Here, the author assesses our modern book culture by focusing on five key elements including the explosion of retail bookstores like Barnes & Noble and Borders, and the formation of the Oprah Book Club.

In the early twentieth century, Japan was awash with typographic text and mass-produced print. Over the short span of a few decades, affordable books and magazines became a part of everyday life, and a new generation of writers and thinkers considered how their world could be reconstructed through the circulation of printed language as a mass-market commodity. The Typographic Imagination explores how this commercial print revolution transformed Japan’s media ecology and traces the possibilities and pitfalls of type as a force for radical social change. Nathan Shockey examines the emergence of new forms of reading, writing, and thinking in Japan from the last years of the nineteenth century through the first decades of the twentieth. Charting the relationships among prose, politics, and print capitalism, he considers the meanings and functions of print as a staple commodity and as a ubiquitous and material medium for discourse and thought. Drawing on extensive archival research, The Typographic Imagination brings into conversation a wide array of materials, including bookseller trade circulars, language reform debates, works of experimental fiction, photo gazetteers, socialist periodicals, Esperanto primers, declassified censorship documents, and printing press strike bulletins. Combining the rigorous close analysis of Japanese literary studies with transdisciplinary methodologies from media studies, book history, and intellectual history, The Typographic Imagination presents a multivalent vision of the rise of mass print media and the transformations of modern Japanese literature, language, and culture.

This book explores the literary culture of Britain's radical press from 1880 to 1910, a time that saw a flourishing of radical political activity as well as the emergence of a mass print industry. While Enlightenment radicals and their heirs had seen free print as an agent of revolutionary transformation, socialist, anarchist and other radicals of this later period suspected that a mass public could not exist outside the capitalist system. In response, they purposely reduced the scale of print by appealing to a small, counter-cultural audience. "Slow print," like "slow food" today, actively resisted industrial production and the commercialization of new domains of life. Drawing on under-studied periodicals and archives, this book uncovers a largely forgotten literary-political context. It looks at the extensive debate within the radical press over how to situate radical values within an evolving media ecology, debates that engaged some of the most famous writers of the era (William Morris and George Bernard Shaw), a host of lesser-known figures (theosophical socialist and birth control reformer Annie Besant, gay rights pioneer Edward Carpenter, and proto-modernist editor Alfred Orage), and countless anonymous others.

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.

David Bach has a plan to help you live and finish rich—no matter where you start So you feel like you’ve started late? You are not alone. What if I told you that right now as you flip through this book, 70% of the people in the store with you are living paycheck to paycheck? What if I told you that the man browsing the aisle to your left owes more than $8,000 in credit card debt? And the woman on your right has less than $1,000 in savings? See? You’re really not alone. Unfortunately, the vast majority of people who’ve saved too little and borrowed too much will never catch up financially. Why? Because they don’t know how. You can start late and finish rich—but you need a plan. This book contains the plan. It’s inspiring, easy to follow, and is based on proven financial principles. Building a secure financial future for yourself isn’t something you can do overnight. It will take time and it will take work. But you can do it. I know. I’ve helped millions of people get their financial lives together—and I can help you. Spend a few hours with me—and let me challenge you. Give me a chance to become your coach. Just because you started late doesn’t mean you are doomed to an uncertain future. Whether you’re in your thirties, forties, fifties, or beyond, there is still time to turn things around. It’s never too late to live and finish rich. All it takes is the decision to start. —David Bach Is it too late for me to get rich? Over and over, people share their fears with David Bach, America’s leading money coach and the number-one national best-selling author of The Automatic Millionaire. “If only I had started saving when I was younger!” they say. “Is there any hope for me?” There IS hope, and help is here at last! In Start Late, Finish Rich, David Bach takes the “Finish Rich” wisdom that has already helped millions of people and tailors it specifically to all of us who forgot to save, procrastinated, or got sidetracked by life’s unexpected challenges. Whether you are in your thirties, forties, fifties, or even older, Bach shows that you really can start late and still live and finish rich – and you can get your plan in place fast. In a motivating, swift read you learn how to ramp up the road to financial security with the principles of spend less, save more, make more – and most important, LIVE MORE. And he gives you the time tested plan to do it. The Start Late, Finish Rich promise is bold and clear: Even if you are buried in debt – there is still hope. You can get rich in real estate – by starting small. Find your “Latte Factor” – and turbo charge it to save money you didn’t know you had. You can start a business on the side – while you keep your old job and continue earning a paycheck. You can spend less, save more and make more – and it doesn’t have to hurt. David Bach gives you step-by-step instructions, worksheets, phone numbers and website addresses --everything you need to put your Start Late plan into place right away. And he shares the stories of ordinary Americans who have turned their lives around, at thirty, forty, fifty, even sixty years of age, and are now financially free. They did it, and now it’s your turn. With David Bach at your side, it’s never too late to change your financial destiny. It’s never too late to live your dreams. It’s never too late to be free.

“Winning [and] intelligent. . . . [An] impressive, often heartening addition to the literature of aging.” — Heller McAlpin, Wall Street Journal In this “unique blend of memoir and literary commentary” (Bookpage), acclaimed author and literary scholar Susan Gubar contemplates the beauty and strength of enduring love—both for her husband and for the literature that has shaped her life. Throughout the complications of devoted caregiving, her own ongoing cancer treatments, and a stressful move to a more manageable apartment, Gubar proves that love and desire have no expiration date—on the page or in life. Late-Life Love offers a resounding retort to ageist stereotypes, appraises the obstacles unique to senior couples, and celebrates second chances.

This anthology presents seventy translated and annotated short essays, or hsiao-p’in, by fourteen well-known sixteenth- and seventeenth-century Chinese writers. Hsiao-p’in, characterized by spontaneity and brevity, were a relatively informal variation on the established classical prose style in which all scholars were trained. Written primarily to amuse and entertain the reader, hsiao-p’in reflect the rise of individualism in the late Ming period and collectively provide a panorama of the colorful life of the age. Critics condemned the genre as escapist because of its focus on life’s sensual pleasures and triviality, and over the next two centuries many of these playful and often irreverent works were officially censored. Today, the essays provide valuable and rare accounts of the details over everyday life in Ming China as well as displays of wit and delightful turns of phrase.

The second half of the nineteenth century marks a watershed in human history. Railroads linked remote hinterlands with cities; overland and undersea cables connected distant continents. New and accessible print technologies made the wide dissemination of ideas possible; oceangoing steamers carried goods to faraway markets and enabled the greatest long-distance migrations in recorded history. In this volume, leading scholars of the Islamic world recount the enduring consequences these technological, economic, social, and cultural revolutions had on Muslim communities from North Africa to South Asia, the Indian Ocean, and China. Drawing on a multiplicity of approaches and genres, from commodity history to biography to social network theory, the essays in Global Muslims in the Age of Steam and Print offer new and diverse perspectives on a transnational community in an era of global transformation.

This second edition of Jay David Bolter's classic text expands on the objectives of the original volume, illustrating the relationship of print to new media, and examining how hypertext and other forms of electronic writing refashion or "remediate" the forms and genres of print. Reflecting the dynamic changes in electronic technology since the first edition, this revision incorporates the Web and other current standards of electronic writing. As a text for students in composition, new technologies, information studies, and related areas, this volume provides a unique examination of the computer as a technology for reading and writing.

Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.