NOTES

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Introduction: What Do You Reckon This Is?

xiv        first edition of the King James Bible: A book that A. S. W. Rosenbach described four hundred years later as “in every respect one of the finest things a collector can ever hope to acquire.” Books and Bidders: The Adventures of a Bibliophile (Boston: Little, Brown and Company, 1927), 237.

xii        “Thou shalt commit adultery”: Henry Richard Tedder, “Barker, Robert,” Dictionary of National Biography, vol. 3: Baker–Beadon (London: Smith, Elder, and Company, 1885), 207–8.

xiv        “mistake”: In quotes because, really, was it a mistake? Some scholars suggest it may have been sabotage.

xv        tens of thousands of dollars: The most recent copy on the market sold for more than $45,000 in November 2015. Bonhams, the auction house, records only five copies appearing at auction since World War II. See https://www .bonhams.com/auctions/22715/lot/5/.

xv           and a penis: For a full play-by-play, see Kevin Mac Donnell, “Huck Finn Among the Issue Mongers,” FIRSTS 8, no. 9 (September 1998): 28–35.

xv        five-hundred-dollar reward: New York Herald, November 29, 1884. Concerning the problem of finding the culprit, Mac Donnell memorably remarks, “Webster was unable to identify the culprit because his pressroom employed 50 people, all with access to the plates. Most, if not all, of those employees had penises.” Not to criticize this lovely explanation, but people without penises can draw them, too. Mac Donnell, “Issue-Mongers,” 32.

xvi        “greatest American humorist”: Obituary, New York Times, April 22, 1910. http://twain.lib.virginia.edu/sc_as_mt/mtobit8.html.

xvi        ended up displayed: New York World, November 28, 1884.

xvi        “sole cause of consciousness”: Fyodor Dostoyevsky, Notes from Underground, trans. by Richard Pevear and Larissa Volokhonsky (New York: Vintage Books, 1994), 34–35.

xvii        “dead, but they are there”: Yakov Smirnoff, America on Six Rubles a Day (New York: Vintage Books, 1987), 118.

xvii        Who gets to determine how we are remembered: Cf. Lin Manuel Miranda, Hamilton: An American Musical: “Who lives, who dies, who tells your story?”

xix        “cause of madness”: Richard D. Altick, The English Common Reader: A Social History of the Mass Reading Public, 1800–1900, foreword by Jonathan Rose (Columbus: Ohio State University Press, 1957), 37.

xix        “or you wouldn’t have come here”: Lewis Carroll, Alice’s Adventures in Wonderland, a facsimile of the original edition (New York: Alfred A. Knopf, 1984), 90.

Chapter 1: How to Forge a Rare Book

1         presented for sale: According to his 2013 interview with Nicholas Schmidle, De Caro was working with a partner in offering the book, Filippo Rotundo. See Nicholas Schmidle, “A Very Rare Book: The Mystery Surrounding a Copy of Galileo’s Pivotal Treatise,” The New Yorker, December 16, 2013, http://www .newyorker.com/magazine/2013/12/16/a-very-rare-book.

2         “acquisition of a lifetime”: Ibid.

2         so unheard of: As Nick Wilding pointed out in conversation with the authors, many types of forgeries have appeared over the centuries. Piracies, a complaint of printers as early as the fifteenth century, are an ever-present example. However, we both agree that the type of forgery here (the production of a complete item from scratch with the latest technology, specifically to be sold on the collectible market) is a new and particularly modern event. The oldest of its kind may be T. J. Wise’s early twentieth-century forgeries of poetical pamphlets sold to collectors, which were uncovered in a book with the most boring name possible for the bomb it truly was: John Carter and Graham Pollard, An Enquiry into the Nature of Certain Nineteenth Century Pamphlets (1934). See also Nick Wilding, Faussaire de Lune: Autopsie d’une imposture, Galilée et ses contrefacteurs, trans. Antoine Coron (Paris: Bibliothèque nationale de France, 2015), 14.

3         forgeries of Galileo’s treatises: This one was uncovered, ironically, by Owen Gingerich, one of the scholars who initially signed off on the Sidereus Nuncius. A couple years later, however, Gingerich registered doubt about the phases of the moon depicted in the watercolors before the authenticity of the entire treatise was suspected. See Owen Gingerich, “The Curious Case of the M-L Sidereus Nuncius,” Galilæana 6 (2009): 141–66; Nick Wilding, review of A Galileo Forgery: Unmasking the New York Sidereus Nuncius,” Horst Bredekamp, Irene Brückle, and Paul Needham, eds., in Renaissance Quarterly 67, no. 4 (2014): 1340; and Horst Bredekamp et al., “Introduction,” in A Galileo Forgery, ed. by Horst Bredekamp et al. (Berlin: De Gruyter, 2014), 10.

3         word masterpiece was thrown around: Irene Brückle, “Final Thoughts,” in Bredekamp et al., A Galileo Forgery, 100.

3         embarrassed that it took so long: Paul Needham said, “But is it a clever forgery? I am not convinced, despite being someone who managed to be fooled by both its printing and its paper. I am happier in saying this reflects poorly on me than that it reflects well on the makers.” Paul Needham, “Final Thoughts,” in Bredekamp et al., A Galileo Forgery, 95.

4         through 4,200 pages of all Galileo’s known letters: Schmidle, “A Very Rare Book.”

4         “an extended undergraduate paper with no quotations”: Quoted in ibid., pulled off The New Yorker website.

5         after De Caro’s crimes were uncovered: Ibid.

5         replaced these authentic editions with his forgeries: Wilding, Faussaire, 47.

6         “so hot right now”: See Zoolander (2001), DVD. The actual quote is “Hansel, so hot right now. Hansel.”

6         studied papermaking by hand in Italy: Schmidle, “A Very Rare Book.”

6         it’s quite the opposite: Relatively speaking. Of course before paper was brought to the West—having been invented in China and introduced to Spain and Italy via trading with Muslim communities—animal-based parchment was used for books, which was tremendously more expensive.

7         equal the cost of everything else combined: Cristina Dondi, “The European Printing Revolution,” in The Book: A Global History, ed. Michael F. Suarez, S.J., and H. R. Woudhuysen (Oxford: Oxford University Press, 2013), 87.

7         “rag sermons”: Adrian Johns, The Nature of the Book: Print and Knowledge in the Making (Chicago, IL: University of Chicago Press, 1998), 17. With thanks to Nick Wilding for pointing out this example.

7         making their living sifting through refuse piles: See, for example, Henry Mayhew, London and the London Poor, 2 vols. (London: Griffin, Bohn and Company, 1861), 2:138–42.

9         aromatic organic polymer called lignin: John Christopher Roberts, The Chemistry of Paper (London: Royal Society of Chemistry, 1996), 26.

10        cotton scraps . . . anachronistic red flags: Irene Brückle, Theresa Smith, and Manfred Mayer, “The Evidence of the Forged Paper,” in Bredekamp et al., A Galileo Forgery, 38.

10        spell in a kitchen oven: Schmidle, “A Very Rare Book.”

10        faux aging . . . invisible fingerprints: See Brückle, Smith, and Mayer, “The Evidence of the Forged Paper,” in Bredekamp et al., A Galileo Forgery, 52.

11        add lasting pigment to inks: Joe Nickell, Pen, Ink, and Evidence (New Castle, DE: Oak Knoll Press, 2003), 40.

11        female gall wasp: Ibid., 36.

11        his secret formula: Janet Ing, Johann Gutenberg and His Bible (New York: Typophiles, 1988), 87.

12        Soaking it in pee: Margreta De Grazia and Peter Stallybrass, “The Materiality of the Shakespearean Text,” in Shakespeare and the Editorial Tradition, ed. Stephen Orgel and Sean Keilen (London: Taylor and Francis, 1999), 28.

12        Gutenberg’s most important innovation: Lucien Febvre and Henri-Jean Martin, The Coming of the Book, trans. David Gerard (London: Verso, 2010), 50.

12        you tend to avoid slicing off pieces: Brückle, Smith, and Mayer, “Evidence of the Forged Paper,” 38.

13        tested acceptably high on acid: Schmidle, “A Very Rare Book.”

14        unequivocal evidence proving the fraud: See Nicholas Pickwoad, “The Evidence of the Forged SNML Sammelband Book Structure,” in Bredekamp et al., A Galileo Forgery, 61–70.

14        expensive slats of wood: Barbara A. Shailor, The Medieval Book (Toronto: University of Toronto Press, 1994), 56.

15        morocco, made from goatskin: Modern bookbinders reading this book have now just tossed it aside in disgust. The academic and collecting world of rare books still uses the term “morocco” as a catchall for any goatskin binding, but bookbinders know it’s in fact only one specific type of goatskin. With thanks for Lang Ingalls’s comments at the Colorado Antiquarian Book Seminar in July 2016, for pointing this out.

16        bound in Allen’s skin: Nicholas Basbanes, A Gentle Madness (New York: Henry Holt and Company, 1999), 154.

17        cut, gilded, and gauffered at the same time: Pickwoad, “Book Structure,” 70.

17        fornicating on the fore-edge: This very copy of Longfellow sold at Heritage Auctions in April 2014 for $406.25.

18        most successful book forgery: As Rebecca’s Medieval Latin professor, Richard Lounsbury, used to say, does a “successful forgery” really exist? If it is successful, no one calls it a forgery. If the forgery is revealed, then it clearly isn’t successful.

18        faulty capital P: The first published statement declaring the forgery focused on this detail, a misshapen P that could have occurred only through digital retouching. See Nick Wilding, “Letter to the Editor,” ISIS 103, no. 4 (2012): 760.

18        uncover his masterful deceit: Schmidle, “A Very Rare Book.”

19        “a projected duel”: Ibid.

19        photopolymer plates: See Wilding, Faussaire, 37–39. This is one of the key differences in modern forgeries, a technological development that has made them much more financially practical. Thomas J. Wise’s famous forgeries were, for instance, possible mainly because of his connection with a local print shop, where he had already been printing “authorized” facsimiles of rare first editions.

19        “real expert” happened to be working: Nick Wilding, “Review of Galileo’s O, vols. 1 and 2, edited by Horst Bredekamp,” Renaissance Quarterly 65, no. 1 (2012): 217–18.

19        senior scholars blew off Wilding’s concerns: Wilding, “Reviewed Work,” 1338.

19        the key word here being fantasy: See Needham, “Final Thoughts,” 98.

20        “within about twenty minutes”: Paul Needham, “Fruitful Doubts, May–June 2012,” in A Galileo Forgery, 23.

20        “not many results are worse than a refuted authentication”: Bredekamp et al., “Introduction,” 11.

20        only a masterpiece could have fooled them: Wilding, “Reviewed Work,” 1338.

20        seven years’ house arrest: Technically he was sentenced to seven years in prison, which was commuted to house arrest because of his health. “Biblioteca dei Girolamini, condannato l’ex direttore De Caro a 7 anni,” Napoli Today, March 15, 2013, at http://www.napolitoday.it/cronaca/biblioteca-dei-girol amini-direttore-condannato.html.

20        being a thief: He was convicted for the theft of thousands of books from a library in Naples. Even considering the millions of dollars involved, the Italian government doesn’t seem to know how to handle these bibliocrimes, which are truly crimes against our intellectual heritage. De Caro still hasn’t been brought to trial for the sale of his forged Sidereus Nuncius.

Chapter 2: Forgetting Mr. Gooseflesh

21        “must not be stopped because of printing”: Quoted in Noël L. Brann, The Abbot Trithemius (1462–1516): The Renaissance of Monastic Humanism (Leiden: Brill, 1981), 156. We’ve used Brann’s translations throughout when quoting Trithemius.

21        differences between handwriting and printing: Ibid., 156.

22        Gutenberg appears in exactly zero printed books: Ing, Gutenberg, 33.

22        birthday, or birth year, or birth decade: Ibid., 27.

23        common medieval derivations of “Johannes”: Douglas C. McMurtrie, The Gutenberg Documents (New York: Oxford University Press, 1941), 42.

23        dually libelous opinion of Gutenberg: Ing, Gutenberg, 48–49. The theory had been tossed out by the eighteenth century in England, but Americans love conspiracies. They kept the theory alive into the nineteenth century. They were also, incidentally, first responsible for putting forth theories questioning William Shakespeare of Stratford-upon-Avon as the true author of the plays attributed to him.

24        Gutenberg was remembered only as their “assistant”: Martyn Lyons, Reading Culture and Writing Practices in Nineteenth-Century France (Toronto: University of Toronto Press, 2008), 92–94.

24        didn’t appear until 1472: Ing, Gutenberg, 33.

24        rescue Gutenberg’s reputation: Ibid., 45.

24        went missing for more than a hundred fifty years: McMurtrie, Gutenberg Documents, 176. It also happened to be the most important document, the Helmasperger Instrument. More on this record to follow.

25        “the abuses of a stepfather”: Brann, Abbot Trithemius, 3.

26        “grant you whatever you have asked”: Ibid., 5.

27        “‘proud and temperamental’ character”: Paul Needham, The Invention and Early Spread of European Printing (Princeton, NJ: Princeton University Library, 2007), 5.

27        “GRAUNT—popular poet of ancient times”: Mark Twain, The Innocents Abroad; Or, the New Pilgrims’ Progress (Hartford, CT: American Publishing Company, 1869), 336.

28        zombies hanging around being jerks: Okay, yes, there is a reason: the woodcut forms part of a larger Danse Macabre theme, a popular medieval trope that emphasized the ubiquity of death and how it comes for people in every station in life. The Walking Dead of the Middle Ages, if you will.

28        “we know nearly nothing”: Ing, Gutenberg, 78.

30        deal with Satan: Elizabeth L. Eisenstein, Divine Art, Infernal Machine: The Reception of Printing in the West from First Impressions to the Sense of an Ending (Philadelphia: University of Pennsylvania Press, 2011), 2–6.

30        Gutenberg kept printing: Paul Needham, “Johann Gutenberg and the Catholicon Press,” The Papers of the Bibliographic Society of America 76, no. 4 (1982): 432.

30           Gutenberg has left after his death: McMurtrie, Gutenberg Documents, 219.

30           suit may actually have favored Gutenberg: Ing, Gutenberg, 31.

30           Gutenberg was cast as a nosy neighbor: Ibid., 43.

31           previously unknown eyewitness account: Ibid., 67.

31           “earliest precise date by which we know typographic printing”: Needham, Invention and Early Spread, 17.

31           a note nonchalantly scribbled: Ing, Gutenberg, 53.

31           literary casualty list: See McMurtrie, Gutenberg Documents.

32           liveliness to times and circumstances: Quoted in Brann, Abbot Trithemius, 151.

32           marvelous and hitherto unheard of art of printing: Quoted in ibid., 145.

32           O blessed art of printing: Quoted in ibid., 147.

33           “Sponheim Abbey Press”: Ibid., 149.

34           “I will gladly go to labors outside”: Quoted in ibid., 165.

34           “writer who commends his writings to membranes”: Quoted in ibid., 151.

34           reap the following rewards: Quoted in ibid., 155.

35           “will be able to endure a thousand years”: Quoted in ibid., 157.

35           rate of nearly two to one: Bettina Wagner, ed., Als die Lettern laufen lernten. Medienwandel im 15. Jahrhundert (Wiesbaden: Reichert, 2009), 15.

35           Amazon erased illegal editions of George Orwell’s: Brad Stone, “Amazon Erases Orwell Books from Kindle,” New York Times, June 17, 2009.

36           circulation in manuscript form: See Richard B. Wollman, “The ‘Press and the Fire’: Print and Manuscript Culture in Donne’s Circle,” Studies in English Literature, 1500–1900 33, no. 1 (Winter 1993): 85–97.

