A gorgeous, provocative debut graphic novel about the power of friendship and finding the courage to be one's true self. Blue is an orphan who disguises herself as a newsboy. There's a war going on, and girls are expected to help the struggling economy by selling cookies. But Blue loves living and working at the Bugle, the only paper in town that tells the truth. And what's printed in the newspapers now matters more than ever.But Blue struggles with her secret, and worries that if her friends and adopted family at the Bugle find out that she's a girl, she'll lose everything and everyone she cares about. And when she meets and befriends Crow, a boy who is also not what he seems, together they seek the freedom to be their true selves... and to save each other.

The fight for freedom and truth continues in Ru Xu's thrilling sequel to NewsPrints!

The fight for freedom and truth continues in Ru Xu's thrilling sequel to NewsPrints! Blue arrives in the capital city of Altalus, where she is determined to find her friend Crow, the boy who was created to be a flying war machine, and Jack, the engineer who built him. But soon she is inadvertently kidnapped by Snow and Red, twins from the enemy side of their ten-year war. They set off on a dangerous adventure that brings them to the front lines of the war, and eventually realize that they must work together to help end it. But with larger, more powerful forces at work, the fight for peace -- and survival -- will be more difficult than they ever imagined.

Julia Guarneri's book considers turn-of-the-century newspapers in New York, Philadelphia, Milwaukee, and Chicago not just as vessels of information but as active agents in the creation of cities and of urban culture. Guarneri argues that newspapers sparked cultural, social, and economic shifts that transformed a rural republic into a nation of cities, and that transformed rural people into self-identified metropolitans and moderns. The book pays closest attention to the content and impact of "feature news," such as advice columns, neighborhood tours, women's pages, comic strips, and Sunday magazines. While papers provided a guide to individual upward mobility, they also fostered a climate of civic concern and responsibility. Editors drew in new reading audiences--women, immigrants, and working-class readers--giving rise to the diverse, contentious, and commercial public sphere of the twentieth century.

Provides instructions on making paper, offers tips on everything from proper technique to troubleshooting problems with finished paper, and includes directions for dozens of projects.

An Inky Business is a book about the making and printing of news. It is a history of ink, paper, printing press, and type, and of those who made and read newspapers in Britain, continental Europe, and America from the British Civil Wars to the Battle of Gettysburg nearly two hundred years later. But it is also an account of what news was and how the idea of news became central to public life. Newspapers ranged from purveyors of high seriousness to carriers of scurrilous gossip. Indeed, our current obsession with “fake news” and the worrying revelations or hints about how money, power, and technology shapes and controls the press and the flows of what is believed to be genuine information have dark early-modern echoes.

In this middle-grade Bridesmaids, hilarity ensues as triplets have to stop a wedding! One bride. Two boys. Three flower girls who won't forever hold their peace. What could go wrong with this wedding? Everything!The Brewster triplets--Dawn, Darby, and Delaney--would usually spend their summer eating ice cream, playing with their dog, and reading about the US Presidents. But this year they're stuck helping their big sister, Lily, plan her wedding. Lily used to date Alex, who was fun and nice and played trivia games with the triplets, and no one's quite sure why they broke up. Burton, Lily's groom-to-be, is not nice or fun, and he looks like an armadillo.The triplets can't stand to see Lily marry someone who's completely wrong for her, so it's up to them to stop the wedding before anyone says "I do!" The flower girls will stop at nothing to delay Lily's big day, but will sprinklers, a photo slideshow, a muddy dog, and some unexpected allies be enough to prevent their big sister--and the whole Brewster family--from living unhappily ever after?

Major changes in media in the late 19th and early 20th centuries challenged traditional ideas about artistic representation and opened new avenues for authors working in the modernist period. Modernist authors’ reactions to this changing media landscape were often fraught with complications and shed light on the difficulty of negotiating, understanding, and depicting media. The author of Competing Stories: Modernist Authors, Newspapers, and the Movies argues that negative depictions of newspapers and movies, in modernist fiction, largely stem from worries about the competition for modern audiences and the desire for control over storytelling and reflections of the modern world. This book looks at a moment of major change in media, the dominance of mass media that began with the primarily visual media of newspapers and movies, and the ways that authors like Ernest Hemingway, Zora Neale Hurston, James Joyce, Djuna Barnes, and others responded. The author contends that an examination of this moment may facilitate a better understanding of the relationship between media and authorship in our constantly shifting media landscape.

This book is the first edited volume focusing on handwritten newspapers as an alternative medium from a wide interdisciplinary and international perspective. Our primary focus is on handwritten newspapers as a social practice. The case studies contextualize the source materials in relation to political, cultural, literary, and economic history. The analysis reveals both continuity and change across the different forms and functions of the textual materials. In the 16th century, handwritten newspapers evolved as a news medium reporting history in the making. It was both a rather expensive public commodity and a gift exchanged in social relationships. Both functions appealed to public elites and their news consumption for about 300 years. From the late 18th century onwards, changing notions of publicness as well as the social needs of private or even secluded groups re-defined the medium. Handwritten newspapers turned more and more into an internal or even clandestine medium of communication. As such, it has served as a means to create social cohesion, political debate, and religious education for nonelite groups until the 20th century. Despite these changes, continuities can be observed both in the material layout of handwritten newspapers and the practices of distribution.