For nearly half a century, Arthur Aull captivated a rural Missouri town and a national audience with his sensationalistic, all-the- news-is-fit-to-print approach to journalism. As editor and publisher of the Lamar Democrat from 1900 to 1948, he disregarded most of the traditional rules of news coverage. Every scandal and piece of gossip he could turn up helped fill the pages of his newspaper, an afternoon daily in a town of about 2,300. His tales of grisly accidents, murders, rapes, juvenile crime, suicides, and sensational divorces reminded skeptics of the earlier yellow journalism era.

Aull embellished nearly all of his stories with a personal, homespun flavor, and that's what caught the attention of syndicated columnists O. O. McIntyre and Ted Cook in the late 1920s. They started sprinkling their columns with curious items from the Democrat, and soon after unusual stories from the paper began showing up in the New York Times, the New York World-Telegram, the New Yorker, and even the Journal of the American Medical Association. Feature stories about Aull appeared in Publishers' Auxiliary, the Chicago Daily News, Life, Time, Newsweek, American Magazine, and Harper's. Aull became known coast to coast as one of the most colorful figures in country journalism, and the Democrat attracted subscribers in all forty-eight states plus Canada and England. Even President Truman, who was born in Lamar, noted Aull's death on May 7, 1948, declaring that an "able and picturesque figure in American journalism has passed on."

Despite the national acclaim, Aull remained an unpretentious small- town editor. He had his own code of ethics, which he refused to modify to reflect the changing times. He was sued for libel three times, assaulted with a club, threatened with other kinds of bodily harm, and cursed by many. Yet, he persisted in scouring the town of Lamar for any news that would help him sell a few more copies of the Democrat.

Although the influence of country journalism on American society cannot be disputed, relatively little has been written on the vital role country journalists play. All the News Is Fit to Print, which traces Aull's transformation from a struggling schoolteacher to one of the best-known small-town newspapermen in America, will help remedy that oversight. Anyone with an interest in the history of journalism or small-town life will find this work fascinating.

Archaeologists in Print is a history of popular publishing in archaeology in the nineteenth and twentieth centuries, a pivotal period of expansion and development in both archaeology and publishing. It examines how British archaeologists produced books and popular periodical articles for a nonscholarly audience and explores the rise in archaeologists’ public visibility. Notably, it analyzes women’s experiences in archaeology alongside better-known male contemporaries as shown in their books and archives. In the background of this narrative is the history of Britain’s imperial expansion and contraction, and the evolution of modern tourism in the Eastern Mediterranean and Middle East. Archaeologists exploited these factors to gain public and financial support and interest, and build and maintain a reading public for their work, supported by the seasonal nature of excavation and tourism. Reinforcing these publishing activities through personal appearances in the lecture hall, exhibition space and site tour, and in new media—film, radio and television—archaeologists shaped public understanding of archaeology.

The image of the archaeologist as adventurous explorer of foreign lands, part spy, part foreigner, eternally alluring, solidified during this period. That legacy continues, undimmed, today.

How did people in early America understand the authority of print and how was this authority sustained and contested? These questions are at the heart of this set of pathbreaking essays in the history of the book by one of America's leading practitioners in this interdisciplinary field.

David D. Hall examines the interchange between popular and learned cultures and the practices of reading and writing. His writings deal with change and continuity, exploring the possibility of a reading revolution and arguing for the long duration of a Protestant vernacular tradition. A newly written essay on book culture in the early Chesapeake describes a system of scribal publication. The pieces reflect Hall's belief that the better we understand the production and consumption of books, the closer we come to a social history of culture.

Democracy in Print captures many of the most influential voices from a century of United States history who have spoken out on the struggle to make real the promise of democracy for all Americans, railed against abuses of corporate power, renounced American empire, championed environmental causes, opposed war, and waged peace. It chronicles voices of the women’s rights movement, the civil rights movement, the labor movement, and the gay rights movement. And on every page, it declares the importance of an independent media, by culling the best of The Progressive magazine over the last one hundred years.
    Readers will discover the vision of the magazine’s founder, Robert “Fighting Bob” La Follette, and his suffragist wife, Belle Case La Follette. They’ll find historic gems from the likes of Jane Addams, Carl Sandburg, Huey Long, and John Kenneth Galbraith, and profound essays by Theodore Dreiser, Barbara Ehrenreich, Noam Chomsky, Upton Sinclair, Arundhati Roy, James Baldwin, Edwidge Danticat, and Edward Said. The collection is leavened with humor from Kate Clinton, Will Durst, Michael Feldman, and Molly Ivins, and graced by poems from such writers as Mahmoud Darwish, Rita Dove, Martín Espada, Maxine Kumin, Adrienne Rich, and Sandra Cisneros. Fascinating interviews bring readers into conversations with prominent cultural figures, including Chuck D, the Dalai Lama, Allen Ginsberg, Amy Goodman, Harold Pinter, Patti Smith, Susan Sarandon, and Yevgeny Yevtushenko.
    Eminently browsable, this book is for anyone concerned with American democracy, the global community, and the perils of the planet. With contributions by actors and Supreme Court justices, comedians and Nobel Prize-winners, Democracy in Print offers all readers nourishing food for thought.

