Centuries before Europe, and as early as the 800s, Japan hosted the best papermaking craftsmanship in the world. To this day, a few hundred businesses—often family-run and owned—continue the tradition of making superior-quality paper by hand. The process is labor intensive, slow, and requires years of expertise, but why expect anything less when it comes to manufacturing some of the best paper on earth?
Part of the joy of being an proper, democracy-protecting American is getting to tell people what to do. The founders told the prominent how to govern, Evangelists told their parishioners how to behave, Emerson told his readers to be self-reliant, and Theodore Roosevelt told the nation’s men to be manly (whatever that may mean). Yet out of these many, bloviating camps, few have been more dedicated or influential than those who told us to be sober.
In 1945, Otto Frank came to Amsterdam after surviving the torments and traumas of Auschwitz. His return home confirmed the unimaginable. He was the sole survivor of his family. His daughters, including 15-year-old Anne, who had been separated from him and transported to Bergen-Belsen, had died. But soon he was greeted by a glimmer of hopeful news: Miep Gies, a secretary and aid to the Franks during their hiding, had preserved Anne’s diary.
Lovers of Jane Austen are lucky. Few other authors have left behind a greater wealth of juvenalia. From the ages of 11 to 18, Austen filled three notebooks with stories, parodies, mini-plays, and more, all displaying the shrewd wit and intelligence that would later blossom into genius. Among the shining examples of her earliest work is a short, satirical piece titled The History of England, written when the author was only 15 years old.
I bought my edition of the Rubaiyat from a secondhand bookstore. I can’t tell exactly how old it is; it doesn’t include a date. It was printed by Concord Books, Inc., a publisher whose fate I’ve yet been able to discern. But the volume itself is attractive: a faithful representation of the same Persian poem that captivated Victorian readers some 150 years ago. That is, it’s exquisitely translated, and comes with joyous, beautiful illustrations to boot.
For a while in the West it’s been somewhat difficult for Christian intellectuals to be taken seriously. Though not exactly extinct (Marilynne Robinson comes to mind), religious writers are hard to find, and they are often dogged by the presumption that to be credible you must be secular. Even Christian writers of generations past, like G.K. Chesterton, J.R.R. Tolkien, and C.S. Lewis, felt and battled this anxiety. But for these thinkers, the Scottish author and minister George MacDonald presented an enduring model for being both an intellectual and a person of faith.
Six years ago, author Chad Harbach wrote an essay about the two cultures producing the glut of literary fiction writers today: that of New York City media and publishing, and that of the university MFA program. New York City has long been the hotbed of American cosmopolitan culture, and many of the country’s great writers from the very beginning, like Walt Whitman, Herman Melville, and Edith Wharton helped ossify New York as the closest thing the nation would have to a literary epicenter. Yet in the past few decades, a new titan has emerged, coming from the halls of higher education and graduate creative writing programs across the country. And of all of these, perhaps the most significant has been the Writers’ Workshop at the University of Iowa.
The famous literary friendship between Charles Dickens and Wilkie Collins began not in the world of the written word but on the stage. A mutual friend of the two, the Dickensianly-named painter Augustus Egg, connected Dickens to the younger Collins, who was a budding writer in his late twenties. Like Dickens, Collins was happy to perform on occasion, and in an amateur play production, he played the valet to Dickens’s leading role, a dandyish aristocrat named Lord Wilmot.
In 1853, a Swedish visitor named Per Siljeström noted that “In no country in the world is the taste for reading so diffused among the people as in America.” Alexis de Tocqueville reached a similar conclusion two decades earlier, while surveying the young nation. The French sociologist observed the overwhelming inclination for reading and self-education among the American people. He even went so far as to call this land “the most enlightened community in the world.” The United States began as a nation of bookworms.
The word lithograph comes from lithos, the Greek word for stone. Lithography differs from similar image-based printing methods by not requiring the artist to carve into the medium, as she would have to do with a copper engraving or a woodcut relief. Instead, she draws the image onto the smooth surface of a limestone block, and then uses oil and other substances to transfer it onto paper.
