History of books

Writing originated as a form of record-keeping in Sumer during the fourth millennium BCE[6][7] with the advent of cuneiform. Many clay tablets have been found that show cuneiform writing used to record legal contracts, create lists of assets, and eventually record Sumerian literature and myths. Archaeologists have found scribal schools from as early as the second millennium BCE, where students were taught the art of writing. Developed in what is now Iraq,[8] "cuneiform" script was later named after the Latin word cuneus, meaning wedge-shaped.[9][7] Scribes often wrote cuneiform on clay, but sometimes they used precious materials such as gold.[7] Cuneiform was written in different languages, such as Sumerian, Akkadian, and Greek, for more than three thousand years, ending only when the Sassanian Empire conquered Babylon and forced the scribes to stop writing.[9][10] Some of the surviving cuneiform tablets were written by student scribes.[7]

Before the introduction of books, writing on bone, shells, wood and silk was prevalent in China long before the 2nd century BCE, until paper was invented in China around the 1st century CE. China's first recognizable books called jiance or jiandu, were made of rolls of thin split and dried bamboo bound together with hemp, silk, or leather.[15] The discovery of the process using the bark of the mulberry to create paper is attributed to Cai Lun, but it may be older.[16] Texts were reproduced by woodblock printing; the diffusion of Buddhist texts was a main impetus to large-scale production. The format of the book evolved with intermediate stages of scrolls folded concertina-style, scrolls bound at one edge ("butterfly books"), and so on.

Although there is no exact date known, between 618 and 907 CE —the period of the Tang Dynasty— the first printing of books started in China.[17][18] The oldest extant printed book is a work of the Diamond Sutra and dates back to 868 CE, during the Tang Dynasty.[17] The Diamond Sutra was printed by method of woodblock printing, a strenuous method in which the text to be printed would be carved into a woodblock's surface, essentially to be used to stamp the words onto the writing surface medium.[19] Woodblock printing was a common process for the reproduction of already handwritten texts during the earliest stages of book printing. This process was incredibly time-consuming.[20]

Because of the meticulous and time-consuming process that woodblock printing was, Bi Sheng, a key contributor to the history of printing, invented the process of Movable type printing (1041–1048 CE).[20][21] Bi Sheng developed a printing process in which written text could be copied with the use of formed character types, the earliest types being made of ceramic or clay material.[20][21] The method of movable type printing would later be independently invented and improved by Johannes Gutenberg.[22]

A lot of extremely detailed text was produced in early 17th century Japan. For instance, Hitomi Hitsudai spent sixty years taking field notes on 499 types of edible flowers and animals for his book Honchō shokkan (The Culinary Mirror of the Realm).[23] This detailed style of writing was common in the early years when the majority of literate people were of higher classes. Soon afterwards, literacy increased, as hundreds (some say thousands) of schools taught children the vocabulary of geography, history, and individual crafts and callings.[24] The highly detailed style still persisted as it was consistent in many gazetteers, emerging as a social lexicon. In some instances, family almanacs and encyclopedias were put together regionally.[23]

While the highly detailed writing form persisted, a simpler reading style also developed around the 1670s that was written for a popular readership. It used a simpler vernacular language, and was written almost directly for first-time book buyers. These original tales of fiction were popular among common samurai as well as common townspeople. Works went beyond fiction and also depicted certain crafts and manuals specialized for that topic.[23] These more popularized books were written in a newly emerging form of script. Authors had to deal with the idea of the "reading public" for the first time. These authors took into account the different social strata of their audience and had to learn "the common forms of reference that made the words and images of a text intelligible" to the layman.[23]

Authors had reached a new market with their more simplistic writing. After passing this hurdle, they began writing about more than specified crafts and social lexicons. For the first time, writers had the chance to make once private knowledge public, and moved into more regional information guides.[23] Detail-oriented writing still persisted as writing became understood as something that needed to show "quantitative evidence in order to measure continuity against change".[25] The increasing literacy across Japan as well as the proliferation of authors made writing a semi-autonomous system. However, there were still instances of censorship in the late 17th century. Despite the vast depiction of landscape, governmental powers ensured areas that entailed sensitive subjects, such as military households, foreign affairs, Christianity, and other heterodox beliefs, and disturbing current events were kept out of public works. This self-censorship did have drawbacks, as social commentary stayed in the higher social caste where this information was more readily available.[23] Despite these censors, public readings increased across Japan and created new markets that could be shared between the higher elites as well as middlebrow people, albeit with differing subject matter.

