Leviathan
Frontispiece of "Leviathan," by Abraham Bosse, with input from Hobbes.
Author(s)	Thomas Hobbes
Country	England
Language	English
Publication date	1651
Media type	paper

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Leviathan or The Matter, Forme and Power of a Common Wealth Ecclesiasticall and Civil — commonly called simply Leviathan — is a book written by Thomas Hobbes (1588–1679) and published in 1651. Its name derives from the biblical Leviathan. The work concerns the structure of society and legitimate government, and is regarded as one of the earliest and most influential examples of social contract theory.^[1] The publisher was Andrew Crooke, partner in Andrew Crooke and William Cooke. Leviathan ranks high as a classical western work on statecraft comparable to Machiavelli's The Prince and is one of a number of related works incident upon the crisis of the English state framework of the time.

In Leviathan, which was written during the English Civil War (1642–1651), Hobbes argues for a social contract and rule by an absolute sovereign. He wrote that chaos or civil war – situations identified with a state of nature and the famous motto Bellum omnium contra omnes ("the war of all against all") – could only be averted by strong central government.

Content[link]

Frontispiece[link]

After lengthy discussion with Hobbes, the Parisian Abraham Bosse created the etching for the book's famous frontispiece in the geometrico style which Bosse himself had refined. It is similar in organization to the frontispiece of Hobbes' De Cive (1642), created by Jean Matheus. The frontispiece has two main elements, of which the upper part is by far the most striking. In it, a giant crowned figure is seen emerging from the landscape, clutching a sword and a crosier, beneath a quote from the Book of Job—"Non est potestas Super Terram quae Comparetur ei. Iob. 41 . 24" ("There is no power on earth to be compared to him. Job 41 . 24")—linking the figure to the monster of that book. The torso and arms of the figure are composed of over three hundred persons, in the style of Giuseppe Arcimboldo; all are facing inwards with just the giant's head having visible features. (A manuscript of Leviathan created for Charles II in 1651 has notable differences – a different main head but significantly the body is also composed of many faces, all looking outwards from the body and with a range of expressions.) The lower portion is a triptych, framed in a wooden border. The center form contains the title on an ornate curtain. The two sides reflect the sword and crosier of the main figure – earthly power on the left and the powers of the church on the right. Each side element reflects the equivalent power – castle to church, crown to mitre, cannon to excommunication, weapons to logic, and the battlefield to the religious courts. The giant holds the symbols of both sides, reflecting the union of secular and spiritual in the sovereign, but the construction of the torso also makes the figure the state.

Part I: Of Man[link]

In Part I, Hobbes attempts an analysis of society from first principles, beginning with Man and the Senses. He develops this in a sequence of definitions (for example: Imagination is "nothing but decaying sense" and is the same as Memory). He points out the Necessity of Definitions, which is a hint that he is attempting an axiomatisation of political philosophy in line with the programme of geometry. He defines various passions in an unsentimental way: e.g. "But whatsoever is the object of any man's appetite or desire, that is it which he for his part calleth good; and the object of his hate and aversion, evil; and of his contempt, vile and inconsiderable. For these words of good, evil, and contemptible are ever used with relation to the person that useth them: there being nothing simply and absolutely so; nor any common rule of good and evil to be taken from the nature of the objects themselves...". A whole sequence of such definitions follows: Appetite with an opinion of attaining, is called Hope; Honourable is whatsoever possession, action, or quality is an argument and sign of power. Chapter XIII is an exposition "Of the Natural Condition of Mankind, as concerning their Felicity, and Misery" and contains the famous quotation describing life in the state of war of every man against every man as "solitary, poor, nasty, brutish, and short."^[2])

Hobbes finds three basic causes of the conflict in this state of nature: competition, diffidence and glory. "The first maketh men invade for gain; the second, for safety; and the third, for reputation".^[3] His first law of nature is that "that every man ought to endeavour peace, as far as he has hope of obtaining it; and when he cannot obtain it, that he may seek and use all helps and advantages of war".^[4] In the state of nature, "every man has a right to every thing, even to one another's body"^[5] but the second law is that, in order to secure the advantages of peace, "that a man be willing, when others are so too, as far forth as for peace and defence of himself he shall think it necessary, to lay down this right to all things; and be contented with so much liberty against other men as he would allow other men against himself".^[6] This is the beginning of contracts/covenants; performing of which is the third law of nature. Injustice, therefore, is failure to perform in a covenant; all else is just.

Part II: Of Common-wealth[link]

The purpose of a commonwealth is given at the start of Part II: THE final cause, end, or design of men (who naturally love liberty, and dominion over others) in the introduction of that restraint upon themselves, in which we see them live in Commonwealths, is the foresight of their own preservation, and of a more contented life thereby; that is to say, of getting themselves out from that miserable condition of war which is necessarily consequent, as hath been shown, to the natural passions of men when there is no visible power to keep them in awe, and tie them by fear of punishment to the performance of their covenants....

The commonwealth is instituted when all agree in the following manner: I authorise and give up my right of governing myself to this man, or to this assembly of men, on this condition; that thou give up, thy right to him, and authorise all his actions in like manner.

The sovereign has twelve principal rights:

1. because a successive covenant cannot override a prior one, the subjects cannot (lawfully) change the form of government.
2. because the covenant forming the commonwealth results from subjects giving to the sovereign the right to act for them, the sovereign cannot possibly breach the covenant; and therefore the subjects can never argue to be freed from the covenant because of the actions of the sovereign.
3. the sovereign exists because the majority has consented to his rule; the minority have agreed to abide by this arrangement and must then assent to the sovereign's actions.
4. every subject is author of the acts of the sovereign: hence the sovereign cannot injure any of his subjects and cannot be accused of injustice.
5. following this, the sovereign cannot justly be put to death by the subjects.
6. because the purpose of the commonwealth is peace, and the sovereign has the right to do whatever he thinks necessary for the preserving of peace and security and prevention of discord. Therefore, the sovereign may judge what opinions and doctrines are averse, who shall be allowed to speak to multitudes, and who shall examine the doctrines of all books before they are published.
7. to prescribe the rules of civil law and property.
8. to be judge in all cases.
9. to make war and peace as he sees fit and to command the army.
10. to choose counsellors, ministers, magistrates and officers.
11. to reward with riches and honour or to punish with corporal or pecuniary punishment or ignominy.
12. to establish laws about honour and a scale of worth.

Hobbes explicitly rejects the idea of Separation of Powers, in particular the form that would later become the separation of powers under the United States Constitution. Part 6 is a perhaps under-emphasised feature of Hobbes's argument: his is explicitly in favour of censorship of the press and restrictions on the rights of free speech should they be considered desirable by the sovereign in order to promote order.

Types of commonwealth[link]

There are three (monarchy, aristocracy and democracy):

The difference of Commonwealths consisted in the difference of the sovereign, or the person representative of all and every one of the multitude. And because the sovereignty is either in one man, or in an assembly of more than one; and into that assembly either every man hath right to enter, or not every one, but certain men distinguished from the rest; it is manifest there can be but three kinds of Commonwealth. For the representative must needs be one man, or more; and if more, then it is the assembly of all, or but of a part. When the representative is one man, then is the Commonwealth a monarchy; when an assembly of all that will come together, then it is a democracy, or popular Commonwealth; when an assembly of a part only, then it is called an aristocracy.

And only three:

Other kind of Commonwealth there can be none: for either one, or more, or all, must have the sovereign power (which I have shown to be indivisible) entire. There be other names of government in the histories and books of policy; as tyranny and oligarchy; but they are not the names of other forms of government, but of the same forms misliked. For they that are discontented under monarchy call it tyranny; and they that are displeased with aristocracy call it oligarchy: so also, they which find themselves grieved under a democracy call it anarchy, which signifies want of government; and yet I think no man believes that want of government is any new kind of government: nor by the same reason ought they to believe that the government is of one kind when they like it, and another when they mislike it or are oppressed by the governors.

And monarchy is the best, on practical grounds:

The difference between these three kinds of Commonwealth consisteth not in the difference of power, but in the difference of convenience or aptitude to produce the peace and security of the people; for which end they were instituted. And to compare monarchy with the other two, we may observe: first, that whosoever beareth the person of the people, or is one of that assembly that bears it, beareth also his own natural person. And though he be careful in his politic person to procure the common interest, yet he is more, or no less, careful to procure the private good of himself, his family, kindred and friends; and for the most part, if the public interest chance to cross the private, he prefers the private: for the passions of men are commonly more potent than their reason. From whence it follows that where the public and private interest are most closely united, there is the public most advanced. Now in monarchy the private interest is the same with the public. The riches, power, and honour of a monarch arise only from the riches, strength, and reputation of his subjects. For no king can be rich, nor glorious, nor secure, whose subjects are either poor, or contemptible, or too weak through want, or dissension, to maintain a war against their enemies; whereas in a democracy, or aristocracy, the public prosperity confers not so much to the private fortune of one that is corrupt, or ambitious, as doth many times a perfidious advice, a treacherous action, or a civil war.

Succession[link]

The right of succession always lies with the sovereign. Democracies and aristocracies have easy succession; monarchy is harder:

The greatest difficulty about the right of succession is in monarchy:

and the difficulty ariseth from this, that at first sight, it is not manifest who is to appoint the successor; nor many times who it is whom he hath appointed. For in both these cases, there is required a more exact ratiocination than every man is accustomed to use.

