San Quentin State Prison, California's oldest prison and the nation's largest, is notorious for once holding America's most dangerous prisoners. But in 2008, the Bastille-by-the-Bay became a beacon for rehabilitation through the prisoner-run newspaper the San Quentin News. Prison Truth tells the story of how prisoners, many serving life terms, transformed the prison climate from what Johnny Cash called a living hell to an environment that fostered positive change in inmates' lives. Award-winning journalist William J. Drummond takes us behind bars, introducing us to Arnulfo Garcia, the visionary prisoner who led the revival of the newspaper. Drummond describes how the San Quentin News, after a twenty-year shutdown, was recalled to life under an enlightened warden and the small group of local retired newspaper veterans serving as advisers, which Drummond joined in 2012. Sharing how officials cautiously and often unwittingly allowed the newspaper to tell the stories of the incarcerated, Prison Truth illustrates the power of prison media to humanize the experiences of people inside penitentiary walls and to forge alliances with social justice networks seeking reform.

What was a book in early modern England? By combining book history, bibliography and literary criticism, Material Texts in Early Modern England explores how sixteenth- and seventeenth-century books were stranger, richer things than scholars have imagined. Adam Smyth examines important aspects of bibliographical culture which have been under-examined by critics: the cutting up of books as a form of careful reading; book destruction and its relation to canon formation; the prevalence of printed errors and the literary richness of mistakes; and the recycling of older texts in the bodies of new books, as printed waste. How did authors, including Herbert, Jonson, Milton, Nashe and Cavendish, respond to this sense of the book as patched, transient, flawed, and palimpsestic? Material Texts in Early Modern England recovers these traits and practices, and so crucially revises our sense of what a book was, and what a book might be.

Amid early twentieth-century China's epochal shifts, a vital and prolific commercial publishing industry emerged. Recruiting late Qing literati, foreign-trained academics, and recent graduates of the modernized school system to work as authors and editors, publishers produced textbooks, reference books, book series, and reprints of classical texts in large quantities at a significant profit. Work for major publishers provided a living to many Chinese intellectuals and offered them a platform to transform Chinese cultural life. In The Power of Print in Modern China, Robert Culp explores the world of commercial publishing to offer a new perspective on modern China's cultural transformations. Culp examines China's largest and most influential publishing companies-Commercial Press, Zhonghua Book Company, and World Book Company-during the late Qing and Republican periods and into the early years of the People's Republic. He reconstructs editors' cultural activities and work lives as a lens onto the role of intellectuals in cultural change. Examining China's distinct modes of industrial publishing, Culp explains the emergence of the modern Chinese intellectual through commercial and industrial processes rather than solely through political revolution and social movements. An original account of Chinese intellectual and cultural history as well as global book history, The Power of Print in Modern China illuminates the production of new forms of knowledge and culture in the twentieth century.

Mark Forsyth - author of the Sunday Times Number One bestseller The Etymologicon - reveals in this essay, specially commissioned for Independent Booksellers Week, the most valuable thing about a really good bookshop. Along the way he considers the wisdom of Donald Rumsfeld, naughty French photographs, why Elizabeth Bennet and Mr Darcy would never have met online, and why only a bookshop can give you that precious thing - what you never knew you were looking for.

Written with an intimacy and spontaneity even more revealing than her celebrated memoirs, Diana Athill's correspondence with the American poet Edward Field covers thirty years of pleasure and pain, fame and gossip, relationships and ailments. Edited, selected and introduced by Athill, this collection of those letters covers her career as an editor and the adventure of her retirement, revealing a sharply intelligent woman with a keen eye for the absurd, a brilliant turn of phrase and a wicked sense of humour. Vivid, direct and entertaining, Instead of a Book is a wonderful insight into a woman growing older without ever losing her zest for life.

Since the 2016 U.S. presidential election, concerns about fake news have fostered calls for government regulation and industry intervention to mitigate the influence of false content. These proposals are hindered by a lack of consensus concerning the definition of fake news or its origins. Media scholar Nolan Higdon contends that expanded access to critical media literacy education, grounded in a comprehensive history of fake news, is a more promising solution to these issues. The Anatomy of Fake News offers the first historical examination of fake news that takes as its goal the effective teaching of critical news literacy in the United States. Higdon employs a critical-historical media ecosystems approach to identify the producers, themes, purposes, and influences of fake news. The findings are then incorporated into an invaluable fake news detection kit. This much-needed resource provides a rich history and a promising set of pedagogical strategies for mitigating the pernicious influence of fake news.

Throughout human history the world's knowledge, and fruits of the creative imagination, have been produced, circulated, and received through the medium of the material text. This Companion provides a wide-ranging account of the history of the book and its ways of thinking about works from ancient inscription to contemporary e-books, discussing thematic, chronological and methodological aspects of this interdisciplinary field. The first section considers book cultures from local, national and global perspectives. Section two, organized around the dynamic relationship between the material book and the mutable text, develops a loosely chronological narrative from early writing, through manuscript and early printing, to the institution of a mechanized book trade, and on to the globalization of publishing and the introduction of the electronic book. A third section takes a practical turn, discussing methods, sources and approaches: bibliographical, archival and reading experience methodologies, as well as pedagogical strategies.

By the close of the last millennium Dorling Kindersley had become one of the most recognisable brands in publishing. Across the range of illustrated household reference titles, from children's books to travel guides, its distinctive look of colourful images cut out against a white background could be seen on bookshelves throughout the country - and indeed the publishing world. Apart from three minor acquisitions, DK had grown organically over 25 years to be a publicly listed company with a turnover of GBP200 million, some 1500 employees, publishing arms across the English language markets, a 50-strong international sales force that dealt with more than 400 publishers, a direct selling business with 30,000 independent distributors, and had expanded its skills for delivering handsomely designed reference books into the new media of videos, CD-ROMs and online educational content. Then a series of catastrophic printing decisions brought the company to its knees, and ultimately into the arms of Pearson. Christopher Davis is uniquely positioned to tell the story of DK's rise and fall. He joined the company at its foundation and in due course became Group Publisher.The narrative he provides is a dual one, encompassing the visionary genius of Peter Kindersley and the publishing revolution he fomented, and charting the remarkable, sometimes precarious, frequently hilarious, roller-coaster ride as the company grew from a handful of people in a studio in South London to a substantial global business. In the rapidly changing publishing climate of today, this book is also a nostalgic reminder of a time when creativity could flourish unburdened by the shackles of corporate bureaucracy.

Americans of all political persuasions fear that "free speech" is under attack. This may seem strange at a time when legal protections for free expression remain strong and overt government censorship minimal. Yet a range of political, economic, social, and technological developments have raised profound challenges for how we manage speech. New threats to political discourse are mounting-from the rise of authoritarian populism and national security secrecy to the decline of print journalism and public trust in experts to the "fake news," trolling, and increasingly subtle modes of surveillance made possible by digital technologies. The Perilous Public Square brings together leading thinkers to identify and investigate today's multifaceted threats to free expression. They go beyond the campus and the courthouse to pinpoint key structural changes in the means of mass communication and forms of global capitalism. Beginning with Tim Wu's inquiry into whether the First Amendment is obsolete, Matthew Connelly, Jack Goldsmith, Kate Klonick, Frederick Schauer, Olivier Sylvain, and Heather Whitney explore ways to address these dangers and preserve the essential features of a healthy democracy. Their conversations with other leading thinkers, including Danielle Keats Citron, Jelani Cobb, Frank Pasquale, Geoffrey R. Stone, Rebecca Tushnet, and Kirsten Weld, cross the disciplinary boundaries of First Amendment law, internet law, media policy, journalism, legal history, and legal theory, offering fresh perspectives on fortifying the speech system and reinvigorating the public square.

In a brief historic moment, printing presses, publishing ventures, a periodical press, circulation networks, and a mass readership came into being all at once in the Middle East, where none had previously existed, with ramifications in every sphere of the community's life. Among other outcomes, this significant change facilitated the cultural and literary movement known as the Arab 'nahda' ('awakening'). Ayalon's book offers both students and scholars a critical inquiry into the formative phase of that shift in Arab societies. This comprehensive analysis explores the advent of printing and publishing; the formation of mass readership; and the creation of distribution channels, the vital and often overlooked nexus linking the former two processes. It considers questions of cultural and religious tradition, social norms and relations, and concepts of education, offering a unique presentation of the emerging print culture in the Middle East.

This book introduces the fast-developing field of book history. James Raven, a leading historian of the book, offers a fresh and accessible guide to the global study of the production, dissemination and reception of written and printed texts across all societies and in all ages. Students, teachers, researchers and general readers will benefit from the book s investigation of the subject s origins, scope and future direction. Based on original research and a wide range of sources, What is the History of the Book? shows how book history crosses disciplinary boundaries and intersects with literary, historical, communications, media, library and conservation studies. Raven uses examples from around the world to explore different traditions in bibliography, palaeography and manuscript studies. He analyses book history s growing global ambition and demonstrates how the study of reading practises opens up new horizons in social history and the history of knowledge. He shows how book history is contributing to debates about intellectual and popular culture, colonialism and the communication of ideas. The first global, accessible introduction to the field of book history from ancient to modern times, What is the History of the Book? is essential reading for all those interested in one of society s most important cultural artefacts.