There are more than 2,000 illustrations drawn by native artists that represent this era. Bernardino de Sahagun tells the story of the Aztec people's lives and their natural history. The Florentine Codex speaks about the culture religious cosmology and ritual practices, society, economics, and natural history of the Aztec people. The manuscript is arranged in both Nahuatl and in Spanish. The English translation of the complete Nahuatl text of all twelve volumes of the Florentine Codex took ten years. Arthur J.O. Anderson and Charles Dibble had a decade of long work but made it an important contribution to Mesoamerican ethnohistory. Years later, in 1979, the Mexican government published a full-color volume of the Florentine Codex. Now, since 2012, it is available digitally and fully accessible to those interested in Mexican and Aztec History.

The Florentine Codex is a 16th-century ethnographic research study brought about by the Spanish Franciscan friar Bernardino de Sahagun. The codex itself was actually named La Historia Universal de las Cosas de Nueva España.[28] Bernardino de Sahagun worked on this project from 1545 up until his death in 1590. The Florentine Codex consists of twelve books. It is 2500 pages long but divided into twelve books by categories such as; The Gods, Ceremonies, Omens, and other cultural aspects of Aztec people.

The scroll of papyrus is called "volumen" in Latin, a word which signifies "circular movement," "roll," "spiral," "whirlpool," "revolution" (similar, perhaps, to the modern English interpretation of "swirl") and finally "a roll of writing paper, a rolled manuscript, or a book." In the 7th century Isidore of Seville explains the relation between codex, book, and scroll in his Etymologiae (VI.13) as this:

A codex is composed of many books (librorum); a book is of one scroll (voluminis). It is called codex by way of metaphor from the trunks (caudex) of trees or vines, as if it were a wooden stock, because it contains in itself a multitude of books, as it were of branches.

The scroll is rolled around two vertical wooden axes. This design allows only sequential usage; one is obliged to read the text in the order in which it is written, and it is impossible to place a marker in order to directly access a precise point in the text. It is comparable to modern video cassettes. Moreover, the reader must use both hands to hold on to the vertical wooden rolls and therefore cannot read and write at the same time. The only volumen in common usage today is the Jewish Torah.

The authors of antiquity had no rights concerning their published works; there were neither authors' nor publishing rights. Anyone could have a text recopied, and even alter its contents. Scribes earned money and authors earned mostly glory unless a patron provided cash; a book made its author famous. This followed the traditional concept of the culture: an author stuck to several models, which he imitated and attempted to improve. The status of the author was not regarded as absolutely personal.

From a political and religious point of view, books were censored very early: the works of Protagoras were burned because he was a proponent of agnosticism and argued that one could not know whether or not the gods existed. Generally, cultural conflicts led to important periods of book destruction: in 303, the emperor Diocletian ordered the burning of Christian texts. Some Christians later burned libraries and especially heretical or non-canonical Christian texts. These practices are found throughout human history but have ended in many nations today. A few nations today still greatly censor and even burn books.

But there also exists a less visible but nonetheless effective form of censorship when books are reserved for the elite; the book was not originally a medium for expressive liberty. It may serve to confirm the values of a political system, as during the reign of the emperor Augustus, who skillfully surrounded himself with great authors. This is a good ancient example of the control of the media by political power. However, private and public censorship has continued into the modern era, albeit in various forms.

Little information concerning books in Ancient Greece survives. Several vases (6th and 5th centuries BCE) bear images of volumina. There was undoubtedly no extensive trade in books, but there existed several sites devoted to the sale of books.

The spread of books, and attention to their cataloging and conservation, as well as literary criticism developed during the Hellenistic period with the creation of large libraries in response to the desire for knowledge exemplified by Aristotle. These libraries were undoubtedly also built as demonstrations of political prestige:

• The Library at Antioch, a public library of which Euphorion of Chalcis was the director near the end of the 3rd century.
• The Library at Athens, the Ptolemaion, which gained importance following the destruction of the Library at Alexandria; the Library of Pantainos, around 100 CE; the library of Hadrian, in 132 CE.
• The Library at Pergamon, founded by Attalus I; it contained 200,000 volumes which were moved to the Serapeion by Mark Antony and Cleopatra, after the destruction of the Museion. The Serapion was partially destroyed in 391, and the last books disappeared in 641 CE following the Arab conquest.
• The Library at Rhodes, a library that rivaled the Library of Alexandria.
• The Library of Alexandria, a library created by Ptolemy Soter and set up by Demetrius Phalereus (Demetrius of Phaleron). It contained 500,900 volumes (in the Museion section) and 40,000 at the Serapis temple (Serapeion). All books in the luggage of visitors to Egypt were inspected and could be held for copying. The Museion was partially destroyed in 47 BCE.

The libraries had copyist workshops and the general organization of books allowed for the following:

• A catalog of books
• Conservation of an example of each text
• Literary criticisms in order to establish reference texts for the copy (example : The Iliad and The Odyssey)
• The copy itself, which allowed books to be disseminated
• Translation (the Septuagint Bible, for example)

Book production developed in Rome in the 1st century BC with Latin literature that had been influenced by the Greek. Conservative estimates place the number of potential readers in Imperial Rome at around 100,000 people.[30]

This diffusion primarily concerned circles of literary individuals. Atticus was the editor of his friend Cicero. However, the book business progressively extended itself through the Roman Empire; for example, there were bookstores in Lyon. The spread of the book was aided by the extension of the Empire, which implied the imposition of the Latin tongue on a great number of people (in Spain, Africa, etc.).

Libraries were private or created at the behest of an individual. Julius Caesar, for example, wanted to establish one in Rome, proving that libraries were signs of political prestige.

In the year 377, there were 28 libraries in Rome, and it is known that there were many smaller libraries in other cities. Despite the great distribution of books, scientists do not have a complete picture as to the literary scene in antiquity as thousands of books have been lost through time.

A number of Christian books were destroyed at the order of Diocletian in 304. During the turbulent periods of the invasions, it was the monasteries that conserved religious texts and certain works of classical antiquity for the West. There were also important copying centers in Byzantium.

The role of monasteries in the conservation of books is somewhat ambiguous:

• The purpose of book conservation was not exclusively to preserve ancient culture; it was especially relevant to understanding religious texts with the aid of ancient knowledge. Some works were never recopied, having been judged too dangerous for the monks. Moreover, in need of blank media, the monks sometimes scraped off manuscripts, thereby destroying ancient works. The transmission of knowledge was centered primarily on sacred texts.
• Reading was an important activity in the lives of monks, which can be divided into prayer, intellectual work, and manual labor (in the Benedictine order, for example). It was therefore necessary to make copies of certain works. Accordingly, many monasteries had a scriptorium, where monks copied and decorated manuscripts that had been preserved.

An author portrait of Jean Miélot writing his compilation of the Miracles of Our Lady, one of his many popular works.

Despite this ambiguity, monasteries in the West and the Eastern Empire permitted the conservation of a certain number of secular texts, and several libraries were created: for example, Cassiodorus ('Vivarum' in Calabria, around 550), and Constantine I in Constantinople. Even so, survival of books often depended on political battles and ideologies, which sometimes entailed massive destruction of books or difficulties in production (for example, the distribution of books during the Iconoclasm between 730 and 842). A long list of very old and surviving libraries that now form part of the Vatican Archives can be found in the Catholic Encyclopedia.

To help preserve books and protect them from thieves, librarians would create chained libraries, with books attached to cabinets or desks with metal chains. This eliminated the unauthorized removal of books. One of the earliest chained libraries was in England during the 1500s. Popular culture also has examples of chained libraries, such as in Harry Potter and the Philosopher's Stone by J.K Rowling.

The scriptorium was the workroom of monk copyists; here, books were copied, decorated, rebound, and conserved. The armarius directed the work and played the role of the librarian.

The role of the copyist was multifaceted: for example, thanks to their work, texts circulated from one monastery to another. Copies also allowed monks to learn texts and to perfect their religious education. The relationship with the book thus defined itself according to an intellectual relationship with God. But if these copies were sometimes made for the monks themselves, there were also copies made on-demand.