Because in general people haven't thought carefully. However, the succession is definitely in the gift of the monarch:

As to the question who shall appoint the successor of a monarch that hath the sovereign authority... we are to consider that either he that is in possession has right to dispose of the succession, or else that right is again in the dissolved multitude. ... Therefore it is manifest that by the institution of monarchy, the disposing of the successor is always left to the judgement and will of the present possessor.

But, it is not always obvious who the monarch has appointed:

And for the question which may arise sometimes, who it is that the monarch in possession hath designed to the succession and inheritance of his power

However, the answer is:

it is determined by his express words and testament; or by other tacit signs sufficient.

And this means:

By express words, or testament, when it is declared by him in his lifetime, viva voce, or by writing; as the first emperors of Rome declared who should be their heirs.

Note that (perhaps rather radically) this does not have to be any blood relative:

For the word heir does not of itself imply the children or nearest kindred of a man; but whomsoever a man shall any way declare he would have to succeed him in his estate. If therefore a monarch declare expressly that such a man shall be his heir, either by word or writing, then is that man immediately after the decease of his predecessor invested in the right of being monarch.

However, practically this means:

But where testament and express words are wanting, other natural signs of the will are to be followed: whereof the one is custom. And therefore where the custom is that the next of kindred absolutely succeedeth, there also the next of kindred hath right to the succession; for that, if the will of him that was in possession had been otherwise, he might easily have declared the same in his lifetime...

So we end up back at the first-born son, in practice.

Religion[link]

In Leviathan, Hobbes explicitly states that the sovereign has authority to assert power over matters of faith and doctrine, and that if he does not do so, he invites discord. Hobbes presents his own religious theory, but states that he would defer to the will of the sovereign (when that was re-established: again, Leviathan was written during the Civil War) as to whether his theory was acceptable. Tuck argues that it further marks Hobbes as a supporter of the religious policy of the post-Civil War English republic, Independency.^{[citation needed]}

Taxation[link]

Thomas Hobbes also touched upon the sovereign's ability to tax in Leviathan, although he is not as widely cited for his economic theories as he is for his political theories.^[7] Hobbes believed that equal justice includes the equal imposition of taxes. The equality of taxes doesn’t depend on equality of wealth, but on the equality of the debt that every man owes to the commonwealth for his defence and the maintenance of the rule of law.^[8] Hobbes also supported public support for those unable to maintain themselves by labour, which would presumably be funded by taxation. He advocated public encouragement of works of Navigation etc. to usefully employ the poor who could work.

Part III: Of a Christian Common-wealth[link]

In Part III Hobbes seeks to investigate the nature of a Christian commonwealth. This immediately raises the question of which scriptures we should trust, and why. If any person may claim supernatural revelation superior to the civil law, then there would be chaos, and Hobbes' fervent desire is to avoid this. Hobbes thus begins by establishing that we cannot infallibly know another's personal word to be divine revelation:

When God speaketh to man, it must be either immediately or by mediation of another man, to whom He had formerly spoken by Himself immediately. How God speaketh to a man immediately may be understood by those well enough to whom He hath so spoken; but how the same should be understood by another is hard, if not impossible, to know. For if a man pretend to me that God hath spoken to him supernaturally, and immediately, and I make doubt of it, I cannot easily perceive what argument he can produce to oblige me to believe it.

This is good, but if applied too fervently would lead to all the Bible being rejected. So, Hobbes says, we need a test: and the true test is established by examining the books of scripture, and is:

So that it is manifest that the teaching of the religion which God hath established, and the showing of a present miracle, joined together, were the only marks whereby the Scripture would have a true prophet.

And Seeing therefore miracles now cease this means that only the books of the Bible can be trusted. Hobbes then discusses the various books which are accepted by various sects, and the question much disputed between the diverse sects of Christian religion, from whence the Scriptures derive their authority. To Hobbes, it is manifest that none can know they are God's word (though all true Christians believe it) but those to whom God Himself hath revealed it supernaturally. And therefore The question truly stated is: by what authority they are made law?

Unsurprisingly, Hobbes concludes that ultimately there is no way to determine this other than the civil power:

He therefore to whom God hath not supernaturally revealed that they are His, nor that those that published them were sent by Him, is not obliged to obey them by any authority but his whose commands have already the force of laws; that is to say, by any other authority than that of the Commonwealth, residing in the sovereign, who only has the legislative power.

He discusses the Ten Commandments, and asks who it was that gave to these written tables the obligatory force of laws. There is no doubt but they were made laws by God Himself: but because a law obliges not, nor is law to any but to them that acknowledge it to be the act of the sovereign, how could the people of Israel, that were forbidden to approach the mountain to hear what God said to Moses, be obliged to obedience to all those laws which Moses propounded to them? and concludes, as before, that making of the Scripture law, belonged to the civil sovereign.

Finally: We are to consider now what office in the Church those persons have who, being civil sovereigns, have embraced also the Christian faith? to which the answer is: Christian kings are still the supreme pastors of their people, and have power to ordain what pastors they please, to teach the Church, that is, to teach the people committed to their charge.

There is an enormous amount of biblical scholarship in this third part. However, once Hobbes's initial argument is accepted (that no-one can know for sure anyone else's divine revelation) his conclusion (the religious power is subordinate to the civil) follows from his logic. The very extensive discussions of the chapter were probably necessary for its time. The need (as Hobbes saw it) for the civil sovereign to be supreme arose partly from the many sects that arose around the civil war, and to quash the Pope of Rome's challenge, to which Hobbes devotes an extensive section.

Part IV: Of the Kingdom of Darkness[link]

Hobbes named Part IV of his book Kingdom of Darkness. By this, Hobbes does not mean Hell (he did not believe in Hell or Purgatory)^[9] but the darkness of ignorance as opposed to the light of true knowledge. Hobbes' interpretation is largely unorthodox and so sees much darkness in what he sees as the misinterpretation of Scripture.

This considered, the kingdom of darkness... is nothing else but a confederacy of deceivers that, to obtain dominion over men in this present world, endeavour, by dark and erroneous doctrines, to extinguish in them the light.... Chapter XLIV

Hobbes enumerates four causes of this darkness.

The first is by extinguishing the light of scripture through misinterpretation. Hobbes sees the main abuse as teaching that the kingdom of God can be found in the church, thus undermining the authority of the civil sovereign. Another general abuse of scripture, in his view, is the turning of consecration into conjuration, or silly ritual.

The second cause is the demonology of the heathen poets concerning demons, which in Hobbes opinion are nothing more than constructs of the brain. Hobbes then goes on to criticise what he sees as many of the practices of Catholicism: "Now for the worship of saints, and images, and relics, and other things at this day practised in the Church of Rome, I say they are not allowed by the word of God".

The third is by mixing with the Scripture diverse relics of the religion, and much of the vain and erroneous philosophy of the Greeks, especially of Aristotle. Hobbes has little time for the various disputing sects of philosophers and objects to what people have taken From Aristotle's civil philosophy, they have learned to call all manner of Commonwealths but the popular (such as was at that time the state of Athens), tyranny. At the end of this comes an interesting section (darkness is suppressing true knowledge as well as introducing falsehoods), which would appear to bear on the discoveries of Galileo Galilei. "Our own navigations make manifest, and all men learned in human sciences now acknowledge, there are antipodes" (i.e., the Earth is round) "...Nevertheless, men... have been punished for it by authority ecclesiastical. But what reason is there for it? Is it because such opinions are contrary to true religion? That cannot be, if they be true." However, Hobbes is quite happy for the truth to be suppressed if necessary: if "they tend to disorder in government, as countenancing rebellion or sedition? Then let them be silenced, and the teachers punished" – but only by the civil authority.

The fourth is by mingling with both these, false or uncertain traditions, and feigned or uncertain history.

Hobbes finishes by inquiring who benefits from the errors he diagnoses:

CICERO maketh honourable mention of one of the Cassii, a severe judge amongst the Romans, for a custom he had in criminal causes, when the testimony of the witnesses was not sufficient, to ask the accusers, cui bono; that is to say, what profit, honour, or other contentment the accused obtained or expected by the fact. For amongst presumptions, there is none that so evidently declareth the author as doth the benefit of the action.

Hobbes concludes that the beneficiaries are the churches and churchmen.

See also[link]

• Behemoth by Thomas Hobbes
• Bellum omnium contra omnes
• Classical republicanism
• Social contract theories

References[link]

Further reading[link]

• Baumrin, Bernard Herbert (ed.) Hobbes's Leviathan – interpretation and criticism Belmont, CA: Wadsworth, 1969
• Harrison, Ross. Hobbes, Locke, and Confusion's Empire: an Examination of Seventeenth-Century Political Philosophy. Cambridge University Press, 2003.
• Hobbes, Thomas. Leviathan- Revised Edition, eds. A.P. Martinich and Brian Battiste. Peterborough, ON: Broadview Press, 2010. ISBN 978-1-55481-003-1. [1]
• Hobbes, Thomas. Leviathan: Or the Matter, Forme, and Power of a Common-Wealth Ecclesiasticall and Civill, ed. by Ian Shapiro (Yale University Press; 2010).
• Hood, Francis Campbell. The divine politics of Thomas Hobbes – an interpretation of Leviathan, Oxford: Clarendon Press, 1964
• Johnston, David. The rhetoric of Leviathan – Thomas Hobbes and the politics of cultural transformation, Princeton, N.J.: Princeton University Press, 1986
• Rogers, Graham Alan John. Leviathan – contemporary responses to the political theory of Thomas Hobbes Bristol: Thoemmes Press, 1995
• Schmitt, Carl. The Leviathan in the state theory of Thomas Hobbes – meaning and failure of a political symbol, Chicago: The University of Chicago Press, 2008 (earlier: Greenwood Press, 1996)
• Windolph, Francis Lyman. Leviathan and natural law, Princeton NJ: Princeton University Press, 1951
• Zagorin, Perez. Hobbes and the Law of Nature, Princeton: Princeton University Press, 2009

External links[link]

Wikisource has original text related to this article: Leviathan

• Reprint from the 1651 Edition
• Full Text and PDF Version of Leviathan
• Leviathan at Project Gutenberg
• Free audio version of books 1 and 2 of Leviathan from LibriVox
• Full text online at oregonstate.edu
• A reduced version of Leviathan at earlymoderntexts.com

"Destruction of Leviathan". 1865 engraving by Gustave Doré

Leviathan (/lɨˈvaɪ.əθən/; Hebrew: לִוְיָתָן, Modern Livyatan Tiberian Liwyāṯān ; "twisted, coiled"), is a sea monster referred to in the Bible. In Demonology, the Leviathan is one of the seven princes of Hell and its gatekeeper (see Hellmouth). The word has become synonymous with any large sea monster or creature. In literature (e.g., Herman Melville's Moby-Dick) it refers to great whales, and in Modern Hebrew, it means simply "whale." It is described extensively in Job 41.

Hebrew Bible[link]

The Leviathan is mentioned six times in the Hebrew Bible, with Job 41:1-41:34 being dedicated to describing him in detail:^[1]

¹ Can you pull in the leviathan with a fishhook or tie down his tongue with a rope?

² Can you put a cord through his nose or pierce his jaw with a hook?

³ Will he keep begging you for mercy? Will he speak to you with gentle words?

⁴ Will he make an agreement with you for you to take him as your slave for life?

⁵ Can you make a pet of him like a bird or put him on a leash for your girls?

⁶ Will traders barter for him? Will they divide him up among the merchants?

⁷ Can you fill his hide with harpoons or his head with fishing spears?

⁸ If you lay a hand on him, you will remember the struggle and never do it again!

⁹ Any hope of subduing him is false; the mere sight of him is overpowering.

¹⁰ No-one is fierce enough to rouse him. Who then is able to stand against me?

¹¹ Who has a claim against me that I must pay? Everything under heaven belongs to me.

¹² I will not fail to speak of his limbs, his strength and his graceful form.

¹³ Who can strip off his outer coat? Who would approach him with a bridle?

¹⁴ Who dares open the doors of his mouth, ringed about with his fearsome teeth?

¹⁵ His back has rows of shields tightly sealed together;

¹⁶ each is so close to the next that no air can pass between.

¹⁷ They are joined fast to one another; they cling together and cannot be parted.

¹⁸ His snorting throws out flashes of light; his eyes are like the rays of dawn.

¹⁹ Firebrands stream from his mouth; sparks of fire shoot out.

²⁰ Smoke pours from his nostrils as from a boiling pot over a fire of reeds.

²¹ His breath sets coals ablaze, and flames dart from his mouth.

²² Strength resides in his neck; dismay goes before him.

²³ The folds of his flesh are tightly joined; they are firm and immovable.

²⁴ His chest is hard as rock, hard as a lower millstone.

²⁵ When he rises up, the mighty are terrified; they retreat before his thrashing.

²⁶ The sword that reaches him has no effect, nor does the spear or the dart or the javelin.

²⁷ Iron he treats like straw and bronze like rotten wood.

²⁸ Arrows do not make him flee, sling stones are like chaff to him.

²⁹ A club seems to him but a piece of straw, he laughs at the rattling of the lance.

³⁰ His undersides are jagged potsherds, leaving a trail in the mud like a threshing-sledge.

³¹ He makes the depths churn like a boiling cauldron and stirs up the sea like a pot of ointment.

³² Behind him he leaves a glistening wake; one would think the deep had white hair.

³³ Nothing on earth is his equal— a creature without fear.

³⁴ He looks down on all that are haughty; he is king over all that are proud.

In Psalm 74 Yahweh is said to "break the heads of Leviathan in pieces" before giving his flesh to the people of the wilderness; in Psalm 104 Yahweh is praised for having made all things, including Leviathan; and in Isaiah 27:1 he is called the "wriggling serpent" who will be killed at the end of time.^[2]

Ancient Middle Eastern origins[link]

Sea serpents feature prominently in the mythology of the Ancient Near East, attested as early as the 3rd millennium BCE in Sumerian iconography depicting the myth of the god Ninurta overcoming the seven-headed serpent. Examples of the storm god vs. sea serpent trope in the Ancient Near East can be seen with Baʿal vs. Yam (Canaanite), Marduk vs. Tiamat (Babylonian), and Atum vs. Nehebkau (Egyptian) among others, with attestations as early as the 2nd millennium as seen on Syrian seals.

In the Ugaritic texts Lotan, or possibly another of Yam's helpers, is given the epithets "wriggling serpent" and "mighty one with the seven heads." Isaiah 27:1 uses the first of these phrases to describe Leviathan (although in this case the name "Leviathan" apparently refers to an unnamed historical/political enemy of Israel rather than the original serpent-monster).^{[citation needed]} In Psalm 104, Leviathan is not described as harmful in any way, but simply as a creature of the ocean, part of God's creation. It is possible that the authors of the Job 41:2-26, on the other hand, based the Leviathan on descriptions of Egyptian animal mythology where the crocodile is the enemy of the sun-god and a crocodile monster to be feared. This is in contrast to typical descriptions of the sea monster trope in terms of mythological combat.^[3]

In later Jewish literature[link]

Leviathan the sea-monster, with Behemoth the land-monster and Ziz the air-monster. "And on that day were two monsters parted, a female monster named Leviathan, to dwell in the abysses of the ocean over the fountains of the waters. But the male is named Behemoth, who occupied with his breast a waste wilderness named Duidain." (1 Enoch 60:7-8)

Later Jewish sources describe Leviathan as a dragon who lives over the Sources of the Deep and who, along with the male land-monster Behemoth, will be served up to the righteous at the end of time.

When the Jewish midrash (explanations of the bible) were being composed, it was held that God originally produced a male and a female leviathan, but lest in multiplying the species should destroy the world, he slew the female, reserving her flesh for the banquet that will be given to the righteous on the advent of the Messiah (B. B. 74b).

Rashi's commentary on Genesis 1:21 repeats the tradition: "God created the great sea monsters - taninim^[4]. According to legend this refers to the Leviathan and its mate. God created a male and female Leviathan, then killed the female and salted it for the righteous, for if the Leviathans were to procreate the world could not stand before them."^{[citation needed]}

In the Talmud Baba Bathra 74b it is told that the Leviathan will be slain and its flesh served as a feast to the righteous in [the] Time to Come, and its skin used to cover the tent where the banquet will take place. The festival of Sukkot (Festival of Booths) therefore concludes with a prayer recited upon leaving the sukkah (booth): "May it be your will, Lord our God and God of our forefathers, that just as I have fulfilled and dwelt in this sukkah, so may I merit in the coming year to dwell in the sukkah of the skin of Leviathan. Next year in Jerusalem." ^[5]

The enormous size of the Leviathan is described by R. Johanan, from whom proceeded nearly all the aggadot concerning this monster: "Once we went in a ship and saw a fish which put his head out of the water. He had horns upon which was written: 'I am one of the meanest creatures that inhabit the sea. I am three hundred miles in length, and enter this day into the jaws of the Leviathan'" (B. B. l.c.).

When the Leviathan is hungry, reports R. Dimi in the name of R. Johanan, he sends forth from his mouth a heat so great as to make all the waters of the deep boil, and if he would put his head into Paradise no living creature could endure the odor of him (ib.). His abode is the Mediterranean Sea; and the waters of the Jordan fall into his mouth (Bek. 55b; B. B. l.c.).

In a legend recorded in the Midrash called Pirke de-Rabbi Eliezer it is stated that the fish which swallowed Jonah narrowly avoided being eaten by the Leviathan, which eats one whale each day.

The body of the Leviathan, especially his eyes, possesses great illuminating power. This was the opinion of R. Eliezer, who, in the course of a voyage in company with R. Joshua, explained to the latter, when frightened by the sudden appearance of a brilliant light, that it probably proceeded from the eyes of the Leviathan. He referred his companion to the words of Job xli. 18: "By his neesings a light doth shine, and his eyes are like the eyelids of the morning" (B. B. l.c.). However, in spite of his supernatural strength, the leviathan is afraid of a small worm called "kilbit", which clings to the gills of large fish and kills them (Shab. 77b).^[6]

In the eleventh century piyyut (religious poem), Akdamut, recited on Shavuot (Pentecost), it is envisioned that, ultimately, God will slaughter the Leviathan, which is described as having "mighty fins" (and, therefore, a kosher fish, not an inedible snake or crocodile), and it will be served as a sumptuous banquet for all the righteous in Heaven.

Christianity[link]

Hellmouth or the Mouth of Hell, by Simon Marmion, from the Getty Tondal, detail.

The Leviathan of the Middle Ages was used as an image of Satan, endangering both God's creatures—by attempting to eat them—and God's creation—by threatening it with upheaval in the waters of Chaos.^[7] St. Thomas Aquinas described Leviathan as the demon of envy, first in punishing the corresponding sinners. (Secunda Secundae Question 36) Leviathan became associated with, and may originally have referred to, the visual motif of the Hellmouth, a monstrous animal into whose mouth the damned disappear at the Last Judgement, found in Anglo-Saxon art from about 800, and later all over Europe.^[8][9]

The Young Earth Creationist opinion is that Leviathan and Behemoth are names given to dinosaurs which existed in Biblical times. ^[10][11]

Leviathan in Satanism[link]

In Satanism, according to the author of The Satanic Bible, Anton Szandor LaVey, Leviathan represents the element of Water and the direction of West. The element of Water in Satanism is associated with life and creation, and may be represented by a Chalice during ritual. In The Satanic Bible, Leviathan is listed as one of the Four Crown Princes of Hell. This association was inspired by the demonic hierarchy from The Book of the Sacred Magic of Abra-Melin the Mage. The Church of Satan uses the Hebrew letters at each of the points of the Sigil of Baphomet to represent Leviathan. Starting from the lowest point of the pentagram, and reading counter-clockwise, the word reads "לִוְיָתָן". Translated, this is (LVIThN) Leviathan.^[12]

See also[link]

References[link]

 This article incorporates text from a publication now in the public domain:  Jewish Encyclopedia. 1901–1906. 

External links[link]

Look up Leviathan in Wiktionary, the free dictionary.

• 'Sea monster' whale fossil unearthed. Named Leviathan by scientists 30 June 2010.
• Putting God on Trial- The Biblical Book of Job contains a major section on the literary use of Leviathan.
• http://www.biblegateway.com/passage/?search=job%2041:1-41:34&version=KJV Job|41:1-41:34|KJV
• The fossilised skull of a colossal "sea monster" has been unearthed along the UK's Jurassic Coast. 27 October 2009
• 'Sea monster' whale fossil unearthed 30 June 2010
• Enuma Elish (Babylonian creation epic)
• Philologos concordance page
• Text of the Leviathan passage from Job 40 and 41

A book is a set of written, printed, illustrated, or blank sheets, made of ink, paper, parchment, or other materials, usually fastened together to hinge at one side. A single sheet within a book is called a leaf, and each side of a leaf is called a page. A book produced in electronic format is known as an electronic book (e-book).

Books may also refer to works of literature, or a main division of such a work. In library and information science, a book is called a monograph, to distinguish it from serial periodicals such as magazines, journals or newspapers. The body of all written works including books is literature. In novels and sometimes other types of books (for example, biographies), a book may be divided into several large sections, also called books (Book 1, Book 2, Book 3, and so on). A lover of books is usually referred to as a bibliophile or, more informally, a bookworm.

A store where books are bought and sold is a bookstore or bookshop. Books can also be borrowed from libraries. In 2010, Google estimated that since the invention of printing, approximately 130,000,000 unique titles had been published.^[1]

Etymology[link]

The word comes from Old English "bōc" which (itself) comes from the Germanic root "*bōk-", cognate to beech.^[2] Similarly, in Slavic languages (for example, Russian, Bulgarian) "буква" (bukva—"letter") is cognate with "beech". In Russian and in Serbian, another Slavic language, the words "букварь" (bukvar') and "буквар" (bukvar), respectively, refer specifically to a primary school textbook that helps young children master the techniques of reading and writing.

It is thus conjectured that the earliest Indo-European writings may have been carved on beech wood.^[3] Similarly, the Latin word codex, meaning a book in the modern sense (bound and with separate leaves), originally meant "block of wood".

History of books[link]

Antiquity[link]

Sumerian language cuneiform script clay tablet, 2400–2200 BC

When writing systems were invented/created in ancient civilizations, nearly everything that could be written upon—stone, clay, tree bark, metal sheets—was used for writing.The study of such inscriptions forms a major part of history.The study of inscriptions is known as epigraphy. Alphabetic writing emerged in Egypt about 5,000 years ago. The Ancient Egyptians would often write on papyrus, a plant grown along the Nile River. At first the words were not separated from each other (scriptural continua) and there was no punctuation. Texts were written from right to left, left to right, and even so that alternate lines read in opposite directions. The technical term for this type of writing is 'boustrophedon,' which means literally 'ox-turning' for the way a farmer drives an ox to plough his fields.

Tablet[link]

A tablet might be defined as a physically robust writing medium, suitable for casual transport and writing. See also stylus.

Clay tablets were just what they sound like: flattened and mostly dry pieces of clay that could be easily carried, and impressed with a ( possible dampened) stylus. They were used as a writing medium, especially for writing in cuneiform, throughout the Bronze Age and well into the Iron Age.

Wax tablets were wooden planks covered in a thick enough coating of wax to record the impressions of a stylus. They were the normal writing material in schools, in accounting, and for taking notes. They had the advantage of being reusable: the wax could be melted, and reformed into a blank. The custom of binding several wax tablets together (Roman pugillares) is a possible precursor for modern books (i.e. codex).^[4] The etymology of the word codex (block of wood) also suggests that it may have developed from wooden wax tablets.^[5]

Scroll[link]

Egyptian papyrus showing the god Osiris and the weighing of the heart.

Papyrus, a thick paper-like material made by weaving the stems of the papyrus plant, then pounding the woven sheet with a hammer-like tool, was used for writing in Ancient Egypt, perhaps as early as the First Dynasty, although the first evidence is from the account books of King Nefertiti Kakai of the Fifth Dynasty (about 2400 BC).^[6] Papyrus sheets were glued together to form a scroll. Tree bark such as lime and other materials were also used.^[7]

According to Herodotus (History 5:58), the Phoenicians brought writing and papyrus to Greece around the 10th or 9th century BC. The Greek word for papyrus as writing material (biblion) and book (biblos) come from the Phoenician port town Byblos, through which papyrus was exported to Greece.^[8] From Greek we also derive the word tome (Greek: τόμος), which originally meant a slice or piece and from there began to denote "a roll of papyrus". Tomus was used by the Latins with exactly the same meaning as volumen (see also below the explanation by Isidore of Seville).

Whether made from papyrus, parchment, or paper, scrolls were the dominant form of book in the Hellenistic, Roman, Chinese, and Hebrew cultures. The more modern codex book format form took over the Roman world by late antiquity, but the scroll format persisted much longer in Asia.

Codex[link]

A Chinese bamboo book meets the modern definition of Codex

In the 5th century, Isidore of Seville explained the then-current relation between codex, book and scroll in his Etymologiae (VI.13): "A codex is composed of many books; a book is of one scroll. It is called codex by way of metaphor from the trunks (codex) 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." Modern usage differs.

A codex (in modern usage) is the first information repository that modern people would recognize as a "book": leaves of uniform size bound in some manner along one edge, and typically held between two covers made of some more robust material. The first written mention of the codex as a form of book is from Martial, in his Apophoreta CLXXXIV at the end of the century, where he praises its compactness. However, the codex never gained much popularity in the pagan Hellenistic world, and only within the Christian community did it gain widespread use.^[9] This change happened gradually during the 3rd and 4th centuries, and the reasons for adopting the codex form of the book are several: the format is more economical, as both sides of the writing material can be used; and it is portable, searchable, and easy to conceal. The Christian authors may also have wanted to distinguish their writings from the pagan texts written on scrolls.

Middle Ages[link]

Manuscripts[link]

Folio 14 recto of the 5th century Vergilius Romanus contains an author portrait of Virgil. Note the bookcase (capsa), reading stand and the text written without word spacing in rustic capitals.

The fall of the Roman Empire in the 5th century A.D. saw the decline of the culture of ancient Rome. Papyrus became difficult to obtain due to lack of contact with Egypt, and parchment, which had been used for centuries, became the main writing material.

Monasteries carried on the Latin writing tradition in the Western Roman Empire. Cassiodorus, in the monastery of Vivarium (established around 540), stressed the importance of copying texts.^[10] St. Benedict of Nursia, in his Regula Monachorum (completed around the middle of the 6th century) later also promoted reading.^[11] The Rule of St. Benedict (Ch. XLVIII), which set aside certain times for reading, greatly influenced the monastic culture of the Middle Ages and is one of the reasons why the clergy were the predominant readers of books. The tradition and style of the Roman Empire still dominated, but slowly the peculiar medieval book culture emerged.

Before the invention and adoption of the printing press, almost all books were copied by hand, which made books expensive and comparatively rare. Smaller monasteries usually had only a few dozen books, medium-sized perhaps a few hundred. By the 9th century, larger collections held around 500 volumes and even at the end of the Middle Ages, the papal library in Avignon and Paris library of Sorbonne held only around 2,000 volumes.^[12]

Burgundian author and scribe Jean Miélot, from his Miracles de Notre Dame, 15th century.

The scriptorium of the monastery was usually located over the chapter house. Artificial light was forbidden for fear it may damage the manuscripts. There were five types of scribes:

• Calligraphers, who dealt in fine book production
• Copyists, who dealt with basic production and correspondence
• Correctors, who collated and compared a finished book with the manuscript from which it had been produced
• Illuminators, who painted illustrations
• Rubricators, who painted in the red letters

The bookmaking process was long and laborious. The parchment had to be prepared, then the unbound pages were planned and ruled with a blunt tool or lead, after which the text was written by the scribe, who usually left blank areas for illustration and rubrication. Finally, the book was bound by the bookbinder.^[13]

Desk with chained books in the Library of Cesena, Italy.

Different types of ink were known in antiquity, usually prepared from soot and gum, and later also from gall nuts and iron vitriol. This gave writing a brownish black color, but black or brown were not the only colors used. There are texts written in red or even gold, and different colors were used for illumination. For very luxurious manuscripts the whole parchment was colored purple, and the text was written on it with gold or silver (for example, Codex Argenteus).^[14]

Irish monks introduced spacing between words in the 7th century. This facilitated reading, as these monks tended to be less familiar with Latin. However, the use of spaces between words did not become commonplace before the 12th century. It has been argued that the use of spacing between words shows the transition from semi-vocalized reading into silent reading.^[15]

The first books used parchment or vellum (calf skin) for the pages. The book covers were made of wood and covered with leather. Because dried parchment tends to assume the form it had before processing, the books were fitted with clasps or straps. During the later Middle Ages, when public libraries appeared, up to 18th century, books were often chained to a bookshelf or a desk to prevent theft. These chained books are called libri catenati.

At first, books were copied mostly in monasteries, one at a time. With the rise of universities in the 13th century, the Manuscript culture of the time led to an increase in the demand for books, and a new system for copying books appeared. The books were divided into unbound leaves (pecia), which were lent out to different copyists, so the speed of book production was considerably increased. The system was maintained by secular stationers guilds, which produced both religious and non-religious material.^[16]

Judaism has kept the art of the scribe alive up to the present. According to Jewish tradition, the Torah scroll placed in a synagogue must be written by hand on parchment, and a printed book would not do, though the congregation may use printed prayer books, and printed copies of the Scriptures are used for study outside the synagogue. A sofer (scribe) is a highly respected member of any observant Jewish community.

Arab printing techniques[link]

This section may contain inappropriate or misinterpreted citations that do not verify the text. Please help improve this article by checking for inaccuracies. (help, talk, get involved!) (September 2010)

Arabs also produced and bound books in the medieval Islamic world, developing advanced techniques in (Arabic calligraphy), miniatures and bookbinding. A number of cities in the medieval Islamic world had book production centers and book markets. Marrakech, Morocco, had a street named Kutubiyyin or book sellers which contained more than 100 bookshops in the 12th century^{[citation needed]}; the famous Koutoubia Mosque is named so because of its location in this street.

The medieval Islamic world also used a method of reproducing reliable copies of a book in large quantities, known as check reading, in contrast to the traditional method of a single scribe producing only a single copy of a single manuscript. In the check reading method, only "authors could authorize copies, and this was done in public sessions in which the copyist read the copy aloud in the presence of the author, who then certified it as accurate."^[17] With this check-reading system, "an author might produce a dozen or more copies from a single reading," and with two or more readings, "more than one hundred copies of a single book could easily be produced."^[18]

Wood block printing[link]

In woodblock printing, a relief image of an entire page was carved into blocks of wood, inked, and used to print copies of that page. This method originated in China, in the Han dynasty (before 220AD), as a method of printing on textiles and later paper, and was widely used throughout East Asia. The oldest dated book printed by this method is The Diamond Sutra (868 AD).

The method (called Woodcut when used in art) arrived in Europe in the early 14th century. Books (known as block-books), as well as playing-cards and religious pictures, began to be produced by this method. Creating an entire book was a painstaking process, requiring a hand-carved block for each page; and the wood blocks tended to crack, if stored for long. The monks or people who wrote them were paid highly.

Movable type and incunabula[link]

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

The Chinese inventor Bi Sheng made movable type of earthenware circa 1045, but there are no known surviving examples of his printing. Around 1450, in what is commonly regarded as an independent invention, Johannes Gutenberg invented movable type in Europe, along with innovations in casting the type based on a matrix and hand mould. This invention gradually made books less expensive to produce, and more widely available.

Early printed books, single sheets and images which were created before 1501 in Europe are known as incunabula. A man born in 1453, the year of the fall of Constantinople, could look back from his fiftieth year on a lifetime in which about eight million books had been printed, more perhaps than all the scribes of Europe had produced since Constantine founded his city in A.D. 330.^[19]

Modern world[link]

Steam-powered printing presses became popular in the early 19th century. These machines could print 1,100 sheets per hour, but workers could only set 2,000 letters per hour.^{[citation needed]}

Monotype and linotype typesetting machines were introduced in the late 19th century. They could set more than 6,000 letters per hour and an entire line of type at once.

The centuries after the 15th century were thus spent on improving both the printing press and the conditions for freedom of the press through the gradual relaxation of restrictive censorship laws. See also intellectual property, public domain, copyright. In mid-20th century, European book production had risen to over 200,000 titles per year.

Book manufacturing in the modern world[link]

This section is too long. Consider either splitting it into new page or sub-sections or summarizing it.

The spine of the book is an important aspect in book design, especially in the cover design. When the books are stacked up or stored in a shelf, the details on the spine is the only visible surface that contains the information about the book. In stores, it is the details on the spine that attract buyers' attention first.

The methods used for the printing and binding of books continued fundamentally unchanged from the 15th century into the early years of the 20th century. While there was of course more mechanization, Gutenberg would have had no difficulty in understanding what was going on if he had visited a book printer in 1900.

Gutenberg's invention was the use of movable metal types, assembled into words, lines, and pages and then printed by letterpress. In letterpress printing ink is spread onto the tops of raised metal type, and is transferred onto a sheet of paper which is pressed against the type. Sheet-fed letterpress printing is still available but tends to be used for collector's books and is now more of an art form than a commercial technique (see Letterpress).

Modern paper books are printed on papers which are designed specifically for the publication of printed books. Traditionally, book papers are off white or low white papers (easier to read), are opaque to minimise the show through of text from one side of the page to the other and are (usually) made to tighter caliper or thickness specifications, particularly for case bound books. Typically, books papers are light weight papers 60 to 90 g/m² and often specified by their caliper/substance ratios (volume basis). For example, a bulky 80 g/m² paper may have a caliper of 120 micrometres (0.12 mm) which would be Volume 15 (120×10/80) whereas a low bulk 80 g/m² may have a caliper of 88 micrometres, giving a volume 11. This volume basis then allows the calculation of a books PPI (printed pages per inch) which is an important factor for the design of book jackets and the binding of the finished book. Different paper qualities are used as book paper depending on type of book: Machine finished coated papers, woodfree uncoated papers, coated fine papers and special fine papers are common paper grades.

Today, the majority of books are printed by offset lithography in which an image of the material to be printed is photographically or digitally transferred to a flexible metal plate where it is developed to exploit the antipathy between grease (the ink) and water. When the plate is mounted on the press, water is spread over it. The developed areas of the plate repel water thus allowing the ink to adhere to only those parts of the plate which are to print. The ink is then offset onto a rubbery blanket (to prevent water from soaking the paper) and then finally to the paper.

When a book is printed the pages are laid out on the plate so that after the printed sheet is folded the pages will be in the correct sequence. Books tend to be manufactured nowadays in a few standard sizes. The sizes of books are usually specified as "trim size": the size of the page after the sheet has been folded and trimmed. Trimming involves cutting approximately 1/8" off top, bottom and fore-edge (the edge opposite to the spine) as part of the binding process to remove the folds so that the pages can be opened. The standard sizes result from sheet sizes (therefore machine sizes) which became popular 200 or 300 years ago, and have come to dominate the industry. The basic standard commercial book sizes in the United States, always expressed as width × height, are: 4¼" × 7" (rack size paperback), 5⅛" × 7⅝" (digest size paperback), 5½" × 8¼", 5½" × 8½", 6⅛" × 9¼", 7" × 10", and 8½" × 11". These "standard" trim sizes will often vary slightly depending on the particular printing presses used, and on the imprecision of the trimming operation. Of course other trim sizes are available, and some publishers favor sizes not listed here which they might nominate as "standard" as well, such as 6" × 9", 8" × 10". In Britain the equivalent standard sizes differ slightly, as well as now being expressed in millimeters, and with height preceding width. Thus the UK equivalent of 6⅛" × 9¼" is 234 × 156 mm. British conventions in this regard prevail throughout the English speaking world, except for USA. The European book manufacturing industry works to a completely different set of standards.

Some books, particularly those with shorter runs (i.e. of which fewer copies are to be made) will be printed on sheet-fed offset presses, but most books are now printed on web presses, which are fed by a continuous roll of paper, and can consequently print more copies in a shorter time. On a sheet-fed press a stack of sheets of paper stands at one end of the press, and each sheet passes through the press individually. The paper will be printed on both sides and delivered, flat, as a stack of paper at the other end of the press. These sheets then have to be folded on another machine which uses bars, rollers and cutters to fold the sheet up into one or more signatures. A signature is a section of a book, usually of 32 pages, but sometimes 16, 48 or even 64 pages. After the signatures are all folded they are gathered: placed in sequence in bins over a circulating belt onto which one signature from each bin is dropped. Thus as the line circulates a complete "book" is collected together in one stack, next to another, and another.

A web press carries out the folding itself, delivering bundles of signatures ready to go into the gathering line. Notice that when the book is being printed it is being printed one (or two) signatures at a time, not one complete book at a time. Thus if there are to be 10,000 copies printed, the press will run 10,000 of the first form (the pages imaged onto the first plate and its back-up plate, representing one or two signatures), then 10,000 of the next form, and so on till all the signatures have been printed. Actually, because there is a known average spoilage rate in each of the steps in the book's progress through the manufacturing system, if 10,000 books are to be made, the printer will print between 10,500 and 11,000 copies so that subsequent spoilage will still allow the delivery of the ordered quantity of books. Sources of spoilage tend to be mainly make-readies.

A make-ready is the preparatory work carried out by the pressmen to get the printing press up to the required quality of impression. Included in make-ready is the time taken to mount the plate onto the machine, clean up any mess from the previous job, and get the press up to speed. The main part of making-ready is however getting the ink/water balance right, and ensuring that the inking is even across the whole width of the paper. This is done by running paper through the press and printing waste pages while adjusting the press to improve quality. Densitometers are used to ensure even inking and consistency from one form to another. As soon as the pressman decides that the printing is correct, all the make-ready sheets will be discarded, and the press will start making books. Similar make readies take place in the folding and binding areas, each involving spoilage of paper.

After the signatures are folded and gathered, they move into the bindery. In the middle of the last century there were still many trade binders – stand-alone binding companies which did no printing, specializing in binding alone. At that time, largely because of the dominance of letterpress printing, the pattern of the industry was for typesetting and printing to take place in one location, and binding in a different factory. When type was all metal, a typical book's worth of type would be bulky, fragile and heavy. The less it was moved in this condition the better: so it was almost invariable that printing would be carried out in the same location as the typesetting. Printed sheets on the other hand could easily be moved. Now, because of the increasing computerization of the process of preparing a book for the printer, the typesetting part of the job has flowed upstream, where it is done either by separately contracting companies working for the publisher, by the publishers themselves, or even by the authors. Mergers in the book manufacturing industry mean that it is now unusual to find a bindery which is not also involved in book printing (and vice versa).

If the book is a hardback its path through the bindery will involve more points of activity than if it is a paperback. A paperback binding line (a number of pieces of machinery linked by conveyor belts) involves few steps. The gathered signatures, book blocks, will be fed into the line where they will one by one be gripped by plates converging from each side of the book, turned spine up and advanced towards a gluing station. En route the spine of the book block will be ground off leaving a roughened edge to the tightly gripped collection of pages. The grinding leaves fibers which will grip onto the glue which is then spread onto the spine of the book. Covers then meet up with the book blocks, and one cover is dropped onto the glued spine of each book block, and is pressed against the spine by rollers. The book is then carried forward to the trimming station, where a three-knife trimmer will simultaneously cut the top and bottom and the fore-edge of the paperback to leave clear square edges. The books are then packed into cartons, or packed on skids, and shipped.

Binding a hardback is more complicated. Look at a hardback book and you will see the cover overlaps the pages by about 1/8" all round. These overlaps are called squares. The blank piece of paper inside the cover is called the endpaper, or endsheet: it is of somewhat stronger paper than the rest of the book as it is the endpapers that hold the book into the case. The endpapers will be tipped to the first and last signatures before the separate signatures are placed into the bins on the gathering line. Tipping involves spreading some glue along the spine edge of the folded endpaper and pressing the endpaper against the signature. The gathered signatures are then glued along the spine, and the book block is trimmed, like the paperback, but will continue after this to the rounder and backer. The book block together with its endpapers will be gripped from the sides and passed under a roller with presses it from side to side, smashing the spine down and out around the sides so that the entire book takes on a rounded cross section: convex on the spine, concave at the fore-edge, with "ears" projecting on either side of the spine. Then the spine is glued again, a paper liner is stuck to it and headbands and footbands are applied. Next a crash lining (an open weave cloth somewhat like a stronger cheesecloth) is usually applied, overlapping the sides of the spine by an inch or more. Finally the inside of the case, which has been constructed and foil-stamped off-line on a separate machine, is glued on either side (but not on the spine area) and placed over the book block. This entire sandwich is now gripped from the outside and pressed together to form a solid bond between the endpapers and the inside of the case. The crash lining, which is glued to the spine of the pages, but not the spine of the case, is held between the endpapers and the case sides, and in fact provides most of the strength holding the book block into the case. The book will then be jacketed (most often by hand, allowing this stage to be an inspection stage also) before being packed ready for shipment.

The sequence of events can vary slightly, and usually the entire sequence does not occur in one continuous pass through a binding line. What has been described above is unsewn binding, now increasingly common. The signatures of a book can also be held together by Smyth sewing. Needles pass through the spine fold of each signature in succession, from the outside to the center of the fold, sewing the pages of the signature together and each signature to its neighbors. McCain sewing, often used in schoolbook binding, involves drilling holes through the entire book and sewing through all the pages from front to back near the spine edge. Both of these methods mean that the folds in the spine of the book will not be ground off in the binding line. This is true of another technique, notch binding, where gashes about an inch long are made at intervals through the fold in the spine of each signature, parallel to the spine direction. In the binding line glue is forced into these "notches" right to the center of the signature, so that every pair of pages in the signature is bonded to every other one, just as in the Smyth sewn book. The rest of the binding process is similar in all instances. Sewn and notch bound books can be bound as either hardbacks or paperbacks.

Making cases happens off-line and prior to the book's arrival at the binding line. In the most basic case making, two pieces of cardboard are placed onto a glued piece of cloth with a space between them into which is glued a thinner board cut to the width of the spine of the book. The overlapping edges of the cloth (about 5/8" all round) are folded over the boards, and pressed down to adhere. After case making the stack of cases will go to the foil stamping area. Metal dies, photoengraved elsewhere, are mounted in the stamping machine and rolls of foil are positioned to pass between the dies and the case to be stamped. Heat and pressure cause the foil to detach from its backing and adhere to the case. Foils come in various shades of gold and silver and in a variety pigment colors, and by careful setup quite elaborate effects can be achieved by using different rolls of foil on the one book. Cases can also be made from paper which has been printed separately and then protected with clear film lamination. A three-piece case is made similarly but has a different material on the spine and overlapping onto the sides: so it starts out as three pieces of material, one each of a cheaper material for the sides and the different, stronger material for the spine.

Recent developments in book manufacturing include the development of digital printing. Book pages are printed, in much the same way as an office copier works, using toner rather than ink. Each book is printed in one pass, not as separate signatures. Digital printing has permitted the manufacture of much smaller quantities than offset, in part because of the absence of make readies and of spoilage. One might think of a web press as printing quantities over 2000, quantities from 250 to 2000 being printed on sheet-fed presses, and digital presses doing quantities below 250. These numbers are of course only approximate and will vary from supplier to supplier, and from book to book depending on its characteristics. Digital printing has opened up the possibility of print-on-demand, where no books are printed until after an order is received from a customer.

Digital format[link]

The term e-book is a contraction of "electronic book"; it refers to a book-length publication in digital form.^[20] An e-book is usually made available through the internet, but also on CD-ROM and other forms. E-Books may be read either via a computer or by means of a portable book display device known as an e-book reader, such as the Sony Reader, Barnes & Noble Nook or the Amazon Kindle. These devices attempt to mimic the experience of reading a print book.

Throughout the 20th century, libraries have faced an ever-increasing rate of publishing, sometimes called an information explosion. The advent of electronic publishing and the Internet means that much new information is not printed in paper books, but is made available online through a digital library, on CD-ROM, or in the form of e-books. An on-line book is an e-book that is available online through the internet.

Though many books are produced digitally, most digital versions are not available to the public, and there is no decline in the rate of paper publishing.^[21] There is an effort, however, to convert books that are in the public domain into a digital medium for unlimited redistribution and infinite availability. This effort is spearheaded by Project Gutenberg combined with Distributed Proofreaders.

There have also been new developments in the process of publishing books. Technologies such as print on demand, which make it possible to print as few as one book at a time, have made self-publishing much easier and more affordable. On-demand publishing has allowed publishers, by avoiding the high costs of warehousing, to keep low-selling books in print rather than declaring them out of print.

Book design[link]

Book design is the art of incorporating the content, style, format, design, and sequence of the various components of a book into a coherent whole.

In the words of Jan Tschichold, book design "though largely forgotten today, methods and rules upon which it is impossible to improve have been developed over centuries. To produce perfect books these rules have to be brought back to life and applied." Richard Hendel describes book design as "an arcane subject" and refers to the need for a context to understand what that means.

Sizes[link]

Real-size facsimile of Codex Gigas

The size of a modern book is based on the printing area of a common flatbed press. The pages of type were arranged and clamped in a frame, so that when printed on a sheet of paper the full size of the press, the pages would be right side up and in order when the sheet was folded, and the folded edges trimmed.

The most common book sizes are:

• Quarto (4to): the sheet of paper is folded twice, forming four leaves (eight pages) approximately 11-13 inches (ca 30 cm) tall
• Octavo (8vo): the most common size for current hardcover books. The sheet is folded three times into eight leaves (16 pages) up to 9 ¾" (ca 23 cm) tall.
• DuoDecimo (12mo): a size between 8vo and 16mo, up to 7 ¾" (ca 18 cm) tall
• Sextodecimo (16mo): the sheet is folded four times, forming 16 leaves (32 pages) up to 6 ¾" (ca 15 cm) tall

Sizes smaller than 16mo are:

• 24mo: up to 5 ¾" (ca 13 cm) tall.
• 32mo: up to 5" (ca 12 cm) tall.
• 48mo: up to 4" (ca 10 cm) tall.
• 64mo: up to 3" (ca 8 cm) tall.

Small books can be called booklets.

Sizes larger than quarto are:

• Folio: up to 15" (ca 38 cm) tall.
• Elephant Folio: up to 23" (ca 58 cm) tall.
• Atlas Folio: up to 25" (ca 63 cm) tall.
• Double Elephant Folio: up to 50" (ca 127 cm) tall.

The largest extant medieval manuscript in the world is Codex Gigas 92 × 50 × 22 cm. The world's largest book made of stone is in Kuthodaw Pagoda (Burma).

The longest book title in the world is 670 words long.

Types of books[link]

Types of books according to their contents[link]

Novels in a Polish bookstore

A common separation by content are fiction and non-fictional books. By no means are books limited to this classification, but it is a separation that can be found in most collections, libraries, and bookstores.

