This book underlines the importance of writing for the subordinate classes, and the variety of uses to which it was put. In eleven new studies by thirteen leading historians of scribal culture, it foregrounds the ‘common writer’ and contributes to a ‘New History from Below’. The book presents pauper letters, ego-documents, life-writing of various kinds, soldiers’ and emigrants’ correspondence, handwritten newspapers and graffiti in streets and prisons, analysing the major genres of ‘ordinary writings’. The studies draw on different disciplines, including cultural history, sociology and ethnography, folklore studies, palaeography and socio-historical linguistics. They range from the early modern Hispanic Empire to twentieth-century Australia, including studies of modern Britain, Iceland, Finland, Italy, Germany, South Africa and the USA. The book demonstrates the importance of studying manuscript culture to give a voice, a presence and dignity to the ordinary protagonists of history.

This edited collection focusses on the writing of ordinary, semi-literate people in history, emphasising the agency and voices of the subordinate classes and contesting conventional histories that treat them as passive or silent. It analyses 'ordinary writings' across a range of geographical areas, historical periods and scholarly disciplines.

A COMPANION TO THE HISTORY OF THE BOOK A COMPANION TO THE HISTORY OF THE BOOK Edited by Simon Eliot and Jonathan Rose “As a stimulating overview of the multidimensional present state of the field, the Companion has no peer.” Choice “If you want to understand how cultures come into being, endure, and change, then you need to come to terms with the rich and often surprising history Of the book ... Eliot and Rose have done a fine job. Their volume can be heartily recommended. “ Adrian Johns, Technology and Culture From the early Sumerian clay tablet through to the emergence of the electronic text, this Companion provides a continuous and coherent account of the history of the book. A team of expert contributors draws on the latest research in order to offer a cogent, transcontinental narrative. Many of them use illustrative examples and case studies of well-known texts, conveying the excitement surrounding this rapidly developing field. The Companion is organized around four distinct approaches to the history of the book. First, it introduces the variety of methods used by book historians and allied specialists, from the long-established discipline of bibliography to newer IT-based approaches. Next, it provides a broad chronological survey of the forms and content of texts. The third section situates the book in the context of text culture as a whole, while the final section addresses broader issues, such as literacy, copyright, and the future of the book. Contributors to this volume: Michael Albin, Martin Andrews, Rob Banham, Megan L Benton, Michelle P. Brown, Marie-Frangoise Cachin, Hortensia Calvo, Charles Chadwyck-Healey, M. T. Clanchy, Stephen Colclough, Patricia Crain, J. S. Edgren, Simon Eliot, John Feather, David Finkelstein, David Greetham, Robert A. Gross, Deana Heath, Lotte Hellinga, T. H. Howard-Hill, Peter Kornicki, Beth Luey, Paul Luna, Russell L. Martin Ill, Jean-Yves Mollier, Angus Phillips, Eleanor Robson, Cornelia Roemer, Jonathan Rose, Emile G. L Schrijver, David J. Shaw, Graham Shaw, Claire Squires, Rietje van Vliet, James Wald, Rowan Watson, Alexis Weedon, Adriaan van der Weel, Wayne A. Wiegand, Eva Hemmungs Wirtén.

In a series of penetrating and attractively readable essays, Stefan Collini explores aspects of the literary and intellectual culture of Britain from the early twentieth century to the present. Common Writing focuses chiefly on writers, critics, historians, and journalists who occupied wider public roles as cultural commentators or intellectuals, as well as on the periodicals and other genres through which they attempted to reach such audiences. Among the figures discussed are T.S. Eliot, Graham Greene, J.B. Priestley, C.S. Lewis, Kingsley Amis, Nikolaus Pevsner, Hugh Trevor-Roper, Christopher Hitchens, and Michael Ignatieff. The essays explore the variety of such figures' writings - something that can get overlooked or forgotten when they are treated exclusively in terms of their contribution to one established or professional category such as 'novelist' or 'historian' - while capturing their distinctive writing voices and those indirect or implicit ways in which they position or reveal themselves in relation to specific readerships, disputes, and traditions. These essays engage with recent biographies, collections of letters, and new editions of classic works, thereby making some of the fruits of recent scholarly research available to a wider audience. Collini has been acclaimed as one of the most brilliant essayists of our time, and this collection shows him at his subtle, perceptive, and trenchant best. Common Writing will appeal to (and delight) readers interested in literature, history, and contemporary cultural debate.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times