The task of copying itself had several phases: the preparation of the manuscript in the form of notebooks once the work was complete, the presentation of pages, the copying itself, revision, correction of errors, decoration, and binding. The book, therefore, required a variety of competencies, which often made a manuscript a collective effort.

The scene in Botticelli's Madonna of the Book (1480) reflects the presence of books in the houses of richer people in his time.

The revival of cities in Europe would change the conditions of book production and extend its influence, and the monastic period of the book would come to an end. This revival accompanied the intellectual renaissance of the period. The Manuscript culture outside of the monastery developed in these university-cities in Europe at this time. It is around the first universities that new structures of production developed: reference manuscripts were used by students and professors for teaching theology and liberal arts. The development of commerce and of the bourgeoisie brought with it a demand for specialized and general texts (law, history, novels, etc.). It is in this period that writing in the common vernacular developed (courtly poetry, novels, etc.). Commercial scriptoria became common, and the profession of bookseller came into being, sometimes dealing internationally.

There is also the creation of royal libraries as in the case of Saint Louis and Charles V. Books were also collected in private libraries, which became more common in the 14th and 15th centuries.

The use of paper diffused through Europe in the 14th century. This material, less expensive than parchment, came from China via the Arabs in Spain in the 11th and 12th centuries. It was used in particular for ordinary copies, while parchment was used for luxury editions.

Page from the Blue Quran manuscript, ca. 9th or 10th century CE

Since the 7th century CE, parchment was used in the codex form for transcribing the Quran.[14] They ranged from being of a larger size used for public recitations to being pocket sized.[41] Books created in this time period placed greater importance on text over image.[41] In many cases, the parchment was dyed (such as the Blue Quran), which was initially executed in Christian Byzantine manuscripts.[41] Earlier Quran manuscripts were oriented vertically, with the height of the book longer than its width.[42] However, later the standard horizontal orientation was established.[42]

The art of the book as a discipline came to be established in the Medieval Islamic period during the 11th-century CE.[43] This is attributed to the rising availability of paper which replaced parchment and was easier to handle and distribute, and that rounded scripts took the place of previously angular scripts.[43] In this period, an array of book types were produced in addition to the Quran, including scientific notes, poetry and literary narratives.[43]

The conversion of members of the Mongol elite classes to Islam in the 13th century CE to form the Ilkhanate led to a surge in patronage for book production and distribution from Tabriz and Baghdad.[44] Large scale operations of producing Qurans were made possible by the availability of Baghdadi paper.[45] The increase in the volume of books produced was used as a tool to spread publicity about the workings of the papermaking mills established by the Ilkhans. Along with this, the other artisans working in conjunction with the book arts (calligraphers, bookbinders, illuminators, etc.) all benefited from the increased output.[45] Images began to appear on illuminated manuscripts along with text with illustration becoming a focal point of the book, not just calligraphy.[45] The role of the books produced by the Ilkhans were intended to promote either religion or heritage and ranged from holy books to historical ones.[45]

Folio from a manuscript of the Shanamah (Book of Kings)

Manuscript production in the 16th and 17th centuries CE were directed towards royal workshops with the economic power to produce them.[46] Book distribution tied to their use as status symbols in one's collection, or as economic investments and donations.[46] The process of producing a manuscript began with the workshop director designing the overall layout, followed by the process of making the paper (which may be gold-speckled or marbled), the scribe writing the text and finally multiple artisans illustrating the pages with miniature paintings, banners and decorated frontispieces.[46] After the pages were burnished, bookbinders sewed the front cover, spine and back cover with the folios.[46]

Baghdad emerged as the epicenter for book production in the Ottoman Empire.[47] Books produced in Ottoman workshops included biographies, travelogues and genealogies.[48] In the late 16th century CE patronage to the arts declined, including book production, due to an economic crisis.[48] The arts revived under the rule of Ahmet III who established the Topkapi Palace library in Constantinople to commission new manuscripts.[48] The imagery used in these books began to take influence from contemporary European engravings.[48] Until the late 1500s, availability of printed books increased but not acceptance of the printing press, since the scribes and calligraphers felt they would be out of work should it be introduced.[49]

The Persian Safavids held great importance to the book arts and had a thriving book culture.[50] In this era, the kitab-khana ("book house") was a term serving three definitions – first, it was a public library for the storing and preservation of the books; secondly, it also referred to an individual's own private collection of books; and thirdly to a workshop where books were made with calligraphers, bookbinders and papermakers worked together.[50] The Safavid style of manuscript illustrations evolved into its own style building from the arts of the Timurid Period.[51] The most well-known manuscript created by the Safavids is the Shahnama, based on the poem by Ferdowsi.[51]

Movable type in the Arabic script was initially created by European printing presses. In the 1530s, the first Quran had been printed in Venice by Paganino Paganini.[52] The embrace of the printing press by the general public in the Arab and Persian worlds occurred in the 18th century CE, despite having been introduced in Europe three centuries earlier.[49] The first Arabic printing press was established in Constantinople in 1720 under the reign of Sultan Ahmed III.[49]

Photograph of a printing press in Egypt, c. 1922

In 1815, Muhammad Ali Pasha sent artisans to Milan to learn the principles of printing in order to set up a press in Egypt.[49] The Bulaq Press was established in 1822 and was headed by Nikula al-Masabiki from Syria, who designed the Arabic typesets.[49] The first published book by the printing press was an Italian–Arabic dictionary.[49]

Lithographic printmaking was introduced as a way of mechanical reproduction of text and image by the 19th century CE, shortly after its invention in the Kingdom of Bavaria.[53] The first Persian book to be printed by lithography was a copy of the Quran, using a printing press imported from Russia to the city of Tabriz.[53] Despite the use of movable typography diminishing between 1852 and 1872, the process of printing from stone lithography flourished in Islamic book production.[53] The advantage of lithography included the medium being well suited to adapt the well established artistic traditions found in traditional Islamic manuscripts.[53] In Persia in the mid 1800s, several "mixed-media" codices were created, employing a hybrid range of both handwritten scribed portions and printed matter.[53]

By the late 1800s movable type increased in popularity again.[49] In Egypt, the majority of the 10,205 books printed from 1822 to 1900 were through letterpress printing.[49] As the arts pertaining to manuscript production such as miniature painting and bookbinding decreased in popularity in the 20th century CE, calligraphy and the art of writing still remain popular.[54]

In ancient times, stone slabs had been used for writing.[55] The oldest surviving books come from the 10th century CE, the earliest belonging to the Buddhist manuscript tradition.[55] Prior to the adoption of paper, these were written on palm leaves, a naturally abundant resource in the southern part of the subcontinent.[55] The pages were usually three feet wide and two inches tall.[55] The process of preparing the palm leaves consisted of drying, polishing, and treating with starch to form a surface suitable for writing.[55] The pages were bound together by a single piece of string on the shorter edge, and held with the longer edge of the manuscript running alongside the user's chest.[55]

Paper was introduced to the Indian Subcontinent from Egypt and the Arabian Peninsula in the 11th century CE by merchants trading with Gujarat.[14] The first papermaking mills were established in the 15th century CE by artisans arriving from Samarkand.[14] However, palm leaves continued to be used as a substrate for manuscripts in parts of eastern and southern India and Sri Lanka.[55] Paper was commonly used in the Jain manuscript tradition from the 15th century CE onwards.[55] The elongated proportions of the palm leaf manuscripts were dropped for thinner forms made possible by the use of paper, however, the pages still used a horizontal orientation.[55] Images took up around one-third of the page, the rest being filled with text.[55]

The first Mughal Emperor Babur was not a large patron of the arts, however, he chronicled his endeavors in a biographic manuscript called the Baburnama.[56] Following his exile into the Safavid Empire, in 1540 Babur's successor Humayun brought back artisans of illustrated Persian manuscripts to the Mughal court.[56]

