the Birnbaum siddur. As for the Ramban, it is an incomplete translation skipping over the kabbala parts intentionally because, let's face it, if you're reading in English you're not smart enough to handle them.

    6. Font:

    AS has produced their own fontpopularized a font , which is easy on the eye and has become easily recognizable world-wide as the AS font.

    I have heard more than one person complain about the English font which looks more like italics than anything and is hard for some people to read.

    A good portion of the Daf Yomi success can be claimed by AS. Their Shas project, begun in 1991 with the publication of Mesechta Megillah, and recently completed (2005)

    And was, according to legend, started with the intent of destroying Rav Adin Steinsaltz' Talmud project. This seems to be a recurring theme with Artscroll. One wonders what Feldheim did to prevent them from making their own English-Hebrew Mishnah Berurah...

    Their "Mourning in Halacha" is certainly a classic, enabling one to know what to do in the time of need. Rabbi Forst's Seforim are excellent references for one to be guided by.

    The problem with these is that they have become "home poskim" in that many people will simply look at the Artscroll when they have a question, choose the strictest opinion and then presume that what they are doing is the universal standard. This is, however, not unique to Artscroll books but certainly a problem with them.

    Great for the youth to have role models. Reb Yaakov, Reb Moshe etc.and many of the Gedolim of yesteryear come to life in these well written books.

    They are selective hagiographies that reduce a complex, 3-dimensional person to a 2-dimensional super-Jew stereotype.

    > Notable is the History Trilogy begun by RBW in 1990 and completed in 1995. Shaar Press has a picture of a "gate",

    Anything that is hashkafically correct will be corresponsingly academically incorrect. Is it better to learn the "right" history or the "real" one?

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  7. "One could argue that the increasing number of baalei teshuvah drove the aesthetics revolution as much as Artscroll did although I would agree they forced others like Feldheim and Ktav to up their game."

    One could also argue that Artscroll is tacky. Pleather, gold embossing, and italics for English is not exactly pretty. I usually do not mention this because I fully realize that this is a matter of taste. Personally I think Koren is prettier, and not just the new siddur.

    "One could argue that Artscroll's success destroyed the Birnbaum company and really, other than a few things thrown in at the back, it was basically the same idea."

    I am a huge fan of Birnbaum, but it really doesn't speak to a certain kind of Jew. As a kid, coming from a more yeshivish of quasi-yeshivish perspective, I looked at the Birnbaum as an oddball relic of something I didn't understand, for the doily-wearing Bubbys. Sure, I was inexperienced and arrogant - but my instinct did spring from somewhere - from the values and needs of my schooling and community.

    "And was, according to legend, started with the intent of destroying Rav Adin Steinsaltz' Talmud project."

    If I'm not mistaken, I started this legend.

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  8. Garnel,

    The point of this post was to give Thanksgiving, of course I could have written the post to complain about the 10 worst things about AS, but remember, this is a non LH blog.

    As for binding, I agree that the 1994 Siddur with English translation was not up to par, probably because it had so many pages. But their all-Hebrew Siddur is superbly bound, and that is what I was referring to. Their recent Machzorim are also superbly bound, and the amount of pages in these has only grown.

    As for the Rashi, the Metzudah does not compare in research/footnotes. Metzudah was a great linear translation, with some footnotes, and you can also argue that they put the "blue" linear Rashi out of business.

    With regards to Ramban, they left room for the Chavel by not dabbling in Kabbalah. (You can't have it both ways, faulting them for cornering the market, and simultaneously faulting them for leaving out Kaballah). I'm sure they would have gotten plenty of flak for including the Kabbalistic sections.

    As for Steinsaltz, I disagree with S. that AS started the Shas project to counteract Steinsaltz.

    Similarly, the Gedolim books I mentioned may be more hagiographic, but don't forget, they also produced the biography of Reb Shamshon Rafael Hirsch, which rivals many an academic work.

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  9. Another thing about the gedolim books is that despite the hagiography, they are also full of useful information and true things which otherwise would not be known to the general public. Let's face it, if not for Artscroll, who exactly was going to put out a book about Rav Pam?

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  10. Coming in about two years later, here, but anyway...

    Just to address the name Shaar Press. It was used for Rabbi Wein's books because at the time he headed Yeshiva Shaarei Torah. It was named in homage of the yeshiva and took on a similar logo to the yeshiva's.

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    Replies
    1. Correct. Although that was the logo of RBW's Yeshiva, I always wondered if it was used as a double meaning. That in addition to being the logo of the Yeshiva, it was material that didn't make the
      A grade due to Hashkafic issues.

      Delete
  11. I'm curious, which English font do AS use? Is it a common one? can it be gotten somewhere (or similar font).
    If not which english font would be consider the most "Jewish"?

    ReplyDelete

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