Fiction[link]

Many of the books published today are fictitious stories. They are in-part or completely untrue or fantasy. Historically, paper production was considered too expensive to be used for entertainment. An increase in global literacy and print technology led to the increased publication of books for the purpose of entertainment, and allegorical social commentary. Most fiction is additionally categorized by genre.

The novel is the most common form of fictional book. Novels are stories that typically feature a plot, setting, themes and characters. Stories and narrative are not restricted to any topic; a novel can be whimsical, serious or controversial. The novel has had a tremendous impact on entertainment and publishing markets.^[22] A novella is a term sometimes used for fictional prose typically between 17,500 and 40,000 words, and a novelette between 7,500 and 17,500. A Short story may be any length up to 10,000 words, but these word lengths are not universally established.

Comic books or graphic novels are books in which the story is illustrated. The characters and narrators use speech or thought bubbles to express verbal language.

Non-fiction[link]

A page from a dictionary

In a library, a reference book is a general type of non-fiction book which provides information as opposed to telling a story, essay, commentary, or otherwise supporting a point of view. An almanac is a very general reference book, usually one-volume, with lists of data and information on many topics. An encyclopedia is a book or set of books designed to have more in-depth articles on many topics. A book listing words, their etymology, meanings, and other information is called a dictionary. A book which is a collection of maps is an atlas. A more specific reference book with tables or lists of data and information about a certain topic, often intended for professional use, is often called a handbook. Books which try to list references and abstracts in a certain broad area may be called an index, such as Engineering Index, or abstracts such as chemical abstracts and biological abstracts.

An atlas

Books with technical information on how to do something or how to use some equipment are called instruction manuals. Other popular how-to books include cookbooks and home improvement books.

Students typically store and carry textbooks and schoolbooks for study purposes. Elementary school pupils often use workbooks, which are published with spaces or blanks to be filled by them for study or homework. In US higher education, it is common for a student to take an exam using a blue book.

A page from a notebook used as hand written diary

There is a large set of books that are made only to write private ideas, notes, and accounts. These books are rarely published and are typically destroyed or remain private. Notebooks are blank papers to be written in by the user. Students and writers commonly use them for taking notes. Scientists and other researchers use lab notebooks to record their notes. They often feature spiral coil bindings at the edge so that pages may easily be torn out.

A Telephone Directory, with business and residence listings.

Address books, phone books, and calendar/appointment books are commonly used on a daily basis for recording appointments, meetings and personal contact information.

Books for recording periodic entries by the user, such as daily information about a journey, are called logbooks or simply logs. A similar book for writing the owner's daily private personal events, information, and ideas is called a diary or personal journal.

Businesses use accounting books such as journals and ledgers to record financial data in a practice called bookkeeping.

Other types[link]

There are several other types of books which are not commonly found under this system. Albums are books for holding a group of items belonging to a particular theme, such as a set of photographs, card collections, and memorabilia. One common example is stamp albums, which are used by many hobbyists to protect and organize their collections of postage stamps. Such albums are often made using removable plastic pages held inside in a ringed binder or other similar smolder. Picture books children's books with little text and pictures on every page

Hymnals are books with collections of musical hymns that can typically be found in churches. Prayerbooks or missals are books that contain written prayers and are commonly carried by monks, nuns, and other devoted followers or clergy.

Types of books according to their binding or cover[link]

Hardcover books

Paperback books

Hardcover books have a stiff binding. Paperback books have cheaper, flexible covers which tend to be less durable. An alternative to paperback is the glossy cover, otherwise known as a dust cover, found on magazines, and comic books. Spiral-bound books are bound by spirals made of metal or plastic. Examples of spiral-bound books include: teachers' manuals and puzzle books (crosswords, sudoku).

Publishing is a process for producing pre-printed books, magazines, and newspapers for the reader/user to buy.

Publishers may produce low-cost, pre-publication copies known as galleys or 'bound proofs' for promotional purposes, such as generating reviews in advance of publication. Galleys are usually made as cheaply as possible, since they are not intended for sale.

Collections of books[link]

Celsus Library was built in 135 AD and could house around 12,000 scrolls.

Private or personal libraries made up of non-fiction and fiction books, (as opposed to the state or institutional records kept in archives) first appeared in classical Greece. In ancient world the maintaining of a library was usually (but not exclusively) the privilege of a wealthy individual. These libraries could have been either private or public, i.e. for people who were interested in using them. The difference from a modern public library lies in the fact that they were usually not funded from public sources. It is estimated that in the city of Rome at the end of the 3rd century there were around 30 public libraries. Public libraries also existed in other cities of the ancient Mediterranean region (for example, Library of Alexandria).^[23] Later, in the Middle Ages, monasteries and universities had also libraries that could be accessible to general public. Typically not the whole collection was available to public, the books could not be borrowed and often were chained to reading stands to prevent theft.

The beginning of modern public library begins around 15th century when individuals started to donate books to towns.^[24] The growth of a public library system in the United States started in the late 19th century and was much helped by donations from Andrew Carnegie. This reflected classes in a society: The poor or the middle class had to access most books through a public library or by other means while the rich could afford to have a private library built in their homes. In the United States the Boston Public Library 1852 Report of the Trustees established the justification for the public library as a tax-supported institution intended to extend educational opportunity and provide for general culture.^[25]

The advent of paperback books in the 20th century led to an explosion of popular publishing. Paperback books made owning books affordable for many people. Paperback books often included works from genres that had previously been published mostly in pulp magazines. As a result of the low cost of such books and the spread of bookstores filled with them (in addition to the creation of a smaller market of extremely cheap used paperbacks) owning a private library ceased to be a status symbol for the rich.

In library and booksellers' catalogues, it is common to include an abbreviation such as "Crown 8vo" to indicate the paper size from which the book is made.

When rows of books are lined on a book holder, bookends are sometimes needed to keep them from slanting.

Identification and classification[link]

During the 20th century, librarians were concerned about keeping track of the many books being added yearly to the Gutenberg Galaxy. Through a global society called the International Federation of Library Associations and Institutions (IFLA), they devised a series of tools including the International Standard Bibliographic Description (ISBD).

ISBN with barcode

Each book is specified by an International Standard Book Number, or ISBN, which is unique to every edition of every book produced by participating publishers, world wide. It is managed by the ISBN Society. An ISBN has four parts: the first part is the country code, the second the publisher code, and the third the title code. The last part is a check digit, and can take values from 0–9 and X (10). The EAN Barcodes numbers for books are derived from the ISBN by prefixing 978, for Bookland, and calculating a new check digit.

Commercial publishers in industrialized countries generally assign ISBNs to their books, so buyers may presume that the ISBN is part of a total international system, with no exceptions. However, many government publishers, in industrial as well as developing countries, do not participate fully in the ISBN system, and publish books which do not have ISBNs.

A large or public collection requires a catalogue. Codes called "call numbers" relate the books to the catalogue, and determine their locations on the shelves. Call numbers are based on a Library classification system. The call number is placed on the spine of the book, normally a short distance before the bottom, and inside.

Institutional or national standards, such as ANSI/NISO Z39.41 - 1997, establish the correct way to place information (such as the title, or the name of the author) on book spines, and on "shelvable" book-like objects, such as containers for DVDs, video tapes and software.

Books on library shelves with bookends, and call numbers visible on the spines

One of the earliest and most widely known systems of cataloguing books is the Dewey Decimal System. Another widely known system is the Library of Congress Classification system. Both systems are biased towards subjects which were well-represented in US libraries when they were developed, and hence have problems handling new subjects, such as computing, or subjects relating to other cultures.^{[citation needed]}

Information about books and authors can be stored in databases like online general-interest book databases.

Metadata about a book may include its ISBN or other classification number (see above), the names of contributors (author, editor, illustrator) and publisher, its date and size, and the language of the text.

Classification systems[link]

• Bliss bibliographic classification (BC)
• Chinese Library Classification (CLC)
• Colon Classification
• Dewey Decimal Classification (DDC)
• Harvard-Yenching Classification
• Library of Congress Classification (LCC)
• New Classification Scheme for Chinese Libraries
• Universal Decimal Classification (UDC)

Uses for books[link]

Aside from the primary purpose of reading them, books are also used for other ends:

• A book can be an artistic artifact, a piece of art; this is sometimes known as an artists' book.
• A book may be evaluated by a reader or professional writer to create a book review.
• A book may be read by a group of people to use as a spark for social or academic discussion, as in a book club.
• A book may be studied by students as the subject of a writing and analysis exercise in the form of a book report.
• Books are sometimes used for their exterior appearance to decorate a room, such as a study.

Paper and conservation issues[link]

Halfbound book with leather and marbled paper.

Though papermaking in Europe had begun around the 11th century, up until the beginning of 16th century vellum and paper were produced congruent to one another, vellum being the more expensive and durable option. Printers or publishers would often issue the same publication on both materials, to cater to more than one market.

Paper was first made in China, as early as 200 B.C., and reached Europe through Muslim territories. At first made of rags, the industrial revolution changed paper-making practices, allowing for paper to be made out of wood pulp.

Paper made from wood pulp became popular in the early 20th century, because it was cheaper than linen or abaca cloth-based papers. Pulp-based paper made books less expensive to the general public. This paved the way for huge leaps in the rate of literacy in industrialised nations, and enabled the spread of information during the Second Industrial Revolution.

However pulp paper contained acid, that eventually destroys the paper from within. Earlier techniques for making paper used limestone rollers, which neutralized the acid in the pulp. Books printed between 1850 and 1950 are at risk; more recent books are often printed on acid-free or alkaline paper. Libraries today have to consider mass deacidification of their older collections.

