Traces of Ink. Experiences of Philology and Replication is a collection of original papers exploring the textual and material aspects of inks and ink-making in a number of premodern cultures (Babylonia, the Graeco-Roman world, the Syriac milieu and the Arabo-Islamic tradition). The volume proposes a fresh and interdisciplinary approach to the study of technical traditions, in which new results can be achieved thanks to the close collaboration between philologists and scientists. Replication represents a crucial meeting point between these two parties: a properly edited text informs the experts in the laboratory who, in turn, may shed light on many aspects of the text by recreating the material reality behind it. Contributors are: Miriam Blanco Cesteros, Michele Cammarosano, Claudia Colini, Vincenzo Damiani, Sara Fani, Matteo Martelli, Ira Rabin, Lucia Raggetti, and Katja Weirauch.

"Traces of Ink. Experiences of Philology and Replication is a collection of original papers exploring the textual and material aspects of inks and ink-making in a number of premodern cultures (Babylonia, the Graeco-Roman world, the Syriac milieu and the Arabo-Islamic tradition). The volume proposes a fresh and interdisciplinary approach to the study of technical traditions, in which new results can be achieved thanks to the close collaboration between philologists and scientists. Replication represents a crucial meeting point between these two parties: a properly edited text informs the experts in the laboratory who, in turn, may shed light on many aspects of the text by recreating the material reality behind it. Contributors are: Miriam Blanco Cesteros, Michele Cammarosano, Claudia Colini, Vincenzo Damiani, Sara Fani, Matteo Martelli, Ira Rabin, Lucia Raggetti, and Katja Weirauch"--

Invisible Ink is the story of Guy Stern’s remarkable life. This is not a Holocaust memoir; however, Stern makes it clear that the horrors of the Holocaust and his remarkable escape from Nazi Germany created the central driving force for the rest of his life. Stern gives much credit to his father’s profound cautionary words, "You have to be like invisible ink. You will leave traces of your existence when, in better times, we can emerge again and show ourselves as the individuals we are." Stern carried these words and their psychological impact for much of his life, shaping himself around them, until his emergence as someone who would be visible to thousands over the years. This book is divided into thirteen chapters, each marking a pivotal moment in Stern’s life. His story begins with Stern’s parents—"the two met, or else this chronicle would not have seen the light of day (nor me, for that matter)." Then, in 1933, the Nazis come to power, ushering in a fiery and destructive timeline that Stern recollects by exact dates and calls "the end of [his] childhood and adolescence." Through a series of fortunate occurrences, Stern immigrated to the United States at the tender age of fifteen. While attending St. Louis University, Stern was drafted into the U.S. Army and soon found himself selected, along with other German-speaking immigrants, for a special military intelligence unit that would come to be known as the Ritchie Boys (named so because their training took place at Ft. Ritchie, MD). Their primary job was to interrogate Nazi prisoners, often on the front lines. Although his family did not survive the war (the details of which the reader is spared), Stern did. He has gone on to have a long and illustrious career as a scholar, author, husband and father, mentor, decorated veteran, and friend. Invisible Ink is a story that will have a lasting impact. If one can name a singular characteristic that gives Stern strength time after time, it is his resolute determination to persevere. To that end Stern’s memoir provides hope, strength, and graciousness in times of uncertainty.

The Native peoples of colonial New England were quick to grasp the practical functions of Western literacy. Their written literary output was composed to suit their own needs and expressed views often in resistance to the agendas of the European colonists they were confronted with. Red Ink is an engaging retelling of American colonial history, one that draws on documents that have received scant critical and scholarly attention to offer an important new interpretation grounded in indigenous contexts and perspectives. Author Drew Lopenzina reexamines a literature that has been compulsively "corrected" and overinscribed with the norms and expectations of the dominant culture, while simultaneously invoking the often violent tensions of "contact" and the processes of unwitnessing by which Native histories and accomplishments were effectively erased from the colonial record. In a compelling narrative arc, Lopenzina enables the reader to travel through a history that, however familiar, has never been fully appreciated or understood from a Native-centered perspective.

A rich and imaginative discovery of how ink has shaped culture and why it is here to stay Ink is so much a part of daily life that we take it for granted, yet its invention was as significant as the wheel. Ink not only recorded culture, it bought political power, divided peoples, and led to murderous rivalries. Ancient letters on a page were revered as divine light, and precious ink recipes were held secret for centuries. And, when it first hit markets not so long ago, the excitement over the disposable ballpoint pen equalled that for a new smartphone—with similar complaints to the manufacturers. Curious about its impact on culture, literature, and the course of history, Ted Bishop sets out to explore the story of ink. From Budapest to Buenos Aires, he traces the lives of the innovators who created the ballpoint pen—revolutionary technology that still requires exact engineering today. Bishop visits a ranch in Utah to meet a master ink-maker who relishes igniting linseed oil to make traditional printers’ ink. In China, he learns that ink can be an exquisite object, the subject of poetry, and a means of strengthening (or straining) family bonds. And in the Middle East, he sees the world’s oldest Qur’an, stained with the blood of the caliph who was assassinated while reading it. An inquisitive and personal tour around the world, The Social Life of Ink asks us to look more closely at something we see so often that we don’t see it at all.

Soul of Ink: Lim Tze Peng at 100 pays tribute to the remarkable achievement of artistic renaissance at 100. It traces the lean beginnings of Lim Tze Peng's early years, relives the times of controversy over the artist's innovations in Chinese calligraphy, and celebrates his breakthroughs. Throughout the book, attention is paid to Lim Tze Peng the man, the foundation of everything that is admirable about Lim Tze Peng the artist. It looks at the man behind the art, and how art has given life to him and his family.Farmer, teacher, principal, and artist, Lim Tze Peng counts Lee Man Fong, Cheong Soo Pieng, and Liu Kang as his mentors. These men, like the others from the pioneering generation of Nanyang artists, are no longer around. Lim Tze Peng remains standing, a witness to and player in Singapore's art history since the 1940s.His life started late; everything got going only after the ripe old age of 80. A Cultural Medallion winner at 82 and a Meritorious Service recipient at 95, Lim Tze Peng is used to the twists and turns of life and has been trained by experience to endure the vagaries of fate. You could describe his art as the art of perseverance. The works he produces these days need to be seen to be believed. Bigger, bolder, and boasting far more colour than ever before, his art is as invigorating as that of a young man, whilst embodying the soul of a sage.At the heart of this book is the word 'soul'. What pushes a man at the age of 100 to continue breaking new ground in his life's work? How has he been able to surprise not just the art community but himself?This is Woon Tai Ho's second book on a Singaporean artist. His first, To Paint a Smile, is about the artist Tan Swie Hian.

When Philip Hensher realized that he didn't know what a close friend's handwriting looked like ("bold or crabbed, sloping or upright, italic or rounded, elegant or slapdash"), he felt that something essential was missing from their friendship. It dawned on him that having abandoned pen and paper for keyboards, we have lost one of the ways by which we come to recognize and know another person. People have written by hand for thousands of years— how, Hensher wondered, have they learned this skill, and what part has it played in their lives? The Missing Ink tells the story of this endangered art. Hensher introduces us to the nineteenth-century handwriting evangelists who traveled across America to convert the masses to the moral worth of copperplate script; he examines the role handwriting plays in the novels of Charles Dickens; he investigates the claims made by the practitioners of graphology that penmanship can reveal personality. But this is also a celebration of the physical act of writing: the treasured fountain pens, chewable ballpoints, and personal embellishments that we stand to lose. Hensher pays tribute to the warmth and personality of the handwritten love note, postcards sent home, and daily diary entries. With the teaching of handwriting now required in only five states and many expert typists barely able to hold a pen, the future of handwriting is in jeopardy. Or is it? Hugely entertaining, witty, and thought-provoking, The Missing Ink will inspire readers to pick up a pen and write.

Spanning over 250 years of history, Black Ink traces black literature in America from Frederick Douglass to Ta-Nehisi Coates in this “breathtaking anthology celebrating the power of the written word to forge change” (O, The Oprah Magazine). Throughout American history black people are the only group of people to have been forbidden by law to learn to read. This expansive collection seeks to shed light on that injustice, putting some of America’s most cherished voices in a conversation in one magnificent volume that presents reading as an act of resistance. Organized into three sections—the Peril, the Power, and the Pleasure—and featuring a vast array of contributors both classic and contemporary, Black Ink presents the brilliant diversity of black thought in America while solidifying the importance of these writers within the greater context of the American literary tradition. “This electric and electrifying collection of voices serves to open a much-needed window onto the freedom struggle of black literature. It’s a marvel, and a genuine gift for readers everywhere” (Wil Haygood, author of The Butler: A Witness to History). Contributors include: Frederick Douglass, Solomon Northup, Booker T. Washington, W.E.B. Du Bois, Zora Neale Hurston, Langston Hughes, James Baldwin, Malcolm X, Maya Angelou, Martin Luther King, Jr., Toni Morrison, Walter Dean Myers, Stokely Carmichael [Kwame Ture], Alice Walker, Jamaica Kincaid, Henry Louis Gates, Jr., Terry McMillan, Junot Diaz, Edwidge Danticat, Colson Whitehead, Marlon James, Roxane Gay, Ta-Nehisi Coates, Chimamanda Ngozi Adichie, and Colson Whitehead. The anthology features a bonus in-depth interview with President Barack Obama.