**The 16th edition of The Chicago Manual of Style has been superseded by the 17th edition.**
While digital technologies have revolutionized the publishing world in the twenty-first century, one thing still remains true: The Chicago Manual of Style is the authoritative, trusted source that writers, editors, and publishers turn to for guidance on style and process. For the sixteenth edition, every aspect of coverage has been reconsidered to reflect how publishing professionals work today. Though processes may change, the Manual continues to offer the clear, well-considered style and usage advice it has for more than a century.
The sixteenth edition offers expanded information on producing electronic publications, including web-based content and e-books. An updated appendix on production and digital technology demystifies the process of electronic workflow and offers a primer on the use of XML markup, and a revised glossary includes a host of terms associated with electronic as well as print publishing. The Chicago system of documentation has been streamlined and adapted for a variety of online and digital sources. Figures and tables are updated throughout the book—including a return to the Manual’s popular hyphenation table and new, comprehensive listings of Unicode numbers for special characters.
Research publications have always been key to building a successful career in science, yet little if any formal guidance is offered to young scientists on how to get research papers peer reviewed, accepted, and published by leading scientific journals. With What Editors Want, Philippa J. Benson and Susan C. Silver, two well-respected editors from the science publishing community, remedy that situation with a clear, straightforward guide that will be of use to all scientists.
Benson and Silver instruct readers on how to identify the journals that are most likely to publish a given paper, how to write an effective cover letter, how to avoid common pitfalls of the submission process, and how to effectively navigate the all-important peer review process, including dealing with revisions and rejection. With supplemental advice from more than a dozen experts, this book will equip scientists with the knowledge they need to usher their papers through publication.
Accessibility is about equitable access to resources for all people, regardless of physical ability. Scholarly publishing is about quality and impact — quality of content and impact of research.
Accessibility & Publishing addresses the intersections between scholarly publishing and equitable access for users. This briefing explores how the practices that promote accessibility in publishing can also advance — and potentially transform — publishing itself.
This briefing traces the diversity of activities that currently go into making publications accessible to readers with print disabilities — from retroactive conversion of print into braille and recorded sound, to the more radical incorporation of accessibility standards directly into digital publishing platforms. As scholarly communication is transformed by the shift to digital publishing, building accessible practices directly into the flow of publishing has the potential to become the industry norm.
Accessibility & Publishing offers an essential orientation to a complex landscape for anyone interested in the scholarly publishing ecosystem.
Against the Grain is a collection of interviews with nine small press publishers, each one characterized by strength of resolve and a dedication to good books. Each press reflects, perhaps more directly than any large trade publisher could, the character of its founder; and each has earned its own place in the select group of important small presses in America.
This collection is the first of its kind to explore with the publishers themselves the historical, aesthetic, practical, and personal impulses behind literary publishing. The publishers included are Harry Duncan (the Cummington Press), Lawrence Ferlinghetti (City Lights), David Godine (David R. Godine), Daniel Halpern (the Ecco Press), Sam Hamill and Tree Swenson (Copper Canyon Press), James Laughlin (New Directions), John Martin (Black Sparrow), and Jonathan Williams (the Jargon Society). Their passion for books, their belief in their individual visions of what publishing is or could be, their inspired mulishness crackle on the page.
A great book about an even greater book is a rare event in publishing. Robert Darnton’s history of the Encyclopédie is such an occasion. The author explores some fascinating territory in the French genre of histoire du livre, and at the same time he tracks the diffusion of Enlightenment ideas. He is concerned with the form of the thought of the great philosophes as it materialized into books and with the way books were made and distributed in the business of publishing. This is cultural history on a broad scale, a history of the process of civilization.
In tracing the publishing story of Diderot’s Encyclopédie, Darnton uses new sources—the papers of eighteenth-century publishers—that allow him to respond firmly to a set of problems long vexing historians. He shows how the material basis of literature and the technology of its production affected the substance and diffusion of ideas. He fully explores the workings of the literary market place, including the roles of publishers, book dealers, traveling salesmen, and other intermediaries in cultural communication. How publishing functioned as a business, and how it fit into the political as well as the economic systems of prerevolutionary Europe are set forth. The making of books touched on this vast range of activities because books were products of artisanal labor, objects of economic exchange, vehicles of ideas, and elements in political and religious conflict.
