For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

In 1855, Nathaniel Hawthorne wrote to his publisher, complaining about the irritating fad of “scribbling women.” Whether they were written by professionals, by women who simply wanted to connect with others, or by those who wanted to leave a record of their lives, those “scribbles” are fascinating, informative, and instructive. Margaret Catchpole was a transported prisoner whose eleven letters provide the earliest record of white settlement in Australia. Writing hundreds of years later, Aboriginal writer Doris Pilkington-Garimara wrote a novel about another kind of exile in Australia. Young Isabella Beeton, one of twenty-one children and herself the mother of four, managed to write a groundbreaking cookbook before she died at the age of twenty-eight. World traveler and journalist Nelly Bly used her writing to expose terrible injustices. Sei Shonagan has left us poetry and journal entries that provide a vivid look at the pampered life and intrigues in Japan’s imperial court. Ada Blackjack, sole survivor of a disastrous scientific expedition in the Arctic, fought isolation and fear with her precious Eversharp pencil. Dr. Dang Thuy Tram’s diary, written in a field hospital in the steaming North Vietnamese jungle while American bombs fell, is a heartbreaking record of fear and hope. Many of the women in “Scribbling Women” had eventful lives. They became friends with cannibals, delivered babies, stole horses, and sailed on whaling ships. Others lived quietly, close to home. But each of them has illuminated the world through her words. A note from the author: OOPS! On page 197, the credit for the Portrait of Harriet Jacobs on page 43 should read: courtesy of Library of Congress, not Jean Fagan Yellin. On page 197, the credit for the portrait of Isabella Beeton on page 61 should read: National Portrait Gallery, London. On page 198, the credit for page 147 should be Dang Kim Tram, not Kim Tram Dang. We are very sorry about the mix-up in the Photo Credits, they will be updated on any new editions or reprints.

How can literary forms fashion a nation? Though genres such as the novel and newspaper have been credited with shaping a national imagination and a sense of community, during the rapid modernization of the Meiji period, Japanese intellectuals took a striking—but often overlooked—interest in poetry’s ties to national character. In Idly Scribbling Rhymers, Robert Tuck offers a groundbreaking study of the connections among traditional poetic genres, print media, and visions of national community in late nineteenth-century Japan that reveals the fissures within the process of imagining the nation. Structured around the work of the poet and critic Masaoka Shiki, Idly Scribbling Rhymers considers how poetic genres were read, written, and discussed within the emergent worlds of the newspaper and literary periodical in Meiji Japan. Tuck details attempts to cast each of the three traditional poetic genres of haiku, kanshi, and waka as Japan’s national poetry. He analyzes the nature and boundaries of the concepts of national poetic community that were meant to accompany literary production, showing that Japan’s visions of community were defined by processes of hierarchy and exclusion and deeply divided along lines of social class, gender, and political affiliation. A comprehensive study of nineteenth-century Japanese poetics and print culture, Idly Scribbling Rhymers reveals poetry’s surprising yet fundamental role in emerging forms of media and national consciousness.

When Alexandra "Bo" Fuller was in Zambia a few years ago visiting her parents, she asked her father about a nearby banana farmer who was known for being a "tough bugger". Her father's response was a warning to steer clear of him: "Curiosity scribbled the cat," he told Bo. Nonetheless, Fuller began her strange friendship with the man she calls K, a white African and veteran of the Rhodesian War. With the same fiercely beautiul prose that won her such acclaim for Don't Let's Go to the Dogs Tonight, Fuller here recounts her friendship with K. He is, seemingly, a man of contradictions. Tattooed, battle-scarred, and weathered by farm work, K is a lion of a man, feral and bulletproof. Yet he is also a born-again Christian, given to weeping when he recollects his failed romantic life and welling up inside with memories of battle. For his war, like all wars, was a brutal one, marked by racial strife, jungle battles, brutal tortures, and the murdering of innocent civilians. Like all the veterans of the war, K has blood on his hands. Driven by K's memories, Fuller and K decide to enter the heart of darkness in the most literal way, by traveling from Zambia through Zimbabwe (formerly Rhodesia) and Mozambique to visit the scenes of the war and to meet other veterans. What results from Fuller's journey is a remarkably unbiased and unsentimental glimpse at life in Africa, a land that besets its creatures with pests, plagues, and natural disasters, making the people there at once more hardened and more vulnerable than elsewhere.

This is no ordinary coloring book! With playful drawings, funny scenarios and fun-to-follow instructions, this book is not just for coloring, but for doodling, drawing, imagining and thinking!

In this book you can ... make flowers bloom ... lift huge weights ... breathe fire ... and lots, lots more!