A collection featuring one of the most innovative and controversial of contemporary graphic designers, Carson's career is documented with emphasis on his desire to forge a new aesthetic.

Examines the graphic artist's approach and discusses the extreme reactions to his work.

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

In a brilliant array of essays that tests the pulse of traditional and contemporary poetry, Gioia ("Can Poetry Matter?") ponders the future of the written word and how it might find its most relevant incarnation.

An argument for retaining the notion of personal property in the products we “buy” in the digital marketplace. If you buy a book at the bookstore, you own it. You can take it home, scribble in the margins, put in on the shelf, lend it to a friend, sell it at a garage sale. But is the same thing true for the ebooks or other digital goods you buy? Retailers and copyright holders argue that you don't own those purchases, you merely license them. That means your ebook vendor can delete the book from your device without warning or explanation—as Amazon deleted Orwell's 1984 from the Kindles of surprised readers several years ago. These readers thought they owned their copies of 1984. Until, it turned out, they didn't. In The End of Ownership, Aaron Perzanowski and Jason Schultz explore how notions of ownership have shifted in the digital marketplace, and make an argument for the benefits of personal property. Of course, ebooks, cloud storage, streaming, and other digital goods offer users convenience and flexibility. But, Perzanowski and Schultz warn, consumers should be aware of the tradeoffs involving user constraints, permanence, and privacy. The rights of private property are clear, but few people manage to read their end user agreements. Perzanowski and Schultz argue that introducing aspects of private property and ownership into the digital marketplace would offer both legal and economic benefits. But, most important, it would affirm our sense of self-direction and autonomy. If we own our purchases, we are free to make whatever lawful use of them we please. Technology need not constrain our freedom; it can also empower us.

The sensational New York Times bestseller The Mill River Recluse reminds us that friendship, family, and love can come from the most unexpected places. Perfect for fans of Maeve Binchy. From the outside, Mill River looks like any sleepy little Vermont town where everyone knows everyone and people never need to lock their doors. There are newcomers for whom this appeals, from police officer Kyle Hansen and his daughter Rowen, who are starting over after heartache, to Claudia Simon, the schoolteacher who is determined to reinvent herself. But on closer inspection, there are those in Mill River—including a stealthy arsonist, a covetous nurse, and a pilfering priest—who have things they wish to hide. None more than the widow Mary McAllister, who for the past sixty years has secluded herself in her marble mansion overlooking the town. Most of the residents have never even seen the peculiar woman. Only the priest, Father O’Brien, knows the deep secrets that keep Mary isolated—and that, once revealed, will forever change the community. Praise for The Mill River Recluse “[Darcie] Chan’s sweet novel displays her talent. . . . A comforting book about the random acts of kindness that hold communities together.”—Kirkus Reviews “A heartwarming story.”—Examiner “A real page-turner.”—IndieReader

From Sir John Franklin's doomed 1845 search for the Northwest Passage to early twentieth-century sprints to the South Pole, polar expeditions produced an extravagant archive of documents that are as varied as they are engaging. As the polar ice sheets melt, fragments of this archive are newly emergent. In The News at the Ends of the Earth Hester Blum examines the rich, offbeat collection of printed ephemera created by polar explorers. Ranging from ship newspapers and messages left in bottles to menus and playbills, polar writing reveals the seamen wrestling with questions of time, space, community, and the environment. Whether chronicling weather patterns or satirically reporting on penguin mischief, this writing provided expedition members with a set of practices to help them survive the perpetual darkness and harshness of polar winters. The extreme climates these explorers experienced is continuous with climate change today. Polar exploration writing, Blum contends, offers strategies for confronting and reckoning with the extreme environment of the present.

Since its first appearance in 1962, the impact of The Gutenberg Galaxy has been felt around the world. It gave us the concept of the global village; that phrase has now been translated, along with the rest of the book, into twelve languages, from Japanese to Serbo-Croat. It helped establish Marshall McLuhan as the original 'media guru.' More than 200,000 copies are in print. The reissue of this landmark book reflects the continuing importance of McLuhan's work for contemporary readers.

John Dies at the End is a genre-bending, humorous account of two college drop-outs inadvertently charged with saving their small town--and the world--from a host of supernatural and paranormal invasions. Now a Major Motion Picture. "[Pargin] is like a mash-up of Douglas Adams and Stephen King... 'page-turner' is an understatement." —Don Coscarelli, director, Phantasm I-V, Bubba Ho-tep STOP. You should not have touched this flyer with your bare hands. NO, don't put it down. It's too late. They're watching you. My name is David. My best friend is John. Those names are fake. You might want to change yours. You may not want to know about the things you'll read on these pages, about the sauce, about Korrok, about the invasion, and the future. But it's too late. You touched the book. You're in the game. You're under the eye. The only defense is knowledge. You need to read this book, to the end. Even the part with the bratwurst. Why? You just have to trust me. The important thing is this: The sauce is a drug, and it gives users a window into another dimension. John and I never had the chance to say no. You still do. I'm sorry to have involved you in this, I really am. But as you read about these terrible events and the very dark epoch the world is about to enter as a result, it is crucial you keep one thing in mind: None of this was my fault.

Nobel laureate Elias Canetti wrote his novel Auto-da-F©(Die Blendung) when he and the twentieth century were still quite young. Rooted in the cultural crises of the Weimar period, Auto-da-F© first received critical acclaim abroad--in