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020 _a9780674974555
_qPDF
024 7 _a10.4159/9780674974555
_2doi
035 _a(DE-B1597)9780674974555
035 _a(DE-B1597)479805
035 _a(OCoLC)984687357
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aZ286.A83
_bR83 2016
072 7 _aLIT007000
_2bisacsh
082 0 4 _a002.09
_223
084 _aonline - DeGruyter
100 1 _aRubery, Matthew
_eautore
245 1 4 _aThe Untold Story of the Talking Book /
_cMatthew Rubery.
264 1 _aCambridge, MA :
_bHarvard University Press,
_c[2017]
264 4 _c©2016
300 _a1 online resource (360 p.) :
_b39 halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tIntroduction: What Is the History of Audiobooks? --
_tPart I. The Phonographic Library --
_t1. Canned Literature --
_tPart II. Blindness, Disability, and Talking Book Records --
_t2. A Talking Book in Every Corner of Dark- Land --
_t3. How to Read a Talking Book --
_t4. A Free Press for the Blind --
_t5. From Shell Shock to Shellac --
_t6. Unrecordable --
_tPart III. Audiobooks on and off the Road --
_t7. Caedmon’s Third Dimension --
_t8. Tapeworms --
_t9. Audio Revolution --
_tAfterword: Speed Listening --
_tNotes --
_tCredits --
_tAcknowledgments --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aHistories 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.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
650 0 _aAudiobooks
_xHistory.
650 0 _aLiterature and technology
_xHistory.
650 0 _aTalking books
_xHistory.
650 7 _aLITERARY CRITICISM / Books & Reading.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.4159/9780674974555
856 4 0 _uhttps://www.degruyter.com/isbn/9780674974555
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780674974555.jpg
942 _cEB
999 _c193782
_d193782