The ways ideas traveled in early modern Europe, the level of penetration of Enlightenment ideas in the society of the Old Regime, and the connections between the Enlightenment and the French Revolution are brilliantly treated by Darnton. In doing so he unearths a double paradox. It was the upper orders in society rather than the industrial bourgeoisie or the lower classes that first shook off archaic beliefs and took up Enlightenment ideas. And the state, which initially had suppressed those ideas, ultimately came to favor them. Yet at this high point in the diffusion and legitimation of the Enlightenment, the French Revolution erupted, destroying the social and political order in which the Enlightenment had flourished.
Never again will the contours of the Enlightenment be drawn without reference to this work. Darnton has written an indispensable book for historians of modern Europe.
As Madison’s Capital Times marks its 100th anniversary in 2017, editors Dave Zweifel and John Nichols recall the remarkable history of a newspaper that served as the tribune of Robert M. La Follette and the progressive movement, earned the praise of Franklin Delano Roosevelt for its stalwart opposition to fascism, battled Joe McCarthy during the "Red Scare," championed civil rights, women’s rights, and LGBTQ rights, opposed the Vietnam War and the invasion of Iraq, and stood with Russ Feingold when he cast the only US Senate vote against the Patriot Act. The Capital Times did not do this from New York or Washington but from the middle of America, with a readership of farmers, factory workers, teachers, and shopkeepers who stood by The Cap Times when the newspaper was boycotted, investigated, and attacked for its determination.
At a point when journalism is under assault, when newspapers struggle to survive, and "old media" struggles to find its way in a digital age, The Capital Times remains unbowed—still living up to the description Lord Francis Williams, the British newspaper editor, wrote 50 years ago: "The vast majority of American papers are as dull as weed-covered ditch-water; vast Saharas of cheap advertising with occasional oases of editorial matter written to bring happiness to the Chamber of Commerce and pain and irritation to none; the bland leading the bland.… Just here and there are a few relics of the old fighting muckraking tradition of American journalism, like The Capital Times of Madison."
"I am not a common atheist; I am an atheist who loves God."—Paul Carus, "The God of Science," 1904
In the summer of 1880, while teaching at the military academy of the Royal Corps of Cadets of Saxony in Dresden, Paul Carus published a brief pamphlet denying the literal truth of scripture and describing the Bible as a great literary work comparable to the Odyssey.
This unremarkable document was Carus’s first step in a wide-ranging intellectual voyage in which he traversed philosophy, science, religion, mathematics, history, music, literature, and social and political issues. The Royal Corps, Carus later reported, found his published views "not in harmony with the Christian spirit, in accordance with which the training and education of the Corps of Cadets should be conducted." And so the corps offered the young teacher the choice of asking "most humbly for forgiveness for daring to have an opinion of my own and to express it, perhaps even promise to publish nothing more on religious matters, or to give up my post. I chose the latter. . . . There was thus no other choice for me but to emigrate and, trusting in my own powers, to establish for myself a new home." His resignation was effective on Easter Sunday, 1881.
Carus toured the Rhine, lived briefly in Belgium, and taught in a military college in England to learn English well enough to "thrive in the United States." By late 1884 or early 1885 he was on his way to the New World. Thriving in the United States proved more difficult than it had in England, but before 1885 ended he had published his first philosophical work in English, Monism and Meliorism. The book was not widely read, but it did reach Edward C. Hegeler, a La Salle, Illinois, zinc processor who became his father-in-law as well as his ideological and financial backer.
Established in La Salle, Carus began the work that would place him among the prominent American philosophers of his day and make the Open Court Publishing Company a leading publisher of philosophical, scientific, and religious books. He edited The Open Court and The Monist, offering the finest view of Oriental thought and religion then available in the West, and sought unsuccessfully to bring about a second World Parliament of Religions. He befriended physicist-philosopher Ernst Mach. For eleven years he employed D. T. Suzuki, who later became a great Zen Buddhist teacher. He published more articles by Charles S. Peirce, now viewed as one of the great world philosophers, in The Monist than appeared in any other publication.
Biographer Harold Henderson concludes his study of this remarkable man: "Whenever anyone is so fired with an idea that he or she can’t wait to write it down, there the spirit of Paul Carus remains, as he would have wished, active in the world."
"They're closing in on me, Dick, and I'm afraid they're going to get me," said Frank Wood, publisher of the Green Bay News-Chronicle, in a phone call to his friend and colleague, Richard McCord. Drained of cash and spirit, Wood could not hold out much longer against a devouring giant, the Gannett Company. As editor and publisher of the nationally distinguished weekly Santa Fe Reporter, McCord had successfully fended off Gannett's "Operation Demolition" when it moved into town. Now Wood was seeking the help of a survivor.
