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Little Chartier is a large fragmented interview, in which the interviewers have erased most of their traces, to form a brief dictionary of books, reading and printed culture. By transcribing and organizing Chartier's sayings in alphabetical mode, the echoes of the Latin etymology of dictionarium were recovered, which derives from the Latin dictum as “action and effect of what is said or indicated” (p. 25). What Chartier said is one of the gateways to his books. The historian was always very generous in providing interviews. One of the first to circulate in Argentina was the one made in 1994 by Noemí Goldman and Leonor Arfuch for the history magazine Entrepasados. Little Chartier is confirmation that the topics addressed by the French historian appeal to a much broader audience, to the point of having the key words to delve into his work.

In 1999, with the turn of the century around the corner and with only a few of his books translated into Spanish, "Cultura escrita, literatura e historia. Coacciones transgredidas y libertades restringidas" was published in Mexico. It was there that the conversations between Carlos Aguirre Anaya, Jesús Anaya Rosique, Daniel Goldín, and Antonio Saborit with Roger Chartier were edited. They analyzed the changes in book formats, the mutations of the various links in the chain of text publication, and the historiography of the latter half of the 20th century, among many other topics. Shortly thereafter, in 2000, the Gedisa publishing house, under the direction of Emilia Ferreiro, released the dialogues that Jean Lebrun had with Chartier in 1997, titled "Las revoluciones de la cultura escrita. Diálogos e intervenciones." In this work, the changes in the concepts of author, text, reader, reading, and library were addressed, and the impact of digitalization on the different stages of text production, circulation, and appropriation was analyzed. Chartier's interviews and dialogues share something in common: their trust in conversation as a space of civility, of listening - which incorporates contributions from others' voices - in order to continue the discussion. This dialogue, at least in its transcription that reaches us as an echo of a fleeting but polished past in the stages of correction and editing, recovers the value of words in the public sphere. This was one of the central themes in our author's historiography, using it as a backdrop to contemplate the book and reading in 18th-century France.

The following text addresses the analysis of the work of Gregorio Weinberg, compiled by his son Pedro Daniel, in Escritos sobre el libro Escritos sobre el libro and the edition in Latin America, which can be read in three stages with a bonus track at the end.