presence of the chin but, rather, the shape of the chin being some kind of marker for sexual identity.

And we grab a menu right here and a marker.

Um, and then the thing and anything really marker.

Tequila is, like, one of those spicy, hoo-marker, sharpy tastes.

It also gets out permanent marker and blood stains.

To have to admit to having very few is, in our societies, a marker of shame and failure.

That's a key theme when looking at 17th century literature and processes of reading, the idea of being active with what you're reading and kind of connecting to the book that you're reading. So even the act of stamping a book with an ex-libris stamp that has your name on it or your family crest traditionally. Frances Wolferston, for example, in the 17th century would write Frances, her book, in the front of her books. But there's a connection and there's an ownership to reading that which involves the reader and actually kind of physically puts the reader into the book. And that ownership, that connection definitely feels more valid and understandable considering how much rarer books were. I mean, books are still pretty expensive but when you compare the price to what it used to be, they are so, so, so affordable and they are affordable enough that, especially if we're shopping second hand, we can accumulate a lot of books. And so it kind of makes sense that we wouldn't then like customise all of our books and kind of write our names and all of our books in the same way. Though not to say that not everyone does because I do think the ex-libris stamp is making something of a comeback. But I just love how grangerising makes a book personal to you and the book itself then reflects and is testament to how much a book means to you. It kind of becomes this material marker in relation to you as the reader. It also bestows importance onto the physical object of the book as well as just the text. Like this book is significant because I bought this when I was 17 and I've read it four times since then and so it's kind of joined me in a very material way in many different life stages and it's kind of transcended time and moved with me which I think is absolutely beautiful. Effectively when you add your own illustrations, when you add tiny kind of snippets and annotations and thoughts, you're adding to the paratext of the book as well. And I think when we kind of frame it as a form of paratext, it kind of helps to even better frame like the importance of your personal copy to you as a reader. Paratext was kind of most officially and famously theorised by Jeannette in his book Paratext from 1987 and paratext is all of the stuff around the actual text. So this is the text and then the paratext will be like, you know, the four words or in this book there's quotes at the beginning from Stephen Hawking. There are dedications, there are words of thanks, you've got the information about publication, you've got like other works by Margaret Atwood here, you've got the cover, you've got what else? Oh yeah, more books by Margaret Atwood there. And these are things which are connected to the text but they're not actually part of the text and so when you grangerise a book

Okay. Hang a Larry. My friend told me this, and I was like, what the hell? Larry? Why are you talking about Larry again? He's so popular. Hang a Larry actually means... And let me get a marker for this one. Turn left. Yeah, yeah, yeah, yeah. So, Larry apparently means left. And can you guess what Roger is? Roger's a person, it means turn right. So, if you... If someone says, hey, hang a Larry, and then it's on the kitty corner, they're saying, like, turn left. And if they say, hang a Roger, it means right. Which kind of makes sense, that's good, it's not opposite. So, hang a Larry means turn left, hang a

So, I have a new marker.

If you take notes, you must use an erasable marker and write on either a whiteboard or a blank sheet of paper inside a transparent sheet protector.