36           “distinguishing their beautiful volumes”: Brann, Abbot Trithemius, 158.

37           “a favorite, old blanket”: David Scott Kastan, Shakespeare and the Book (Cambridge, UK: Cambridge University Press, 2001), 113.

37           papyrus with processed animal carcasses: An Egyptian would also have turned his nose up at the idea of leather competing with papyrus at all—the word parchment is rooted in the proper noun Pergamum, the ancient Greek city that produced leather for books specifically in order to compete with Egypt’s papyrus production.

38           “highly favorable one”: Brann, Abbot Trithemius, 145.

38           “library of two-thousand books”: Ibid., 53.

38           “abounding with volumes”: Ibid., 70–71.

38           different can of kerscheblotzer: A cherry cake popular in the Mainz area. Not served in a can—as far as we know.

39           “indeed without glasses”: Quoted in Martin Davies, “Juan de Carvajal and Early Printing: The 42-line Bible and Sweynheym and Pannartz Aquinas,” The Library (1996).

39           30 percent of editions from this period: Jonathan Green and Frank McIntyre, “Lost Incunable Editions: Closing in on an Estimate” in Lost Books: Reconstructing the Print World of Pre-Industrial Europe, ed. Flavia Bruni and Andrew Pettegree (Leiden: Brill, 2016), 60–61. This article also discusses the value and drawbacks of using ISTC to count incunable editions.

39           Latin term coined in 1640: Bernhard von Mallinckrodt suggested the term in De ortu et progressu artis typographicae. Cf. Needham, Invention and Early Spread, 9.

39           babies of print: Does this make the pamphlet wars of the Reformation its terrible twos? Cf. chapter 3.

40           “are to be spat at”: Grant Uden, Understanding Book-Collecting (New York: Antique Collectors’ Club, 1982), 36.

40           probably trained in Mainz: Christopher de Hamel, The Book: A History of the Bible (London: Phaidon Press, 2005), 192.

40           excellent candidates for the title of first printed book: Paul Needham, “Precious Consignments from the Old to the New World: The Gutenberg Bible in America,” in Association internationale de bibliophilie: Actes et Communications, XXVth Congress, New York City, and Post-Congress, Chicago (s.l.: Association international de bibliophilie, 2011), 46.

41           copyediting errors while using B42: Karl Dziatzko, Gutenbergs früheste Druckerpraxis (Berlin: A. Asher and Co., 1890). See Ing, Gutenberg, 54–57, for a summary of Dziatzko’s findings.

42           “purchased without great sacrifice”: Ibid., 105, summarizing the conclusions of Eberhard König.

42           170 calves or 300 sheep: Sarah E. Bond, “Sacrificial Lambs: Livestock, Book Costs, and the Premodern Parchment Trade,” Sarah E. Bond: Late Antiquity, Digital Humanities, and Musings on the Classical World, April 2016, https://sarahemilybond.wordpress.com/2016/04/04/sacrificial-lambs-live stock-book-costs-and-the-premodern-parchment-trade/.

42           largest herd of cattle in the United States: Colleen Schreiber, “Mormon Church Holds Title as Largest U.S. Cow-Calf Producer,” Livestock Weekly, January 25, 2001, http://www.livestockweekly.com/papers/01/01/25/whldeseret .asp.

43           started placing bids: Technically, this is also when Sir Thomas started placing bids at all; up to this point he had been sitting back like a gentleman, preferring his agent to bid. A man obviously paid for his cool temperament: this agent ceased at Sir Thomas’s planned bid. That’s when Sir Thomas stepped in himself.

43           “arrest [Sir Thomas’s] mad career”: Henry Stevens, Recollections of James Lenox of New York and the Formation of His Library (London: H. Stevens and Son, 1886), 32.

43           “swallowed up by the Deep Sea”: Quoted in Ezra Greenspan, George Palmer Putnam: Representative American Publisher (University Park, PA: Penn State Press, 2010), 158.

44           denied the possession of these Bibles: Needham, “Precious Consignments,” 40.

44           “These people were not art specialists”: “Russia Sentences Secret Agents over Theft of Gutenberg Bible,” BBC News, June 6, 2014, http://www.bbc.com/news/world-europe-27738164.

45           where Gutenberg’s print shop stood: Ing, Gutenberg, 75.

45           running two separate print shops: Ibid.

45           found inside the binding of an accountant’s book: Colin Clair, A History of European Printing (London: Academic Press, 1976), 16.

45           church where he was likely buried was demolished: Seán Jennett, Pioneers in Printing (London: Routledge and Kegan Paul Ltd., 1958), 21.

46           monastic issues, histories, and demonology: Please thank the Oxford comma for keeping this phrase from reading, “monastic issues, histories and demonology.”

47           taught him the ancient secrets of steganography: Noël L. Brann, Trithemius and Magical Theology (New York: State University of New York Press, 1999), 101.

48           “offend them by various delusions”: Ibid., 136.

49           branded it a work of heresy: Ibid., 172.

49           demonology, “a minor current”: Brann, Abbot Trithemius, 101.

Chapter 3: Trees of Truth

52           surrender his dead son’s sheet: Susan Brigden, London and the Reformation (London: Faber and Faber, 2014), 99.

52           “thou art accursed”: Quoted in ibid.

52           “Wycliffe’s damnable works”: J. Fines, “A Post-Mortem Condemnation for Heresy of Richard Hunne,” English Historical Review 78, no. 308 (July 1963): 530.

53           “plenty of blood was shed before he was hanged”: John Foxe, The Acts and Monuments of John Foxe: With a Preliminary Dissertation by the Rev. George Townsend, 8 vols., ed. Rev. Stephen Reed Cattley (London: R. B. Seeley and W. Burnside, 1837–1841), 4:191.

54           “the soul from purgatory springs”: This popular verse is referenced directly in statement number 27 of Luther’s Ninety-Five Theses.

54           splinters from Christ’s True Cross to fill a ship: Erasmus, Colloquies, vol. 2, trans. N. Bailey (London: Reeves and Turner, 1878), 13.

54           gnawed his way through them with his molars: Jonathan Sumption, The Age of Pilgrimage: The Medieval Journey to God (Mahwah, NJ: Paulist Press, 2003), 41.

54           “a few of my neighbors”: Quoted in Preserved Smith, The Life and Letters of Martin Luther (Boston: Houghton Mifflin, 1911), 43.

55           “printed and circulated far beyond my expectation”: Quoted in ibid., 44.

55           “had I known what was going to happen”: Quoted in ibid.

55           printing in the common German tongue: Andrew Pettegree, Reformation and the Culture of Persuasion (Cambridge, UK: Cambridge University Press, 2005), 164.

56           “Heralded on all sides as a ‘peaceful art’”: Elizabeth Eisenstein, The Printing Press as an Agent of Change (Cambridge, UK: Cambridge University Press, 1979), 319.

56           could that mule have been crucified: Brian Moynahan, God’s Bestseller (New York: St. Martin’s Press, 2014), 10.

56           what was actually written in the Bible: S. L. Greenslade, “Epilogue,” in Cambridge History of the Bible, ed. Greenslade (Cambridge, UK: Cambridge University Press, 1976), 485.

56           “did not know how many Commandments there were”: W. M. S. West, “John Hooper and the Origins of Puritanism” (Zurich dissertation, 1955), 45.

57           “a boy that driveth the plough”: Quoted in David Daniell, William Tyndale: A Biography (New Haven, CT: Yale University Press, 1994), 1.

57           “Arthur Cobbler” or “Hans Hoe”: A vicar called the Bible in English “the book of Arthur Cobbler,” as quoted in G. R. Elton, Policy and Police: The Enforcement of the Reformation in the Age of Thomas Cromwell (Cambridge, UK: Cambridge University Press, 1972), 27; “Hans Hoe” was the German nickname, a translation of “Karsthans” in German: Mark U. Edwards Jr., Printing, Propaganda, and Martin Luther (Minneapolis, MN: Fortress Press, 2005), 61.

57           crime punishable by death: This was the end result of laws that combined the judgments of spiritual courts with the enforcement by governmental courts: Parliament’s 1401 passage of De heretico comburendo (allowing burning at the stake as lawful punishment for heretics) and Archbishop Arundel’s 1407–9 passage of Constitutions, or religious regulations, one of which forbade the ownership or circulation of any written translation of scripture into English. See Nicholas Watson, “Censorship and Cultural Change in Late-Medieval England: Vernacular Theology, the Oxford Translation Debate, and Arundel’s Constitutions of 1409,” Speculum 70, no. 4 (October 1995): 822–64.

57           “not the light of the world, but its darkness”: Quoted in Moynahan, God’s Bestseller, 156.

57           “indeed women and simple idiots”: Johannes Cochlaeus, quoted in ibid., 33.

57           “cartload of hay for a few sheets of St. Paul”: Ibid., xix.

58           sold his looms and shears to purchase a copy: Brigden, London, 89.

58           “advised me to seek in London”: Quoted in Daniell, Tyndale, 85.

59           encouraged printers to issue more pirated editions: J. F. Mozley, William Tyndale (New York: Macmillan, 1937), 115–19.

59           vernacular translations of the Bible were widely available: John L. Flood, “The History of the Book in Germany,” in The Book: A Global History, ed. Suarez and Woudhuysen (Oxford: Oxford University Press, 2013), 370.

59           “vagabond or religious eccentric”: Anne Hudson, ed., Selections from the English Wycliffite Writings (Cambridge, UK: Cambridge University Press, 1981), 8.

59           “Ten Worst Britons” poll: “‘Worst’ Historical Britons Named,” BBC News, December 27, 2005, http://news.bbc.co.uk/2/hi/uk/4560716.stm.

59           legally enforce these spiritual rulings: Legal enforcement of spiritual courts against heretics began in 1401, with the passing of De heretico comburendo. See note on page 57.

60           sixty manuscript copies of Chaucer’s English masterpiece: De Hamel, The Book, 187.

60           heresy . . . with sedition: Richard Rex, “Thomas More and the Heretics: Statesman or Fanatic?” in The Cambridge Companion to Thomas More, ed. George M. Logan (Cambridge, UK: Cambridge University Press, 2011), 95.

61           their beloved English New Testaments tied around their necks: De Hamel, The Book, 186.

61           “to the end without moving”: Foxe, Acts and Monuments, 4:688.

61           “not God’s body”: Ibid., 3:238.

61           capitalist innovators and Lollard heretics: E. G. Rupp, Studies in the Making of the English Protestant Tradition (Cambridge, UK: Cambridge University Press, 1966), 8.

62           bales of cloth: David Daniell, “William Tyndale, the English Bible, and the English Language,” in The Bible as Book, Vol. 3: The Reformation, ed. Orlaith O’Sullivan (New Castle, DE: Oak Knoll Press, 2000), 43. Thomas More also learned the trick with the bales of cloth—through the interrogation of George Constantine, a colporteur known as a major distributor of English New Testaments. Some scholars have suggested that Constantine first began circulating rumors about extreme treatment of prisoners by More in order to account for the large amount of information Constantine betrayed during his questioning. See Brad C. Pardue, Printing, Power, and Piety: Appeals to the Public During the Early Years of the English Reformation (Boston: Brill, 2012), 108–9. For the works Tyndale used in his translation, see Daniell, Tyndale, 108–15.

63           “in short time be Lutheran”: Quoted in Daniell, Tyndale, 109.

63           “devil in the habit of a monk”: The Edict of Worms, 1521.

64           wasn’t identified until 1996: See Eberhard Zwink, “Confusion About Tyndale: The Stuttgart Copy of the 1526 New Testament in English,” Reformation 3, no. 1 (1998).

64           purchased for six days’ wages: Pardue, Printing, 19.

64           “cost him just 20 guineas”: “Tyndale New Testament,” British Library, http://www.bl.uk/onlinegallery/sacredtexts/tyndale.html.

65           would not sit for portraits: Moynahan, God’s Bestseller, 54.

65           “hellhound in the kennel of the devil”: Quoted in Thomas More, Confutation of Tyndale’s Answer, vol. 8 of The Complete Works of St. Thomas More, ed. Louis A. Schuster, Richard C. Marius, and James P. Lusardi (New Haven, CT: Yale University Press, 1973), 226, 135, 358. Thomas More, A Dialogue Concerning Heresies, vol. 6 of The Complete Works of St. Thomas More, ed. Thomas M. Lawler, Germain Marc’hadour, and Richard C. Marius (New Haven, CT: Yale University Press, 1981), 424.

65           all the powers of Church and State: Though a layman, More was commissioned by the bishop of London, Cuthbert Tunstall, to fight against heresy with publications in English. See Eamon Duffy, “‘The Comen Knowen Multitude of Crysten Men’: A Dialogue Concerning Heresies and the Defence of Christendom,” in Logan, ed., Cambridge Companion to Thomas More, 194.

65           “the simple and unlearned”: Quoted in Daniell, Tyndale, 69.

66           Peasants’ War cited Luther’s rebellion: More argues that the Peasants’ War was an “inevitable outcome” of Luther, noted in Duffy, “Defence of Christendom,” 209.

66           “rebels as well as heretics”: Bridgen, London, 120.

67           to some extent authored: For more on More’s contribution to Henry VIII’s pamphlet, see Peter Ackroyd, Life of Thomas More (New York: Nan A. Talese, 1998), 226.

67           “covered in excrement”: Quoted in ibid., 227.

67           “shit, dung, filth, and excrement”: Quoted in ibid., 230–31. Ackroyd does a lovely job of providing both the Latin and the English terms for any readers who would like to expand their Latin vocabulary.

67           “the greatest heap of nasty language”: Ibid., 227, quoting Francis Atterbury. These references feature in a chapter of Ackroyd’s book called “XXI: I Am Like a Ripe Shit”—named for a quote from More, naturally.

67           “obsessive anality”: Daniell, Tyndale, 277. As a counterpoint, note Richard Rex’s criticism of characterizing More’s writings based on these passages: “His Responsio ad Lutherum delves into the dungheap on perhaps a dozen occasions, two or three of them spectacularly revolting. But this is not typical of a text which amounts to about 350 pages in its critical edition.” Only a dozen occasions! Rex, “Statesman or Fanatic,” 104–5.

68           accurate and faithful to the original texts: Moynahan, God’s Bestseller, 104. For a discussion of what the committee of scholars making the King James translation owed (and didn’t owe) to Tyndale, see Adam Nicolson, God’s Secretaries: The Making of the King James Bible (Grand Rapids, MI: Zondervan, 2005), 221–23.

68           came down to three words: More, Dialogue, 285–86. See also Richard Duerden, “Equivalence or Power? Authority and Reformation Bible Translation,” in O’Sullivan, ed., The Bible as Book: The Reformation, 12.

70           international mecca for printing: Dr. F. de Nave, “Antwerp, Dissident Typographical Centre in the Sixteenth Century: General Synthesis,” in Antwerp, Dissident Typographical Centre, ed. Gilbert Tournoy, Dirk Imhof, and Francine de Nave (Antwerp: Snoeck-Ducaju and Zoon, 1994), 11.

70           “farthest out of danger”: Rev. R. Demaus, William Tyndale, a Biography, rev. Richard Lovett (London: Religious Tract Society, 1886), 319

70           surpassing the pope: In Tyndale’s Obedience of a Christian Man (Antwerp: Merten de Keyser, 1528).

70           unusually competent ruler: See David Starkey, Six Wives: The Queens of Henry VIII (New York: HarperCollins, 2003).

70           “failure in the home”: David O. McKay, in Family Home Evening Manual, ed. the Council of the Twelve Apostles (Salt Lake City, UT: The Council, 1968), iii.

71           transmute the religious landscape of England: To complicate matters, in 1527 Catherine’s nephew Charles V had recently sacked Rome, reducing the pope to a mere puppet during a crucial period of the “Great Matter.”

71           she was a fan: For an examination of the sources describing Anne Boleyn’s reformer leanings, see Thomas S. Freeman, “Research, Rumour and Propaganda: Anne Boleyn in Foxe’s ‘Book of Martyrs,’” The Historical Journal 38 no. 4 (December 1995): 797–819.

71           connections in the smuggling market: Bridgen, London, 128.

71           “servants were all encouraged to read”: Reported by Boleyn’s confessor, Latimer, quoted in Moynahan, God’s Bestseller, 295.

71           presented Henry with her favorite passages: Ackroyd, Thomas More, 283, referencing Foxe.

72           allow an English translation: Daniell, Tyndale, 212.

72           “I did but warn his grace”: Quoted in ibid., 213.

73           “Forbidden Book of the Month Club”: See Patrick Collinson, “William Tyndale and the Course of the English Reformation,” in Reformation 1, no. 1 (1996): 72–97.

73           lurked More’s network: Ackroyd, Thomas More, 300.

73           Facing rumors of torture and indefinite confinement: Moynahan, God’s Bestseller, 208. While there is ample documentation for the sustained imprisonment of suspects—John Petyt died while imprisoned in the Tower of London, even though they had no incriminating evidence of his crimes—it’s worth noting that More asserted that he never tortured his prisoners. Personally, given how seriously he took the threat of religious fanatics, we’re inclined to believe it’s because he considered his “advanced interrogation techniques” necessary for the safety of the state.

73           burn everyone he detained: In the two and a half years of his chancellorship, six heretics were burned. Of these, the cases of three were pressed through specifically by More. See Rex, “Statesman or Fanatic,” 94.

74           “Tree of Truth”: See Foxe, Acts and Monuments, 4:698. Apologists claim, understandably, that Foxe is not the most impartial source for More. Yet we do know that the rumors were common enough that More himself felt obliged to address them.

74           “bodily harm done him or foul word spoken”: Thomas More, Apology, in English Prose, Vol. 1: Fourteenth to Sixteenth Century, ed. Henry Craik (1916).

76           “liberation of language itself”: David Daniell, “No Tyndale, No Shakespeare,” paper presented at the Tyndale Kirtling Meeting, Suffolk, April 16, 2005.

76           path blazed by Tyndale: Pardue, Printing, 209.

76           came from his mind: Daniell, Tyndale, 1.

76           Inquisition “in the Spanish manner”: Prof. Dr. G. Latré, “William Tyndale in Antwerp: Reformer, Bible Translator, and Maker of the English Language,” in Antwerp, Dissident Typographical Centre, ed. by Gilbert Tournoy, Dirk Imhof, and Francine de Nave (Antwerp: Snoeck-Ducaju and Zoon, 1994), 64.

77           the man who doomed Tyndale: Daniell, Tyndale, 368–69.

78           closely matches Thomas More’s profile: Richard Rex scorns the idea that More could have orchestrated the arrest from his prison in the Tower. He does acknowledge that the targets of this new Protestant movement were “More’s kind of people,” the educated upper classes. See Rex, “Statesman or Fanatic,” 111.

78           “consumed at last with lice”: Foxe, Acts and Monuments, 5:129.

78           petitions caused delays: Daniell, Tyndale, 376.

78           “above all other powers”: Miles Coverdale, preface to The Bible, That Is the Holy Scripture of the Old and New Testament, Faithfully Translated into English (Antwerp: Merten de Keyser, 1535), sig. +ii^v.

79           the name of a heretic: David Daniell, The Bible in English (New Haven, CT: Yale University Press, 2003), 193.

79           Tyndale’s translation would account for: Jon Nielson and Royal Skousen, “How Much of the King James Bible Is William Tyndale’s?,” in Reformation 3, no. 1 (1998): 49–74.

80           “forgotten ghost of the English language”: Collinson, “William Tyndale,” quoting from Philip Howard, “Philip Howard Column: Tyndale’s Language of the Common Man Is the Bedrock of English Literature Today,” in The Times, April 29, 1994.

Chapter 4: Making the Round World Flat

83           sent to the Arctic by none other than King Arthur: For a full narration of this episode see Thomas Green, “John Dee, King Arthur, and the Conquest of the Arctic,” The Heroic Age: A Journal of Early Medieval Northwestern Europe 15 (October 2012).

83           “put into writing all the wonders”: Letter from April 20, 1577, from Mercator to Dee, quoted in Nicholas Crane, Mercator: The Man Who Mapped the Planet (New York: Henry Holt and Company, 2014), 242–44.

84           legally owns the moon: We don’t actually own the moon. Cf. the 1967 Outer Space Treaty, which incidentally reads almost like a Star Trek script.

84           “pygmies whose length in all”: The description on the map itself reads, “Pygmei hic habitant / 4 ad summum pedes longi.”

84           “most salubrious of the whole of Septentrion”: Hic insula optima est et saluberrima totus Septentrionis.

85           “discovered than in five thousand years before”: Andrew Taylor, The World of Gerard Mercator (New York: Walker and Company, 2004), 36.

85           “info-lust”: Ann M. Blair, Too Much to Know: Managing Scholarly Information before the Modern Age (New Haven, CT: Yale University Press, 2010), 6.

85           “swarms of new books”: Seneca and Erasmus both quoted in ibid., 15 and 55.

87           Columbus carried a copy of the Geographia: Taylor, World of Gerard Mercator, 14.

88           Jerusalem . . . lay at its center: Norman J. Thrower, Maps and Civilization: Cartography in Culture and Society (Chicago, IL: University of Chicago Press, 2008), 42.

88           “maps of Scriptural dogma”: Daniel J. Boorstin, The Discoverers (New York: Vintage Books, 1985), 101.

88           groats per viertel: Crane, Mercator, 14.

88           strictly forbidden: In some areas, dissections were allowed, but only infrequently and under extremely strict conditions. During this same period the famous anatomist Andreas Vesalius was forced to grave-rob and scavenge for bodies to autopsy in service of his revolutionary pedagogical anatomy book De humani corporis fabrica (1543).

88           booksellers who went from town to town: Ibid., 34.

89           “began to doubt the truth of all philosophers”: Our translation. Quoted in Latin in Jean Van Raemdonck, Gérard Mercator, sa Vie et ses Oeuvres (St. Nicholas, Belgium: Dalschaert-Praet, 1869), 25.

89           “Let it be said in a whisper”: Quoted in J. H. Parry, ed., The European Reconnaissance (London: Macmillan, 1968), 180.

89           cartographic revolution was a reaction: Thrower, Maps and Civilization, 58.

90           shaping that morass: “Printing diffused more broadly than ever before existing techniques for managing information and encouraged experimentation with new ones, including new layouts, finding devices, and methods of composition.” Blair, Too Much to Know, 14.

90           alphabetization: This section relies on Peter Burke, A Social History of Knowledge: From Gutenberg to Diderot (Cambridge, UK: Polity Press, 2000), 184–87.

91           After print: “Print” referring, in this case, to the development of illustration techniques used alongside or in conjunction with movable type: relief (woodcut) and intaglio (engraving).

91           “a globe of exquisite beauty”: Crane, Mercator, 67.

92           “frivolous distraction”: Ibid., 61.

93           Taprobane, the world’s largest fake island: Ibid., 72. It should be noted that this fake island is different from the other fake island required by Ptolemy, and a mainstay of maps for centuries to come: the Great Southern Continent, not definitively disproved until the voyages of Captain Cook in the late eighteenth century.

94           reduced to a mere abbreviation: Taylor, World, 204.

95           Mercator wall paneling: Although it would almost certainly have to come from a map originally issued in a book—maps produced for hanging on walls tend not to survive because they are exposed to the elements more than those hidden between leather covers.

94           “instruments of rule” . . .”science of princes”: Michael Biggs, “Putting the State on the Map: Cartography, Territory and European State Formation,” Comparative Studies in Society and History 41, no. 2 (1999): 380; and J. B. Harley, “Silences and Secrecy: The Hidden Agenda of Cartography in Early Modern Europe,” Imago Mundi 40 (1988): 59.

94           punishable by death: Harley, “Silences and Secrecy,” 61.

94           “secrets not fit to be published”: Quoted in Roger M. McCoy, On the Edge: Mapping North America’s Coasts (Oxford: Oxford University Press, 2012), 74.

95           “knowing is half the battle”: “GI Joe: A Real American Hero,” animated TV series (1985–86). PSAs can be accessed at Internet Archive: https://archive.org/details/GI_Joe-Knowing_is_Half_the_Battle_PSAs.

95           were classified as state secrets: Mark Monmonier, How to Lie with Maps (Chicago, IL: University of Chicago Press, 1996), 113.

95           Africa was treated as a state secret: Burke, Social History, 143.

95           Roman architecture was considered too dangerous: Ibid., 144.

96           ensure demons couldn’t hide in his hair: Crane, Mercator, 104.

97           triangulation . . . back-pedaling . . . imperial ass-kissing: Ibid., 105–8.

98           “suspect letters”: Ibid., 136.

99        “constructing future transgression”: John H. Arnold, Inquisition and Power: Catharism and the Confessing Subject in Medieval Languedoc (Philadelphia: University of Pennsylvania Press, 2001), 85.

100        arrested at the same time: Taylor, World, 115.

100        “most unjust persecution”: Letter of Mercator to Antoine Perrenot de Granvelle, October 9, 1544, quoted in Taylor, World, 116.

100        whole mess of problems: For more on the technical challenges of representing a sphere on a flat surface, see John P. Snyder, Flattening the Earth: Two Thousand Years of Map Projections (Chicago, IL: University of Chicago Press, 1993), 1–4.

101        not commonly known before Mercator: Snyder notes that “Erhardt Etzlaub (c. 1460–1532) of Nuremberg used similar projections for a small map limited to Europe and North Africa” in 1511, “but the principle remained obscure until Mercator’s independent development.” Flattening, 48.

101        hundreds of miles from his intended destination: Cf. Anson’s famous circumnavigation, when his “ships almost ran ashore on the rocks of the Chilean coast at a moment when the sailing-masters estimated that they were nearly three hundred miles out to sea.” Glyndwr Williams, The Great South Sea: English Voyages and Encounters, 1570–1750 (New Haven, CT: Yale University Press, 1997), 10.

102        Columbus used Ptolemy’s calculations: Boorstin, Discoverers, 99.

104        bleed across the whole world: Monmonier, Lie with Maps, 96.

104        “south until the butter melts”: A sixteenth-century saying about sailing to the West Indies from Europe, quoted in William Galvani, Mainsail to the Wind: A Book of Sailing Quotations (Dobbs Ferry, NY: Sheridan House, 1999), 71.

105        inevitable land mass distortions: Crane, Mercator, 289–90.

105        distortion is coming for you: Ibid., 290.

105        imaginary Christian nation . . . hiding out in Ethiopia: It was moved to Ethiopia (at this time, Abyssinia) in Mercator’s era. After evidence against its existence came to light, the last gasp of the myth relied on scholars asserting that the name “Prester John” was a corruption of certain Ethiopian royal titles. Almeida is the first to dismantle that argument, saying that “there is no foundation whatever” for it. Quoted in Robert Silverberg, The Realm of Prester John (Athens, OH: Ohio University Press, 1972), 319–21. Also see Keagan Brewer, comp. and trans., Prester John: The Legend and Its Sources (Surrey: Ashgate, 2015).

106        instead of for our yahoos: Questions on Yahoo Answers from May 4, 2012 (https://answers.yahoo.com/question/index?qid=20120504132447AAweXOA); January 26, 2008 (https://answers.yahoo.com/question/index?qid=2008012 6235022AAPDIDx); and October 30, 2012 (https://au.answers.yahoo.com/question/index?qid=20121030224201AAnKzZZ). The top-rated answer to the last question is “Can you be more Pacific?” People from 2517, go ahead and judge us for that answer.

Chapter 5: Bad Shakespeare

107        “To die, to sleep”: William Shakespeare, Hamlet, act 3, scene 1, lines 59–63. Quoted in The Norton Shakespeare, ed. by Stephen Greenblatt (New York: W.W. Norton and Company, 1997), 1705.

107        “is that all?”: William Shakespeare, Hamlet Q1, transcription from the British Library copy (except the spelling out of “I” to “Aye,” as in some later editions, to avoid confusion), D4^v. See http://www.quartos.org/lib/XMLDoc /viewXML.php?path=ham-1603–22275x-bli-c01.xml.

107        the “bad” quarto: The term was first used by A. W. Pollard in Shakespeare’s Folios and Quartos (London: Methuen, 1909).

108        “found by me in a closet”: The imprint was bound in a collection of Shakespeare plays, one reason it may have taken so long to discover it. Sir Henry Bunbury, ed., The Correspondence of Sir Thomas Hanmer, Bart, Speaker of the House of Commons, with a Memoir of his Life (London: Edward Moxon, 1838), 80.

108        “at a tidy profit”: Zachary Lesser, Hamlet After Q1: An Uncanny History of the Shakespearean Text (Philadelphia: University of Pennsylvania Press, 2015), 3. This friend of Charles Dickens was the well-known book collector William Cavendish, Sixth Duke of Devonshire.

109        presumably repentant British Museum: Ibid., 16.

109        best-selling playwright: Lukas Erne, Shakespeare and the Book Trade (Cambridge, UK: Cambridge University Press, 2013), 21.

109        even if they weren’t his: Ibid., 68.

110        “music be the food of love”: William Shakespeare, Twelfth Night, act 1, scene 1, line 1. Quoted in Norton Shakespeare, 1768.

110        “I have done thy mother”: William Shakespeare, Titus Andronicus, act 4, scene 2, lines 75–76. Quoted in Norton Shakespeare, 414.

110        “if an editor likes a reading”: R. B. McKerrow, The Treatment of Shakespeare’s Text by His Earlier Editors, 1709–1786 (Freeport, NY: Books for Libraries Press, 1970), 28.

110        “authentic” Shakespeare play: Spoilers: authentic is in quotes because it’s not a terribly practical way to understand Shakespearean authorship, as demonstrated by the historical context described in this chapter.

110        “historically based editorial practice”: Kastan, Shakespeare and the Book, 100.

111        start tossing them out: Even the great libraries weren’t immune, such as the Bodleian “discarding” its First Folio after obtaining a Third Folio. See Erne, Shakespeare and the Book Trade, 192.

111        seemed to show metrical errors: In fact these verses were, as later scholars have pointed out, “entirely acceptable when accorded their more flexible Elizabethan and Jacobean pronunciation.” Margreta de Grazia, Shakespeare Verbatim: The Reproduction of Authenticity and the 1790 Apparatus (Oxford: Clarendon Press, 1991), 62–63.

111        fifteen hundred “degraded”: Ibid., 197.

112        “Shakespearean controversy has given birth”: Thomas R. Lounsbury, The First Editors of Shakespeare (Pope and Theobald): The Story of the First Shakespearean Controversy and the Earliest Attempt at Establishing a Critical Text of Shakespeare (London: David Nutt, 1906), xi.

112        his publisher turned traitor: Andrew Murphy, “The Birth of the Editor,” in A Concise Companion to Shakespeare and the Text, ed. Andrew Murphy (Hoboken, NJ: Wiley-Blackwell, 2007), 96. It should be noted that Theobald also went on to edit (and alter) Shakespeare according to his own morally inflected judgments.

112        “suspicions of depravity”: As quoted in De Grazia, who emphasizes Theobald’s suspiciously moralizing vocabulary: Depravities, Deformities, Blemishes. Verbatim, 198–99.

112        most blasé . . . is the man himself: Erne challenges this interpretation using circumstantial evidence, but there is no direct evidence.