Stability of the climate is critical to the long-term preservation of paper and book material.^[26] Good air circulation is important to keep fluctuation in climate stable. The HVAC system should be up to date and functioning efficiently. Light is detrimental to collections. Therefore, care should be given to the collections by implementing light control. General housekeeping issues can be addressed, including pest control. In addition to these helpful solutions, a library must also make an effort to be prepared if a disaster occurs, one that they cannot control. Time and effort should be given to create a concise and effective disaster plan to counteract any damage incurred through "acts of god" therefore an emergency management plan should be in place.

See also[link]

References[link]

External links[link]

Wikibooks has more on the topic of Book

Look up book in Wiktionary, the free dictionary.

Find more about Book on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• Centre for the History of the Book
• Manuscripts, Books, and Maps: The Printing Press and a Changing World
• Society for the History of Authorship, Reading and Publishing
• Old Books, How to find information on publication history and value (1998) Smithsonian Institution Libraries

lez:Улуб

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (December 2011)

Scott Westerfeld
Westerfeld at Utopiales 2010
Born	(1963-05-05) May 5, 1963 (age 49) Dallas, Texas, USA
Nationality	American
Period	1990s – present
Genres	Young adult
Spouse(s)	Justine Larbalestier
[scottwesterfeld.com scottwesterfeld.com]

Scott Westerfeld (born May 5, 1963) is an American author of science fiction. He was born in Texas and now divides his time between Sydney, Australia and New York City, USA.

Books[link]

Scott Westerfeld is most well known for the Uglies series. He also wrote The Risen Empire and The Killing of Worlds, parts one and two of the same work, originally titled Succession, published in the UK in 2005 under the title The Risen Empire.

Scott Westerfeld has written a manga series called Shay's Story. This book is now available.^[1] Scott Westerfeld has also written the Leviathan trilogy, consisting of Leviathan, Behemoth, and Goliath. The Manual of Aeronautics, an illustrated guide to the Leviathan series, comes out on August 20, 2013.

Scott Westerfeld has revealed on his blog that he is currently writing another book. For now, anything about it is not known to the public.

His novels have also been optioned for films: So Yesterday has been optioned to be made into a film by one of the producers of Fahrenheit 9/11 and Bowling for Columbine.^[2] However, this option 'slowly died', as Scott Westerfeld wrote on his blog. The Uglies series was optioned in 2006 by Twentieth Century Fox as a possible film series.^[3] The script has recently been written.

Personal life[link]

As a child, Scott Westerfeld moved to California and Connecticut for his father's job. Lloyd, his father, was a computer programmer. He saw his dad working with planes, submarines, and the Apollo missions.

Westerfeld graduated from Vassar College in 1985. In an early career, Scott Westerfeld was a composer. In the 1980s, Scott Westerfeld moved to New York, which inspired his book, Polymorph. In 2001, Westerfeld married the Australian author Justine Larbalestier.

Awards[link]

• Evolution's Darling was a New York Times Notable Book (2000), and won a Special Citation for the 2000 Philip K. Dick Award.
• So Yesterday won a Victorian Premier's Award
• The Secret Hour won an Aurealis Award.
• Peeps and Uglies were both named as "Best Books for Young Adults" 2006 by the American Library Association
• Behemoth won a 2010 Locus Award for Best Young Adult Fiction
• "Leviathan was nominated for an ORCA (Oregon Reader's Choice Award) in the intermediate division

Bibliography[link]

Novels[link]

• Polymorph (1997)
• Fine Prey (1998)
• Evolution's Darling (2000)
• So Yesterday (2004)

Succession series[link]

• The Risen Empire (2003) [both titles in this series re-published in 2005 in one volume as The Risen Empire]
• The Killing of Worlds (2003)

Midnighters series[link]

• The Secret Hour (2004)
• Touching Darkness (2005)
• Blue Noon (2006)

Uglies series[link]

• Uglies (2005)
• Pretties (2005)
• Specials (2006)
• Extras (2007)
• Bogus to Bubbly: An Insider's Guide to the World of Uglies (2008)
• Shay's Story (Manga version of Uglies) (2012)

Peeps series[link]

• Peeps (also known as Parasite Positive in Britain and "V-Virus" or "Peeps" in Canada) (2005)
• The Last Days

Leviathan series[link]

• Leviathan (October 6, 2009)
• Behemoth (October 5, 2010)
• Goliath (September 20, 2011)
• The Manual of Aeronautics (August 21, 2012)

References[link]

External links[link]

• Scott Westerfeld's website
• Scott Westerfeld's blog
• Interview with Scott Westerfeld at SFFWorld.com
• Westerboard – A forum devoted to Scott Westerfeld
• Westerfeld Forums-A forum devoted to Scott Westerfeld
• Locus Online: Scott Westerfeld interview excerpts
• Novel synopses, cover art, and reviews at Fantasy Literature
• About Scott Westerfeld's books
• Scott Westerfeld at the Internet Speculative Fiction Database

David Horowitz
Horowitz in February 2011
Born	(1939-01-10) January 10, 1939 (age 73) Forest Hills
Occupation	Conservative activist, writer
Nationality	United States
Spouse(s)	Elissa Krauthamer (deceased) Sam Moorman (divorced) Shay Marlowe (divorced) April Mullvain Horowitz (current)
Children	Jonathon Daniel, Benjamin Horowitz, Anne Pilat, Sarah Rose Horowitz (deceased)[1]

David Joel Horowitz (born January 10, 1939) is an American conservative writer and policy advocate. He is a founder and current president of the David Horowitz Freedom Center and edits FrontPage Magazine. Horowitz also founded the organization Students for Academic Freedom, whose self-stated goal is combating "leftist indoctrination" in academia.

Horowitz was raised by parents who were members of the Communist Party USA. Between 1956 and 1975, Horowitz was an outspoken adherent of the New Left before rejecting Leftism completely. Horowitz has recounted his ideological journey in a series of retrospectives, culminating with his 1996 memoir Radical Son: A Generational Odyssey.

Family[link]

Horowitz was born to a Secular Jewish family in Forest Hills, New York City. His parents, Phil and Blanche Horowitz, were high school teachers. Phil taught English and Blanche taught stenography.^[2] Horowitz majored in English and received a BA from Columbia University in 1959 and a master's degree in English literature at University of California, Berkeley.

Phil and Blanche Horowitz were long-standing members of the American Communist Party and avid supporters of Joseph Stalin.^[3][4]

According to Horowitz,

"Underneath the ordinary surfaces of their lives, my parents and their friends thought of themselves as secret agents. The mission they had undertaken, and about which they could not speak freely except with each other, was not just an idea to them. It was more important to their sense of themselves than anything else they did. Nor were its tasks of a kind they could attend or ignore, depending on their moods. They were more like the obligations of a religious faith. Except that their faith was secular, and the millennium they awaited was being instituted, at that moment, in the very country that had become America's enemy. It was this fact that made their ordinary lives precarious and their secrecy necessary. If they lived under a cloud of suspicion, it was the result of more than just their political passions. The dropping of the atomic bomb on Hiroshima had created a terror in the minds of ordinary people. Newspapers reported on American spy rings working to steal atomic secrets for the Soviet state. When people read these stories, they inevitably thought of progressives like us. And so did we ourselves. Even if we never encountered a Soviet agent or engaged in a single illegal act, each of us knew that our commitment to socialism implied the obligation to commit treason, too."^[5]

After the death of Stalin in 1953, Phil Horowitz, commenting on how the numerous official titles held by Stalin had to be divided among his successors, told his son, "You see what a genius Stalin was. It took five men to replace him."^[6]

Career in the New Left[link]

The Horowitz family broke with the American Communist Party after the publication of Nikita Khrushchev's Secret Speech in 1956. According to Horowitz,

"The publication of the Khrushchev Report was probably the greatest blow struck against the Soviet Empire during the Cold War. When my parents and their friends opened the morning Times and read its text, their world collapsed -- and along with it their will to struggle. If the document was true, almost everything they had said and believed was false. Their secret mission had led them into waters so deep that its tide had overwhelmed them, taking with it the very meaning of their lives."^[7]

In the early 1960s, Horowitz lived in London as an employee of the Bertrand Russell Peace Foundation.^[8] He regarded himself as a serious Marxist intellectual. In 1966, Ralph Schoenman persuaded Bertrand Russell to convene a war crimes tribunal to judge American involvement in the Vietnam War.^[9] Horowitz developed serious reservations about the process when the tribunal's judges, who included Isaac Deutscher, Jean-Paul Sartre, Stokely Carmichael, Simone de Beauvoir, James Baldwin, and Vladimir Dedijer, degenerated into a feuding rabble.^[10] See Russell Tribunal.

While in London, Horowitz was a close friend of Deutscher, of whom he published a biography in 1971.^[11][12] He also wrote The Free World Colossus: A Critique of American Foreign Policy in the Cold War.

In January 1968, Horowitz returned to the United States and became editor of the New Left magazine, Ramparts.

During the early 1970s, Horowitz developed a close friendship with Black Panther Party founder Huey P. Newton. In Horowitz's subsequent writings, Newton is depicted as equal parts gangster, terrorist, intellectual, and media celebrity.

As part of their work together, Horowitz helped raised money for Newton and assisted with the running of a school for the children of Party members. He further recommended that Newton hire a bookkeeper, Betty Van Patter, who was then working for Ramparts. In December 1974, Van Patter's murdered body was found floating in San Francisco Harbor.^[13] Horowitz, who was certain that the Panthers were responsible, had his suspicions confirmed by several Party members. He has cited that experience as the catalyst which led him to reject Marxism completely.