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Abdul loves telling stories but thinks his messy handwriting and spelling mistakes will keep him from becoming an author, until Mr. Muhammad visits and encourages him to persist.

There is an instance where Charles Dickens thinks similarly to Pip in Great Expectations, the moment they both see handwriting from the young women they love. Concerning Bleak House, for example, correspondence is deployed to give women a voice which would otherwise remain unheard - mirroring Dickens's sense of the personal document as a space where the reality of the writer can be depicted not only with extraordinary accuracy, but also with an element of the unexpected. [...]in a most significant manner, Carolyn W. De La L. Oulton has read letters and fiction together, to discuss how they 'reveal a mutual dependency, a relationship that helps to explain why letters become such an important motif in the novels ... The 'fat black letters' on the figurine books excite the child Dickens's imagination: 'A was an archer, and shot at a frog. ..

A chance encounter with a magnetic stranger shifts something inside the narrator of this story set in the streets of Tórshavn.

We introduce a handwritten manuscript draft of Gloria Naylor's long-promised historical novel \"Sapphira Wade,\" situating excerpts from the unfinished work in the context of Naylor's life and literary career. Gloria Naylor intended for this novel to explore the history of Willow Springs alluded to in her 1988 Mama Day: the means by which an enslaved woman, Sapphira Wade, gained the deed to island from Bascombe Wade. The opening section, written between 2004 and 2006 and included among the papers Naylor donated to Sacred Heart University in 2009, recounts Bascombe's upbringing in Norway during the early nineteenth century.

Pat Mora, who writes for adults, teens, and children, shares the pleasures and challenges of the essay form.

Late in his artistic and scholarly career, W.G. Sebald decided to eschew then-emergent modes of computational media in favor of analogue production techniques. Sebald himself often remarked on his encounters with media, both new and old, expressing a consistent interest in the materiality of writing. In his own artistic practice, he preferred the process of handwriting to what he called the tyranny of \"PC Perfectionism.\" Scenes of writing, and the technologies of pen, paper, and pencil, appear regularly throughout Sebald's corpus, especially in The Rings of Saturn (1995) and Austerlitz (2001). These elegiac encounters with residual technologies informed Sebald's literary aesthetic. The novel Austerlitz, in particular, foregrounds media history and the evolution of modes of writerly work. In this novel, written in the shadow of new modes of digital writing that were becoming ubiquitous at the end of the twentieth century, Sebald's poetics of media obsolescence emerges as key preoccupation in his aesthetic project.

Herman Melville’s first published story, “Fragments from a Writing Desk” (1839; released in two parts in the Democratic Press, and Lansingburgh Advertiser), reimagines nineteenth-century American narratives of disabled female figures. In the first installment, Melville’s amorous narrator, L.A.V., quotes extensively from British romantic books of beauty, anthologies that gathered the best works from famous authors. In the second, Melville critiques L.A.V.’s exuberant citations, cultivating an alternative aesthetic we term “silent eloquence.” This essay argues that Melville’s early diptych reimagines deformed texts and disabled bodies by means of a deaf woman called “Inamorata.” Inspired by emergent deaf American communities, institutions, and forms of expression, and literary works by an array of deaf and hearing writers from James Nack and John R. Burnet to Washington Irving and Sarah Josepha Hale, Melville’s first fiction presents an early account of the communicative power of difference. Inamorata’s various, artful modes of expression— handwriting, signing, gestures, and expressions—put literary beauties and disabled bodies in conversation. Presenting nineteenth-century American readers with a new aesthetic vocabulary, “Fragments” simultaneously anticipates aspects of Melville’s major works and develops a concept of beauty capable of encompassing multiple senses, modes of address, experiences, and ways of knowing.

[...]as this article will demonstrate, Baudelaire’s Les Fleurs du mal is of unquestionable significance to Wide Sargasso Sea. Rhys knew Baudelaire’s work well and was influenced by him: she owned editions of his poetry in French and in English, refers to him in her correspondence, and transcriptions of poems in her handwriting survive in the Tulsa archive.4 Baudelaire’s theorizations of modernity, of the figure of the flaneur, and of fashion have featured in critical studies of Rhys, but his impact on her work is far more significant than has hitherto been realized.5 In 1962, Rhys told Francis Wyndham that an early title for Wide Sargasso Sea was “Le revenant” (Letters, 213). Marina Warner has argued that the source for this title is Lafcadio Hearn’s Two Years in the West Indies (1890).6 Warner’s broader argument for the influence of that text on Rhys is revealing, but ignores the fact that “Le Revenant” is also the title of a poem from Les Fleurs du mal.7 Rhys had a habit of using titles drawn from French literary texts, and this is no exception.8 Baudelaire’s poem envisions a destructive and masochistic ghostly passion that, as I will show, bears powerful correspondences with part two of Wide Sargasso Sea. Rhys clearly intended, at an early stage, to signal its relevance to her novel through the working title “Le Revenant,” but this title is later suppressed. [...]while Brontë is subjected to very explicit and vocal critique, Baudelaire holds a more ambivalent status.