112        Plays were usually sold to a theater team: David Grote, The Best Actors in the World: Shakespeare and His Acting Company (Westport, CT: Greenwood Press, 2002), 22.

112        free to make changes to the text: Tiffany Stern, Making Shakespeare: From Stage to Page (London: Routledge, 2004), 57.

113        “nothing too seditious or blasphemous”: Ibid., 154.

113        “c’s, her u’s, and [’n’] her t’s”: William Shakespeare, Twelfth Night, act 2, scene 5, lines 77–78. Quoted in Norton Shakespeare, 1791.

113        euphemism for vagina: Gordon Williams, Shakespeare’s Sexual Language: A Glossary (London: Continuum, 2006), 219.

113        abridged traveling version: This theory, relying on a sort of “country bumpkin” argument, has seemed less convincing in recent years. Leah S. Marcus, Unediting the Renaissance: Shakespeare, Marlowe, Milton (London: Routledge, 2002), 150–52.

113        memorial reconstruction: While not first proposed by W. W. Greg, this theory was popularized by him in his introduction to his 1910 Shakespeare’s Merry Wives of Windsor. In 1915, Henry David Gray argued that the bit actor playing Marcellus was responsible for the memorial reconstruction of the “bad” Hamlet, in “The First Quarto Hamlet,” Modern Language Review, 10 (1915): 171–80.

113        “corrupt and mangled (copied only by ear)”: Thomas Heywood, “To the Reader,” in The Rape of Lucrece (London: Printed [by E. Allde] for I. B[usby] and are to be sold [by Nathaniel Butter], 1608), sig. A2^r.

113        questionable just how widespread: In correspondence with the authors, Adam Hooks noted this practice was more common for sermons, and that in fact it is one more way for editors to blame other forces for the less pleasing parts of Shakespeare’s plays.

114        “make so bold with his name”: Thomas Heywood, Apology for Actors (London: Nicholas Okes, 1612), sig. G4^r.

114        “deemed worthy”: Erne, Shakespeare and the Book Trade, 73.

114        “a name to make money”: Ibid., 59.

114        removed Shakespeare’s name: Adam Hooks pointed out in correspondence that Colin Burrow makes the opposite argument in his Oxford edition of Shakespeare. Welcome to Shakespearean criticism.

115        “how little we know”: James J. Marino, Owning William Shakespeare: The King’s Men and Their Intellectual Property (Philadelphia, University of Pennsylvania Press, 2011), 72.

115        eighty-three variants: Margreta de Grazia and Peter Stallybrass, “The Materiality of the Shakespearean Text,” in Shakespeare and the Editorial Tradition, ed. Stephen Orgel and Sean Keilen (London: Taylor and Francis, 1999), 19.

115        condemned to have his name misspelled: Randall McLeod, “Un ‘Editing’ Shak-speare,” SubStance 10/11 (vol. 10, no. 4; vol. 11, no. 1), Issue 33–34: Books: On and About (1981/1982): 4546. Note that this practice doesn’t specifically apply to Roman letters; however, the principle remains that our spelling of Shakespeare derives from printed matter, not manuscript—including Shakespeare’s own writing.

115        “authors do not write books”: Roger Stoddard, “Morphology and the Book from an American Perspective,” Printing History 17, vol. 9, no. 1 (1987): 4.

116        “fills bibliographers with horror”: Thomas L. Berger, “Shakespeare Writ Small” in Concise Companion to Shakespeare and the Text, ed. Andrew Murphy (Hoboken, NJ: Wiley-Blackwell, 2007), 68.

116        follically challenged wild animals: Stern, Making Shakespeare, 151. This is also where we note that the editorial choice of standardizing spelling and punctuation for ease of reading—as we do in this book, have mercy on our souls—can actually erase important textual evidence. The white beares/white beards mistake can’t be seen if you normalize the spelling to “bears.”

116        had just run out of periods: Ibid., 152.

116        gets a name change to “Bastard”: Ibid., 152–53.

117        “collection” of great Elizabethan dramas: Jeffrey Todd Knight makes the distinction that most “collections” of bound plays from this era were determined by a reader buying up each play separately and then binding them together at a point of his choosing. However, some publishers learned early on that there could be benefits to printing certain plays at the same time, when they could sell the two or three either individually or together as a sort of collection. See Tara L. Lyons, “Serials, Spinoffs, and Histories: Making ‘Shakespeare’ in Collection before the Folio,” Philological Quarterly 91, no. 2 (2012): 185–220; and Jeffrey Todd Knight, “Making Shakespeare’s Books: Assembly and Intertextuality in the Archives,” Shakespeare Quarterly 60 (2009): 304–40. All that said, the 1619 collection was the largest group up to that point of Shakespeare plays printed more or less consecutively and under the supervision of a single publisher (Jaggard).

117        ale, beer, and “other gross wares”: We know this because, of course, someone complained about it. See the August 5, 1554, Proclamation of the Lord Mayor, quoted in William Benham, Old St. Paul’s Cathedral (London: Seeley and Co., 1902), 47.

118        respectable heart of the London book trade: See Peter W. M. Blayney, The Bookshops in Paul’s Cross Churchyard (London: Bibliographical Society, 1990) for a full treatment.

118        went blind from his STD or its “cure”: Jillian Linster, “When ‘Nothing’ Goes Missing: The Impotent Censorship of Helkiah Crooke’s Mikrokosmographia,” paper presented on March 10, 2013, https://crookebook.files.wordpress.com/2013/03/crooke-images-paper-3–10–13.pdf.

118        pornographic indecency: Ibid.

118        “vaginal cleft in full anatomical detail”: Ibid.

119        first comprehensive anatomy volume: Ibid.

119        remain free from moral corruption: Like when Samuel Pepys purchased a “mighty lewd book,” which “doth me no wrong to read for information sake.” Right. He adds, “(but it did hazer my prick para stand all the while and una vez to decharger),” mixing in foreign languages for the scandalous bits, in the grand tradition that Edward Gibbon would follow one hundred fifty years later. Gibbon made copious use of Latin in his History of the Decline and Fall of the Roman Empire (1776–89) in these cases: “My English text is chaste, and all licentious passages are left in the decent obscurity of a learned language.” Samuel Pepys, diary entry for February 9, 1668, quoted in The Illustrated Pepys: Extracts from the Diary, ed. by Robert Latham (Berkeley: University of California Press, 1978), 173–74. Gibbon, Vindication (London: 1779).

119        “burn it wherever he found it”: Linster, “Nothing.”

119        The college yelled at her for a while: Ibid.

120        yearly salary of around two hundred pounds: Andrew Gurr, The Shakespeare Company, 1594–1642 (Cambridge, UK: Cambridge University Press, 2004), 115.

120        cost of attending university: J. Payne Collier, Memoirs of the Principal Actors in the Plays of Shakespeare (London: Printed for the Shakespeare Society, 1846), 147.

120        “great living wealth and power”: Quoted in E. K. Chambers, The Elizabethan Stage, vol. 2 (Oxford: Clarendon Press, 1923), 323.

121        king’s personal eye candy: Gurr, Shakespeare Company, 51.

121        illegal for anyone to publish a play of Shakespeare: Transcribed in William A. Jackson, ed., Records of the Court of the Stationers’ Company: 1602–1640 (London: Bibliographical Society, 1957), 110.

122        branded the Pavier Quartos: Technically there are only five imprints of “Printed for T.P.,” but The Whole Contention was a combination of two plays, therefore making the Pavier attribution appropriate for six in total.

122        rejected from the canon as apocryphal: See Peter Kirwan, Shakespeare and the Idea of Apocrypha (Cambridge, UK: Cambridge University Press, 2015).

122        smashed the surplus theory . . . watermarks . . . “devices”: W. W. Greg, “On Certain False Dates in Shakespearean Quartos,” The Library, New Series, 9, no. 34 (1908): 122–23 and 131.

123        Jaggard Quartos: Zachary Lesser and Peter Stallybrass, “Shakespeare Between Pamphlet and Book,” in Shakespeare and Textual Studies, ed. Margaret Jane Kidnie and Sonia Massai (Cambridge, UK: Cambridge University Press, 2015), 133.

124        branded literary pirates: A. W. Pollard, Shakespeare’s Fight with the Pirates and the Problems of the Transmission of His Text (London: A. Moring, 1917).

124        McKerrow device #283: Ronald B. McKerrow, Printers’ and Publishers’ Devices in England and Scotland, 1485–1640 (London: Bibliographical Society, 1913). Yes, there are literally entire dictionaries compiled of printers’ devices.

124        known who printed the item: Marino, Owning Shakespeare, 108–9.

125        ornately designed “Go hang yourselves”: Particularly argued by Marino in ibid., 114.

125        oversaw all printing in London: See Peter W. M. Blayney, The Stationers’ Company and the Printers of London, 1501–1557 (Cambridge, UK: Cambridge University Press, 2013).

125        patents . . . biased royal meddling: Joseph Loewenstein, The Author’s Due: Printing and the Prehistory of Copyright (Chicago, IL: University of Chicago Press, 2002), 29. See, for example, the fabulous career of John Wolfe, whose business was raided again and again for piracies. He kept fighting the existing printing laws, even from jail, and in the end landed a cushy gig as the company beadle of the stationers: the man in charge of the search, seizure, and arrest of anyone breaking the laws of the book trade.

126        “printed without the consent”: Jackson, Records, 110.

126        inherited or traded or sold: See Loewenstein, Author’s Due, esp. p. 120, about business deals with monopolies.

126        Heywood’s Woman Killed: See Lesser and Stallybrass, “Pamphlet,” 127. The inclusion of a Heywood play plus two apocryphal Shakespeare works (Sir John Oldcastle and Yorkshire Tragedy) and the high degree of variability in the order of the works in surviving bound copies suggest that “Jaggard appears to be going to great lengths to convince someone (who?) that what might appear to be a ‘Shakespeare collection’ is actually highly variable—and therefore unlikely to be the work of a bookseller [but of private owners]” (ibid., 132). Note that Lesser and Stallybrass aren’t willing to commit to the idea that Jaggard was specifically trying to fool the King’s Men players, although they are not explictly discounted.

126        rights . . . obtained for publication: Marino, Owning Shakespeare, 130–31.

126        “clotpoles”: Cf. William Shakespeare, Troilus and Cressida, act 2, scene 1, line 118-ish.

127        his own dear “orphans”: John Heminges and Henry Condell, dedication to Mr. William Shakespeares comedies, histories, and tragedies. Published according to the true originall copies (London: Isaac Jaggard, and Ed. Blount, 1623), A2^v.

127        “Do so, but buy it first”: Heminges and Condell, “To the Great Variety of Readers,” in ibid., A3^r.

127        making money off the process: In fairness to their mercenary urges, it’s more likely Heminges and Condell would have made their money indirectly, from encouraging Shakespeare’s reputation as a playwright, rather than from actual sales of the book.

127        dead husband’s shareholdings: Gurr, Shakespeare Company, 230. Another classic example of learning biographical details through the record of lawsuits.

127        owned a country home: Grote, Best Actors, 218.

127        February 1622, printing began: Peter W. M. Blayney, The First Folio of Shakespeare (Washington, DC: Folger Library, 1991), 5.

127        “incomparably the most important work in the English language”: E. V. Unger and W. A. Jackson, eds., The Carl H. Pforzheimer Library: English Literature, 1475–1700, vol. 3 (New York: Morrill Press, 1940), 935.

128        exist only because of this collection: Blayney, First Folio, 1.

128        much larger, taller folio: Amanda Mabillard, Shakespeare in Print, Shakespeare Online, http://www.shakespeare-online.com/biography/shakespeare inprint.html.

128        you can still see the delicate stab-holes: Roger Chartier and Peter Stallybrass, “What Is a Book?” in Cambridge Companion to Textual Scholarship, ed. Neil Fraistat and Julia Flanders (Cambridge, UK: Cambridge University Press, 2013), 196.

129        “frauds and stealths of injurious imposters”: Heminges and Condell, “To the Great Variety of Readers,” A3^r.

129        running the everyday operations: Blayney, First Folio, 2, 4.

129        “literary arbiter of taste”: Sonia Massai, “Edward Blount, the Herberts, and the First Folio,” in Shakespeare’s Stationers, ed. Marta Straznicky (Philadelphia: University of Pennsylvania Press, 2013), 138.

130        “no certainty of recovering their considerable investment”: Kastan, Shakespeare and the Book, 78.

130        admitted into the folio club: Ibid., 51.

130        “but for all time”: Ben Jonson, “To the Memory of My Beloved, the Author Mr. William Shakespeare: And What He Hath Left Us,” in Mr. William Shakespeares Comedies, Histories, and Tragedies, A4^v.

131        attempted to raise dramatic arts: See Stephen Orgel, “Shakespeare and the Kinds of Drama,” Critical Inquiry 6, no. 1 (1979): 107–23; and Andrew Murphy, Shakespeare in Print: A History and Chronology of Shakespeare Publishing (Cambridge, UK: Cambridge University Press, 2003), 35.

131        “What others call a play you call a work”: Anonymous, quoted in Wits Recreations (London: R.H. for Humphrey Blunden, 1640), G3^v. The response of a friend of Jonson’s is also recorded: “Ben’s plays are works, when others’ works are plays.” That last guy definitely lost the rap battle.

131        five shillings off the sticker price: Blayney, First Folio, 28–32.

131        96,000 loaves of bread: Murphy, Shakespeare in Print, 51 and 422, referencing approximations suggested by Anthony West in “Sales and Prices of Shakespeare First Folios: A History, 1623 to the Present,” Part One, Papers of the Bibliographical Society of America 92, no. 4 (1998): 465–528.

131        first recorded sale: Blayney, First Folio, 25.

132        “a respectable performance”: Ibid., 32.

132        bring upon themselves a swashbuckler’s fate: “We’re avoiding the curse,” said the man in charge of the renovations. “Bard’s ‘Cursed’ Tomb Is Revamped,” BBC News, May 28, 2008, http://news.bbc.co.uk/2/hi/uk_news/england/cov entry_warwickshire/7422986.stm.

132        skull was likely stolen from its grave: Sarah Kaplan, “Shakespeare’s Skull Probably Isn’t in His Grave,” Washington Post, March 25, 2016, https://www .washingtonpost.com/news/morning-mix/wp/2016/03/25/shakespeares-skull -probably-isnt-in-his-grave/.

133        “set the table on a rore”: William Shakespeare, Hamlet, act 5, scene 1, lines 171 and 175–77. Quoted in Norton Shakespeare, 1744.

133        “the creator of Shakespeare”: Kastan, Shakespeare and the Book, 78.

134        “a blot in his papers”: Heminges and Condell, “To the great Variety of Readers,” in Mr. William Shakespeares Comedies, Histories, & Tragedies, A3^r.

134        “pusles the brain . . . others that we know not of”: Q1, 1603, “bad” Hamlet, E1^r.

Chapter 6: Benjamin Franklin Makes It Rain

135        “new suit” . . .“five pounds sterling”: Benjamin Franklin, The Autobiography of Benjamin Franklin, ed. Leonard W. Labaree, Ralph L. Ketcham, Helen C. Boatfield, and Helene H. Fineman, with foreword by Edmund S. Morgan (New Haven, CT: Yale University Press, 2003), 81.

135        that kind of a wife: Hugh Amory, “Reinventing the Colonial Book,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 51.

136        “no such sum” . . .“mortgage” . . .“not approve”: Franklin, Autobiography, 127.

136        “printing business was not a profitable one” . . .“soon follow them”: Ibid.

136        “poor one” . . .“not to expect money with a wife”: Ibid., 128.

137        “intrigues with low women”: Ibid.

