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When Novels Were Books by Jordan Alexander Stein Pdf
The novel was born religious, alongside Protestant texts produced in the same format by the same publishers. Novels borrowed features of these texts but over the years distinguished themselves, becoming the genre we know today. Jordan Alexander Stein traces this history, showing how the physical object of the book shaped the stories it contained.
When Novels Were Books by Jordan Alexander Stein Pdf
A literary scholar explains how eighteenth-century novels were manufactured, sold, bought, owned, collected, and read alongside Protestant religious texts. As the novel developed into a mature genre, it had to distinguish itself from these similar-looking books and become what we now call “literature.” Literary scholars have explained the rise of the Anglophone novel using a range of tools, from Ian Watt’s theories to James Watt’s inventions. Contrary to established narratives, When Novels Were Books reveals that the genre beloved of so many readers today was not born secular, national, middle-class, or female. For the first three centuries of their history, novels came into readers’ hands primarily as printed sheets ordered into a codex bound along one edge between boards or paper wrappers. Consequently, they shared some formal features of other codices, such as almanacs and Protestant religious books produced by the same printers. Novels are often mistakenly credited for developing a formal feature (“character”) that was in fact incubated in religious books. The novel did not emerge all at once: it had to differentiate itself from the goods with which it was in competition. Though it was written for sequential reading, the early novel’s main technology for dissemination was the codex, a platform designed for random access. This peculiar circumstance led to the genre’s insistence on continuous, cover-to-cover reading even as the “media platform” it used encouraged readers to dip in and out at will and read discontinuously. Jordan Alexander Stein traces this tangled history, showing how the physical format of the book shaped the stories that were fit to print.
The Great American Read: The Book of Books by PBS Pdf
A blockbuster illustrated book that captures what Americans love to read, The Great American Read: The Book of Books is the gorgeously-produced companion book to PBS's ambitious summer 2018 series. What are America's best-loved novels? PBS will launch The Great American Read series with a 2-hour special in May 2018 revealing America's 100 best-loved novels, determined by a rigorous national survey. Subsequent episodes will air in September and October. Celebrities and everyday Americans will champion their favorite novel and in the finale in late October, America's #1 best-loved novel will be revealed. The Great American Read: The Book of Books will present all 100 novels with fascinating information about each book, author profiles, a snapshot of the novel's social relevance, film or television adaptations, other books and writings by the author, and little-known facts. Also included are themed articles about banned books, the most influential book illustrators, reading recommendations, the best first-lines in literature, and more. Beautifully designed with rare images of the original manuscripts, first-edition covers, rejection letters, and other ephemera, The Great American Read: The Book of Books is a must-have book for all booklovers.
If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...
Over the past decade literary critic and editor Jerome McGann has developed a theory of textuality based in writing and production rather than in reading and interpretation. These new essays extend his investigations of the instability of the physical text. McGann shows how every text enters the world under socio-historical conditions that set the stage for a ceaseless process of textual development and mutation. Arguing that textuality is a matter of inscription and articulation, he explores texts as material and social phenomena, as particular kinds of acts. McGann links his study to contextual and institutional studies of literary works as they are generated over time by authors, editors, typographers, book designers, marketing planners, and other publishing agents. This enables him to examine issues of textual stability and instability in the arenas of textual production and reproduction. Drawing on literary examples from the past two centuries--including works by Byron, Blake, Morris, Yeats, Joyce, and especially Pound--McGann applies his theory to key problems facing anyone who studies texts and textuality.
A monumentally devastating plague leaves only a few survivors who, while experiencing dreams of a battle between good and evil, move toward an actual confrontation as they migrate to Boulder, Colorado.
The Mind Is a Collection approaches seventeenth- and eighteenth-century theory of the mind from a material point of view, examining the metaphors for mental activity that invoked the material activity of collection.
Drawing on research into the book-production records of twelve publishers-including George Bell & Son, Richard Bentley, William Blackwood, Chatto & Windus, Oliver & Boyd, Macmillan, and the book printers William Clowes and T&A Constable - taken at ten-year intervals from 1836 to 1916, this book interprets broad trends in the growth and diversity of book publishing in Victorian Britain. Chapters explore the significance of the export trade to the colonies and the rising importance of towns outside London as centres of publishing; the influence of technological change in increasing the variety and quantity of books; and how the business practice of literary publishing developed to expand the market for British and American authors. The book takes examples from the purchase and sale of popular fiction by Ouida, Mrs. Wood, Mrs. Ewing, and canonical authors such as George Eliot, Wilkie Collins, and Mark Twain. Consideration of the unique demands of the educational market complements the focus on fiction, as readers, arithmetic books, music, geography, science textbooks, and Greek and Latin classics became a staple for an increasing number of publishing houses wishing to spread the risk of novel publication.
Reading is a revolutionary act, an act of engagement in a culture that wants us to disengage. In The Lost Art of Reading, David L. Ulin asks a number of timely questions - why is literature important? What does it offer, especially now? Blending commentary with memoir, Ulin addresses the importance of the simple act of reading in an increasingly digital culture. Reading a book, flipping through hard pages, or shuffling them on screen - it doesn't matter. The key is the act of reading, and it's seriousness and depth. Ulin emphasizes the importance of reflection and pause allowed by stopping to read a book, and the accompanying focus required to let the mind run free in a world that is not one's own. Are we willing to risk our collective interest in contemplation, nuanced thinking, and empathy? Far from preaching to the choir, The Lost Art of Reading is a call to arms, or rather, to pages.