Despite being illiterate himself, the book arts flourished under the patronage of Mughal Emperor Akbar.[57] He established a painting workshop adjacent to the royal library and atelier in Fatehpur Sikri in the late 15th century CE, allowing the production of the book and illustrated manuscript to occur more efficiently.[58] Large scale poster-sized manuscript paintings were used as recitation aids to famous stories and narratives, such as the Hamzanama.[57] Akbar's grandson Shah Jahan established a manuscript decoration tradition that included a strong emphasis on text than his predecessors, as well as margins filled with imagery of flowers and vegetation.[56] Manuscript production had declined from its peak by the time of Shah Jahan's reign and book illustrators and artisans went on to be employed by the regional Rajasthani courts of Bikaner, Bundi and Kota.[59]

During the 17th century CE, the influence of the illustrated book declined.[52] Single sheet artworks became more popular since they were more cost-effective to produce and purchase, and were later assembled into albums with decorative elements added after.[52]

The Late Modern Period saw a lot of development in the types of books being circulated. Chapbooks – short works on cheap paper – were targeted towards lower-class readers and featured a diverse range of subjects. Everything from myth and fairy tales to practical and medical advice and prayers contributed to a steady demand that helped spread literacy among the lower classes. Literacy was in general on the rise, with a near-universal literacy rate in Western Europe, Australia, and the United States of America by 1890, with the inequality between men and women's literacy starting to equalize by 1900.

The printing press became increasingly mechanized. Early designs for metal and steam-powered printing presses were introduced in the early 19th century by inventors like Friederich Koenig and Charles Stanhope. However, they became widely adopted by the 1830s, particularly by newspapers such as the London Times. Around the same time, a revolution was triggered in paper production by Henry Fourdrinier and Thomas Gilpin, whose new paper-making machines output very wide continuous rolls of paper. The only bottleneck to book production was the time-consuming process of composition. This was eventually solved by Ottmar Mergenthaler and Tolbert Lanston who produced the Linotype and Monotype machines respectively. With these barriers removed book production exploded.

Great strides began in the realm of publishing as authors began to enjoy early forms of Copyright protection. The Statute of Anne was passed in 1710, establishing basic rights for the author's intellectual property. This was superseded by the Copyright Act of 1814 which transferred sole rights to print work for twenty-eight years after publication. This was extended in 1842 to the author's lifetime plus seven years, or forty two years after first publication.[60]

During the Enlightenment more books began to pour off European presses, creating an early form of information overload for many readers. Nowhere was this more the case than in Enlightenment Scotland, where students were exposed to a wide variety of books during their education.[61] The demands of the British and Foreign Bible Society (founded 1804), the American Bible Society (founded 1816), and other non-denominational publishers for enormously large inexpensive runs of texts led to numerous innovations. The introduction of steam printing presses a little before 1820, closely followed by new steam paper mills, constituted the two most major innovations. Together, they caused book prices to drop and the number of books to increase considerably. Numerous bibliographic features, like the positioning and formulation of titles and subtitles, were also affected by this new production method. New types of documents appeared later in the 19th century: photography, sound recording and film.

Typewriters and eventually, computer-based word processors and printers let people print and put together their own documents. Desktop publishing is common in the 21st century.

Among a series of developments that occurred in the 1990s, the spread of digital multimedia, which encodes texts, images, animations, and sounds in a unique and simple form was notable for the book publishing industry. Hypertext further improved access to information. Finally, the internet lowered production and distribution costs.

It is difficult to predict the future of the book in an era of fast-paced technological change.[62] Anxieties about the "death of books" have been expressed throughout the history of the medium, perceived as threatened by competing media such as radio, television, and the Internet.[63][64] However, these views are generally exaggerated, and "dominated by fetishism, fears about the end of humanism and ideas of techno-fundamentalist progress".[65] The print book medium has proven to be very resilient and adaptable. In the 2020s, print books still considerably outsell ebooks in most countries and remain a multi-billion dollar industry.[66][67][68]

A good deal of reference material, designed for direct access instead of sequential reading, as for example encyclopedias, exists less and less in the form of books and increasingly on the web. Leisure reading materials are increasingly published in e-reader formats.

Although electronic books, or e-books, had limited success in the early years, and readers were resistant at the outset, the demand for books in this format has grown dramatically, primarily because of the popularity of e-reader devices and as the number of available titles in this format has increased. Since the Amazon Kindle was released in 2007, the e-book has become a digital phenomenon and many theorize that it will take over hardback and paper books in the future. E-books are much more accessible and easier to buy and it is also cheaper to purchase an E-Book rather than its physical counterpart due to paper expenses being deducted.[69] Another important factor in the increasing popularity of the e-reader is its continuous diversification. Many e-readers now support basic operating systems, which facilitate email and other simple functions. The iPad is the most obvious example of this trend, but even mobile phones can host e-reading software.