Startling case histories of the dubious tactics practiced by Gannett, unsparing insights into the newspaper industry, and harsh conclusions all come together in the dramatic story of these two men's efforts to save the small Green Bay daily from being obliterated at the hands of the nation's largest newspaper chain. Their success is a metaphor for one of the oldest triumphs of the world: that of David over Goliath.
"McCord has done something marvelous with this. He's taken a deeply disturbing nationwide trend and put it on a small midwestern stage with real characters. The Chain Gang's message needs to be heard by as many Americans as read newspapers. Already Gannett's monopoly tactics have impoverished communities across the country. McCord is one man fighting back, coolly, rationally, creatively, and stubbornly. Let's join him."—Michael Shnayerson, Contributing Editor, Vanity Fair
"More graphically than almost any other available record of the era, the Gannett piracy is what has happened to this country, tolled where the price is truly paid, in the lives of communities and people."—Roger Morris, winner of the Investigative Reporters and Editors' National Award for Distinguished Investigative Journalism
"Richard McCord's The Chain Gang takes the losing battle for the soul of American newspapers from the euphoric accounts on financial pages to show what corporate news chains can mean in human terms to the people and the vitality of the victimized cities and towns. His is a unique account of the power and depredations of the Gannett Chain under its glib empire builder, Allen Neuharth. It goes behind the facade of slick public relations and financial killings for investors to show what happens when a ruthless and ambitious wheeler-dealer gets control of our news."—Ben H. Bagdikian, media critic and Pulitzer Prize winner
Provocative yet sober, Digital Critical Editions examines how transitioning from print to a digital milieu deeply affects how scholars deal with the work of editing critical texts. On one hand, forces like changing technology and evolving reader expectations lead to the development of specific editorial products, while on the other hand, they threaten traditional forms of knowledge and methods of textual scholarship.
Using the experiences of philologists, text critics, text encoders, scientific editors, and media analysts, Digital Critical Editions ranges from philology in ancient Alexandria to the vision of user-supported online critical editing, from peer-directed texts distributed to a few to community-edited products shaped by the many. The authors discuss the production and accessibility of documents, the emergence of tools used in scholarly work, new editing regimes, and how the readers' expectations evolve as they navigate digital texts. The goal: exploring questions such as, What kind of text is produced? Why is it produced in this particular way?
Digital Critical Editions provides digital editors, researchers, readers, and technological actors with insights for addressing disruptions that arise from the clash of traditional and digital cultures, while also offering a practical roadmap for processing traditional texts and collections with today's state-of-the-art editing and research techniques thus addressing readers' new emerging reading habits.
At the turn of the nineteenth century, publishing houses in London, New York, Paris, Stuttgart, and Berlin produced books in ever greater numbers. But it was not just the advent of mass printing that created the era’s “bookish” culture. According to Andrew Piper, romantic writing and romantic writers played a crucial role in adjusting readers to this increasingly international and overflowing literary environment. Learning how to use and to want books occurred through more than the technological, commercial, or legal conditions that made the growing proliferation of books possible; the making of such bibliographic fantasies was importantly a product of the symbolic operations contained within books as well.
Examining novels, critical editions, gift books, translations, and illustrated books, as well as the communities who made them, Dreaming in Books tells a wide-ranging story of the book’s identity at the turn of the nineteenth century. In so doing, it shows how many of the most pressing modern communicative concerns are not unique to the digital age but emerged with a particular sense of urgency during the bookish upheavals of the romantic era. In revisiting the book’s rise through the prism of romantic literature, Piper aims to revise our assumptions about romanticism, the medium of the printed book, and, ultimately, the future of the book in our so-called digital age.
Offering the everyday tasks of literary editors as inspired sources of postwar literary history
Michel Foucault famously theorized “the author function” in his 1969 essay “What Is an Author?” proposing that the existence of the author limits textual meaning. Abram Foley shows a similar critique at work in the labor of several postwar editors who sought to question and undo the corporate “editorial/industrial complex.” Marking an end to the powerful trope of the editor as gatekeeper, The Editor Function demonstrates how practices of editing and publishing constitute their own kinds of thought, calling on us to rethink what we read and how.