137        “good and faithful”: Ibid., 129.

137        follow the money: We are indebted to Michael F. Suarez, S.J., and his course at the University of Virginia’s Rare Book School, Teaching the History of the Book, for drilling this concept into a permanent feature of Rebecca’s brain.

138        no gambling, no drinking, and absolutely no fornicating: Ralph Frasca, Benjamin Franklin’s Printing Network: Disseminating Virtue in Early America (Columbia: University of Missouri Press, 2006), 22–23.

138        “‘obliged to take the lowest people’”: Ibid., 32.

139        the “indentured” part of indentured servitude: James N. Green and Peter Stallybrass, Benjamin Franklin: Writer and Printer (New Castle, DE: Oak Knoll Press, 2006), 50.

139        “talkative when drunk and remarkably stupid”: May 2, 1765. Quoted in Frasca, Franklin, 27.

139        “which I took extremely amiss”: Franklin, Autobiography, 68.

139        “the exquisite pleasure”: Ibid.

139        “a state I never much admir’d”: Silence Dogood, essay 2, “Sir, Histories of Lives Are Seldom Entertaining . . .” in The New-England Courant 37, April 9–16, 1722. Accessed online via the Massachusetts Historical Society Collections Online Resources, http://www.masshist.org/online/silence_dogood/doc -viewer.php?item_id=634&pid=6.

140        “learning has brought disobedience and heresy”: The governor, a true politician, spoke these words while answering a question in a way completely unrelated to the actual question: “What course is taken about instructing the people, within your government in the Christian religion, and what provision is there made for the paying of your ministry?” Quoted in William Waller Hening, The Statutes at Large; Being a Collection of all the Laws of Virginia, from the First Session of the Legislature in the year 1619, vol. 2 (Richmond: Samuel Pleasants, Junior, 1810), 517.

141        90 percent of all printing in the colonies: David D. Hall, “The Atlantic Economy in the Eighteenth Century,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 155.

141        you really couldn’t blame him: Amory, “Reinventing,” 26.

142        “you shall print nothing without allowance”: Quoted in James N. Green, “The Book Trade in the Middle Colonies, 1680–1720,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 204.

142        economic motivation for a free press: See Franklin’s “Apology for Printers,” The Pennsylvania Gazette, May 27, 1731, especially points 6 and 7. An excerpt: “. . . regarding it only as the matter of their daily labour: They print things full of spleen and animosity, with the utmost calmness and indifference . . . since in the way of their business they print such great variety of things opposite and contradictory.”

142        a press that was open to everyone: James N. Green, “English Books and Printing in the Age of Franklin,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 256.

142        “a very flimsy scheme”: Franklin, Autobiography, 70.

143        “got a naughty girl with child”: Ibid., 71.

143        press was “shatter’d,”: Ibid., 78.

143        more than one printer in a Colonial city: Green, “English Books,” 248.

144        “better dressed than ever”: Franklin, Autobiography, 81.

144        “a piece of eight to drink”: Ibid., 81–82.

144        “could never forget or forgive”: Ibid., 82.

144        “I will do it my self”: Ibid., 86.

145        “see that everything was good”: Ibid., 87.

145        “no credit to give”: Ibid., 94.

145        “drank every day a pint”: Ibid., 100.

146        “alehouse boy”: Ibid.

146        “the Water-American”: Ibid., 99–100.

146        contemporary cartoons referred to them as “horses”: There’s a very famous illustration in particular that appeared in the Grub-Street Journal on October 20, 1732, which shows pullers as horses and compositors as asses.

146        compositors were later called “monkeys”: Cf. Honoré de Balzac, Lost Illusions. Part First. The Two Poets. I. A Printing-House in the Provinces, Where Monkeys Are Compositors and Pressmen Are Bears; and William Savage, Dictionary of the Art of Printing: “The compositers [sic] are jocosely called Galley Slaves: Because allusively they are as it were bound to their Gallies. And the Press-men are jocosely called Horses: Because of the hard labour they go through all day long” (London: Longman, Brown, Green, and Longmans, 1841), 12.

146        “more strength than a quart of beer”: Franklin, Autobiography, 100.

147        “uncommon quickness”: Ibid., 101.

147        compositors were paid by the number of lines: Of course this varied by time and location, but it is generally supported by documentary evidence in England during this period. For further discussion see Keith Maslen, “Jobbing Printing and the Bibliographer: New Evidence from the Bowyer Ledgers” in An Early London Printing House at Work: Studies in the Bowyer Ledgers (New York: Biographical Scoeity of America, 1993), 139–52.

147        “poor devils keep themselves always under”: Franklin, Autobiography, 100.

148        “hot water-gruel”: Ibid., 101.

148        his journeyman salary: Green and Stallybrass, Franklin, 29–30.

148        weren’t even close to self-sufficient: David D. Hall, “Introduction, Part One: Some Contexts and Questions,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 8.

148        American Bible was suspect: Green and Stallybrass, Franklin, 71.

149        complete Bible in English would proudly be published: It’s worth noting that, beyond the economic problems, there was also a legal obstacle to an American Bible: the royal patent was held by a printer in London. According to the printer Isaiah Thomas, there was an earlier Bible printed in America, around 1752. However, it bore a false London imprint. To date, no copies of it have been discovered.

149        just replacement quotation marks: William C. Miller, Benjamin Franklin’s Philadelphia Printing 1728–1766: A Descriptive Bibliography (Philadelphia, PA: American Philosophical Society, 1974), xxxiii.

149        first type foundry established on American soil: John Bidwell, “Printers’ Supplies and Capitalization,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 169.

149        “take salt water out of books”: Quoted in Green, “English Books,” 262.

149        commonly bound in sheepskin: Miller, Philadelphia Printing, xlix.

150        issued “stitched”: Ibid., xlvii.

150        “AFTER PROFIT”: Quoted in Johan Gerritsen, “Printing at Froben’s: An Eye-Witness Account,” Studies in Bibliography 44 (1991): 150. Cf. James Raven, Business of Books (New Haven, CT: Yale University Press, 2007), 6: “The financing and business arrangements of the early modern book trade were surprisingly sophisticated, and very often profit, not ideology, proved the more compelling.”

150        size of a briefcase: Green and Stallybrass, Franklin, 64.

151        “character and credit”: Franklin, Autobiography, 119.

151        “ostentatious, almost superhuman speed”: Green and Stallybrass, Franklin, 32.

151        “no way entertaining”: Franklin, Autobiography, 119. Stuff is almost an appropriate word here—it’s the technical term for the pulpy liquid that papermakers pulled from their vats to create paper.

151        “enough for America”: Ibid., 67.

152        “what relates to A”: Pennsylvania Gazette, December 24, 1728. Today, only a few copies of this newspaper are known to exist, all in institutions.

152        “will probably be fifty years”: Franklin’s own Pennsylvania Gazette, October 2, 1729.

153        text he printed was a mess: Franklin, Autobiography, 121, says it was printed “in a coarse and blundering manner.” See also Green and Stallybrass, Franklin, 37.

153        “now and then . . . satirize a little”: The quote in which we reveal our own debt to Franklin. “The Busy-Body, No. 4,” American Weekly Mercury, February 25, 1729.

154        “the life of a paper.”: This was James Parker, in a 1769 letter to Franklin. Quoted in Frasca, Printing Network, 142.

154        “better distributer of advertisements”: Franklin, Autobiography, 126–27.

154        “bribing the riders”: Ibid., 127.

154        inexactitude: Ibid., 172.

154        subscriptions had jumped: Green and Stallybrass, 36–37.

155        more than 50 percent of Franklin’s income: This is during the period of his partnership with Hall, cf. Miller, Philadelphia Printing, xxx.

155        paper from England: Ibid., xxxviii.

155        “forcing Franklin to import paper”: Green and Stallybrass, Franklin, 29, 40.

155        a new local mill: Ibid., 40.

155        eighty-three tons of rags: Ibid., 40.

156        “more copies of almanacs were sold than all other”: James Raven, The Publishing Business in Eighteenth-Century England (Suffolk: Boydell Brewer, 2014), 201–2.

156        “two of them are dead”: Poor Richard’s Almanack, June 1738; December 1732 (the first of the Poor Richard Almanacs); and July 1735.

156        “copper-plate press”: Franklin, Autobiography, 112.

156        “no one else in America”: Green and Stallybrass, Franklin, 29.

156        dominating the transatlantic book trade: Ibid., 45.

157        “wrapping papers for soap and tobacco”: Ibid., 47–49,

157        four thousand salad oil advertisements: Raven, Publishing, 116.

157        whatever issue is fashionable at the moment: Andrew Pettegree, Reformation and the Culture of Persuasion (Cambridge, UK: Cambridge University Press, 2005), 152.

157        receipts, lottery tickets, advertisements: Green and Stallybrass, Franklin, 49.

158        “most delightful carpet advertisement ever created”: Robert N. Essick, William Blake, Printmaker (Princeton, NJ: Princeton University Press, 1980), 81.

158        printer’s bread and butter: Pettegree, Reformation, 153.

158        substantial source of income: See Green, “English Books”, 266; and Scott E. Casper and Joan Shelley Rubin, “The History of the Book in America,” in The Book: A Global History, ed. Michael F. Suarez, S.J., and H. R. Woudhuysen (Oxford: Oxford University Press, 2013), 685.

158        “regular, quick turnover”: Raven, Publishing, 45.

158        literally stopped the presses: Green and Stallybrass, Franklin, 47.

158        chocolate, whalebone, pickled sturgeon: Amory, “Reinventing,” 45.

158        “wealthiest in all the colonies”: Green and Stallybrass, Franklin, 45.

159        “after getting the first hundred pound”: Franklin, Autobiography, 180–81.

159        “sent one of my journeymen to Charleston”: Ibid., 166.

159        “with Franklin at the center”: This quote is from Green and Stallybrass, Franklin, 42; but for a book-length treatment, see Frasca, Printing Network.

160        gathering place for that community: Green, “English Books,” 271.

160        “vehicles of discussion”: Isaiah Thomas, The History of Printing in America, vol. 2 (Worchester, MA: Isaiah Thomas Jr., 1810), 403, quoting Miller, Retrospect of the Eighteenth Century.

160        carried weight in South Carolina: Frasca, Printing Network, 72–73.

160        “could happen to them”: Edmund S. Morgan, Benjamin Franklin (New Haven, CT: Yale University Press, 2003), 207.

160        “symbol of colonial opposition”: Frasca, Printing Network, 149.

161        no one revolted: Raven, Publishing, 69.

161        pre-Revolutionary furor: Hall, “Atlantic Economy,” 156. See also Charles E. Clark, “Early American Journalism: News and Opinion in the Popular Press,” in A History of the Book in America, vol. 1: The Colonial Book in the Atlantic World, ed. Hugh Amory and David D. Hall (Chapel Hill: University of North Carolina Press, 2009), 361.

161        melted it down to form bullets: Thomas, History, 313.

161        agent for George Washington’s Culper Spy Ring: Unsurprisingly, the documentation for Revolutionary-era spy efforts is sparse, but most scholars today agree that Rivington was an agent, if they can’t quite agree on the dates he worked for General Washington. See Todd Andrlik, “James Rivington: King’s Printer and Patriot Spy?” Journal of the American Revolution, March 3, 2014, https://allthingsliberty.com/2014/03/james-rivington-kings-printer-patriot-spy/;and Kara Pierce, “A Revolutionary Masquerade: The Chronicle of James Rivington,” Binghamton Journal of History, last updated August 24, 2010, https://www.binghamton.edu/history/resources/journal-of-history/chronicles-of-james-rivington.html.

161        “starting the American Revolution”: Morgan, Franklin, 15.

162        “expense of heating the iron”: As recounted in Frasca, Printing Network, 152.

162        “mere mechanics”: Stephen Botein, “‘Meer Mechanics’ and an Open Press: The Business and Political Strategies of Colonial American Printers,” Perspectives in American History 9 (1975), 222.

Chapter 7: Angelic Visions and Deadly Terrors

163        “photographer of his day”: Febvre and Martin, Coming of the Book, 102.

163        reproduce cat hair: William M. Ivins Jr., Prints and Visual Communication (Cambridge, MA: MIT Press, 1969), 70.

164        “be enslaved by another man’s”: William Blake, Jerusalem the Emanation of the Giant Albion (London: W. Blake, 1804), 10.

164        wax, needles, and nitric acid: Or, as was often the case, a combination of all three. See William M. Ivins Jr., How Prints Look, revised by Marjorie B. Cohn (Boston: Beacon Press, 1987), 46. See also Anthony Griffiths, Prints and Printmaking: An Introduction to the History and Techniques (Berkeley: University of California Press, 1996), for a survey of illustration processes, including relief, intaglio, planographic, and photomechanical processes.

165        “cheap, crude, and effective”: R. W. Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation (Cambridge: Cambridge University Press, 1981), 5.

165        “Even Milton and Shakespeare”: William Blake, Prospectus, October 10, 1793. Because it’s an individually engraved piece of ephemera, and therefore subject to typical devastation, no copies survive. We have the text thanks to Alexander Gilchrist, Life of William Blake, 2 vols. (London: Macmillan, 1863), 2:263.

165        turpentine, asphaltum [black petroleum], and linseed oil: Joseph Viscomi, Blake and the Idea of the Book (Princeton, NJ: Princeton University Press, 1993), 56.

165        dead at the time: This story is told in Gilchrist, Life, 1:69.

166        translate into significant changes: See Jerome J. McGann, The Textual Condition (Princeton, NJ: Princeton University Press), 199. Elaborating on Thomas G. Tanselle’s work, McGann argues that “every documentary or bibliographical aspect of a literary work is meaningful, and potentially significant,” including its material aspect, and that therefore “all editing is an act of interpretation” (78, 27).

166        breathtaking in its original state: Because we can’t all march into the Huntington and browse through original illuminated printing by Blake, we offer you the gift of the Blake Archive, one of the best websites dedicated to making rare books on a specific topic digitally accessible: blakearchive.org. Also note that the hand-coloring on Blake’s plates did not remain uniform across copies, so while we describe blues, reds, greens, and yellows here, there are copies that are mostly yellow and blue, or yellow and green. At the Blake Archive you can compare these various copies.

168        “exploits this convention”: Robert N. Essick, William Blake at the Huntington (New York: Henry N. Abrams, 1994), 52.

168        “promised sloth, debauchery”: Altick, Common Reader, 33.

169        “bereav’d of light”: Poem transcribed from the Yale Center for British Art’s copy of William Blake, Songs of Innocence, objects 29 and 30. Available online at the Blake Archive.

169        “black ‘guardian angel’”: W. J. T. Mitchell, Blake’s Composite Art: A Study of the Illuminated Poetry (Princeton, NJ: Princeton University Press, 1978), 12–13.

175        “neither can nor ought to exist”: The British Critic, September 1796, quoted in G. E. Bentley Jr., The Stranger from Paradise (New Haven, CT: Yale University Press, 2001), 117.

175        deerstalker . . . an image by Sidney Paget: Footnote 3 by Klinger in Arthur Conan Doyle, “Silver Blaze,” in The New Annotated Sherlock Holmes, vol. 1, ed. with a foreword and notes by Leslie S. Klinger (New York: W.W. Norton and Company, 2005), 388.

176        “chiefly by his close friends”: Bentley, Stranger, 117.

176        “set you a-screaming”: Thomas Sadler, ed., Diary, Reminiscences, and Correspondence of Henry Crabb Robinson: Second Edition, 3 vols. (London: Macmillan, 1869), 2:383.

176        granting glorious visions: For more jaw-dropping anecdotes on visions, see G. E. Bentley Jr., ed., William Blake: The Critical Heritage (London: Routledge, 2002), 36–39.

