This activity workbook is designed to give students practice in the formation of the letters of the modern manuscript alphabet. Each letter is introduced with an accompanying picture. The proper formation of each letter is shown with numbered pen strokes and shaded letters for the child to practice tracing. Additionally, there are several lines for practice. If a student is having difficulty with a particular letter formation, try to identify at which stroke he or she is encountering difficulty. Practice these strokes individually before attempting to draw the actual letter. Good modern manuscript writing comes with practice. These pages offer a sequential program of development and practice with examples for guidance.

The first major socio-cultural study of manuscript letters and letter-writing practices in early modern England. Daybell examines a crucial period in the development of the English vernacular letter before Charles I's postal reforms in 1635, one that witnessed a significant extension of letter-writing skills throughout society.

"When twenty-three-year-old Emily Cavenaugh's marriage to her abusive high school sweetheart ends, she trades in her dull smalltown life for an all-access pass to see the world as a flight attendant. Hoping for a new start, she moves to San Francisco to bunk with six other new flight attendants them is KC Valentine, a free spirit who encourages Emily to shed her mousy ways and start collecting experiences as exciting as her passport stamps. Emily soon follows KC's advice a little too well, falling in love with an older, married co-worker named Tien, a father to two young girls. But as Emily and Tien become more deeply entangled, KC grows distraught.Neither her friends nor co-workers know the real reason she became a flight attendant: to find her father who abandoned her as a child."--Provided by publisher.

The author states that the purpose of his book is to teach anyone to write legibly and fluently from a movement point of view. It is not concerned with grammar or style but with penmanship itself.

This collection of essays provides an overview of new scholarship on recipe books, one of the most popular non-fiction printed texts in, and one of the most common forms of manuscript compilation to survive from, the pre-modern era (c.1550-1800). This is the first book to collect together the wide variety of scholarly approaches to pre-modern recipe books written in English, drawing on varying approaches to reveal their culinary, medical, scientific, linguistic, religious and material meanings. Ten scholars from the fields of culinary history, history of medicine and science, divinity, archaeology and material culture, and English literature and linguistics contribute to a vibrant mapping of the aspirations invested in and uses of recipes and recipe books. By exploring areas as various as the knowledge economies of medicine, Anglican feasting and fasting practices, the material culture of the kitchen and table, London publishing and concepts of authorship and the aesthetics of culinary styles, these eleven essays (including a critical introduction to recipe books and their historiography) position recipe texts in the wider culture of the sixteenth, seventeenth and eighteenth centuries. They illuminate their importance to both their original compilers and users, and modern scholars and graduate students alike.

This is a study of the politics, the commerce, and the aesthetics of heritage culture in the shape of authors' manuscripts. Draft or working manuscripts survive in quantity from the eighteenth century when, with the rise of print, readers learnt to value 'the hand' as an index of individuality and the blotted page, criss-crossed by deletion and revision, as a sign of genius. Since then, collectors have fought over manuscripts, libraries have curated them, the rich have stashed them away in investment portfolios, students have squeezed meaning from them, and we have all stared at them behind exhibition glass. Why do we trade them, conserve them, and covet them? Most, after all, are just the stuff left over after the novel or book of poetry goes into print. Poised on the boundary where precious treasure becomes abject waste, litter, and mess, modern literary manuscripts hover between riches and rubbish. In a series of case studies, this book explores manuscript's expressive agency and its capacity to provoke passion--a capacity ever more to the fore in the twenty-first century now that books are assembled via word-processing software and authors no longer leave in such quantity those paper trails behind them. It considers manuscripts as residues of meaning that print is unable to capture: manuscript as fragment art, as property, as waste paper. It asks what it might mean to re-read print in the shadow of manuscript. Case studies of Samuel Johnson, James Boswell, Walter Scott, Frances Burney, and Jane Austen--writers from the first great period of manuscript survival--are interspersed with discussions of William Godwin's record keeping, the Cairo genizah, Katie Paterson's 'Future Library' project, Andy Warhol's and Muriel Spark's self-archiving, Cornelia Parker's reclamation art, and more.