The Editor Function follows avant-garde American literary editors and the publishing practices they developed to compete against the postwar corporate consolidation of the publishing industry. Foley studies editing and publishing through archival readings and small press and literary journal publishing lists as unique sites for literary inquiry. Pairing histories and analyses of well- and lesser-known figures and publishing formations, from Cid Corman’s Origin and Nathaniel Mackey’s Hambone to Dalkey Archive Press and Semiotext(e), Foley offers the first in-depth engagement with major publishing initiatives in the postwar United States.
The Editor Function proposes that from the seemingly mundane tasks of these editors—routine editorial correspondence, line editing, list formation—emerge visions of new, better worlds and new textual and conceptual spaces for collective action.
A new history explores the commercial heart of evangelical Christianity.
American evangelicalism is big business. For decades, the world’s largest media conglomerates have sought out evangelical consumers, and evangelical books have regularly become international best sellers. In the early 2000s, Rick Warren’s The Purpose Driven Life spent ninety weeks on the New York Times Best Sellers list and sold more than thirty million copies. But why have evangelicals achieved such remarkable commercial success?
According to Daniel Vaca, evangelicalism depends upon commercialism. Tracing the once-humble evangelical book industry’s emergence as a lucrative center of the US book trade, Vaca argues that evangelical Christianity became religiously and politically prominent through business activity. Through areas of commerce such as branding, retailing, marketing, and finance, for-profit media companies have capitalized on the expansive potential of evangelicalism for more than a century.
Rather than treat evangelicalism as a type of conservative Protestantism that market forces have commodified and corrupted, Vaca argues that evangelicalism is an expressly commercial religion. Although religious traditions seem to incorporate people who embrace distinct theological ideas and beliefs, Vaca shows, members of contemporary consumer society often participate in religious cultures by engaging commercial products and corporations. By examining the history of companies and corporate conglomerates that have produced and distributed best-selling religious books, bibles, and more, Vaca not only illustrates how evangelical ideas, identities, and alliances have developed through commercial activity but also reveals how the production of evangelical identity became a component of modern capitalism.
Surveying the conventions of reading and writing that have appeared and disappeared in the Internet's wake, Vandendorpe considers various forms of organization, textual design, the use (and distrust) of illustrations, and styles of reference and annotation. He also examines the novel components of digital texts, including hyperlinks and emoticons, and looks at emergent, collaborative genres such as blogs and wikis, which blur the distinction between author and reader. Looking to the future, reading and writing will continue to evolve based on the current, contested trends of universal digitization and accessibility.
At the same time that Gandhi, as a young lawyer in South Africa, began fashioning the tenets of his political philosophy, he was absorbed by a seemingly unrelated enterprise: creating a newspaper. Gandhi’s Printing Press is an account of how this project, an apparent footnote to a titanic career, shaped the man who would become the world-changing Mahatma. Pioneering publisher, experimental editor, ethical anthologist—these roles reveal a Gandhi developing the qualities and talents that would later define him.
Isabel Hofmeyr presents a detailed study of Gandhi’s work in South Africa (1893–1914), when he was the some-time proprietor of a printing press and launched the periodical Indian Opinion. The skills Gandhi honed as a newspaperman—distilling stories from numerous sources, circumventing shortages of type—influenced his spare prose style. Operating out of the colonized Indian Ocean world, Gandhi saw firsthand how a global empire depended on the rapid transmission of information over vast distances. He sensed that communication in an industrialized age was becoming calibrated to technological tempos.
But he responded by slowing the pace, experimenting with modes of reading and writing focused on bodily, not mechanical, rhythms. Favoring the use of hand-operated presses, he produced a newspaper to contemplate rather than scan, one more likely to excerpt Thoreau than feature easily glossed headlines. Gandhi’s Printing Press illuminates how the concentration and self-discipline inculcated by slow reading, imbuing the self with knowledge and ethical values, evolved into satyagraha, truth-force, the cornerstone of Gandhi’s revolutionary idea of nonviolent resistance.
This book provides a basic guide to the study of the printed matter which has been produced in the United States. No comprehensive attempt has been made to record the great bulk of research in this field. Recognizing the need for an up-to-date guide to such investigations, G. Thomas Tanselle has compiled a listing of the principal material dealing with printing and publishing in this country.
In his Introduction, Tanselle surveys the research which has attempted to trace the history of printing and publishing in America from its inception to the present and explains how this material can be utilized effectively.
