For better or worse, I live right next to a thrift shop and am often tempted to wander in on my way home from the coffee shop. I usually look for wool sweaters I can recycle, or the occasional kitschy item from the “art” department, but I had never gone downstairs to the book section before today. I assumed it would be a jumbled mess of cheap paperbacks, but I was wrong. The thrift shop in question has organized its book section like a used book store–everything is categorized and arranged on shelves. There’s a section for older hardcover books, but they still only cost 50 cents to a dollar. This is where I happened across Carpenter’s book, and heeding Sharon Crowley’s advice about building your own archive, I added it to my pile.

My particular copy was used by a Mary Richardson in 1911.
I have yet to take more than a cursory glance, but I did encounter this snippet from the introduction, which might interest some of you body/athletics and rhetoric people. Carpenter is distinguishing rhetoric, as an art, from sciences like chemistry. Among the arts he lists engineering, as well as “music, dancing, painting, swimming, and many similar kinds of activity”:
The engineer,–to a very great extent,–and even the swimmer,–to a very small extent,–must understand the principles on which their arts rest, and these principles may be considered as constituting the science of engineering and the science of swimming; but the success of the practising engineer and the practical swimmer depends upon the skill with which they apply these principles. Now, rhetoric is essentially an art. In order to write well we must, of course follow–consciously or unconsciously–certain principles; but theknowledge of these principles is not the main thing. The essential part of rhetoric is that we shall act, that we shall acquire skill in the application of the principles we study, in the practice of the art we are learning.
Carpenter doesn’t go so far as to enumerate some of the bodily aspects of rhetoric except for a section on handwriting (p.15), where he says that bad handwriting can be due to “tremor or stiffness in the muscles,” defective eyesight, or “a deficiency in the writer’s power of visualizing” (15).
Also, in his section on “barbarisms,” Carpenter notes that the term “dude” appeared “about fifteen years ago,” which would place it in 1895. Who knew?