Marginalia

From Pierre de Fermat to Samuel Taylor Coleridge to Graham Greene, readers have related to books through the notes they write in the margins. In this pioneering book--the first to examine the phenomenon of marginalia--H.J. Jackson surveys an extraordinary range of annotated books to explore the history of marginalia, the forms they take, the psychology that underlies them, and the reactions they provoke. Based on a study of thousands of books annotated by readers both famous and obscure over the last three centuries, this book reveals the intensity of emotion that characterizes the process of reading. For hundreds of years, readers have talked to other people in the margins of their books--not only to authors, but also to friends, lovers, and future generations. With an infectious enthusiasm for her subject, Jackson reflects on the cultural and historical value of writing in the margins, examines works that have invited passionate annotation, and presents examples of some of the most provocative marginalia. Imaginative, amusing, and poignant, this book will be treasured by--and maybe even annotated by--anyone who cares about reading.

Marginalia in early modern and medieval texts – printed, handwrit- ten, drawn, scratched, colored, and pasted in – offer a glimpse of how people, as individuals and in groups, interacted with books and manu- scripts over often lengthy periods of time. The chapters in this volume build on earlier scholarship that established marginalia as an intellec- tual method (Grafton and Jardine), as records of reading motivated by cultural, social, theological, and personal inclinations (Brayman [Hackel] and Orgel), and as practices inspired by material affordances particular to the book and the pen (Fleming and Sherman). They further the study of the practices of marginalia as a mode – a set of ways in which material opportunities and practices overlap with intellectual, social, and personal motivations to make meaning in the world. They introduce us to a set of idiosyncratic examples such as the trace marks of objects left in books, deliberately or by accident; cut-and-pasted additions to printed volumes; a marriage depicted through shared book ownership. They reveal to us in case studies the unique value of mar- ginalia as evidence of phenomena as important and diverse as religious change, authorial self-invention, and the history of the literary canon. The chapters of this book go beyond the case study, however, and raise broad historical, cultural, and theoretical questions about the strange, marvelous, metamorphic thing we call the book, and the equally mul- tiplicitous, eccentric, and inscrutable beings who accompany them through history: readers and writers.

This is American history they don’t teach you in class: Discover the “fascinating, funny” stories of the states that never were, from Texlahoma to West Florida (The New Yorker) Everyone knows the fifty nifty united states—but what about the hundreds of other statehood proposals that never came to pass? Lost States is a tribute to such great unrealized dreams as West Florida, Texlahoma, Montezuma, Rough and Ready, and Yazoo. Some of these states came remarkably close to joining the Union. Others never had a chance. Many are still trying. Consider: Frontier legend Daniel Boone once proposed a state of Transylvania in the Appalachian wilderness. His plan was resurrected a few years later with the new name of Kentucky. Residents of bucolic South Jersey wanted to secede from their urban north Jersey neighbors and form the fifty-first state. The Gold Rush territory of Nataqua could have made a fine state—but since no women were willing to live there, the settlers gave up and joined California. Each story offers a fascinating glimpse at the nation we might have become—along with plenty of absurd characters, bureaucratic red tape, and political gamesmanship. Accompanying these tales are beautifully rendered maps detailing the proposed state boundaries, plus images of real-life artifacts and ephemera. Welcome to the world of Lost States!

A sideways look at books that sheds light on the activities of authors, printers, and readers during the English Renaissance

Sloane Crosley returns to the form that made her a household name in really quite a lot of households: Essays! From the New York Times–bestselling author Sloane Crosley comes Look Alive Out There—a brand-new collection of essays filled with her trademark hilarity, wit, and charm. The characteristic heart and punch-packing observations are back, but with a newfound coat of maturity. A thin coat. More of a blazer, really. Fans of I Was Told There’d Be Cake and How Did You Get This Number know Sloane Crosley’s life as a series of relatable but madcap misadventures. In Look Alive Out There, whether it’s playing herself on Gossip Girl,scaling active volcanoes, crashing shivas, befriending swingers, or staring down the barrel of the fertility gun, Crosley continues to rise to the occasion with unmatchable nerve and electric one-liners. And as her subjects become more serious, her essays deliver not just laughs but lasting emotional heft and insight. Crosley has taken up the gauntlets thrown by her predecessors—Dorothy Parker, Nora Ephron, David Sedaris—and crafted something rare, affecting, and true. Look Alive Out There arrives on the tenth anniversary of I Was Told There’d be Cake, and Crosley’s essays have managed to grow simultaneously more sophisticated and even funnier. And yet she’s still very much herself, and it’s great to have her back—and not a moment too soon (or late, for that matter).

'Marginalia' draws our attention towards the territory of the overseen elements coexisting in the realm of the book itself. Text and image content of several art books designed by Anja Lutz withdraw to let appear the nondescript details: the margins, the edges, the backgrounds, the spaces between the lines. Each book is unique in its choice of format, material, layout, and rhythm. The selected pages underwent a process of transformation in which with surgical precision Lutz dissects them, layer by layer, removing the vital parts and revealing their skeleton. The results are filigrane grids, fragments of images and traces of the layout that form intricately layered compositions of voids, exposing the hidden relations between the pages.