In nine carefully arranged categories he covers bibliographies of imprints of particular localities; bibliographies of works in particular genres; listings of all editions and printings of works by individual writers; copyright records; catalogues of auction houses, book dealers, exhibitions, institutional libraries, and private collections; retrospective book-trade directories; studies of individual printers and publishers; general studies of printing and publishing; and checklists of secondary material.
From the mass of material, an appendix selects 250 titles. Although the work is arranged so that the reader may easily locate relevant sections, a comprehensive index provides further aid in finding individual items.
“A successful checklist,” writes the author, “is not merely a work to be consulted for information but also a nucleus around which additional information can be gathered in a meaningful way; it provides a framework into which the community of workers in a field can place further references in an organized fashion.”
Guide to the Study of United States Imprints is a reference tool designed to serve both as a guide to research and as a practical manual for use in identifying, cataloguing, and recording printed matter. It will be of enormous value to scholars in American literature, history, and bibliography, to librarians, typographers, and bibliophiles, and to antiquarian book dealers and book collectors.
A university press is a curious institution, dedicated to the dissemination of learning yet apart from the academic structure; a publishing firm that is in business, but not to make money; an arm of the university that is frequently misunderstood and occasionally attacked by faculty and administration. Max Hall here chronicles the early stages and first sixty years of Harvard University Press in a rich and entertaining book that is at once Harvard history, publishing history, printing history, business history, and intellectual history.
The tale begins in 1638 when the first printing press arrived in British North America. It became the property of Harvard College and remained so for nearly half a century. Hall sketches the various forerunners of the “real” Harvard University Press, founded in 1913, and then follows the ups and downs of its first six decades, during which the Press published steadily if not always serenely a total of 4,500 books. He describes the directors and others who left their stamp on the Press or guided its fortunes during these years. And he gives the stories behind such enduring works as Lovejoy’s Great Chain of Being, Giedion’s Space, Time and Architecture, Langer’s Philosophy in a New Key, and Kelly’s Eleanor of Aquitaine and the Four Kings.
An Open Letters Review Best Book of the Year
“Grafton presents largely unfamiliar material…in a clear, even breezy style…Erudite.”
—Michael Dirda, Washington Post
In this celebration of bookmaking in all its messy and intricate detail, Anthony Grafton captures both the physical and mental labors that went into the golden age of the book—compiling notebooks, copying and correcting proofs, preparing copy—and shows us how scribes and scholars shaped influential treatises and forgeries.
Inky Fingers ranges widely, from the theological polemics of the early days of printing to the pathbreaking works of Jean Mabillon and Baruch Spinoza. Grafton draws new connections between humanistic traditions and intellectual innovations, textual learning and the delicate, arduous, error-riddled craft of making books. Through it all, he reminds us that the life of the mind depends on the work of the hands, and the nitty gritty labor of printmakers has had a profound impact on the history of ideas.
“Describes magnificent achievements, storms of controversy, and sometimes the pure devilment of scholars and printers…Captivating and often amusing.”
—Wall Street Journal
“Ideas, in this vivid telling, emerge not just from minds but from hands, not to mention the biceps that crank a press or heft a ream of paper.”
—New York Review of Books
“Grafton upends idealized understandings of early modern scholarship and blurs distinctions between the physical and mental labor that made the remarkable works of this period possible.”
—Christine Jacobson, Book Post
“Scholarship is a kind of heroism in Grafton’s account, his nine protagonists’ aching backs and tired eyes evidence of their valiant dedication to the pursuit of knowledge.”
—London Review of Books
Publishing, after all, is a complex business, and the trend in the marketplace is to economies of scale and the consolidation of smaller publishers into the fold of the largest. It does not seem a propitious moment for a library to become a small independent publisher.
So why are libraries doing this? How is this similar or different from the services commercial publishers provide? Does it involve offering the same services, or are new models, types of content, and needs resulting in new solutions that suit new players?
This book will help the reader understand the context of library publishing. It also explores when a publishing program is a good fit for a library and provides guidance for defining, launching, or growing a publishing initiative.
Linking the study of business and politics, Christine Haynes reconstructs the passionate and protracted debate over the development of the book trade in nineteenth-century France. While traditionalists claimed that the business of literature required tight state regulation, an increasingly influential group of reformers argued that books were ordinary commodities whose production and distribution were best left to the free market.