177        “inspired by a god”: A breakdown of the Greek goes en (“in”) + theos (“god”) + ousia (“essence”).

177        “ordinary unemphatic tone”: Sadler, Reminiscences, 2:302.

177        “an unfortunate lunatic”: Anonymous review of Blake’s Descriptive Catalogue in the September 17, 1809, issue of The Examiner, written by Robert Hunt. Quoted in Bentley, Stranger, 332–33.

177        “his abstract habits”: John Flaxman Jr., letter of December 1, 1805. Quoted in Bentley, Stranger, 380.

177        “always in Paradise”: Seymour Kirkup, letter of March 25, 1870. Quoted in G. E. Bentley Jr., Blake Records (Oxford: Clarendon Press, 1969), 221.

177        “harps which I hear”: Letter of January 27, 1804. Quoted in Bentley, Stranger, 243–44.

177        dictated to him by a faerie: Bentley, Stranger, 151.

177        “the madmen outside”: Quoted in Gilchrist, Life, 1:326.

178        “injured his reputation”: Henry Crabb Robinson, “William Blake, Künstler, Dichter, und Religiöser Schwärmer,” Vaterländisches Museum (1811), quoted in Bentley, Stranger, 339.

178        “till I am frightened at it”: Quoted in A. H. Palmer, The Life and Letters of Samuel Palmer: Painter and Etcher (London: Seely and Co., 1892), 24.

178        “source and nurse of creativity”: Doris Lessing, “Sketches from Bohemia,” The Guardian, June 14, 2003.

178        “live to be hanged”: The original anecdote is told in Gilchrist, Life, 13, but certain details, such as how much Ryland charged to take on apprentices, are added in the retelling in Bentley, Stranger, 30–31.

179        was indeed hanged: Bentley, Stranger, 31.

179        “worm-lines”: Ibid., 35. This section in Bentley also has a striking sensory description of the sights, sounds, and smells of an engraver’s shop.

179        “draw a feather over it”: Quoted in ibid., 35.

180        “tools of his trade”: Ibid., 47.

180        “perverse invention”: Ibid., 54.

180        “Joseph, the sacred carpenter”: Gilchrist, Life, 1:69–70. Emphasis original.

180        cut down on the costs: Bentley, Stranger, 93.

181        clapping for joy: Gilchrist, Life, 1:59. Gilchrist calls this “a truly Blake-like detail.”

181        “with his spirit I converse”: Quoted in Bentley, Stranger, 21.

181        rebirth in the art of illuminated manuscripts: Joseph Viscomi, “Illuminated Printing,” in The Cambridge Companion to William Blake, ed. Morris Eaves (Cambridge, UK: Cambridge University Press, 2006), 47.

181        went for almost a million dollars: The famous Sotheby’s sale, The Library of Abel E. Berland Part I: lmportant English Literature, Science and Philosophy, October 8, 2001.

182        “combines the painter and the poet”: Quoted in Gilchrist, Life, 2:263.

182        366 leaves: D. F. McKenzie, Bibliography and the Sociology of Texts (Cambridge, UK: Cambridge University Press, 1999), 59. McKenzie cites his reliance on Dr. John Kidd’s work for this section.

182        “blood down Palace walls”: William Blake, “London,” in the Yale Center for British Art’s copy L of Songs of Innocence and of Experience (1795), object 51.

184        illustrative act of charity: Essick, Huntington, 60.

184        we miss major components: This was actually done as a sort of pedagogical experiment by Jennifer Phegley, as recounted in “They Are Not Just Big, Dusty Novels’: Teaching Hard Times within the Context of Household Words,” in Teaching Bibliography, Textual Criticism, and Book History, ed. Ann R. Hawkins (London: Pickering and Chatto, 2006), 122–31. Phegley discovered her students were much more sympathetic to the plight of Dickens’s characters, and more likely to be convinced by the arguments of his narrative when reading Hard Times as part of Household Words.

184        “merest glimpse of that complex world”: McGann, Textual, 33.

184        “composite art”: This term was first used by Jean Hagstrum in William Blake: Poet and Painter (1964), but was explored in detail by W. J. T. Mitchell in Blake’s Composite Art (1978). The concept itself took wing thanks to Northrop Frye, Fearful Symmetry (1947).

184        “hovered over his head”: Bentley, Records, 470–71.

186        “almost hopeless torment”: Bentley, Stranger, 150.

187        the Serpent: Ibid., 150–51.

187        “sew me together yourself”: Shelley Jackson, Patchwork Girl: Or, a Modern Monster (Watertown, MA: Eastgate Systems, 1996).

187        “conceive of gender and identity”: George Landow, “Stitching Together Narrative, Sexuality, Self: Shelley Jackson’s Patchwork Girl,” review of Patchwork Girl, by Shelley Jackson, electronic book review (blog), September 1, 1996, http://www .electronicbookreview.com/thread/writingpostfeminism/piecemeal.

187        “God of this world”: Annotation by Blake in his copy of Thornton, Lord’s Prayer, quoted in Bentley, Stranger, 9–10.

188        “gentleman . . . Lord Chancellor”: Annotation by Blake in his copy of Bacon’s Essays, quoted in Bentley, Stranger, 10.

188        “I longed to see Satan”: Allan Cunningham, “William Blake,” The Lives of the Most Eminent British Painters, Sculptors, and Architects, Second Edition (London: John Murray, 1830), 174.

189        “deadly terrors”: William Blake, “The Tyger,” in the Yale Center for British Art’s copy L of Songs of Innocence and of Experience (1795), object 36.

191        “‘scaly skin of gold and green’”: Cunningham, “Blake,” 173.

192        precise relief etching technique: See Viscomi, Idea of the Book, for the full treatment.

192        “mere drudgery”: Letter of Blake, January 1802, quoted in G. E. Bentley Jr., William Blake in the Desolate Market (Montreal: McGill-Queen’s University Press, 2014), 10.

192        “tangible link to all the succeeding moments”: G. Thomas Tanselle, Bibliographical Analysis: A Historical Introduction (Cambridge, UK: Cambridge University Press, 2009), 2.

192        “infinite which was hid”: William Blake, The Marriage of Heaven and Hell, in the Library of Congress’s copy D (1785), object 14.

192        “so evidently insane”: This was actually written by the famous romantic poet Robert Southey, who was poet laureate for thirty years. Quoted in Bentley, Stranger, 341.

193        “most thoroughly sane man”: Palmer, Life, 23.

194        “I was Socrates”: Robinson, Reminiscences, 2:301–2.

184        “most drastic act of reinterpretation”: Aileen Ward, “William Blake and His Circle,” in Cambridge Companion to William Blake, ed. Morris Eaves (Cambridge, UK: Cambridge University Press, 2003), 33.

194        “triumphs of the engraver’s art”: Bentley, Stranger, 424.

194        “chronic copper intoxication”: Joseph Viscomi, “Blake’s Death,” Blake, vol. 30 (1996): 37.

194        “use our imaginations”: Bentley, Stranger, 438.

194        “Listen to the dead with your eyes”: This quote as applied to the study of books was borrowed from Roger Chartier, The Author’s Hand and the Printer’s Mind, trans. Lydia G. Cochrane (Cambridge, UK: Polity Press, 2014).

Chapter 8: The Memoir That Killed Her Memory

195        “deviation from rectitude”: Mary Wollstonecraft, Posthumous Works of the Author of A Vindication of the Rights of Woman, 4 vols. (London: J. Johnson, 1798), 3:12.

195        that pen of yours: Cf. Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, 2nd ed. (New Haven, CT: Yale Nota Bene, 2000), which famously begins, “Is a pen a metaphorical penis?” and then systematically demonstrates, with damning quotes from the likes of Ruskin, that, yes, it is indeed a metaphorical penis.

196        made-up career: The career “professional author” is defined in the sense of earning pay for writing. See Andrew Bennett, The Author (London: Routledge, 2005), 53; and Betsy A. Schellenberg, “The Professional Female Writer,” in The Cambridge Companion to Women’s Writing in Britain: 1680–1789, ed. Catherine Ingrassia (Cambridge, UK: Cambridge University Press, 2015), 48–49.

196        number of titles: Michelle Levy, “Women and Print Culture, 1750–1830,” in The History of British Women’s Writing, 1750–1830, vol. 5, ed. Jacqueline M. Labbe (London: Palgrave Macmillan, 2010), 31.

196        unique genius: Bennett, Author, 52.

196        landmark court cases: See Mark Rose, “The Author in Court: Pope v. Curll (1741),” Cultural Critique 21 (1992): 197–217.

196        “Mother of Feminism” . . .“Prostitute”: Susan J. Wolfson, “Mary Wollstonecraft and the poets,” in The Cambridge Companion to Mary Wollstonecraft, ed. Claudia L. Johnson (Cambridge, UK: Cambridge University Press, 2002), 181.

197        “thwarting self-murders”: Janet Todd, Mary Wollstonecraft: A Revolutionary Life (rev. ed; London: Bloomsbury Reader, 2014), 356.

197        “weak as the weakest girl”: Sylvanus Urban, Gentlemen’s Magazine, and Historical Chronicle 68, no. 1 (1798): 368. Also quoted in Todd, Wollstonecraft, 356–57.

197        more a slave than a spouse: Todd, Wollstonecraft, 5.

198        “pedagogue with her own theory of education”: Ibid., 58.

198        rock star exceptions such as . . . Christine de Pizan: Shailor, Medieval, 92.

199        useless liars: See Republic III. In the classical period, the two most common roles of an author were imitation and divine inspiration. Plato makes a distinction between “imitation” and personal narration, and seems okay with poetry in defense of “justice,” but he also calls for extensive censorship: “we must put a stop to such stories, lest they produce in the youth a strong inclination to do bad things.” Plato: Complete Works, ed. John M. Cooper (Indianapolis, IN: Hackett, 1997), 1029. See also Seán Burke, “Changing Conceptions of Authorship,” in Authorship: From Plato to Postmodernism, a Reader, ed. Seán Burke (Edinburgh: Edinburgh University Press, 1995), 5.

199        dipped in excrement: Technically, this is the punishment for flatterers, a subspecies of fraud. We are open to a discussion of whether the punishment for thieves (spontaneous combustion via snakebite) or falsifiers (leprosy and other diseases) might be more suitable. Inferno, cantos 17–30.

199        Equal-magnitude gifts: Scientia donum dei est, unde vendi non potest (“Knowledge is a gift of God, so that it cannot be sold”). Quoted in Burke, Knowledge, 149.

199        paid him for his work: S. H. Steinberg and John Trevitt, Five Hundred Years of Printing (London: British Library, 1996), 108.

199        “just one of the numerous craftsmen”: Martha Woodmansee, “On the Author Effect: Recovering Collectivity,” in The Construction of Authorship: Textual Appropriation in Law and Literature, ed. Martha Woodmansee and Peter Jaszi (Durham, NC: Duke University Press, 1994), 15.

199        Alexander Pope and Samuel Johnson: Rose, “Court,” 212; and Loewenstein, Author’s Due, 239.

200        “authorship” overlaps “authority”: Bennett, Author, 6.

200        accused of plagiarism: Catherine Ingrassia, Introduction to The Cambridge Companion to Mary Wollstonecraft, ed. Claudia L. Johnson (Cambridge, UK: Cambridge University Press, 2002), 5.

200        “They’ll say it’s stoln”: Quoted in Anne Bradstreet, The Works of Anne Bradstreet in Prose and Verse, ed. John Harvard Ellis (Charlestown, MA: Abram E. Cutter, 1867), 101. Originally published in the prologue of her 1650 collection The Tenth Muse.

200        the actual writer of To Kill a Mockingbird: Glynnis MacNicol, “Harper Lee: The ‘Great Lie’ She Didn’t Write Mockingbird Rears Its Head Again,” The Guardian, July 20, 2015, http://www.theguardian.com/books/2015 /jul/20/harper-lee-to-kill-a-mockingbird-authorship-women-writers.

200        “denied so as to be attained”: Seán Burke, “Introduction to Feminism and the Authorial Subject,” in Authorship: From Plato to Postmodernism, a Reader, ed. Seán Burke (Edinburgh: Edinburgh University Press, 1995), 146.

200        Mary Brunton: Brunton’s first novel, Self-Control (1811), was popular enough to merit three editions in a single year. It wasn’t universally liked, however; a contemporary female reader noted, “I read Self-Control and like it extremely, all except some vulgarity meant to be jocular which tired me to death, but I think the principal character charming & well supported & the book really gives good lessons.” Is this one of our Amazon reviews? Quoted in Lorna J. Clark, ed., The Letters of Sarah Harriet Burney (Athens: University of Georgia Press, 1997), 133.

200        the Great Forgetting: Coined by Clifford Siskin in The Work of Writing: Literature and Social Change in Britain, 1700–1830 (Baltimore, MD: Johns Hopkins University Press, 1998).

201        “struggle for authorship”: Burke, “Feminism,” 145.

201        nineteenth-century literary life: Joanne Shattock, “The Construction of the Woman Writer,” in Women and Literature in Britain, 1800–1900, ed. Joanne Shattock (Cambridge, UK: Cambridge University Press, 2001), 9.

201        “great genius”: Elizabeth Gaskell, Life of Charlotte Brontë, 2 vols. (London: Smith, Elder and Co., 1857), 1:66

202        “same human rights”: Anne K. Mellor, “Mary Wollstonecraft’s Vindication of the Rights of Women and the Women Writers of Her Day,” in The Cambridge Companion to Mary Wollstonecraft, ed. Claudia L. Johnson (Cambridge, UK: Cambridge University Press, 2002), 141.

202        “same method as boys”: Ibid., 142.

202        “always relative to the men”: Rousseau, Émile (1762), quoted in Mary Wollstonecraft, A Vindication of the Rights of Women, 2nd ed. (London: J. Johnson, 1792), 175.

203        “best and most important”: Jean-Jacques Rousseau, Confessions, trans. J. M. Cohen (New York: Penguin, 1953), 529–30.

203        “diametrically opposite”: Wollstonecraft, Vindication, 83.

203        complications from childbirth: Godwin’s memoir contains a graphic play-by-play of Wollstonecraft’s agonizing death from septicaemia (in which the placenta rots inside the mother rather than being expelled), on pages 181–98. A particularly heartbreaking passage: “He immediately proceeded to the extraction of the placenta, which he brought away in pieces, till he was satisfied that the whole was removed. In that point however it afterwards appeared that he was mistaken.” Godwin, Memoirs, 181.

204        read her works and not also fall in love: Of Wollstonecraft’s Letters from Sweden, Godwin once remarked, “If ever there was a book calculated to make a man in love with its author, this appears to me to be the book.” Quoted in Todd, Wollstonecraft, 369.

204        “marks of contempt”: Godwin, Memoirs, 9.

204        “active and hardy sports”: Ibid., 12–13.

205        discredited . . . as a result: Take the previously mentioned Enlightenment philosopher Rousseau, who not only couldn’t keep himself from making five aftermaths out of wedlock, but then, in order to “preserve the honor of the mother” (mocking air quotes, there, not actual quotes) convinced her to give them all up for adoption. And this was the author who became an international celebrity for his treatises on education and child rearing.

205        “Unsex’d female”: Richard Polwhele, The Unsex’d Females: A Poem (London: Cadell and Davies, 1798).

205        “challenging men to duels”: Todd, Wollstonecraft, 185.

205        “apt to wreck”: Anna Katherine Elwood, Memoirs of the Literary Ladies of England, 2 vols. (London: Henry Colburn, 1843), 2:152.

205        earliest sympathetic discussions: Shattock, “Construction,” 15.

207        “alum and soap”: Todd, Wollstonecraft, 267.

