Talking Books sets out to show how some of the leading children's authors of the day respond to these and other similar questions. The authors featured are Neil Ardley, Ian Beck, Helen Cresswell, Gillian Cross, Terry Deary, Berlie Doherty, Alan Durant, Brian Moses, Philip Pullman, Celia Rees, Norman Silver, Jacqueline Wilson, and Benjamin Zephaniah. They discuss with great enthusiasm: *their childhood reading habits *how they came to be published *how they write on a daily basis *how a particular book came together *a type of writing that they are especially known for. Through in-depth interviews, they each reveal their approach to their craft. Much is know and spoken of the product that is the children's book, but it is rare that writers are given the opportunity to talk at length about the process of writing for children. Talking Books redresses the balance by presenting a wide selection of authors (of fiction, non-fiction and poetry) reflecting upon the joys and challenges of the craft, creativity and process of writing for children.

Increasing importance is being attached to how Greek and Latin books of poems were arranged, but such research has often been carried out with little attention to the physical fragments of actual ancient poetry-books. In this extensive study Gregory Hutchinson investigates the design of Greek and Latin books of poems in the light of papyri, including recent discoveries. A series of discussions of major poems and collections from two central periods of Greek and Latin literature is framed by a substantial and illustrated survey of poetry-books and reading, and by a more theoretical discussion of structures involving books. The main poets discussed are Callimachus, Apollonius, Posidippus, Catullus, Horace, and Ovid; a chapter on Latin didactic includes Lucretius, Virgil, Ovid, and Manilius.

A history of audiobooks, from entertainment & rehabilitation for blinded World War I soldiers to a twenty-first-century competitive industry. Histories of the book often move straight from the codex to the digital screen. Left out of that familiar account are nearly 150 years of audio recordings. Recounting the fascinating history of audio-recorded literature, Matthew Rubery traces the path of innovation from Edison’s recitation of “Mary Had a Little Lamb” for his tinfoil phonograph in 1877, to the first novel-length talking books made for blinded World War I veterans, to today’s billion-dollar audiobook industry. The Untold Story of the Talking Book focuses on the social impact of audiobooks, not just the technological history, in telling a story of surprising and impassioned conflicts: from controversies over which books the Library of Congress selected to become talking books—yes to Kipling, no to Flaubert—to debates about what defines a reader. Delving into the vexed relationship between spoken and printed texts, Rubery argues that storytelling can be just as engaging with the ears as with the eyes, and that audiobooks deserve to be taken seriously. They are not mere derivatives of printed books but their own form of entertainment. We have come a long way from the era of sound recorded on wax cylinders, when people imagined one day hearing entire novels on mini-phonographs tucked inside their hats. Rubery tells the untold story of this incredible evolution and, in doing so, breaks from convention by treating audiobooks as a distinctively modern art form that has profoundly influenced the way we read. Praise for The Untold Story of the Talking Book “If audiobooks are relatively new to your world, you might wonder where they came from and where they’re going. And for general fans of the intersection of culture and technology, The Untold Story of the Talking Book is a fascinating read.” —Neil Steinberg, Chicago Sun-Times “[Rubery] explores 150 years of the audio format with an imminently accessible style, touching upon a wide range of interconnected topics . . . Through careful investigation of the co-development of formats within the publishing industry, Rubery shines a light on overlooked pioneers of audio . . . Rubery’s work succeeds in providing evidence to ‘move beyond the reductive debate’ on whether audiobooks really count as reading, and establishes the format’s rightful place in the literary family.” —Mary Burkey, Booklist (starred review)