The French Revolution overthrew the system of guilds and privileges that had governed the trade under the Old Regime. In the struggle that followed, the new men known as éditeurs (publishers) pushed for increased liberalization of the market. They relied on collective organization, especially a professional association known as the Cercle de la Librairie, to advocate for abolition of licensing requirements and extension of literary rights. Haynes shows how publishers succeeded in transforming the industry from a tightly controlled trade into a free enterprise, with dramatic but paradoxical consequences for literature in France.
The modern literary marketplace was the outcome of a political struggle both within the publishing world and between the book trade and the state. In tracing the contest over literary production in France, Haynes emphasizes the role of the Second Empire in enacting—but also in limiting—press freedom and literary property.
A new perspective on a book that transformed Victorian illustration into a stand-alone art.
Edward Moxon’s 1857 edition of Alfred, Lord Tennyson’s Poems dramatically redefined the relationship between images and words in print. Cooke’s study, the first book to address the subject in over 120 years, presents a sweeping analysis of the illustrators and the complex and challenging ways in which they interpreted Tennyson’s poetry. This book considers the volume’s historical context, examining in detail the roles of publisher, engravers, and binding designer, as well as the material difficulties of printing its fine illustrations, which recreate the effects of painting. Arranged thematically and reproducing all the original images, the chapters present a detailed reappraisal of the original volume and the distinctive culture that produced it.
A new history of one of the foremost printers of the Renaissance explores how the Age of Print came to Italy.
Lorenz Böninger offers a fresh history of the birth of print in Italy through the story of one of its most important figures, Niccolò di Lorenzo della Magna. After having worked for several years for a judicial court in Florence, Niccolò established his business there and published a number of influential books. Among these were Marsilio Ficino’s De christiana religione, Leon Battista Alberti’s De re aedificatoria, Cristoforo Landino’s commentaries on Dante’s Commedia, and Francesco Berlinghieri’s Septe giornate della geographia. Many of these books were printed in vernacular Italian.
Despite his prominence, Niccolò has remained an enigma. A meticulous historical detective, Böninger pieces together the thorough portrait that scholars have been missing. In doing so, he illuminates not only Niccolò’s life but also the Italian printing revolution generally. Combining Renaissance studies’ traditional attention to bibliographic and textual concerns with a broader social and economic history of printing in Renaissance Italy, Böninger provides an unparalleled view of the business of printing in its earliest years. The story of Niccolò di Lorenzo furnishes a host of new insights into the legal issues that printers confronted, the working conditions in printshops, and the political forces that both encouraged and constrained the publication and dissemination of texts.
Since the rise of Napster and other file-sharing services in its wake, most of us have assumed that intellectual piracy is a product of the digital age and that it threatens creative expression as never before. The Motion Picture Association of America, for instance, claimed that in 2005 the film industry lost $2.3 billion in revenue to piracy online. But here Adrian Johns shows that piracy has a much longer and more vital history than we have realized—one that has been largely forgotten and is little understood.
Piracy explores the intellectual property wars from the advent of print culture in the fifteenth century to the reign of the Internet in the twenty-first. Brimming with broader implications for today’s debates over open access, fair use, free culture, and the like, Johns’s book ultimately argues that piracy has always stood at the center of our attempts to reconcile creativity and commerce—and that piracy has been an engine of social, technological, and intellectual innovations as often as it has been their adversary. From Cervantes to Sonny Bono, from Maria Callas to Microsoft, from Grub Street to Google, no chapter in the story of piracy evades Johns’s graceful analysis in what will be the definitive history of the subject for years to come.
The Predator Effect concerns predatory publishing — it is the first to chart both the rise and impact of deceptive publishing. The author — a scientific communications expert with 20 years’ experience — looks at how predatory journals had become an accepted part of scholarly publishing, reviewing in turn the history, development and impact of predatory journals. The book also puts their rise in context of wider issues such as Open Access and publication ethics. Other issues it addresses include: defining predatory journals, the history of predatory publishing practices, Beall’s List, authors’ motivations and the future of predatory publishing practices.
Italian preachers during the Reformation era found themselves in the trenches of a more desperate war than anything they had ever imagined. This war—the splintering of western Christendom into conflicting sects—was physically but also spiritually violent. In an era of tremendous religious convolution, fluidity, and danger, preachers of all kinds spoke from the pulpit daily, weekly, or seasonally to confront the hottest controversies of their time. Preachers also turned to the printing press in unprecedented numbers to spread their messages.