207        nearly devoid of sex: This can be awkward for the likes of second-wave feminists, who sometimes “brand her a sexual puritan.” See Barbara Taylor, Mary Wollstonecraft and the Feminist Imagination (Cambridge, UK: Cambridge University Press, 2003), 117.

207        “personal intercourse of appetite”: Wollstonecraft, Vindication, 222.

207        “sexual relationship outside marriage”: Todd, Wollstonecraft, 230.

207        hunger or thirst: Ibid., 235.

208        “sexual desire as natural and right”: Ibid., 236.

208        “continued to detain him”: Godwin, Memoirs, 116.

208        presumably laudanum: Todd, Wollstonecraft, 287.

209        “morality above literary ambition”: Ingrassia, Introduction, 2–3.

209        “propriety, modesty, and decorum”: Ibid.

209        “propagating w----s”: The Anti-Jacobin Review 9 (London: Anti-Jacobin Office, 1801), 518.

210        Prostitution was cross-referenced: Index of The Anti-Jacobin Review 1 (London: Anti-Jacobin Office, 1798), though we also notice these guys were still making the joke as late as 1890, in the Index of a Compilation of the Poetry of the Anti-Jacobin, ed. Charles Edmonds (London: Sampson Low, Marston, Searle, and Rivington, 1890), 339.

210        emotional “scribblers”: Cf. Nathaniel Hawthorne’s comment, “America is now wholly given over to a d—d mob of scribbling women, and I should have no chance of success while the public taste is occupied with their trash,” in a letter to William D. Ticknor, January 19, 1855, in Nathaniel Hawthorne, The Letters, 1853–1856, ed. Thomas Woodson et al., The Centenary Edition of the Works of Nathaniel Hawthorne, vol. 16 (Columbus: Ohio State University. Press, 1987), 304. See also Michael Winship, “Hawthorne and the ‘Scribbling Women’: Publishing The Scarlet Letter in the Nineteenth-Century United States,” Studies in American Fiction 29, no. 1 (2001): 3–11.

210        “identify openly with Wollstonecraft”: Mellor, “Women Writers,” 145.

210        “tarred and feathered”: Ibid.

211        overlooked details of Wollstonecraft’s life: Shattock, “Construction,” 16–17.

211        New editions of Vindication: Ibid., 18.

211        resurrected and reinvented: Cora Kaplan, “Mary Wollstonecraft’s Reception and Legacies,” in The Cambridge Companion to Mary Wollstonecraft, ed. Claudia L. Johnson (Cambridge, UK: Cambridge University Press, 2002), 247–49. This article provides an excellent summary of the vicissitudes of critical opinion on Wollstonecraft.

211        more a reflection of our society: In the 1968 essay “What Is an Author?,” Michel Foucault famously declared the author nothing but an artificial construct, “a certain functional principle by which, in our culture, one limits, excludes, and chooses.” Each culture defines these boundaries in different ways, which leads to a different interpretation of what an author is. Michel Foucault, “What Is an Author?’” in Seán Burke, Authorship: From Plato to Postmodernism, a Reader, ed. Seán Burke (Edinburgh: Edinburgh University Press, 1995), 125–30.

211        which is to say, forever: A postmodernist statement that reflects Roland Barthes’s assertion that readers are authorities over any concrete idea of the author. According to Barthes, “To give a text an Author is to impose a limit on that text.” Roland Barthes, “The Death of the Author,” in Burke, Authorship, 129. Most scholars today believe that the idea of the author as a unique talent does not independently exist. In the very least, authorship is considered much more collaborative than has historically been the case; see Textual Appropriation in Law and Literature, ed. Martha Woodmansee and Peter Jaszi (Durham, NC: Duke University Press, 1994), especially the introduction by Woodmansee and Jaszi.

211        “act of defiance”: Dale Spender, Mothers of the Novel: 100 Good Women Writers before Jane Austen (London: Pandora, 1986), 3. See also Cheryl Turner, Living by the Pen: Women Writers in the Eighteenth Century (London: Routledge, 2002), 10–11.

212        thought half as good: P. T. Rooke and R. L. Schnell, No Bleeding Heart: Charlotte Whitton, A Feminist on the Right (Vancouver: University of British Columbia Press, 1987), 2.

Chapter 9: American Bookaneers

213        “special production”: Lord Shaftesbury, diary entry for December 20, 1871, quoted in Edwin Hodder, The Life and Work of the Seventh Earl of Shaftesbury, K.G. (London: Cassell and Company, 1887), 658.

214        “emperors and kings”: Sidney Phil Moss, Charles Dickens’ Quarrel with America (Albany, NY: Whitston Publishing Company, 1984), 2.

214        “never been so feted”: Ibid.

214        “heart is democratic”: Quoted in Jerome Meckier, Innocent Abroad: Charles Dickens’ American Engagements (Lexington: University Press of Kentucky, 1990), 16.

214        “Here we are!”: Recounted in Michael Slater, Charles Dickens: A Life Defined by Writing (New Haven, CT: Yale University Press, 2009), 178.

214        “I would have the whole United States”: Quoted in ibid., 180.

214        “penny-a-liner loafer”: Quoted in Moss, Quarrel, 40.

215        “silliness and inanity”: Quoted in ibid.

215        “hangs up his fiddle”: Quoted in ibid., 133.

215        “more popular than Jesus”: Lennon’s remarks went without comment when published in the London Evening Standard. It was when they were published five months later in a U.S. magazine, Datebook, that the uproar began in the American South. See Jonathan Gould, Can’t Buy Me Love: The Beatles, Britain, and America (New York: Three Rivers Press, 2007), 309, 341–43.

215        restricted to American citizens: James J. Barnes, Authors, Publishers, and Politicians: The Quest for an Anglo-American Copyright Agreement, 1815–1854 (London: Routledge, 1974), 50.

216        “older generation deplored”: Robert L. Patten, Charles Dickens and His Publishers (Santa Cruz: University of California Press, 1978), 10.

216        “an author in every fifteenth or twentieth person”: Florian Schweizer, “Authorship and the Professional Writer,” in Charles Dickens in Context, ed. Sally Ledger and Holly Furneaux (Cambridge, UK: Cambridge University Press, 2011), 119.

216        Lord Byron and Sir Walter Scott: Ibid.; and Patten, Publishers, 21.

216        source of depravity: Peter Baldwin, The Copyright Wars: Three Centuries of Trans-Atlantic Battle (Princeton, NJ: Princeton University Press, 2014), 7.

216        “I’m lovin’ it”: The company really does have this trademarked. On the McDonald’s official website is a section listing its myriad trademarks, including “Chicken McNuggets . . . Egg McMuffin, Extra Value Meal . . . Fish McBites . . . Golden Arches Logo, Good Time, Great Taste . . . Triple Thick, twoallbeefpattiesspecialsaucelettucecheesepicklesoniononsasesameseedbun, We Love to See You Smile,” and many, many more. See http://www.mcdonalds.com/us/en /terms_conditions.html.

217        “libel, blasphemy, or sedition”: Mark Rose, “Author in Court,” 201.

217        legal entity: Ibid., 199–202.

217        “double the sum”: Meckier, Innocent, 55.

218        “baracoon of ‘bookaneers’”: The Metropolitan, March 1853, 86. This was actually an American monthly magazine arguing that U.S. piracy hurt homegrown authors. The Hood reference is to Thomas Hood, the respected English poet. He first used the term in an 1837 letter printed in the Athenaeum entitled “Copyright and Copywrong.”

218        piracy = educating: Barnes, Quest, 15; and Baldwin, Copyright Wars, 114.

219        Dickens cap-shouted: Alexander Welsh, From Copyright to Copperfield: The Identity of Dickens (Cambridge, MA: Harvard University Press, 1987), 9.

220        roaming passels of hogs: Slater, Dickens, 190.

220        “most photographically famous”: Joss Marsh, “The Rise of Celebrity Culture,” in Ledger and Furneaux, Charles Dickens in Context, 106.

220        “furiously walking, in flamboyant clothes”: Ibid., 104.

220        “admiration of a Kentucky huntsman”: Report of a journalist at the Worcester Aegis during Dickens’s visit, quoted in Slater, Dickens, 181.

220        “graphic fancy”: Ibid.

220        mistaken for a riverboat gambler: Meckier, Innocent, 23.

220        “pioneer first-class hotel”: Slater, Dickens, 178.

220        “straight down upon [Niagara] Falls”: Ibid., 187.

220        £5,019 in debt: Meckier, Innocent, 58. See also Patten, Publishers, 125.

221        receipt from his publishers: Slater, Dickens, 175.

221        “minor figures in Victorian letters to titans”: Patten, Publishers, 46.

221        wasn’t financially secure: Ibid., 10.

221        three hundred fifty pounds from American publishers: Moss, Quarrel, 112.

221        modest two thousand pounds: Patten, Publishers, 70.

222        “lay particular stress”: William Glyde Wilkins, ed. and comp., Charles Dickens in America (London: Chapman and Hall, 1911), 33.

222        “dwellers in log-houses”: Ibid., 32.

222        “substantial profit and return”: Ibid., 33.

222        “tumultuous” applause: Edgar Johnson, Charles Dickens: His Tragedy and Triumph (London: Simon and Schuster, 1952), 1:375. Also recounted in Meckier, Innocent, 41.

223        administrative oversight: Meckier, Innocent, 52.

223        “bad taste” . . . “smells of the shop”: Moss, Quarrel, 10.

223        “pay homage” . . .“refrains”: Quoted in Paul B. Davis, “Dickens and the American Press, 1842,” Dickens Studies 4 (1968), 68–69.

223        “whisper in your ear”: Quoted in Welsh, Copyright, 32.

224        “one grateful dollar”: Quoted in Meckier, Innocent, 44.

224        “pressure on his brain”: Quoted in Slater, Dickens, 182.

224        “indelicacy and gross impropriety”: Quoted in Moss, Quarrel, 3.

224        “worst taste possible”: Ibid., 10.

225        “1839 panic set in”: Barnes, Quest, 2.

225        “fell lower and lower”: Ibid., 1.

225        three-quarter price drop: Ibid., 4.

225        “than most literary periodicals”: Ibid., 8.

225        weeklies . . . “custom of reprinting”: See Catherine Seville, The Internationalisation of Copyright Law: Books, Buccaneers and the Black Flag in the Nineteenth Century (Cambridge, UK: Cambridge University Press, 2006), 168.

226        “owes us a debt of gratitude”: Quoted in Barnes, Quest, 15.

226        worst copyright offenders: Baldwin, Copyright Wars, 113.

226        “enlightened and democratic polity”: Ibid., 114.

226        railway timetables: Ibid., 117.

226        three to four times as many books: Ibid., 118.

226        “purportedly made the writer famous”: Meckier, Innocent, 42.

227        “water closet paper”: From 1880 letter from Twain to William Dean Howells, quoted in Siva Vaidhyanathan, Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity (New York: New York University Press, 2001), 60.

227        cost four times as much: Baldwin, Copyright Wars, 119.

227        “honestly come by”: Quoted in ibid., 120, but originally from Report 1188, May 21, 1886, of the Reports of the Committees of the Senate.

227        “country is drugged”: Quoted in ibid., 120, but originally from Report 622, March 19, 1888, of the Reports of Committees of the Senate.

227        “dark, slimy, universal pond”: “Address to the People of the United States in Behalf of the American Copyright Club, Adopted at New-York, October 18^th, 1843” (New York: American Copyright Club, 1843), 11.

227        “colonial bondage”: From an 1842 letter from Samuel Morse to Cornelius Mathews, one of the leading members of the American Copyright Club. Quoted in Barnes, Quest, 83.

227        “clamor of two hundred authors”: Quoted in Baldwin, Copyright Wars, 119, but originally from Report 1188, May 21, 1886, of the Reports of the Committees of the Senate.

228        “Republic of my imagination”: Quoted in Meckier, Innocent, 19, who describes it as “the saddest traveler’s letter ever penned.”

228        “left off washing himself”: Charles Dickens, The Life and Adventures of Martin Chuzzlewit (London: Chapman and Hall, 1844), 398.

229        solemn and an awful thing: Ibid., 204–5.

229        “offend and disgust another”: Ibid., 403.

229        witty little observer: Meckier, Innocent, 6.

229        peer inside the cabin: Quoted in ibid.

229        hair clippings for sale: Ibid.

229        “looking down my throat”: Quoted in ibid., 7.

229        “‘Teaberry Tooth Wash’”: Slater, Dickens, 195.

229        “Boz Pork & Beans”: Ibid.

230        “common, decent, natural, human politeness”: Dickens, Chuzzlewit, 403.

231        “great bond of equality”: Slater, Dickens, 185.

231        “intolerably conceited”: Ibid., 186.

231        “sublimity of nature”: Ibid.

231        bordered “on the ridiculous”: Moss, Quarrel, 82.

231        “sacred wrath of the newspapers”: John Forster, The Life of Charles Dickens, 3 vols. (London: Chapman and Hall, 1872–1874), 1:326.

232        “have to denounce as slanderous”: Meckier, Innocent, 56.

233        imported books face duties: Ibid., 72.

233        “to our own wants”: Moss, Quarrel, 100.

233        they’d already been doing: See ibid.

234        “simultaneously published”: N. N. Feltes, “International Copyright: Structuring ‘The Condition of Modernity’ in British Publishing,” in The Construction of Authorship: Textual Appropriation in Law and Literature, ed. Martha Woodmansee and Peter Jaszi (Durham, NC: Duke University Press, 1994), 272.

234        “eminently comprehensible to those nineteenth-century reformers”: Baldwin, Copyright Wars, 13.

Chapter 10: When Doves Cry

235        “my last cards”: T. J. Cobden-Sanderson, The Journals of T. J. Cobden-San derson 1879–1922, 2 vols. (New York: Macmillan, 1926), 2:213.

236        “work and disappear”: This is actually a famous line by Robert Bringhurst about typographers themselves, but the principle still applies in line with his intent. Robert Bringhurst, The Elements of Typographic Style, 4th ed. (Seattle: Hartley and Marks, 2012), 21.

236        obvious rip-off: See Simon Garfield, Just My Type: A Book About Fonts (London: Profile Books, 2011), 221. “Arial is the Helvetica lookalike . . . still regarded—and rightly so—as a cheat.”

236        most recognizable, truly American font: Ibid., 201–2.

236        poor Comic Sans: Ibid., 20. One of the comic books that inspired Vincent Connare, the creator of the typeface, was Batman: The Dark Knight Returns, by Frank Miller and Klaus Janson.

236        steel-toe boots send a very different message: Erik Spiekermann, Stop Stealing Sheep and Find Out How Type Works, 3rd ed. (San Francisco, CA: Peachpit, 2014), 42–45.

236        “unremarkability and inoffensability” . . .“frightening the horses”: Garfield, Type, 211.

237        more likely to agree: Errol Morris, “Hear, All Ye People; Hearken, O Earth (Part 2),” New York Times, August 9, 2012, http://opinionator.blogs.nytimes .com/2012/08/09/hear-all-ye-people-hearken-o-earth-part-2/?_r=0

238        “at the same time something beautiful”: Quoted in Roderick Cave, The Private Press (New Providence, NJ: R. R. Bowker Company, 1983), 120–21.

238        counterfeit Doves bindings: See Marianne Tidcombe, The Doves Bindery (London: British Library, 1991), 458–65.

238        moving belt and felt rollers: Arthur Chick, Towards Today’s Book: Progress in 19th Century Britain (London: Farrand Press, 1997), 21–22.

239        machine-made paper: James Mosley, “The Technologies of Print,” in The Book: A Global History, ed. Michael F. Suarez, S.J., and H. R. Woudhuysen (Oxford: Oxford University Press, 2013), 145.