This book tells you how to build a successful freelance business around supplying publishing services. The publishing industry depends on freelancers: writers and editors, proofreaders and designers, PR and typesetters. For those in the know, there is a wealth of opportunities on offer. Graduates, retired professionals, in-house editors, career-changers - more and more people are taking the plunge and going freelance. You can succeed as a freelancer in publishing, and this book shows you how. It includes top tips; insider knowledge and case studies; information on how to market yourself, deal with finance and find out what your clients are looking for - plus invaluable insights from other successful freelancers and industry experts. Contents: Acknowledgements; Introduction; What's this book about?; Who's this book for?; Why did we write this book?; Who are the authors?; How do I use this book?; How can I find out more about freelancing?; 1. Suits You, Sir?; Having the necessary ability; Drawing on experience; Thinking about qualifications; Loving your job; Donning your business cap; Being your own boss; Dealing with financial uncertainty; Handling technology; Coping with ebb and flow; Organizing your workload; Handling rejection; Being a people-person; Working from home; Balancing home and work; Considering your health; 2. Setting Up Shop; Considering your timing; Checking that you will be self-employed; Determining your business structure; Registering as self-employed; Setting up Class 2 National Insurance payments; Choosing a business name; Preparing your work environment; 3. Running Your Business; Protecting yourself with terms and conditions; Setting clear boundaries: the project agreement; Signing confidentiality agreements; Understanding copyright; Safeguarding your data; Managing your workload; Keeping happy, healthy, and productive; Going in-house; Evolving your business; Taking time off; Summary; 4. Money, Money, Money; Setting your rates; Charging clients; Getting paid on time; Deducting business expenses; Filing your tax return; Paying your taxes; Opening a business bank account; Finding help; 5. Marketing Your Business; Defining your marketing strategy; Representing your business; Sending mailshots; Building your own website; Selling yourself; Working for free; 6. Keeping Up with the Kids: Digital Marketing; Getting ranked; Socializing virtual-style; Going viral; Paying for the privilege; Maintaining your digital presence; Blogging for your supper; Seeing is believing; Over to the experts: The freelancer's guide to building their reputation on the internet; Case study: Creative marketing; 7. Working with Frenemies; Collaborating with your competitors; Researching your competition; Establishing contact; Passing the buck; Branching out; Finding a mentor; Motivating each other; Ranting about rates; Working together; Case study: Contacts, contacts, contacts; 8. Dealing with Different Types of Clients; Taking a professional approach; Accepting and following the brief; Being friendly - to a point; Dealing with difficult clients; Working with different clients; Case study: Standing in the author's shoes; Case study: Seeing clients from both sides of the fence; 9. Exploring All Avenues; Which is the best role for you?; Choosing your freelance role; Over to the experts; 10. Inspirational Stories; A journey through publishing; The accidental freelancer; Calling all freelancers!; Is it catching? Viral and digital marketing in the book world; If at first you don't succeed...; Useful Contacts; Index.

This collection of essays focuses on the varied and complex roles that editors have played in the production of literary and scholarly texts in Canada. With contributions from a wide range of participants who have played seminal roles as editors of Canadian literatures - from nineteenth-century works to the contemporary avant-garde, from canonized texts to anthologies of so-called minority writers and the oral literatures of the First Nations - this collection is the first of its kind. Contributors offer incisive analyses of the cultural and publishing politics of editorial practices that question inherited paradigms of literary and scholarly values. They examine specific cases of editorial production as well as theoretical considerations of editing that interrogate such key issues as authorial intentionality, textual authority, historical contingencies of textual production, circumstances of publication and reception, the pedagogical uses of edited anthologies, the instrumentality of editorial projects in relation to canon formation and minoritized literatures, and the role of editors as interpreters, enablers, facilitators, and creators. Editing as Cultural Practice in Canada situates editing in the context of the growing number of collaborative projects in which Canadian scholars are engaged, which brings into relief not only those aspects of editorial work that entail collaborating, as it were, with existing texts and documents but also collaboration as a scholarly practice that perforce involves co-editing.

What would an anatomy of the book look like? There is the main text, of course, the file that the author proudly submits to their publisher. But around this, hemming it in on the page or enclosing it at the front and back of the book, there are dozens of other texts-page numbers and running heads, copyright statements and errata lists-each possessed of particular conventions, each with their own lively histories. To consider these paratexts-recalling them from the margins, letting them take centre stage-is to be reminded that no book is the sole work of the author whose name appears on the cover; rather, every book is the sum of a series of collaborations. It is to be reminded, also, that not everything is intended for us, the readers. There are sections that are solely directed at others-binders, librarians, lawyers-parts of the book that, if they are working well, are working discreetly, like a theatrical prompt, whispering out of the audience's ear-shot Book Parts is a bold and imaginative intervention in the fast growing field of book history: it pulls the book apart. Over twenty-two chapters, Book Parts tells the story of the components of the book: from title pages to endleaves; from dust jackets to indexes-and just about everything in between. Book Parts covers a broad historical range that runs from the pre-print era to the digital, bringing together the expertise of some of the most exciting scholars working on book history today in order to shine a new light on these elements hiding in plain sight in the books we all read.