Emily Michelson challenges the stereotype that Protestants succeeded in converting Catholics through superior preaching and printing. Catholic preachers were not simply reactionary and uncreative mouthpieces of a monolithic church. Rather, they deftly and imaginatively grappled with the question of how to preserve the orthodoxy of their flock and maintain the authority of the Roman church while also confronting new, undeniable lay demands for inclusion and participation.
These sermons—almost unknown in English until now—tell a new story of the Reformation that credits preachers with keeping Italy Catholic when the region’s religious future seemed uncertain, and with fashioning the post-Reformation Catholicism that thrived into the modern era. By deploying the pulpit, pen, and printing press, preachers in Italy created a new religious culture that would survive in an unprecedented atmosphere of competition and religious choice.
A decade ago in the Times Literary Supplement, Roderick Conway Morris claimed that “almost everything that was going to happen in book publishing—from pocket books, instant books and pirated books, to the concept of author’s copyright, company mergers, and remainders—occurred during the early days of printing.” Ian Maclean’s colorful survey of the flourishing learned book trade of the late Renaissance brings this assertion to life.
The story he tells covers most of Europe, with Frankfurt and its Fair as the hub of intellectual exchanges among scholars and of commercial dealings among publishers. The three major religious confessions jostled for position there, and this rivalry affected nearly all aspects of learning. Few scholars were exempt from religious or financial pressures. Maclean’s chosen example is the literary agent and representative of international Calvinism, Melchior Goldast von Haiminsfeld, whose activities included opportunistic involvement in the political disputes of the day. Maclean surveys the predicament of underfunded authors, the activities of greedy publishing entrepreneurs, the fitful interventions of regimes of censorship and licensing, and the struggles faced by sellers and buyers to achieve their ends in an increasingly overheated market.
The story ends with an account of the dramatic decline of the scholarly book trade in the 1620s, and the connivance of humanist scholars in the values of the commercial world through which they aspired to international recognition. Their fate invites comparison with today’s writers of learned books, as they too come to terms with new technologies and changing academic environments.
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.
The scientific article has been a hallmark of the career of every important western scientist since the seventeenth century. Yet its role in the history of science has not been fully explored. Joseph E. Harmon and Alan G. Gross remedy this oversight with The Scientific Literature, a collection of writings—excerpts from scientific articles, letters, memoirs, proceedings, transactions, and magazines—that illustrates the origin of the scientific article in 1665 and its evolution over the next three and a half centuries.
Featuring articles—as well as sixty tables and illustrations, tools vital to scientific communication—that represent the broad sweep of modern science, The Scientific Literature is a historical tour through both the rhetorical strategies that scientists employ to share their discoveries and the methods that scientists use to argue claims of new knowledge. Commentaries that explain each excerpt’s scientific and historical context and analyze its communication strategy accompany each entry.
A unique anthology, The Scientific Literature will allow both the scholar and the general reader to experience first hand the development of modern science.
With the overwhelming amount of new information that bombards us each day, it is perhaps difficult to imagine a time when the widespread availability of the printed word was a novelty. In early nineteenth-century Britain, print was not novel—Gutenberg’s printing press had been around for nearly four centuries—but printed matter was still a rare and relatively expensive luxury. All this changed, however, as publishers began employing new technologies to astounding effect, mass-producing instructive and educational books and magazines and revolutionizing how knowledge was disseminated to the general public.
Former FBI agent Jim Fisher upends the genteel racket of fee-based literary agents and vanity publishers in this searing look at the rise and fall of one bogus entrepreneur who systematically swindled thousands of would-be writers out of millions of dollars with promises of having their work turned into salable books. In divulging the details of this colossal and shocking confidence game, Ten Percent of Nothing: The Case of the Literary Agent from Hell exposes a growing and serious crime against writers and a dark, ugly secret about the American publishing industry.
In 1989, Dorothy L. Deering, possessing a high school degree, a recent embezzlement conviction, and no experience as a professional writer, editor, or publisher, began operating a fee-based literary agency out of her garage in Nicholasville, Kentucky. Over the next ten years, she racked up a fortune in reading and marketing fees, learning the business of sham publishing as she went along. Later, as the owner of a vanity press, she bilked 1.5 million dollars out of her clients, masterfully manufacturing dreams of literary success until she was brought to justice by Fisher’s investigative journalism, an FBI probe, and the retaliation and testimonies of numerous victims.
