But that kind of analysis would require someone to pull off a literary feat that has thus far proven impossible: reading it.Īt first glance, the Voynich Manuscript is rather unassuming it’s “unglamorous, even somewhat shabby,” writes Eamon Duffy in The New York Review of Books. This might well be true of the Voynich Manuscript Eco was so taken with-maybe its story is as old and banal as any other. Perhaps as he examined the Voynich Manuscript, turning its 600-year-old pages over in his hands, he recalled his own words from his 1980 novel: “Books always speak of other books, and every story tells a story that has already been told.” Perhaps the late Italian novelist wanted to see the manuscript because it, like his masterpiece The Name of the Rose, is something of a literary puzzle requiring its would-be interpreters to be equally proficient in medieval history, semiotics and good old-fashioned detective work. When author Umberto Eco visited Yale University’s Beinecke Rare Book & Manuscript Library in the fall of 2013, he asked to examine only one text: Manuscript 408, popularly known as the Voynich Manuscript. #The voynich manuscript full#Print has been acquired by an independent group of collaborators-Deb Aldrich, Laura Des Enfants, Jessica Deseo, Andrew Gibbs, Steven Heller and Debbie Millman-and soon enough, we’ll be back in full force with an all-new look, all-new content and a fresh outlook for the future! In the meantime, we’re looking back at some of our favorite pieces from PRINT magazine, such as this one by Brandon Ambrosino.
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