Shakespeare and the Book Trade follows on from Lukas Erne's groundbreaking Shakespeare as Literary Dramatist to examine the publication, constitution, dissemination and reception of Shakespeare's printed plays and poems in his own time and to argue that their popularity in the book trade has been greatly underestimated. Erne uses evidence from Shakespeare's publishers and the printed works to show that in the final years of the sixteenth century and the early part of the seventeenth century, 'Shakespeare' became a name from which money could be made, a book trade commodity in which publishers had significant investments and an author who was bought, read, excerpted and collected on a surprising scale. Erne argues that Shakespeare, far from indifferent to his popularity in print, was an interested and complicit witness to his rise as a print-published author. Thanks to the book trade, Shakespeare's authorial ambition started to become bibliographic reality during his lifetime.

Selling Shakespeare tells a story of Shakespeare's life and career in print, a story centered on the people who created, bought, and sold books in the early modern period. The interests and investments of publishers and booksellers have defined our ideas of what is 'Shakespearean', and attending to their interests demonstrates how one version of Shakespearean authorship surpassed the rest. In this book, Adam G. Hooks identifies and examines four pivotal episodes in Shakespeare's life in print: the debut of his narrative poems, the appearance of a series of best-selling plays, the publication of collected editions of his works, and the cataloguing of those works. Hooks also offers a new kind of biographical investigation and historicist criticism, one based not on external life documents, nor on the texts of Shakespeare's works, but on the books that were printed, published, sold, circulated, collected, and catalogued under his name.

A concise history of the Aries Press, founded in the 1920s by philanthropist, Spencer Kellogg Jnr. The Aries Press was an American private press founded by Spencer Kellogg, Jr., in the 1920s. A second-generation millionaire and supporter of the arts, Kellogg was influenced by the Arts and Crafts movement. Though little known today, the Aries Press produced exceptional examples of fine printing. Richard Kegler documents its colorful history accompanied by fine illustrations and samples from the Press. RICHARD KEGLER is the Director of the Wells College Book Arts Center in Aurora, New York. He founded both the P22 Type Foundry and the Western New York Book Arts Center in Buffalo, New York. Kegler is a letterpress printer and book designer with a long-standing interest in printing history.

Jack London (1876-1916) is one of the most popular American authors in the world today. Two novels, The Call of the Wild and White Fang, are regarded as literary classics and have never been out of print. His forty-four published books, and hundreds of short stories and essays have been translated into more than 100 languages and hailed by critics worldwide. A vigorous self-promoter and the kind of media celebrity we would recognize today, London was America's first novelist to earn more than one million dollars a year from his writing (in today's currency). Call of the Atlantic reveals a side of London's life that has been largely overlooked by academics and critics, yet is essential to understanding the character, drive, and success of this extraordinary man - namely, London's publishing odyssey overseas. Joseph McAleer considers how London achieved international fame, and the part that he played in engineering his own success. What makes London's dealings overseas especially interesting is that he made his own decisions, unlike many of his contemporaries who depended upon the good will of their agents and publishers. Through correspondence, McAleer reveals London's conversations and transactions, as well as the misunderstandings caused when letters (which could take up to three weeks to arrive) crossed in the mail. Emotions ran high, as did the constant need for money, and the picture that emerges of London is not a pretty one. It was his way or nothing as he played what he called the 'writing game' right through to his premature death, aged forty.

The Cambridge bookseller Gustave David (1860-1936) was a key feature of the Cambridge landscape from the late nineteenth century until his death. This small volume, first published in 1937, collects together several obituaries written by David's friends in academia, including Sir Arthur Quiller-Couch. This book will be of value to anyone with an interest in the history of one of Cambridge's enduring personalities.

As we rely increasingly on digital resources, and libraries discard large parts of their older collections, what is our responsibility to preserve 'old books' for the future? David McKitterick's lively and wide-ranging study explores how old books have been represented and interpreted from the eighteenth century to the present day. Conservation of these texts has taken many forms, from early methods of counterfeiting, imitation and rebinding to modern practices of microfilming, digitisation and photography. Using a comprehensive range of examples, McKitterick reveals these practices and their effects to address wider questions surrounding the value of printed books, both in terms of their content and their status as historical objects. Creating a link between historical approaches and the emerging technologies of the future, this book furthers our understanding of old books and their significance in a world of emerging digital technology.