Deering never sold a single manuscript to a major publisher. With the money in her pocket and her clients’ hopes and hard work wrapped up in fraudulent contracts, Deering produced a few copies of four cheaply printed, poorly edited paperbacks. These she used as bait to hoodwink more clients. She was abetted by her husband, Charles, a former car salesman; his son, Daniel, a drug user with a ninth-grade education; and her brother, Bill, a fugitive from the law at the time he headed her vanity press.
By successfully impersonating a literary agent for ten years, Deering operated one of the longest-running confidence games in American history. The financial loss for her clients was devastating, and the heartbreak was extreme. Drawing on victims’ experiences and documents recovered from the Deering venture, Fisher shows how Deering engineered and executed her scam, emphasizing the warning signs of sham agents, crook book doctors, and mendacious publishers.
Ten Percent of Nothing provides essential information for aspiring writers and publishing professionals. Fisher’s findings also prompt new inquiries into the potential licensing of literary agents and the prosecution of interstate scam artists. The volume’s gallery of illustrations includes reproductions of correspondence, newsletters, and advertisements used by the Deering operation.
The larger-than-life story of Bernarr Macfadden, a bodybuilder who turned his obsession with muscles, celebrity, and confession into a publishing empire that transformed global media.
In True Story, Shanon Fitzpatrick tells the unlikely story of an orphan from the Ozarks who became one of history’s most powerful media moguls. Born in 1868 in Mill Spring, Missouri, Bernarr Macfadden turned to bodybuilding to transform himself from a sickly “boy” into a creature of masculine perfection. He then channeled his passion into the magazine Physical Culture, capitalizing on the wider turn-of-the-century mania for fitness. Macfadden Publications soon become a pioneer in mass media, helping to inaugurate our sensational, confessional, and body-obsessed global marketplace.
With publications like True Story, a magazine purportedly written and edited by its own readers, as well as scores of romance, crime, and fan magazines, Macfadden specialized in titles that targeted women, immigrants, and the working class. Although derided as pulp by critics of the time, Macfadden’s publications were not merely profitable. They were also influential. They championed reader engagement and interactivity long before these were buzzwords in the media industry, breaking down barriers between producers and consumers of culture. At the same time, Macfadden Publications inspired key elements of modern media strategy by privileging rapid production of new content and equally rapid disintegration and reconfiguration of properties in the face of shifting market conditions.
No less than the kings of Hollywood and Madison Avenue, Macfadden was a crucial player in shaping American consumer culture and selling it to the world at large. Though the Macfadden media empire is overlooked today, its legacies are everywhere, from true-crime journalism to celebrity gossip rags and fifteen-minute abs.
Women readers, editors, librarians, authors, journalists, booksellers, and others are the subjects in this stimulating new collection on modern print culture. The essays feature women like Marie Mason Potts, editor of Smoke Signals, a mid-twentieth century periodical of the Federated Indians of California; Lois Waisbrooker, publisher of books and journals on female sexuality and women's rights in the decades after the Civil War; and Elizabeth Jordan, author of two novels and editor of Harper's Bazaar from 1900 to 1913. The volume presents a complex and engaging picture of print culture and of the forces that affected women's lives in the nineteenth and twentieth centuries.
Published in collaboration among the University of Wisconsin Press, the Center for the History of Print Culture in Modern America (a joint program of the University of Wisconsin–Madison and the Wisconsin Historical Society), and the University of Wisconsin–Madison General Library System Office of Scholarly Communication.
This book is the definitive study of imperial Chinese local gazetteers, one of the most important sources for premodern Chinese studies. Methodologically innovative, it represents a major contribution to the history of books, publishing, reading, and society.
By examining how gazetteers were read, Joseph R. Dennis illustrates their significance in local societies and national discourses. His analysis of how gazetteers were initiated and produced reconceptualizes the geography of imperial Chinese publishing. Whereas previous studies argued that publishing, and thus cultural and intellectual power, were concentrated in the southeast, Dennis shows that publishing and book ownership were widely dispersed throughout China and books were found even in isolated locales. Adding a dynamic element to our earlier understanding of the publishing industry, Dennis tracks the movements of manuscripts to printers and print labor to production sites. By reconstructing printer business zones, he demonstrates that publishers operated across long distances in trans-regional markets. He also creates the first substantial data set on publishing costs in early modern China—a foundational breakthrough in understanding the world of Chinese books. Dennis’s work reveals areas for future research on newly-identified regional publishing centers and the economics of book production.
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