Vividly revealing the multiple layers on which print has been produced, consumed, regulated, and contested for the purpose of education since the mid-nineteenth century, the historical case studies in Education and the Culture of Print in Modern America deploy a view of education that extends far beyond the confines of traditional classrooms. The nine essays examine “how print educates” in settings as diverse as depression-era work camps, religious training, and broadcast television—all the while revealing the enduring tensions that exist among the controlling interests of print producers and consumers. This volume exposes what counts as education in American society and the many contexts in which education and print intersect.
    Offering perspectives from print culture history, library and information studies, literary studies, labor history, gender history, the history of race and ethnicity, the history of science and technology, religious studies, and the history of childhood and adolescence, Education and the Culture of Print in Modern America pioneers an investigation into the intersection of education and print culture.

Just as mass-market magazines and cheap books have played important roles in the creation of an American identity, those skilled craftsmen (and women) whose careers are the subjects of Ronald Weber’s narrative profoundly influenced the outlook and strategies of the high-culture writers who are generally the focus of literary studies.

Hired Pens, a history of the writing profession in the United States, recognizes the place of independent writers who wrote for their livelihood from the 1830s and 1840s, with the first appearance of a broad-based print culture, to the 1960s.

Many realist authors began on this American Grub Street. Jack London turned out hackwork for any paying market he could find, while Scott Fitzgerald’s stories in slick magazines in the 1920s and early ’30s established his name as a writer.

From Edgar Allen Poe’s earliest forays into writing for pay to Sylvia Plath’s attempts to produce fiction for mass-circulation journals, Hired Pens documents without agenda the evolution of professional writing in all its permutations—travel accounts, sport, popular biography and history, genre and series fiction—and the culture it fed.

John Milton's Commonplace Book is the only known political notebook of a radical polemicist writing during the English civil war, and the most extensive manuscript record of reading we have from any major English poet from this period. In this rethinking of a surprisingly neglected body of evidence, Thomas Fulton explores Milton's reading practices and the ways he used this reading in his writing. Fulton's close study of the Commonplace Book suggests that this reading record is far from the haphazard collection of notes that it first appears but is instead a program of research which had its own ideology that responded to the reading habits and practices of Milton's contemporaries. Created mostly in the late 1630s and during the overthrow of the Stuart government in the 1640s, Milton's reading notes yield a number of surprises, the most fundamental being a highly structured commitment to political history. Fulton explores the relationship between the manuscript author and his polemical persona, placing the Commonplace Book, the manuscript "Digression" to the History of Britain, and some wartime poems in revealing contrast to the printed political texts of this period.

Most readers think of a written work as producing its meaning through the words it contains. But what is the significance of the detailed and beautiful illuminations on a medieval manuscript? Of the deliberately chosen typefaces in a book of poems by Yeats? Of the design and layout of text in an electronic format? How does the material form of a work shape its understanding in a particular historical moment, in a particular culture?
The material features of texts as physical artifacts--their "bibliographic codes" --have over the last decade excited increasing interest in a variety of disciplines. The Iconic Page in Manuscript, Print, and Digital Culture gathers essays by an extraordinarily distinguished group of scholars to offer the most comprehensive examination of these issues yet, drawing on examples from literature, history, the fine arts, and philosophy.
Fittingly, the volume contains over two dozen illustrations that display the iconic features of the works analyzed--from Alfred the Great's Boethius through medieval manuscripts to the philosophy of C. S. Peirce and the dustjackets on works by F. Scott Fitzgerald and William Styron.
The Iconic Page in Manuscript, Print, and Digital Culture will be groundbreaking reading for scholars in a wide range of fields.
George Bornstein is C. A. Patrides Professor of English, University of Michigan. Theresa Tinkle is Associate Professor of English, University of Michigan.

