In the run-up to the US publication of The Book, I was happy to be able to write an article for BBC Culture entitled “The mysterious ancient origins of the book”. It takes a look at the forces, mysterious and otherwise, that lay behind the evolution of the papyrus scroll into the parchment book. It was a challenge to write this one — it compresses a huge amount of history into a few hundred words — but I hope that it does justice to the subject. Have a read!
It’s publication week for The Book here in the UK, and so things are a little busy. For the third part of my “Booking It” series, then, on the arts and crafts that go into bookmaking, I’m cheating a little and republishing a post from November 2012, when I visited Robert Smail’s Printing Works in the Scottish borders. I hope you enjoy it!
So: you’ve made some paper, and now you need to put something on it. Some text would be nice, but what about illustrations? For a thousand years, first in China and later in the West, the best way to do just that was to make a woodcut print — to carve out an image on a wooden block, apply ink, and press it onto the page.
Did I mention that my second book is coming out next month? I did? In the course of writing it I interviewed a whole host of people involved with the arts and crafts that go into making books, and the run-up to the publication of The Book seems like an apt time to share some of their experiences and knowledge.
I’m on holiday this week, spending some time in sunny Wisconsin with my wife Leigh’s family, but a minor kerfuffle in the world of punctuation has come to pass that demands comment.
The issue is this: is the full stop on the ropes? That’s the thesis being discussed by newspaper writers in both Europe and America, prompted by remarks made by David Crystal at the recent Hay Festival. As quoted by the Telegraph’s Hannah Furness, Dr Crystal said: