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Track Changes: A Literary History of Word Processing
Get Free Ebook Track Changes: A Literary History of Word Processing
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Review
“Culling from specialized publications, mainstream journalism, and author interviews, Kirschenbaum recaptures the excitement and optimism writers often felt in the face of this magical new technology. To many, word processing seemed to promise a new possibility for aesthetic perfection.â€â€•Dylan Hicks, Los Angeles Review of Books“Word processors have become so popular that they can seem simultaneously essential and mundane… Kirschenbaum shows that word processing was once considered radical, empowering, even frightening and strange.â€â€•Craig Fehrman, Boston Globe“As Kirschenbaum’s history reminds us, the story of personal computers supplanting older systems dedicated to word processing…was hardly the fait accompli that we sometimes think it was. His book attempts a full literary history of this shift. To do so, he ranges across a number of phenomena.â€â€•Eric Banks, Bookforum“A learned and lively study of the sometimesâ€uneasy fit between writing on a computer and writing generally…As Kirschenbaum rightly notes, literature is ‘different after word processing,’ and so is literary history. He makes a solid start in showing how.â€â€•Kirkus Reviews“Kirschenbaum aligns literary art with information processing machines (computers) to create a history of word processing…For readers interested in the history of the production of writing as well as those who appreciate the finer techâ€related facts that have fallen out of popular memory.â€â€•Jesse A. Lambertson, Library Journal“A well-researched, scholarly history of how early electronic typewriters, word processors, and microprocessor-based computers affected literary writers, the act of writing, and writers’ plots, characters, literary devices, and stories from 1964 to 1984. The book includes numerous examples of how specific authors thought about, wrote about, experimented with, and used early word-processing machines.â€â€•Publishers Weekly“Track Changes is delightful, magisterial, and instantly essential. Kirschenbaum unimpeachably delivers on his promise to give an account of word processing in all its wonderful messiness and complication. In his lively attention to storytelling, Kirschenbaum offers an account that brims over with interest and surprise.â€â€•Matthew Battles, author of The Library: An Unquiet History and Palimpsest: A History of the Written Word“Track Changes is a revelation. Through careful documentation of the relationships between dozens of popular writers and their respective hardware and software, Kirschenbaum brings the materiality of contemporary writing into sudden, startling focus. After reading this book, you will never be able to ignore your keyboard again.â€â€•Darren Wershler, author of The Iron Whim: A Fragmented History of Typewriting“Key to the success of Track Changes is Kirschenbaum’s knack of drawing out the relationship between writers and how they adopted, and adapted to, the new tools…In many respects this book is an engaging, extended love letter to the word processor―but it is much more than that. It is an impressively researched record of a radical, perhaps uniquely creative, chapter in the often turbulent relationship between technology and the written word.â€â€•John Gilbey, Times Higher Education“[An] unexpectedly engaging history of word processing.â€â€•Brian Dillon, The Guardian
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About the Author
Matthew G. Kirschenbaum is Associate Professor of English at the University of Maryland, College Park.
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Product details
Hardcover: 368 pages
Publisher: Belknap Press (May 2, 2016)
Language: English
ISBN-10: 0674417070
ISBN-13: 978-0674417076
Product Dimensions:
6.2 x 1.2 x 9.5 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
9 customer reviews
Amazon Best Sellers Rank:
#409,902 in Books (See Top 100 in Books)
Disclaimer: I'm a computer geek, an aficionado of both computing history and the history of the written and printed word (writing systems, the history of printing, typesetting, and typewriting), and a voracious reader of multiple genres (belles-lettres/classics, pop fiction, popular and scholarly nonfiction, the occasional monograph) so the title of the book immediately spoke to me. Your mileage may vary depending on which of these categories apply to you.The book delivers what it promises: a scholarly but readable overview of how word-processor technology has been adopted (or not) by authors of various genres; word processors' widely varying effects, positive and negative, on the craft of those writers, as reported by the writers themselves; and its impacts, positive and negative, on literature scholarship. For example, if modern Track Changes features are turned on, or if using cloud-basde document processors like Google Docs that effectively track revisions explicitly and automatically, scholars of literature have a new goldmine of detailed instrumentation of the writer at work; but for earlier word processors lacking such features (basically any word processor before the late 1980s), author "manuscripts" (document files) reflect only the final product, without any of the crossings-out or margin annotations that have made historical handwritten manuscripts (no longer a redundant phrase!) such as the USA's founding documents such a compelling window into the workings of the authors' minds. Indeed, because of legacy computer issues and the limited life of magnetic media, some such manuscripts have become permanently inaccessible.I learned quite a bit, and I manage to forgive the author's periodic indulgence in wordplay that seems intended to test your erudition (or prove his) rather than illuminate a point—an academic writing habit I dislike, and I say that as an academic myself. For example, although it seems obvious in retrospect, I had always assumed professional writers would be among the earliest to adopt such a "power tool" for writing (I've done a nontrivial amount of professional writing myself), and at the same time, as a student of computing history I have always known that word processing technology was always targeted not at such professionals but at an office environment, for memos, letters, and business documents. Merely putting those facts together suddenly makes it more interesting to ask how professional writers adopted this technology.What I learned was that many didn't, and that among those who did (or tried to) there was a wide range of attitudes towards how and whether it improved or otherwise modified their writing process and quantity of output, and whether it fundamentally enabled new ways of approaching writing (for better or worse) that would be impossible with typewriters or pen-and-paper. For example, you can use search-and-replace to change the name of a character throughout a novel, you can insert and delete and move chunks of text around freely, and so on. (The author points out that "Pride and Prejudice and Zombies" is an example of the kind of work that is unique to the word-processor age.) A number of quotations and interview excerpts from professional writers ranging from John Updike to Stephen King made the observations concrete and illustrated the range of perspectives and observations that different writers brought to the technology. Perhaps unsurprisingly, pop fiction and science fiction authors were among the earliest adopters (though even sci-fi writers who adopted the technology early failed to predict its soon-to-be ubiquity in their visionary novels), and belles-lettres authors among the longest holdouts. As the author does a nice job of describing, of course, typewriters elicited many of the same controversies and polarizing views in their own turn, especially as the earliest models (e.g. Twain's Remington #1) didn't allow the typist to see the text as it was being printed on the page.Another item in the category of something I always knew, but never connected to its impact on professional writing: using a word processor on the one hand _separates_ the act of composition from the act of fixing something in tangible form (printing, typing) in both time and space (you can print later than you write, and the printer may be in another room), but on the other hand _blurs_ the boundary between composition and revision/editing, which are necessarily separate operations when working with a typewriter or handwritten text. As well, by offering options such as font changes and other formatting, word processors bring layout and typography potentially within the author's purview; some authors embraced this additional freedom and made it part of their work, others resented the extra learning effort required to navigate a "feature" they had pretty well been able to do without in the past, and yet others have embraced new "minimalist" word processors that have emerged as a reaction to feature-bloat and whose user interfaces hearken back to the days of WordPerfect for DOS, which presented the writer with a featureless blank screen and blinking cursor when a new document was opened.A particularly interesting chapter is devoted to the "gender-ness" of word processing, which from the start was aimed at secretaries, who at the time of the technology's emergence were still overwhelmingly female. The idea was to double down on the concept of the typing pool: rather than being a peripatetic do-whatever-is-necessary executive assistant, there would be specialized secretaries who would master the learning curve of word processing and compartmentalize this specific function. I didn't realize that one of the early dedicated word processors was developed by a female engineer who started her own company to manufacture and market it, and ran an advertisement aimed squarely at secretaries in the inaugural issue of Ms. magazine.Some of the material that focuses on the history of the technology itself will be familiar to students of the history of computing: for example, even as Xerox PARC was demonstrating the first functional GUI (on the Xerox Alto research prototype) and first WYSIWYG word processor (Bravo), commercial offerings didn't offer a mouse-and-windows interface but one in which the affordances were "hidden" behind nonobvious control-key combinations that made for a steep learning curve for those new to computing. For those who don't know this history, the author does a good job telling both stories and juxtaposing them in time.I also learned that I am still a philistine when it comes to appreciating literary conceptual art. Publishing the text of classic works as viewed through Word AutoSummary, a text consisting of Wite-Out used to overpaint the letters of an existing work, or verbatim transcripts of arbitrary ephemeral texts like traffic reports to "reflect the effortless contemporary duplication and proliferation of texts wiothout regard for the volume and mass of words"—sorry, to me those things are just silly. (And as an academic and an artist, I'm willing to give substantial benefit of the doubt, but it was bemusing to hear that these products are presumably worthy of the term "art".)There is a lot here for writers who have an interest in how technology has affected the history of their profession (and conversely), and what their fellow writers have had to say about its effect on their craft. It's not an easy read, but if these topics interest you, it's a well constructed one.
This is an amazing read about how people write and the tools they have used (beginning with the typewriter) to create text. If you wonder about how we call came to use Microsoft Word, this tells that story... but there is so much more. Filled with new, inside knowledge about some of the world's most famous authors and their computers, Kirschensbaum has written a fun-to-read exploration of 'word processing' and computing. This book tells these writers' struggles to balance the newfound abilities of word processors (such as much more immediate editing and revising) with the often idiosyncratic computer technology on which this new software ran. This book will make you think about your writing in a new way-- a great read!Dag SpicerSenior CuratorComputer History Museum
I thoroughly enjoyed this book. It's a bit academic, but it's still an enjoyable read and well documented. Its principle focus is on writers and writing, and how technology has affected the craft. If you're interested in either, this is well worth your time.
Kirschenbaum is one of the nation's leading scholars of the modern history of computing. This book reveals and records many important, interesting, and fun details of word processing, which is one of the primary causes for the success of popular computing.
Excellent historical recap, although the language might be a little obtuse for the average vocabulary. Was please to learn I was an unsung pioneer, having acquired my Osborne I within a month after it was put on sale.
excellent review of the evolution of electronic word processing.
Interesting book, but focused more on social impact of computerized text processing than on the "insider" point of view. I would have liked more stories from the early days of Silicon Valley about the actual development of such iconic word processors as WordStar, WordPerfect, and Microsoft Word.
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