In Imagined Spiritual Communities in Britain’s Age of Print, Joshua King demonstrates how nineteenth-century Britons turned to the printed page to imagine themselves in Christian communities spanning their nation. In contrast with traditional views of the nineteenth century, which regard the period as a turning point for religion from a public life to a privatized decline, Imagined Spiritual Communities argues that the rapid growth of print culture and a voluntary religious market inspired vigorous efforts to form virtual national congregations of readers.
 
Focusing primarily on the work of Anglicans between the 1820s and 1890s, this study begins by freshly interpreting reading and educational programs promoted by Samuel Taylor Coleridge, Frederick Denison Maurice, and Matthew Arnold. King then traces the emergence of John Keble’s Christian Year as a catalyst for competing visions of a Christian nation united by private reading. He argues that this phenomenon illuminates the structure and reception of best-selling poetic cycles as diverse as Alfred Tennyson’s In Memoriam and Christina Rossetti’s late Verses.  Ultimately, Imagined Spiritual Communities reveals how dreams of print-mediated spiritual communion generated new poetic genres and rhetorical strategies, theories and theologies of media and reading, and ambitious schemes of education and church reform.

A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste.
Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.
 

In his study of Bach’s Clavier-Ubung III, Gregory Butler makes a major contribution to organ music and Bach studies by giving to original printed copies of this work the kind of attention normally reserved for manuscripts. He details the work’s chronology, production, aim, and even spiritual program, treating the prints as unique documents with discernible variants and readings.
The need to examine early printed copies of music is being recognized as an important tool which can reveal as much as the study of early manuscripts. Composers themselves frequently took a major role in the preparation of the engraving.
Clavier-Ubung III—arguably the most carefully planned, intellectually conceived, and challenging volume of organ music ever published—is a particularly useful example of Bach’s printed works known chiefly from the print itself. The print is richer in information than any of the other original prints of Bach’s music, making it a distinctly suitable repertory for the author’s innovative treatment. Butler reveals fascinating new information on the genesis and history of the collection’s composition, finding, in part, that sections of the work were composed considerably earlier than previously was believed.

To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.

In The Nature of the Book, a tour de force of cultural history, Adrian Johns constructs an entirely original and vivid picture of print culture and its many arenas—commercial, intellectual, political, and individual.

"A compelling exposition of how authors, printers, booksellers and readers competed for power over the printed page. . . . The richness of Mr. Johns's book lies in the splendid detail he has collected to describe the world of books in the first two centuries after the printing press arrived in England."—Alberto Manguel, Washington Times

"[A] mammoth and stimulating account of the place of print in the history of knowledge. . . . Johns has written a tremendously learned primer."—D. Graham Burnett, New Republic

"A detailed, engrossing, and genuinely eye-opening account of the formative stages of the print culture. . . . This is scholarship at its best."—Merle Rubin, Christian Science Monitor

"The most lucid and persuasive account of the new kind of knowledge produced by print. . . . A work to rank alongside McLuhan."—John Sutherland, The Independent

"Entertainingly written. . . . The most comprehensive account available . . . well documented and engaging."—Ian Maclean, Times Literary Supplement

Through technological experiments, readers have seen the concept of the book change over the years, and the novel reflects these experiments, acting as a kind of archive for information. Out of Print reveals that the novel continues to shape popular understandings of information culture, even as it adapts to engage with new media and new practices of mediating information in the digital age.

This innovative study chronicles how the print book has fared as both novelists and the burgeoning profession of information science have grappled with unprecedented quantities of data across the twentieth and twenty-first centuries. As the novel's archival project took a critical turn from realism to an investigation of the structures, possibilities, and ideologies of information media, novelists have considered ideas about how data can best be collected and stored. Julia Panko pairs case studies from information history with close readings of modernist works such as James Joyce's Ulysses and Virginia Woolf's Orlando and contemporary novels from Jonathan Safran Foer, Stephen King, and Mark Z. Danielewski that emphasize their own informational qualities and experiment with the aesthetic potential of the print book.

Although often framed as an economic, military, and diplomatic confrontation, the Cold War was above all a conflict of ideas. In official pronouncements and publications as well as via radio broadcasts, television, and film, the United States and the Soviet Union both sought to extend their global reach as much through the power of persuasion as by the use of force. Yet of all the means each side employed to press its ideological case, none proved more reliable or successful than print.

In this volume, scholars from a variety of disciplines explore the myriad ways print was used in the Cold War. Looking at materials ranging from textbooks and cookbooks to art catalogs, newspaper comics, and travel guides, they analyze not only the content of printed matter but also the material circumstances of its production, the people and institutions that disseminated it, and the audiences that consumed it. Among the topics discussed are the infiltration of book publishing by propagandists East and West; the distribution of pro-American printed matter in postwar Japan through libraries, schools, and consulates; and the collaboration of foundations, academia, and the government in the promotion of high culture as evidence of the superiority of Western values.

At the same time, many of the qualities that made print the preferred medium of official propaganda also made it an effective instrument for challenging Cold War orthodoxies at home and abroad. Because printed materials were relatively easy to transport, to copy, and to share, they could just as well be used to bridge differences among people and cultures as to exploit them. They also provided a vehicle for disseminating satire and other expressions of dissent.

In addition to the volume editors, contributors include Ed Brunner, Russell Cobb, Laura Jane Gifford, Patricia Hills, Christian Kanig, Scott Laderman, Amanda Laugesen, Martin Manning, Kristin Matthews, Hiromi Ochi, Amy Reddinger, and James Smith. Together their essays move beyond traditional Cold War narratives to gauge the role of a crucial cultural medium in the ideological battle between the superpowers and their surrogates.

The first edition of Purity in Print documented book censorship in America from the 1870s to the 1930s, embedding it within the larger social and cultural history of the time. In this second edition, Boyer adds two new chapters carrying his history forward to the beginning of the twenty-first century.

Reading is an everyday activity so taken for granted that it seems virtually invisible. In spite of its ubiquity in modern life (or perhaps because of its familiarity), scholars have only recently begun paying attention to its development as a social practice. During the nineteenth century, an evolving print culture made reading an essential part of Americans' daily routines. To date, the history of American reading practices has tended to focus on middle-class white people living in northeastern cities before 1876. Reading on the Middle Border shifts the focus to the Midwest and broadens the base of economic classes studied.

Christine Pawley investigates the use of print by "ordinary" Americans in the small, rural community of Osage, Iowa—the town that shaped Hamlin Garland—analyzing primary source material on education, religious life, a reading club, and business affairs. A major section of her study focuses on the public library, an institution that provides a valuable window into the reading practices of men and women of various ages, classes, ethnicities, and religions. An extensive database of library circulation and accessions information, combined with federal and state census data, sheds light on the elusive issue of "Who read what?"

Pawley explores the ways print confirmed or challenged people's economic, social, and religious world, and asks what values print expressed or confronted. She also raises questions relating to modes and contexts of reading, distinguishing between groups and individuals. The picture of print in Osage is complex and defies reduction, but by placing print in a community context and viewing printed materials as an expression of activities, not mere artifacts, Pawley enhances our understanding of the role of reading in American culture.

Mingling God and Mammon, piety and polemics, and prescriptions for this world and the next, modern Americans have created a culture of print that is vibrantly religious. From America’s beginnings, the printed word has played a central role in articulating, propagating, defending, critiquing, and sometimes attacking religious belief. In the last two centuries the United States has become both the leading producer and consumer of print and one of the most identifiably religious nations on earth. Print in every form has helped religious groups come to grips with modernity as they construct their identities. In turn, publishers have profited by swelling their lists with spiritual advice books and scriptures formatted so as to attract every conceivable niche market.

            Religion and the Culture of Print in Modern America explores how a variety of print media—religious tracts, newsletters, cartoons, pamphlets, self-help books, mass-market paperbacks, and editions of the Bible from the King James Version to contemporary “Bible-zines”—have shaped and been shaped by experiences of faith since the Civil War. Edited by Charles L. Cohen and Paul S. Boyer, whose comprehensive historical essays provide a broad overview to the topic, this book is the first on the history of religious print culture in modern America and a well-timed entry into the increasingly prominent contemporary debate over the role of religion in American public life.

 

Best Books for General Audiences, selected by the American Association of School Librarians, and Best Books for Regional Special Interests, selected by the Public Library Association

 

Ever since the threads of seventeenth-century natural philosophy began to coalesce into an understanding of the natural world, printed artifacts such as laboratory notebooks, research journals, college textbooks, and popular paperbacks have been instrumental to the development of what we think of today as “science.” But just as the history of science involves more than recording discoveries, so too does the study of print culture extend beyond the mere cataloguing of books. In both disciplines, researchers attempt to comprehend how social structures of power, reputation, and meaning permeate both the written record and the intellectual scaffolding through which scientific debate takes place.
    Science in Print brings together scholars from the fields of print culture, environmental history, science and technology studies, medical history, and library and information studies. This ambitious volume paints a rich picture of those tools and techniques of printing, publishing, and reading that shaped the ideas and practices that grew into modern science, from the days of the Royal Society of London in the late 1600s to the beginning of the modern U.S. environmental movement in the early 1960s.