239        newly mechanized presses: Chick, Today’s Book, 36–38.

239        more than tripled its productivity: Mosley states that hand press technology at the Times “could not exceed 300 impressions in an hour,” while the speed of the early Koenig presses was 1,000 impressions an hour. Mosley, “Technologies,” 160.

239        mechanized printing assembly line: Ibid., 145.

239        newspapers were no longer constrained: Lyle L. Miller, Maintaining Reading Efficiency (New York: Henry Holt and Company, 1959), 34.

239        specialized typecasting machines: Mosley, “Technologies,” 148.

239        “vending machine”: Bringhusrt, Elements, 137.

239        fast, cheap, or good: This is a common riff on the Iron Triangle, a tool in project management first introduced by Martin Barnes in 1969. These days, however, it tends to be updated to the Project Diamond, which acknowledges that a multitude of factors plays into these three aspects.

240        for the beauty of their craft: Cave points to Bernard von Mallinckrodt’s 1639 book, De Ortu ac Progressu Artis Typographiae, as the first to reference private presses in literature. See Cave, Private, 3.

240        “distinct undercurrent”: Ibid., 4.

240        transformed into a full-fledged rebellion: Stanley Morison, A Tally of Types, with new introduction by Michael Parker (Boston: David R. Godine, 1999), 17.

240        William Morris, the Pre-Raphaelite poet and textile designer: Morris is, obviously, the Obi-Wan of the Private Press Movement.

240        first book of the Private Press Movement: Colin Franklin, The Private Presses, 2nd ed., with bibliography and indexes by John Turner (London: Scolar Press, 1991), 9.

241        “state of the nation”: Ibid., 43.

241        “advice and approval”: Quoted in Cave, Private, 104. In correspondence with the authors, Robert Gree suggested the “silent partner” description.

241        food be damned: See ibid., xviii.

242        18 percent of its total start-up cost: Tidcombe, Doves, 223. Cobden-Sanderson was apparently “delighted” to get that much, having expected he would have gotten closer to forty pounds.

242        “The Book Beautiful”: See T. J. Cobden-Sanderson, The Ideal Book or Book Beautiful (Hammersmith, UK: Doves Press, 1900).

242        “sacred vessels of Western culture”: Megan L. Benton, Beauty and the Book: Fine Editions and Cultural Distinction in America (New Haven, CT: Yale University Press, 2000), 4.

242        “a dream, a symbol of the infinitely beautiful”: Cobden-Sanderson, Ideal, 9.

242        “I know no more perfect book”: A. W. Pollard, “The Doves Press,” in Cobden-Sanderson and the Doves Press, ed. John Henry Nash (San Francisco: John Henry Nash, 1929), 13.

243        language of the Press: T. J. Cobden-Sanderson, Cosmic Vision (Thavies Inn, [London]: Richard Cobden-Sanderson, 1922), 124. It first appeared as “Notes on the Doves Press” in the 1908 Doves Catalogue Raisonné.

244        “only another printer can recognize”: Cave, Private, 122.

244        “profits after expenses”: Marianne Tidcombe, The Doves Press (London: The British Library, 2002), 28.

245        personal touch to the numerals: Ibid., 23.

245        way for scribes to write faster: Shailor, Medieval Book, 28.

246        “signify the classicist’s contempt”: E. P. Goldschmidt, The Printed Book of the Renaissance: Three Lectures on Type, Illustration and Ornament (Cambridge, UK: Cambridge University Press, 2010), 2.

246        Renaissance-era insult: In a lovely bit of irony, the Renaissance authors who dismissed nonclassical Gothic scripts weren’t aware that the scripts they themselves most revered, and which they believed dated to antiquity, were in fact Carolingian, that is, smack in the middle of the Middle Ages.

246        “be German, even in your script”: Quoted in Garfield, Type, 191.

246        “Jewish owners”: Ibid.

246        shortage of type in Gothic fonts: Quoted in ibid., 192.

247        “full of wine”: Charles Ricketts, A Defence of the Revival of Printing (London: Vale Press, 1899), 19.

247        “alienation effect”: McGann, Textual, 85.

247        Sotheby’s auction: Tidcombe, Doves Press, 13.

247        “absolutely perfect”: Quoted in ibid., 22.

248        “over-inked”: Ibid., 14–15.

249        “death’s door”: Unsent letter from Cobden-Sanderson to Emery Walker, August 2, 1902. Part of Cobden-Sanderson’s Pro Iracundia sua Apologia, his extended defense of his destruction of the Doves Type, recorded in full in Tidcombe, Doves Press, 103–4.

250        “said it was ‘hateful’”: Ibid.

251        “watch plants and insect forms”: Franklin, Private, 115.

251        “cut it, and cut it, and slashed it”: Quoted in ibid., 117.

251        fine press blasphemy: According to John Mason, a compositor at the Doves Press, Cobden-Sanderson “regarded [the type] as a consecrated instrument, and shrank away from what he regarded as desecration,” especially the possible use of the type for commercial purposes. Quoted in Leslie T. Owens, J. H. Mason 1875–1951, Scholar-Printer (London: Frederick Muller Limited, 1976), 37.

252        “a Visionary and a Fanatic”: Letter from Cobden-Sanderson to Sidney Cockerell, June 14, 1909, quoted in Tidcombe, Doves Press, 127.

253        worth less than its original investment: Ibid., 59.

253        upon the advice of friends: Ibid.

253        “hand and arm of man or woman”: February 9, 1909, diary entry in Cobden-Sanderson, Journals, 2:138.

253        “Bed of the River Thames”: June 11, 1911, diary entry in ibid., 2:181–82. Fount is the technical term for the physically cast type itself.

253        cast into the English Channel: See Cave, Private, 324.

253        “stale by unthinking use”: Charles Ricketts, A Bibliography of Books Issued by Hacon and Ricketts (London: Charles Ricketts, 1904).

254        destruction of the Doves Type: See Tidcombe, Doves Press, 76.

254        “My folly is of a light kind”: October 28, 1916, diary entry in Cobden-Sanderson, Journals, 2:301.

254        “destroyed the whole of it”: August 12, 1916 (midnight), diary entry in ibid., 2:296.

255        2,600 pounds of metal type: Tidcombe, Doves Press, 78.

255        170 individual trips: Ibid.

255        “perils and panics”: November 5, 1916, diary entry in Cobden-Sanderson, Journals, 2:303–4.

255        “lurking in dark corners”: Ibid.

256        “the books themselves”: December 21, 1917, diary entry in ibid., 2:341.

256        upward of twelve hundred pounds: We don’t know the exact cost. Annie was ordered to pay seven hundred pounds to Walker, but that would not have included lawyers’ fees. See Tidcombe, Doves Press, 84–85, for a discussion of estimates.

256        entombed in its waters: Ibid., 82.

257        release it as a digital download: “New Digital ‘Facsimile’ of Legendary Doves Type: Doves Press Font Revived by Robert Green,” TypeSpec (blog), http://www.typespec.co.uk/doves-type/.

257        exhuming 150 individual pieces: “Recovering the Doves Type,” TypeSpec (blog), http://www.typespec.co.uk/recovering-the-doves-type/.

257        digital re-creation of the complete font: Available at http://www.typespec .co.uk/doves-type/. Buy it. Use it. Love it.

257        Emery Walker Trust: Justin Quirk, “X Marks the Spot,” Sunday Times, January 11, 2015. In correspondence with the authors, Green added, “The other half will go to my children when I die. It’s not for sale . . . its sacred.”

258        reexamination of every aspect: Franklin, Private, 14.

258        twentieth-century book design: Daniel Berkeley Updike, Printing Types: Their History, Forms, and Use (New Castle, DE: Oak Knoll Press, 2001), 208. In correspondence with the authors, Robert Green pointed out that Tschichold’s iconic Penguin cover designs, for instance, owe a great deal to the Doves aesthetic philosophy.

258        few could have predicted: First there was the influence and dominance (in England, at least) of the Monotype Corporation, and then of course photographic and especially digital printing methods enormously expanded the possibilities of typefaces.

Chapter 11: Blifter!

259        “MURDER?”: John Tebbel, History of Book Publishing in the United States, vol. 3: The Golden Age Between the Two Wars (1920–1940) (New York: Bowker, 1978), 334–35.

259        “Era of Wonderful Opportunity”: Ibid., 32.

259        “sandwich men”: Ibid., 332.

260        “needed to be learned”: Ted Striphas, The Late Age of Print: Everyday Book Culture from Consumerism to Control (New York: Columbia University Press, 2009), 27.

260        owned no books whatsoever: Benton, Beauty, 14.

260        4 percent of Americans visited a bookstore: Ibid., 15.

260        “like furniture”: Ibid., 14.

261        “lost touch with supply and demand”: Striphas, Late, 84.

261        “greatest idea that America has given the world”: Christine Frederick, Selling Mrs. Consumer (New York: The Business Bourse, 1929), 4–5; quoted in Stuart Ewen, Captains of Consciousness: Advertising and the Social Roots of the Consumer Culture, 25th Anniversary Edition (New York: Basic Books, 2001), 22.

262        books you don’t really want to read with your dad: Striphas, Late, 29.

262        Illiteracy . . . and urbanization: Tebbel, History, 4–5.

262        “[The] sign ‘Books Wanted’”: Ibid., 30.

262        “come into its own”: Letter, “To Our Friends in the Trade,” printed in Publishers Weekly, April 26, 1919, 1168.

263        “very stupid lot”: Letter of J. C. Dana, “To the Editor of The Literary Review,” printed in Publishers Weekly, November 27, 1920, 1707–8.

263        “$11.00 for candy”: Tebbel, History, 65.

263        “soap manufacturer might invest in soap”: Quoted in ibid., 315–16; and Business Digest and Investment Weekly, May 25, 1920, 681.

263        tailored specifically to the book industry: Tebbel, History, 321.

263        devoted to the author himself: See ibid., 48–49 and 327.

263        hyperbolic ascent: Ibid., 327.

263        printed the first chapter of the next: Ibid., 320.

263        “by Billy Sunday”: Quoted in ibid., 28.

264        “throw the jacket away”: Quoted in ibid., 327. Tebbel remarks that “Phelps’ statement was put down to critical petulance and ignored.”

264        reissued the book . . . A Prostitute’s Sacrifice: Ibid., 207.

264        “100 best novels”: Bernays references this with approval: “The release provoked heated discussion and probably stimulated some people to buy the books he mentioned.” Edward L. Bernays, Biography of an Idea (New York: Simon and Schuster, 1965), 487.

265        Enter the bookshelf: Striphas has an excellent extended section on the bookshelf in this era, upon which this section relies. See “Shelf Life,” in Late, 26–31.

265        “effect will be pleasing”: Quoted in ibid., 27.

265        “devoid of anything within”: Quoted in ibid.

265        “perceived changes in the status”: Janice A. Radway, A Feeling for Books: The Book-of-the-Month Club, Literary Taste, and Middle-Class Desire (Chapel Hill: University of North Carolina Press, 1997), 145.

265        “fetishism of commodities”: Ibid., 148. This concept’s roots come from the nineteenth-century and the writings of Karl Marx. With thanks to Loren Glass for emphasizing this.

265        “CULTURE, WEALTH, BEHAVIOR, POWER”: Joan Shelley Rubin, The Making of Middlebrow Culture (Chapel Hill: University of North Carolina Press, 1992), 30.

266        “buyers were hooked into returning”: Ibid., 95.

266        well-respected literary judges: Among them was Christopher Morley, the founder of the famous Sherlock Holmes society known as the Baker Street Irregulars and the author of some of the most beloved books on books, such as Parnassus on Wheels (1917) and The Haunted Bookshop (1919).

266        cheap prices as its main selling point: Tebbel, History, 295.

267        book prices had gone up only 50–60 percent: Ibid., 66.

267        selling price-slashed books: Ibid., 312.

268        “development of its rural areas”: Larry Tye, The Father of Spin: Edward L. Bernays and the Birth of Public Relations (New York: Macmillan, 2002), 118.

268        “pull the wires”: Edward L. Bernays, Propaganda (New York: Horace Liveright, 1928), 10.

268        raking in more than $98,000: Tye, Spin, 60. The $1.5 million number comes from the inflation calculator of the Bureau of Labor Statistics, U.S. Department of Labor, http://www.bls.gov/data/inflation_calculator.htm.

269        “I prefer chocolate”: Ibid., 27, quoting from a February 2, 1984, interview with the St. Petersburg Times.

269        “crystallizing the obscure tendencies”: Edward L. Bernays, Crystallizing Public Opinion (New York: Boni and Liveright, 1923), 173.

269        more important than legal advice: Tye, Spin, 60–61, quoting from a 1985 interview with Forbes.

269        “point of view”: Bernays, Crystallizing, 212.

270        “damn near double our female market” . . .“psychological basis”: Bernays, Biography, 386.

270        “torches of freedom” . . .“network of media”: Ibid., 386–87.

271        “dollar books were not in the public interest”: Bernays, Biography, 485.

271        “wretch who raised hell with book sales”: Ibid., 488.

271        “gain more attention . . . lethal epithet”: Ibid., 486, 488.

272        “death of six thousand book retailers”: Ibid., 485.

272        “sad figure”: Ibid.

273        “Benjamin Franklin . . . the career woman, a relatively new phenomenon”: Ibid., 487.

273        first instance of modern American book advertising: Tebbel, History, 27, also referencing a Post article from 1919. Whitman did this without Emerson’s permission; the famed Transcendentalist was not pleased.

274        “could not run successfully on this price structure”: Bernays, Biography, 489.

274        blamed on readers:        Comment made by Alfred Knopf, excerpted in Richard Layman, Discovering the Maltese Falcon and Sam Spade: The Evolution of Dashiell Hammett’s Masterpiece (San Francisco: Vince Emery, 2005), 166.

275        “left shivering on the doorstep”: Bernays, Biography, 489.

275        declared unconstitutional: Tebbel, History, 459.

275        “bomb”: Ibid., 439.

276        “disparaged publishers and editors”: Striphas, Late, 87–88.

276        revolutionary ISBN system: Ibid., 83.

276        “reading can be”: Earnest Elmo Calkins, 1922, quoted in Tebbel, History, 319.

278        “deliberate, planned campaign”: All quotes in this anecdote are taken directly from Bernays’s own retelling in Biography, 652.

Conclusion: Nothing More Deceptive than an Obvious Fact

279        “books they need are in existence”: Christopher Morley, Haunted Bookshop (New York: Melville House), 18.

280        painting of Thomas More: Jonathan Jones, “Wolf Hall Is Wrong: Thomas More Was a Funny, Feminist Renaissance Man,” The Guardian, January 29, 2015.

280        great portraitists of the Renaissance: So great a portraitist, in fact, that Henry VIII agreed to marry his fourth wife, Anne of Cleves, on the strength of a portrait executed by Holbein. After Henry met her, he refused to consummate the marriage, claiming he had been misled by the beauty of the portrait.

280        “more deceptive than an obvious fact”: Doyle, “Boscombe Valley Mystery,” in Complete Works of Sherlock Holmes, 1:108.

281        “integral to More’s purpose”: Duffy, “Defence of Christendom,” 200; More, Dialogue, 207.

283        primed for the doubt: Wilding, Faussaire, 56.

284        “live in an expanding culture”: Raymond Williams, Culture and Society, 1780–1950 (New York: Columbia University Press, 1983), viii.

284        “rewrite history for itself”: Quoted in Lawrence C. Wroth, Notes for Bibliophiles in the New-York Herald Tribune, 1937–1947, ed. Richard J. Ring (South Freeport, ME: Ascensius Press, 2016), 128.

284        “felt the case to be a hopeless one”: Quoted in Meckier, Innocent, 68.