When a young girl helps tend to her grandmother’s garden, she begins to notice things that make her curious. Why does her grandmother have long, braided hair and beautifully coloured clothing? Why does she speak another language and spend so much time with her family? As she asks her grandmother about these things, she is told about life in a residential school a long time ago, where all of these things were taken away. When We Were Alone is a story about a difficult time in history, and, ultimately, one of empowerment and strength. Also available in a bilingual Swampy Cree/English edition. When We Were Alone won the 2017 Governor General's Literary Award in the Young People's Literature (Illustrated Books) category, and was nominated for the TD Canadian's Children's Literature Award.
The New York Times bestseller with more than 1 million copies sold worldwide | Soon to be a Hulu limited series starring Joey King and Logan Lerman Inspired by the incredible true story of one Jewish family separated at the start of World War II, determined to survive—and to reunite—We Were the Lucky Ones is a tribute to the triumph of hope and love against all odds. “Love in the face of global adversity? It couldn't be more timely.” —Glamour It is the spring of 1939 and three generations of the Kurc family are doing their best to live normal lives, even as the shadow of war grows closer. The talk around the family Seder table is of new babies and budding romance, not of the increasing hardships threatening Jews in their hometown of Radom, Poland. But soon the horrors overtaking Europe will become inescapable and the Kurcs will be flung to the far corners of the world, each desperately trying to navigate his or her own path to safety. As one sibling is forced into exile, another attempts to flee the continent, while others struggle to escape certain death, either by working grueling hours on empty stomachs in the factories of the ghetto or by hiding as gentiles in plain sight. Driven by an unwavering will to survive and by the fear that they may never see one another again, the Kurcs must rely on hope, ingenuity, and inner strength to persevere. An extraordinary, propulsive novel, We Were the Lucky Ones demonstrates how in the face of the twentieth century’s darkest moment, the human spirit can endure and even thrive.
The eighteenth century has long been associated with realism and objective description, modes of representation that deemphasize writing. But in the middle decades of the century, Christina Lupton observes, authors described with surprising candor the material and economic facets of their own texts' production. In Knowing Books Lupton examines a variety of eighteenth-century sources, including sermons, graffiti, philosophical texts, and magazines, which illustrate the range and character of mid-century experiments with words announcing their status as physical objects. Books that "know" their own presence on the page and in the reader's hand become, in Lupton's account, tantalizing objects whose entertainment value competes with that of realist narrative. Knowing Books introduces these mid-eighteenth-century works as part of a long history of self-conscious texts being greeted as fashionable objects. Poststructuralist and Marxist approaches to literature celebrate the consciousness of writing and economic production as belonging to revolutionary understandings of the world, but authors of the period under Lupton's gaze expose the facts of mediation without being revolutionary. On the contrary, their explication of economic and material processes shores up their claim to material autonomy and economic success. Lupton uses media theory and close reading to suggest the desire of eighteenth-century readers to attribute sentience to technologies and objects that entertain them. Rather than a historical study of print technology, Knowing Books offers a humanist interpretation of the will to cede agency to media. This horizon of theoretical engagement makes Knowing Books at once an account of the least studied decades of the eighteenth century and a work of relevance for those interested in new attitudes toward media in the twenty-first.
Excitable Imaginations offers a new approach to the history of pornography. Looking beyond a counter-canon of bawdy literature, Kathleen Lubey identifies a vigilant attentiveness to sex across a wide spectrum of literary and philosophical texts in eighteenth-century Britain.
#1 NEW YORK TIMES BESTSELLER • NOW A STARZ ORIGINAL SERIES Unrivaled storytelling. Unforgettable characters. Rich historical detail. These are the hallmarks of Diana Gabaldon’s work. Her New York Times bestselling Outlander novels have earned the praise of critics and captured the hearts of millions of fans. Here is the story that started it all, introducing two remarkable characters, Claire Beauchamp Randall and Jamie Fraser, in a spellbinding novel of passion and history that combines exhilarating adventure with a love story for the ages. One of the top ten best-loved novels in America, as seen on PBS’s The Great American Read! Scottish Highlands, 1945. Claire Randall, a former British combat nurse, is just back from the war and reunited with her husband on a second honeymoon when she walks through a standing stone in one of the ancient circles that dot the British Isles. Suddenly she is a Sassenach—an “outlander”—in a Scotland torn by war and raiding clans in the year of Our Lord . . . 1743. Claire is catapulted into the intrigues of a world that threatens her life, and may shatter her heart. Marooned amid danger, passion, and violence, Claire learns her only chance of safety lies in Jamie Fraser, a gallant young Scots warrior. What begins in compulsion becomes urgent need, and Claire finds herself torn between two very different men, in two irreconcilable lives. This eBook includes the full text of the novel plus the following additional content: • An excerpt from Diana Gabaldon’s Dragonfly in Amber, the second novel in the Outlander series • An interview with Diana Gabaldon • An Outlander reader’s guide Praise for Outlander “Marvelous and fantastic adventures, romance, sex . . . perfect escape reading.”—San Francisco Chronicle “History comes deliciously alive on the page.”—New York Daily News
WINNER OF THE PULITZER PRIZE • NATIONAL BESTSELLER • A searing, post-apocalyptic novel about a father and son's fight to survive, this "tale of survival and the miracle of goodness only adds to McCarthy's stature as a living master. It's gripping, frightening and, ultimately, beautiful" (San Francisco Chronicle). • From the bestselling author of The Passenger A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other. The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.