Braille was named after its creator Louis Braille in 1824 in France. Braille stabbed himself in the eyes at the age of three with his father's leatherworking tools.[70] Braille spent nine years working on a previous system of communication called night writing by Charles Barbier. Braille published his book "procedure for writing words, music, and plainsong in dots", in 1829.[72] In 1854 France made Braille the "official communication system for blind individuals".[70] Valentin Haüy was the first person to put Braille on paper in the form of a book.[71] In 1932 Braille became accepted and used in English speaking countries.[71] In 1965 the Nemeth Code of Braille Mathematics and Scientific Notation was created. The code was developed to assign symbols to advanced mathematical notations and operations.[71] The system has remained the same, only minor adjustments have been made to it since its creation.

The spoken book was originally created in the 1930s to provide the blind and visually impaired with a medium to enjoy books. In 1932 the American Foundation for the Blind created the first recordings of spoken books on vinyl records.[73] In 1935, a British-based foundation, Royal National Institute for the Blind (RNIB), was the first to deliver talking books to the blind on vinyl records.[73] Each record contained about thirty minutes of audio on both sides, and the records were played on a gramophone. Spoken books changed mediums in the 1960s with the transition from vinyl records to cassette tapes.[74] The next progression of spoken books came in the 1980s with the widespread use of compact discs. Compact discs reached more people and made it possible to listen to books in the car.[73] In 1995 the term audiobook became the industry standard.[74] Finally, the internet-enabled audiobooks to become more accessible and portable. Audiobooks could now be played in their entirety instead of being split onto multiple disks.[74]

A 15th-century Incunable. Notice the blind-tooled cover, corner bosses, and clasps.

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• Publishing and Book Culture (Cambridge University Press) Publishing and Book Culture
• Library of the Written Word - The Handpress World (Brill) Library of the Written Word - The Handpress World
• Material Texts (Penn Press) Material Texts
• New Directions in Book History (Palgrave Macmillan) New Directions in Book History
• Studies in Print Culture and the History of the Book (University of Massachusetts Press) Search grid
• Studies in Publishing History: Manuscript, Print, Digital (Routledge) Studies in Publishing History: Manuscript, Print, Digital: Studies in Publishing History: Manuscript, Print, Digital - Book Series - Routledge & CRC Press
• Oxford University Studies in the Enlightenment (SVEC) Oxford University Studies in the Enlightenment

• Annual Bibliography of the History of the Printed Book and Libraries (Martinus Nijhoff) ISSN 0303-5964
• Archiv für Geschichte des Buchwesens (Buchhändler-Vereinigung) ISSN 0066-6327
• Book History (Society for the History of Authorship, Reading and Publishing) ISSN 1098-7371
• Electronic British Library Journal (British Library Board) ISSN 1478-0259 Formerly the British Library Journal
• Papers of the Bibliographical Society of America (Bibliographical Society of America) ISSN 0006-128X
• Papers of the Bibliographical Society of Canada (Bibliographical Society of Canada) ISSN 0067-6896
• Quaerendo (Theatrum Orbis Terrarum) ISSN 0014-9527
• Revue Française d'Histoire du Livre (Société des bibliophiles de Guyenne) ISSN 0037-9212
• Script & Print (Bibliographical Society of Australia and New Zealand) ISSN 1834-9013, formerly the Bulletin of the Bibliographical Society of Australia and New Zealand
• Studies in Bibliography (Bibliographical Society of the University of Virginia) ISSN 0081-7600
• The Library: The Transactions of the Bibliographical Society (Bibliographical Society) ISSN 0024-2160
• Histoire et civilisation du livre. Revue internationale ISSN 1661-4577
• International journal of the book ISSN 1447-9567
• Mémoires du livre/Studies in Book Culture ISSN 1920-602X
• The Journal of the Early Book Society for the Study of Manuscripts and Printing History ISSN 1525-6790