Table of Contents

  1. Series page
  2. Title page
  3. Copyright page
  4. Series Foreword
  5. Preface and Acknowledgments
  6. 1 The Book as Object
  7. 2 The Book as Content
  8. 3 The Book as Idea
  9. 4 The Book as Interface
  10. Chronology
  11. Glossary
  12. Bibliography
  13. Further Reading and Writing
  14. Index
  15. About Author

List of Illustrations

  1. Figure 1 (a) Clay bulla, based on Louvre Museum SB1940 (ca. 3300 BCE); (b) cuneiform tablet, based on Metropolitan Museum of Art 11.217.19 (ca. 2041 BCE); (c) scroll (ca. 2500 BCE); (d) jiance, based on The Museum of the Institute of History and Philology, Academia Sinica 128.1 (ca. 95 CE); (e) palm leaf manuscript/pothī (ca. 200 BCE); (f) khipu/quipu (ca. 1500 CE). Illustration by Mike Force for Lightboard.
  2. Figure 2 (a) Wax tablet diptych (ca. 800 BCE); (b) quire/parchment notebook (ca. 55 BCE); (c) accordion/concertina (ca. 700 CE); (d) butterfly binding (ca. 800 CE); (e) wrapped back binding (ca. 1200 CE); (f) stab binding (ca. 1300 CE). Illustration by Mike Force for Lightboard.
  3. Figure 3 Single sheet folding and resulting book sizes. Illustration by Mike Force for Lightboard based on A. W. Lewis, Basic Bookbinding (New York: Dover, 1957), 9.
  4. Figure 4 Page from an Italian breviary by an unknown artist. The freckles in the upper left corner are hair follicles. Initial V: The Descent of the Holy Spirit, 1153. Tempera colors, gold leaf, gold paint, and ink on parchment. Leaf: 19.2 × 13.2 cm (10631_e001_001.jpg × 10631_e001_001.jpg). Image courtesy The J. Paul Getty Museum, Los Angeles, via the Open Content Program.
  5. Figure 5 1878 depiction of contemporary typecasting: (a) punch; (b) matrix; (c) type mold with matrix removed; (d) finished type in side and top view. Though a later iteration, the fundamentals of typecasting in the nineteenth century were the same as in Gutenberg’s day. These engravings appear in Theodore Low De Vinne’s The Invention of Printing (New York: F. Hart, 1878).
  6. Figure 6 An etching of an eighteenth-century print shop: a compositor at left sets type from a manuscript page while a beater inks the forms and a pressman removes a quarto from the tympan. Daniel Chodowiecki, “Die Arbeit in der Buchdruckerei,” in J. B. Basedows Elementarwerk (Liepzig: Ernst Wiegand, 1909). Source: Wikimedia Commons, scanned by A. Wagner.
  7. Figure 7 The body of the book. Illustration by Mike Force for Lightboard.
  8. Figure 8 A sample of Gutenberg’s 42-line Bible (1454), set in a Gothic Textura face he designed (at left), and of the Aldine Press’s Hypnerotomachia Poliphili (1499), set in a roman type designed by Francesco Griffo (at right). “Leaf of the Gutenberg Bible” image courtesy Digital Commonwealth, Boston Public Library. Page from Hypnerotomachia Poliphili courtesy Henry Walters, The Walters Art Museum.
  9. Figure 9 The title page from William Blake’s Songs of Innocence and of Experience (Yale Center for British Art, Bentley Copy L) demonstrating illuminated printing. Public domain image courtesy the Yale Center for British Art, Paul Mellon Collection.
  10. Figures 10a (pages 130–131) and 10b (above) A Roll of the Dice (Un coup de Dés) by Stéphane Mallarmé, translation copyright 2015 by Jeff Clark and Robert Bononno. Reprinted with permission of the translator and Wave Books.
  11. Figure 11 Ed Ruscha’s artists’ books Twentysix Gasoline Stations, 1962 (7" × 10631_e001_001.jpg × 10631_e001_001.jpg); Various Small Fires and Milk, 1964 (10631_e001_001.jpg × 10631_e001_001.jpg × 10631_e001_001.jpg); and Some Los Angeles Apartments, 1965 (10631_e001_001.jpg × 10631_e001_001.jpg × 10631_e001_001.jpg). ©Ed Ruscha. Courtesy of the artist and Gagosian.
  12. Figure 12 Alison Knowles, The Big Book, University Art Gallery, University of California San Diego, La Jolla, 1969. Image used with permission of the artist and the University Art Gallery.
  13. Figure 13 A page from Emmett Williams’s Sweethearts (Berlin: Verlag der Buchandlung Walther König, [1967] 2010). Image used with grateful permission of Ann-Noël Williams.
  14. Figure 14 A prototype of Bob Brown’s Reading Machine constructed by Ross Saunders and Hilaire Hiler (1930–1931). Artwork by Elffin Burrill in Craig Saper’s Amazing Adventures of Bob Brown (2016), based on a photograph glued into copies of Readies for Bob Brown’s Machine (1931). Image used with permission of the artist and Craig Saper.
  15. Figure 15 Vannevar Bush’s Memex as illustrated by Alfred D. Crimi for Life Magazine (1945). Image used with grateful permission of Joan Adria D’Amico.
  16. Figure 16 A bookwheel designed by Italian Engineer Agostino Ramelli, which appears under the title “Aux benins lecteurs” in his volume Le Diverse et Artificiose Machine del Capitano Agostino Ramelli (Paris: In casa del’autore, 1588).
  17. Figure 17 The Franklin Bookman Dictionary & Thesaurus, an early e-reader. Collection of the author.
  18. Figure 18 (a) Barnes and Noble’s Nook Glowlight, 6.5" × 5.0" × 0.42" (2013), from Barnes & Noble, https://www.barnesandnoble.com/h/nook/media-kits; (b) Rakuten’s Kobo Glo HD, 6.18" × 4.5" × 0.4". (2015), courtesy Rakuten Kobo Inc., http://news.kobo.com/media-library; (c) Amazon’s Kindle Oasis, 5.6" × 4.8" × 0.13–0.33" (2016) from Amazon, http://phx.corporate-ir.net/phoenix.zhtml?c=176060&p=irol-imageproduct52; (d) Apple’s iPad Pro, 9.4" × 6.6" × 0.29" (2017), courtesy Frmorrison at English Wikipedia, https://commons.wikimedia.org/wiki/File:IPad_2017_tablet.jpg.
  19. Figure 19 The reader pries open the protagonist’s subconscious in Samantha Gorman and Danny Cannizaro’s Pry (Tender Claws, 2016). Image used with permission of Tender Claws, LLC.
  20. Figure 20 The screen as skylight in Erik Loyer’s Strange Rain (Opertoon, 2013). Image used with permission of Erik Loyer.

Guide

  1. Cover
  2. Table of Contents