[...]in the admittedly short reception history of Life and Adventures of Jack Engle (1852)-an anonymously published novella by Walt Whitman that was rediscovered in the spring of 2017-the fictionality of the text is taken for granted.2 Of course, the novella is not \"autobiographical\" to the extent it suggests, as even a cursory reader of Whitman knows. [...]Zachary Turpin's introduction to the novella is preoccupied with Whitman's life in 1852. [...]the novella was, at the point Whitman composed these notes, obviously still lacking a \"main hinge\": while Covert is already established as the villain and Jack as his apprentice and the hero of the tale, the rest of the story is yet unclear, and Whitman's notes contain some attempts to come up with a solution for carrying the characters through to a logical finale that ties up any of the narrative's lingering loose ends. [...]if one takes the newspaper clippings from March 12, 1852, as a means of accurately dating the handwritten comments that follow them in the notebook, they suggest that Jack Engle, at least up to chapter seven (perhaps even chapter eleven), already existed sans \"main hinge\" when Whitman got the story accepted by the Dispatch, with the remainder of the novella written while it appeared in print. [...]if we want to be critical of assertions of truthfulness, we ought to focus on the claim by the editors of the Dispatch that the author had already put \"the manuscript complete in [their] hands\" (JE 262) by the time the first installment came out: it appears to be blatantly false.

The fate of that fiction, a romantic murder mystery the poet tentatively titles Proud Antoinette: A New York Romance of To-Day, is unknown.3 But its odds of having been completed, even published, have increased substantially since the discovery, in 2017, of Whitman's previously unknown sensation novella, Life and Adventures of Jack Engle, published while he was composing the first edition of Leaves of Grass.4 Whitman's journalism and fiction of the mid-to-late 1850s may offer more surprises yet. The projected third novel, should Whitman have written it, would have been sensational in all senses of the word: a blood-soaked tale of innocent love, secret identities, marriage-breaking, and murder.6 As with Jack Engle, this one was to be populated with thieves, murderers, prostitutes, and Quakers, including a titular character who is all four at once-alongside a liberal helping of handsome New York mechanics. In transcription, these pages read as follows, with all of Whitman's misspellings, word variants, and idiosyncratic name spellings maintained: [1] A prostitute - large, passionate, unhappy - Antoinette - A young N.Y. Mechanic - the hero - _____- A policeman Scene in an eating house _____- Fulton Ferry - ? rendezvous _____- Broadway _____- * Open with Broadway in the full tide of a fashionable promenade _____- - A street at night - rapid confab _____- ^ Movement- dialogue, ^ -incident- Oliver Sanclare, a gambler and lover, ^strike-through gone^ - absent awhile - on ^strike-through an^ a professional expedition, (or to escape the punishment of some crime committed) - but returns - after Antoinette has inveigled An old Quaker lady - good - sensible-(? how to ^strike-through bring^ intertwine with Antoinette's affairs - _____- A bloody contest - ? ^strike-through violently^ dangerously wounded ? by * Antoinette - interest to hang on the trial _____- ^strike-through -The Fate of Antoinette^ Proud Antoinette A New York Romance of To-day. - _____- Antoinette's real name Ruth Anderson, a Quaker's daughter _____- Josephine an upright noble girl, who ^ loves Hamp Anderson ^ and whom he has been in love with till inveigled by Antoinette. Grier more accurately pegs them between 1859 and 1861-based, impressively, on nothing more than the poet's tenuous finances of the late 1850s (and his consequent likelihood of writing popular fictions for money); the possibility, now confirmed, that the draft placard on the back of these notes might have yielded a \"book on health and physical training\" in the late 1850s; and the style of Whitman's handwriting.7 Because Whitman cancels (strikes through with a vertical line) the Manly Health placard notices on the reverse of the Proud Antoinette notes, we may more or less confirm Grier's chronology: