AUPresses 2020 Book, Jacket, and Journal Show Catalog

Page 1

Association of University Presses Book, Jacket, and Journal Show 2020

AU Pre sses 2020

Association of University Presses Book, Jacket, and Journal Show 2020

AU Pre sses 2020



ince 1965, the Association of University

jackets, covers, and journals by members of the uni-

Presses Book, Jacket, and Journal Show

versity press community. It also provides an evalua-

has fulfilled its mission to “honor and

tion of their work and serves as a focus of discussion

instruct”: honoring the design and production teams

and a source of ideas for intelligent, creative, and

whose work furthers a long tradition of excellence

resourceful bookmaking.

in book design, and—through a traveling exhibit and

The 2020 show includes books and journals

acclaimed annual catalog of selected entries—visual-

published by AUPresses member presses in 2019

ly teaching the tenets of good design.

and jackets and covers of books published that year.

The Book, Jacket, and Journal Show is a juried

world, but imports and copublications from another

publishers. Every autumn the call-for-entries is

publisher are not eligible.

distributed, and each January, the jurors gather in

The 2020 Book, Jacket, and Journal Show selec-

AUPresses’ New York offices to examine hundreds

tions were first announced on May 5, 2020 on

of submissions and select the very best examples of The Book, Jacket, and

book, journal, and cover designs. Jurors are esteemed

Journal Show traveling exhibition, originally set to

interior and cover designers appointed by the annual

premiere at the AUPresses Annual Meeting in Seattle

show committee.

in June, has been postponed due to the covid-19

The show recognizes meritorious achievement in design, production, and manufacture of books,


Books may have been manufactured anywhere in the

design competition, open only to AUPresses member

pandemic. Full details about the traveling exhibit schedule will be available via AUPresses in fall 2020.

2019–2020 RESULTS Judging for this year’s Book, Jacket, and Journal


To select approximately fifty publications

Show took place on January 23–24, 2020, at the

(representative of the book and journal

AUPresses Central Office in New York City.

categories on the entry form) and thirty book jackets, covers, and journal covers that exhibit excellence in design and manufacture


To consider the different types of materials

Member presses submitted 658 publications

published by university presses and the

across the following categories:

problems they pose for the designer

To give special consideration to academic


Scholarly typographic


Scholarly illustrated

book design and creative solutions to short-


Trade typographic

run publications


Trade illustrated


Poetry and literature

To write specific comments about books,

4 Journals

journals, covers, and jackets selected for

8 Reference

the show


Book jackets and covers


Journal covers

To write general comments about the show for inclusion in the book show catalog

The jurors selected 84 publications across the following categories:

To participate in the 2020 AUPresses annual meeting


Scholarly typographic


Scholarly illustrated


Trade typographic


Trade illustrated


Poetry and literature






Book jackets and covers


Journal covers



Cont ents 7 1 5 2 7 5 7 71

Jurors Scholarly Typographic Scholarly Illustrated Trade Typographic Trade Illustrated

99 111 1 15 1 58 1 64

Poetry and Literature Journals Jackets and Covers Index Acknowledgments



jur ors 7


Books and Journals Sue Hall was the Journals Designer and Art Director for Duke University Press from 1995 to 2018. During that time her awardwinning designs helped raise the expectation that journal covers and interiors can and should aspire to the highest possible design standards. Her collaborative work with editors and DUP team members helped define the press’s ever-evolving brand and online presence. Before her time at DUP, she had a successful design studio, Number Nine, where she designed graphic identities, annual reports, and marketing materials. She is a cofounder of the thriving Raleigh, NC, chapter of the AIGA. Her work has been recognized by the AIGA and AUPresses Book, Jacket, and Journal Shows, and her redesigns have received numerous CELJ Best Journal Design Awards. She left DUP to resume her freelance business and calls Raleigh home.


t was an honor to be invited to be a juror for

and layout served the content. Frontmatter and

this year’s Book, Jacket, and Journal Show.

backmatter pages got the same scrutiny as chapter

Having submitted journals and their covers

openings, and graphic consistency was paramount.

to the show for years, I was curious to see how it

Cover design was a secondary focus, and in some

worked from the other side of the process. I recall

cases its visual relationship to the interior served

what seemed like vast stretches of time between

as a tiebreaker. Beyond these basic criteria, journals

that drop-dead deadline to get our entries out the

were judged on consistency between issues and the

door and when we eventually received the email

perceived sustainability of the design. Designers’

congratulating us on our entries’ acceptance. Now

notes on the entry forms were critical and in some

I understand.

cases made the difference between Maybe and Yes.

On the first day my cojuror, Lucinda Hitchcock, and I were presented with what seemed like a moun-

espe­cially ink show-through—created a gray area

tain of books and journals. We developed a Yes, No,

for us. We speculated that budget restrictions might

Maybe system using three colors of sticky notes. We

have been why so many conceptually appropriate

each took half the entries, consulting one another on

and typographically sophisticated interiors were

our choices, knowing we would swap piles and dive

printed on thin stocks with distracting ink show-

deeper later.

through. How should those entries compare to more

We reviewed the entries from the inside out, focusing on how well the format, typography,


The effect of varying production values—

conven­tionally designed ones printed beautifully on heavier stocks? It didn’t seem right to dock a book’s

concept and design because of how its budget likely

styles. It was difficult to narrow down so many admi-

affected the final product. For this reason, several of

rably designed entries to a smallish number, which

the winning entries have a distracting amount of ink

I think is a wonderful problem to have.

show-through on their pages. Lucinda and I agreed on the majority of the Yes

I want to thank the BJJS committee for inviting me; it was an honor to serve this important show

and No entries and had spirited, collegial discus-

and a wonderful opportunity to meet and work with

sions as we argued our cases for and against moving

three other design professionals. Lucinda, Tom,

some of the Maybes into the Yes pile. These were

and Anne, I wish we’d had more time to talk shop,

reminiscent of design school critiques and, for me,

design, and our beloved pets. Joel and Kate, thank

the highlight of our collaboration.

you for creating a quiet, organized place in which

I’m proud of the final selections, which represent a wide range of design solutions and graphic


to review the entries; you kept us on schedule with grace and humor.



Books and Journals Lucinda Hitchcock is a book designer, writer, typographer, and graphic design professor and department head at the Rhode Island School of Design. Her research interests range from explorations of narrative and poetic environments and dimensional typography to the connections among literature, automation, and the form of writing. She has a BA from Kenyon College, an MA in literature from Columbia University, and an MFA in graphic design from Yale. She is a member of the Design Office and lives with her family in Providence, RI.
Her design practice produces books and other typographic materials for such artistic and cultural institutions as the Metropolitan Museum of Art, the Boston MFA, the deCordova Museum, Tufts University Galleries, and the RISD Museum, to name a few. Her designs have won awards and been showcased in Communication Arts, AIGA 50 Books/50 Covers, Print magazine, Best of New England exhibitions, and the AUPresses Book, Jacket, and Journal Shows. Lucinda is included in the book Women in Graphic Design 1890– 2012. She contributed a chapter to the book The Art of Critical Making: Rhode Island School of Design on Creative Practice, and her student work appears in the most recent edition of Typographic Design: Form and Communication. She has written for the RISD Museum journal, Manual and for the journal Visible Language. Some of her type experiments accompanied by selected student work appear in the book Type Design: Radical Innovations and Experimentation.



t was a delight to arrive at the AUPresses

whimsical approaches. We were especially delighted

offices in January and see a small room so

when we noted extra care to details of typography

overflowing with books that there was not

and production going hand in hand.

even room to put down my cup of coffee. Heaven!

If there is one overarching comment I might

I was so glad I was tasked with looking at the book

relay to any readers out there involved in book

interiors. I have been designing books for museums

production: think twice before producing an overly

and galleries for 20 years and still haven’t tired of

heavy, oversize book on coated paper! Coated paper

opening a new book to see how someone has tackled

makes a book unwieldy, unnecessarily heavy, and it

a table of contents or a copyright page or an overly

tends to introduce glare to the reading experience.

long footnote. In this case, Sue Hall, my partner in

And a book so big as to be impossible to read is an

crime, and I quickly and almost unanimously chose

unfortunate event. I know this is not often a design-

the top contenders, then went back through each

er’s choice, but production managers, please take

volume meticulously and together. We had similar

note. I was delighted to see some of the books we

proclivities for excellent typography and almost

chose were, in fact, beautifully produced on uncoat-

always agreed when a book design was especially

ed stocks, even with full-color imagery, and in each


of these cases, we would inevitably exclaim, “Yay,

Looking carefully at all details of design and production, we worked our way through multitudes

uncoated!” Bravo to all who bring these books into being,

of books to arrive at the list you see here in this cata-

and thank you for the chance to look at these de-

log. We were drawn to both elegant and convention-

signs. Each and every one of these books represents

al book designs as well as to small, understated, but

hours of devoted labor, and it shows!




Jackets and Covers Tom Eykemans is the Design Director at Lucia|Marquand, an art book producer and publisher in Seattle. He established the independent publishing imprint Tome Press and cofounded the Seattle Art Book Fair. He was previously Senior Designer at the University of Washington Press. Tom was born in Seattle to Dutch parents and raised in Port Angeles, where the mountains greet the sea.


hank you to the Association of University

how effectively it communicated the message of the

Presses Book, Jacket, and Journal Show

book. I was heartened to find that many designers

committee for the opportunity and honor

are actively and thoughtfully engaging with their

to serve as a judge in the 55th year of this long-run-

subjects, resulting in a diverse array of innovative

ning and highly esteemed design competition. It is a

typographic approaches, creative solutions, color-

privilege to join the ranks of past design lumi­naries

ful palettes, and unusual material selections. Every

who trod the same path—which also lent a certain

single entry had the potential to be selected, but

responsibility to evaluate each entry thoughtfully

to the designers not represented here I urge you to

and respond sincerely.

think more critically about your work. Revisit the

Fortunately, I shared the daunting task of

fundamentals of type and composition and adhere

selecting covers with the inimitable Anne Twomey

to them—or purposefully break them. Find a way

and enjoyed many enlightening conversations with

to peer-review your design. Don’t use technology as

Lucy and Sue throughout our two days of judging

a crutch or decorations as a mask. If something is

sessions. Choosing finalists from among hundreds of

meant to look handmade, then make it by hand.

cover design submissions was surprisingly painless.

And when in doubt, simplify.

Anne and I tended to agree on the entries, and when

I know that what often appears effortless likely

we didn’t, brief and respectful conversations kept us

emerged from many hours of meetings, research,

moving forward.

concepts, rejections, refinements, and compromises

It is tempting to simply judge a book by its cov-

among a team of people with limited means and

er, but our task was transposed to judge the covers

vested interests, built upon years of education and

by their books. University press publications often

experience. That so many books are so well designed

deal with specialized topics or challenging themes,

is a testament to the creativity and ingenuity of the

and each cover had to be evaluated not only by how

university press book designer.

well executed or clever the design was but also by



Jackets and Covers Anne Twomey is a New York–based graphic designer and the Creative Director of Celadon Books, a division of Macmillan Publishers. Prior to this role, she was Vice President, Creative Director of Grand Central Publishing, where she led a talented team of award-winning designers and art directors, designing across imprints including Twelve Books, Forever, and Grand Central Life & Style. She previously worked as a VP, Executive Art Director at St. Martin’s Press and a designer at Pocket Books and Washington Square Press. Anne has won numerous design, photography, and illustration awards from the New York Book Show, the Art Directors Club, Print, Creativity, AIGA’s 50 Books/50 Covers, Communication Art’s design annual, the Society of Illustrators, and Photo District News. She has served on the board of the Type Directors Club and chaired their annual competition. She has also juried shows for the New York Book Show, the Art Directors Club, the Society of Illustrators, Communication Arts, and Typography 29. She is a cofounder of She Designs Books, which celebrates and supports the work of female designers in publishing.


cademic book covers have certainly gone

I was pleased to see more traditional and classic

mainstream! More covers appeared to be

covers that were to be expected, but these were often

designed with one of the considerations

done with a small conceptual twist and excellent

for trade books—design to stand out in the stores

choices of paper stock. We as judges appreciated

and online.

these timeless designs for their excellent craftsman-

As a trade book publishing veteran, I’ve wit-

ship. Some covers were for expected and serious aca-

nessed the design transformation within the big

demic studies, yet there was a lot of humor both with

trade publishers and it’s clearly influenced academ-

the areas of research and the clever visual humor of

ic books. Brighter colors, special inks, foils, and

the cover. All in all we were impressed and discov-

embossing effects made for covers that were most

ered that many of the designers had multiple covers

visually appealing and tactile. One suspects the type

chosen. I know as I took note of their names.

was larger and bolder for online viewing, but it was done with a strong knowledge of typography.



sch ola rly


ty po gr ap hic



Ants Joachim Offenberg Designer Camilla Jørgensen, Trefold Production Søren Mogensen Larsen Acquiring editor Søren Mogensen Larsen Production editor Søren Mogensen Larsen Trim size 10.5 × 17.9 cm Number of pages 60 Number of copies 2,000 Compositor Camilla Jørgensen, Trefold Text type Dante Display type Gotham Paper 100g Munken Premium Cream Printer/binder Narayana Press Binding method burst

the front as to mimic the movement of ants. A classic

Printing method offset

mark is the small speech bubbles highlighting im-

Binding materials 240g Munken Pure

portant quotes.

Jacket designer Camilla Jørgensen, Trefold Jacket printer Narayana Press

SH Lifting many times its own weight, this mighty little book is admirably designed inside and out.

Designer comment “ants” is engraved into the

There is playfulness in the frontmatter pages: tint

matte front and is also spread multiple times across

variations between the cover and title page text, and the half title’s relationship to the marching “ants.” The breaking and cropping of “Reflections” adds tension. Interior spreads with nicely contrasting typography are enlivened by tinted speech bubbles that point to tinted critical phrases. The uncoated paper adds a lovely softness, but I wonder if it might have contributed to some ink dot gain, making the bubbles a bit darker than intended. LH I love this charming and understated book. This book embraced small and quiet and funny—and it works. Also worth noting that the small scale and simple production quality makes it feel “green” and thoughtful in this sea of large and overly opulent books.

scholarly typographic



What I Remember ix By Way of Beginning 1 1

When Words Fail: Writing Disaster 19


Ruination in Painting: Making the Unspeakable Visible 55


Through a Lens, Darkly: Texts and Images 93


Suffering and Victimization 135 Foregone and Other Conclusions 175 Appendix 185 Acknowledgments 211 Bibliography 215 Index 229 Color plates follow page 80


Chapter two

adding another possible motivation to the move to represent in neo- expressionist art: the will to make clearly visible. It is a repetition compulsion of Freudian proportions, and a classical symptom of trauma. It cannot, in my view, be summarily dismissed. And while the effort to depict catastrophe and its consequences is at best difficult, as we have seen in texts and paintings, such an effort may also be understood as a compulsive drive to nonetheless depict the appearance of things in the context of destruction. Just as memory and amnesia are not necessarily contradictory, so too the figural and the abstract are not necessarily oppositional in painting. They can work in tandem, alternating like electrical currents. Photographs, too, can depict abstractly as well as show in sharp focus. The viewer’s gaze, undeniably, is constructed by his or her circumstances, and by the span of time that separates the viewer from when the images were taken. “’Tis Sixty Years Hence,” wrote Walter Scott to introduce the Waverley novels, and to invite his readers to look retrospectively. It is long since the photographs we are to consider were taken. In viewing them, I am inviting both a retrospective and a prospective gaze. To what extent is the photograph (before the digital era) able to describe war catastrophe? Can there be an indescribable in the photograph?

3 Through a Lens, Darkly TexTs and Images

We no longer believe in the objectivity of photography, but we do still regard photographs as, in some way or other, our reality. Bernd sTIegler1

How does a photograph describe the results of catastrophe? Does it merely mutely record, as a witnessing? We tend to witness reluctantly, and not infrequently with prurient interest. And when photographs are “read,” the undertaking I am about to engage in here, is there a redundancy in verbally describing what a photo already visually depicts? Is the silence of the photograph betrayed by verbal explication, like a silent movie on which a soundtrack is superimposed by a later era, or like a black-and-white film that is subsequently “colorized”? The collection of images I present here was produced, of course, before the digital age with its Photoshopping and other technical capacities, and before the ubiquitous snapshots of the cell phone. These images are taken at the apogee of the camera—the 1940s. The fact that they were not meant to be propaganda, and that they are the 1 Bernd Stiegler, “Photography as the Medium of Reflection,” in The Meaning of Photography, eds. Robin Kelsey and Blake Stimpson (Williamstown, MA: Sterling and Francis Clark Institute, 2008), 197.

12 8

Chapter three

t h r o u g h a L e n s , D a r k Ly


photographs, to their gazes averted from the photographer (and the ruins), or, on the contrary, to looking straight on at the camera. It is tempting to imagine who they are and what they might be thinking. They surely all have different goals in their walk along the street; the ruins, on the other hand, do not change. Are we, like the pedestrians, already used to seeing them? And so do we turn our gaze to the people in the photographs, leaving—like these people—the ruins aside? Fig. 7 puts the viewer in the same place, at the same curve in the road. It is shot from a slightly different angle—the photographer has changed positions. Another convoy is passing (a car, followed by a jeep, and then a motorcycle)—this time going in the opposite direction. We know that it is an American convoy, because of the markings on the car (a star), and the model of the jeep. The destruction of the Darmstädter Hotel is equally obvious. There are no visible pedestrians in this image, as if the American Army were invading a ghost town of its own creation. Is this photograph taken before or Fig. 6.

The next photograph (fig. 6) seems to have been taken at about the same time as fig. 5, since, again, there is no sign of the military convoy. Instead of the couple in fig. 4 or the smiling man in uniform in fig. 5, we have an older man with a horse and cart. He is hauling what seem to be his belongings past the same ruins and the same demolished Hotel Darmstädter Hof. A young woman is sitting on the cart, holding the reins in her hands. These are, it would appear, refugees. Are they fleeing the dreaded Red Army? Relocating after extracting what was left of their belongings from the ruins? Another woman can be discerned walking on the same side of the partially cleared sidewalk. She is holding her hands up near her waist, but it is impossible to see what she’s doing. A huge fragment of the building teeters ominously behind her, but she is not perturbed. Notice that my description, too (like Barthes’s and Benjamin’s musings, and like my discussion of figs. 1 and 2), goes immediately to the people in the Fig. 7.


Dark Lens Imaging Germany, 1945 Françoise Meltzer

Dark Lens I m a g I n g g e r m a n y, 1 9 4 5

Designer Monograph / Matt Avery Acquiring editor Alan Thomas Trim size 6 × 8 in Number of pages 238 Compositor Monograph / Matt Avery Text type 9.4/13.5 Lyon Text (Commercial Type)

The University of Chicago Press

Chicago and London

Françoise Meltzer

× 22p6, Atlas Grotesk (Commercial Type) Display type Lyon Display (Commercial Type) Paper 60lb natural and 80# matte (insert) Inks black Printer/binder Sheridan Books Printing method offset Binding materials 3-piece lithocase with Sierra cloth and house silver foil Jacket designer Monograph / Matt Avery Jacket printer C&C Offset

SH The striking cover combines color, texture, and type to form a kinetic alignment with solidly stacked images. Making designerly order out of disturbing photographs, the book questions whether we can (or should) see beauty in the terrible rubble of war. Interior pages are solidly designed, using clear typographic hierarchies and a dynamic balance of compelling images and text.

scholarly typographic


Contents Foreword: The Same Old Tune, but with a Different Meaning t o m G u n n i n G // vii

The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2019 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2019

1 Storage

1 Record Recollections // 17 2 Tertiary Rememories // 41

Printed in China 28 27 26 25 24 23 22 21 20 19

Introduction // 1

1 2 3 4 5

ISBN-13: 978-0-226-64961-0 (cloth) ISBN-13: 978-0-226-64975-7 (paper) ISBN-13: 978-0-226-64989-4 (e-book) DOI: Library of Congress Cataloging-in-Publication Data Names: Hoeckner, Berthold, author. Title: Film, music, memory / Berthold Hoeckner. Description: Chicago : University of Chicago Press, 2019. | Includes index. Identifiers: LCCN 2019018466 | ISBN 9780226649610 (cloth) | ISBN 9780226649757 (paperback) | ISBN 9780226649894 (ebook) Subjects: LCSH: Motion picture music—History and criticism. | Memory in motion pictures. Classification: LCC ML2075 .H615 2019 | DDC 781.5/42—dc23 LC record available at

2 Retrieval

3 Double Projections // 67 4 Auratic Replays // 93 5 Panoramic Flashbacks // 123

3 Affect

6 Freudian Fixations // 159 7 Affective Attachments // 189

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).

Coda // 231 Acknowledgments // 233 Notes // 235 Index // 263

Chapter two

Tertiary Rememories

Figure 1.12 Bergson’s memory cone and the recordiris from Penny Serenade.

recognized the evocative power of music to record visual memories, the phono-photograph became the new mémoire involuntaire where musical madeleines made of shellac could not only tell but also show. Once music was mechanically reproduced, it begins to operate the shutter on the inner eye. Bergson’s memory cone morphs into the phonophotograph (figure 1.12). The cone’s tip becomes the needle that cuts through the plane—or plate—of the present and turns into a lens, zooming in on the past to show us not only our recorded recollections, but also how the material memories of audiovisual media matter.


Chapter one

The Final Cut (2004), directed by Omar Naïm, is a sci-fi drama that revolves around a brain implant, called Zoe, capable of recording every sensory impression in a person’s life. Not unlike Michel Gondry’s Eternal Sunshine of the Spotless Mind, released the same year, The Final Cut hones in on the personal and societal dilemmas caused by technical manipulations of human memory. The story centers on the “cutter,” Alan Hakman (Robin Williams), who reviews the Zoe footage with a special machine (nicknamed Guillotine) and selects from a myriad images the most pleasant episodes for special “rememory” services, attended by family and friends (figure 2.1). When Hakman is asked to do the rememory of Charles Bannister—the deceased attorney of the implant maker, EYE-Tech—Fletcher, a former colleague and friend who has meanwhile become an anti-Zoe activist, pressures him to hand over Bannister’s video in order to disclose his abuse of his daughter and thereby help bring down the rememory industry. The plot line about the rememory enterprise intersects with a second one, about Hakman’s own childhood trauma. The precredit prologue shows the ten-year-old Hakman visiting another town with his parents, where he explores an abandoned factory with a local boy, Louis Hunt, who accidentally falls from a beam. Seeing Hunt in a puddle of blood, Hakman, thinking he is dead, runs away. After spotting the adult Hunt in Bannister’s video, Hakman breaks into the EYE-Tech plant to search for Hunt’s file, only to discover that he himself carries an implant. In a special procedure, Hakman accesses his own device to verify that Hunt did not die as a child—the “blood,” it turns out, was spilled paint (see figure 2.2 below). Having violated the “cutter’s code”—a cutter must not have an implant—Hakman gets a special tattoo to disable its recording capability. Nonetheless, after the disk of Bannister’s implant has been destroyed, Fletcher realizes that Hakman’s implant recorded a full viewing of the attorney’s life, including evidence that might be used against EYE-Tech. He kills Hakman to obtain his implant. The Final Cut registers deep-seated anxieties about the social consequences of memory technology. It belongs to a group of late twentiethcentury movies about prosthetic memory, such as Paul Verhoeven’s Total Recall (1990) and Kathryn Bigelow’s Strange Days (1995). Though lesser known and less acclaimed, Naïm’s film offers an unusual, yet pertinent, example of the proliferation of what Bernard Stiegler, in the third volume of Technics and Time: Cinematic Time and the Question of Malaise,

tertiary rememories


plains that Peter is “the man Francesca wanted to marry” and that he is “the apostle of a new religion, called swing.” When the recording of the waltz is heard, Nicholas notes that the “tune they used to dance to” is being used in a repeat of Dr. Larsen’s “little experiment.” The music stops and Peter comes down, mystified: “What’s the good of turning the clock back anyway? Never did anyone any good.” Then Beethoven’s Adagio resounds: All three men stop and listen for a moment. Both they—and we—are waiting for the moment when the previous experiment failed. Whoever is playing reaches this point, negotiates it successfully and goes on with the Sonata. In a moment, larsen appears at the top of the stairs. He is listening to the music as he comes Figure 6.4 Two traumatic experiences to cure with a recording: dancing to “their” waltz, Peter told Francesca that he is married (left); Nicholas tried to hit Francesca’s hands with his cane to prevent her from leaving him (right).


“If you won’t play for me you shall not play for anyone else ever again.” Inasmuch as Dr. Larsen’s invitation jars against Nicholas’s injunction, the clash of recorded sound and live performance is more potent. When Francesca begins to synchronize with her own recording, the difference in frequency between piano and phonograph symbolizes that she is not in tune with her former self. What is the source of this interference? Her collapse at the piano sends Dr. Larsen first to Nicholas, playing for him Francesca’s recording of the Pathetique to find out “whether perhaps it has any sentimental associations or is connected with anyone she knew.” In the theatrical play created after the film, Nicholas “suddenly limps across the room, takes the record off the gramophone and smashes it by banging it against the side of the radiogram case. In doing so, he drops his cane.” He questions whether Larsen “can prove anything from a gramophone record,” to which the doctor responds that “one can prove a great deal—when one observes the effect of a few bars of music on somebody’s feelings.”29 The musical cue is Larsen’s key to the puzzle. Knowing now what Francesca means to her warden, he needs to learn what Nicholas means to her by finding out whether Peter is still in the picture. Paying Peter a visit, he learns that, following Francesca’s debut at the Royal Albert Hall, Peter told her that he had married, after which she left without a word. Larsen asks Peter to come to Nicholas’s house the next day and bring a record of the waltz they used to dance to (figure 6.4). The stage is set for the final cure. As Andrew Spicer has pointed out, Sydney and Muriel Box prepared three different endings for The Seventh Veil, not disclosing to the cast which would be used until the last day of shooting. In the first, Dr. Larsen asks Peter to play the waltz, “places Francesca’s hands on the keys of the piano,” and then asks her to join in. After Peter stops playing, she finishes the tune, says “Peter!,” and kisses him.30 While the second ending leaves Francesca’s choice open, the third ending, endorsed by the audience in a sneak preview and used in the film, begins with Peter arriving at Nicholas’s house with the recording and being led upstairs to Francesca. Waiting in the downstairs parlor with Max, Nicholas exChapter six

down and is obviously rather pleased with himself. l a r s e n : Doesn’t she play beautifully? m a x : Is she playing? n i C h o l a s (smiling): Yes, that’s my Francesca. m a x : May I go up now? l a r s e n : It would be a pity to interrupt her. m a x : But surely she wants me with her? l a r s e n : Perhaps. m a x : What do you mean—perhaps? l a r s e n : Forgive me, gentlemen. I should have explained to you at once, but the

music has put it out of my head. I think I can promise you a complete cure, but you will have to prepare yourselves for a new Francesca—a new and very different person. n i C h o l a s : In what way? l a r s e n : You see, the past is over for her now—quite over. Her mind is clear, the

clouds have been swept away and she is no longer afraid. Whether you will be entirely satisfied with the change in her, I do not know, but it might be wise not to expect too much. m a x : Are you trying to tell me, she— (he glances angrily at peter)? l a r s e n : I am trying to tell you she will want to be with the one she loves or the

one she has been happiest with; the one she trusts or the one she cannot do without. m a x : And who is that? l a r s e n : It would be hardly fair of me to say.31

Ann Todd recalls in her memoirs how she attended a private screening of The Seventh Veil at Marlborough House, where she was seated next to Queen Mary, who had “tears in her eyes” asking, “Child, you didn’t go to that horrid man at the end, did you? I couldn’t quite see without my glasses.”32 Yet preview audiences saw that the contest between the “new religion of swing” and the old belief in Beethoven was one Nicholas would win. In the competition between past and present, the waltz f r e u d i a n f i x at i o n s



Film, Music, Memory

Production Joan Davies Acquiring editor Susan Bielstein Production editor Joel Score Trim size 7 × 10 in Number of pages 278 Number of copies 810 pbk / 60 cl

The University of Chicago Press Chicago and London

Display type Atlas Grotesk, Ziggurat Black Paper 128gsm white matte coated Inks 4/4-4cp Printer/binder C&C Offset Binding method smyth sewn Printing method offset

Designer comment Many of the design decisions

Jacket designer Jill Shimabukuro

were driven by production considerations (display pages use black and cyan for optimal ink coverage; these pops of color set on facing pages to avoid ink offsetting). The author was exceedingly careful when preparing the art program (lots of film stills), which was helpful when it came time to size and prep the art. A great read! SH Serif and sans serif typefaces are effectively combined in the body text, and this contrasts pleas­

Sean Cubitt, author of Finite Media: Environmental Implications of Digital Technologies

Berthold Hoeckner is professor of music at the University of Chicago. He is the author of Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment.

Cinema and Modernity The University of Chicago Press ISBN-13: 978-0-226-64975-7

IISBN-13: S B N -13: 9 7 8 - 0 -2 2 6 - 6 4 9 7 5 -7 978-0-226-64975-7 ISBN-10: 0-226-64975-X IISBN-10: S B N - 1 0 : 0-226-64975-X 0 -2 2 6 - 6 4 9 7 5 -X

7 8 0 2 2 6 7 8 0 2 2 6

6 4 9 7 5 7 6 4 9 7 5 7

9 0 0 0 0 9 0 0 0 0

Berthold Hoeckner

ingly with the robust display type. Supersized section and chapter numbers and judicious use of blue throughout adds a boldness that plays beautifully with wide, quiet margins, and nicely letterspaced running feet. LH The strong bold type, the cyan and black, and the part title pages, are a wonderful solution. I do wish it had been on uncoated stock. It’s a tad too


9 9

cover: film still from penny serenade, book and cover design: jill shimabukuro

“Hoeckner’s book offers a set of meticulous and original readings of films across a wide spectrum of cinema and a thesis linking recorded film music with broader work on memory. This is a major intervention in film sound, opening ears to the work of memory that recorded and synchronized sound make possible within and between films as varied as Godard’s Histoire(s) du cinéma and Woody Allen’s Play It Again, Sam. For film buffs and audio professionals as well as film scholars, Film, Music, Memory will be a constant source of new inspirations.”

Film, Music, Memory

Berthold Hoeckner

s for ’Toons:

EditEd by tom GunninG

Text type 9.4/13 Arnhem Blond × 24p6

Film , Music, Memory

of the

Cinema and Modernity

Compositor Jill Shimabukuro

ect directly on memory and even recall their own hismonstrates how music has transformed not only what matic experience but how we relate to memory itself.

manipulae a recurr theme book is a oration of f our past through le depth s forward l tools nner of media, and

Berthold Hoeckner

Designer Jill Shimabukuro

iety in part by changing its cultures of memory. Film, this change rests in no small measure on the mneerthold Hoeckner analyzes three critical processes nfluences memory: storage, retrieval, and affect. As hive of cinematic scores, a few bars from a soundtrack at accompanied them, and along with it, the affective

rb. There studies ape angle ation in w images c, and this o adept deas, but music is tic repre-

Film, Music, Memory

Berthold Hoeckner


scholarly typographic



Participation, Exhibited Participation, Introduced Participation, Experienced




Participation, Employed


Participation, Administered

13 6

Participation, Developed


Participation, Concluded Participation, Acknowledged Participation, Notated Participation, Referenced

249 265



Participation, Indexed


Exemplary field diagrams from Lewin’s work; Kurt Lewin, Field Theory in Social Science: Selected Theoretical Papers (Westport, CT: Greenwood Press, 1975), 51 and 136.

experiments such as those at Harwood, but much of what followed in his footsteps was an attenuated version of his own sophisticated attempts at developing a Gestalt-like theory of social relations, using a complex topological model of fields and forces.27 What captured students’ imagination in Lewin’s work was primarily its new mode of experiment in social psychology and a new set of results peculiarly suited to demonstrating the malleability of both regimes and people, democratic and authoritarian. His influence on a generation of postwar intellectuals was profound—concepts like “cognitive dissonance” (Leon Festinger), “conflict resolution” (Morton Deutsch), or “planned change” and “change agents” (Ronald Lippitt), as well as experimental methods like those of Stanley Milgram or Philip Zimbardo, can all be traced back to Lewin’s influence. Lewin’s most famous experiments on social climates were conducted in Iowa at the Child Welfare Research Center. He and his team observed young boys in a specially constructed attic environment, and sorted groups into “democratic,” “laissez-faire,” and “authoritarian” atmospheres, each carefully constructed as combinations of physical spaces, organizational structures, and role-playing actors who would exemplify this difference. Given the same tasks, the children in the democratic atmosphere, of course, proved to be more effective, happier, cooperative, and, in short, American than those who were sorted into the authoritarian environment, and who proved combative, ineffective, scheming, and prone to fascist modes of leadership and response. Lewin had turned the question of democracy into an ontological question: does it exist, and if so, can it be captured in an attic? Javier Lezaun and Nerea Calvillo suggest that these experiments led in two directions. One was toward the increasingly controlled, blank space of the experimental observation room that would slowly dismantle and remove all the “atmospheric” aspects that Lewin and Lippit had built into their work, in favor of a one-way mirror and a strictly controlled environment. But the other was toward what Lewin would eventually label “action research,” in which the laboratory was made messier and less controllable—literally exported into the living worlds of workplaces and communities where democracy was in need of “facilitation,” and where what Lippit would eventually call “planned change” could be instituted. It is in this latter context that the Harwood experiments provide a starting point for understanding the itinerary of participation in the twentieth century.28 Both directions participate in what Lezaun, Muniesa, and VikPa r t i c i Pat i o n , E m P l oy E d


ministration of government. African Americans, for instance, were kept out, both legally and by the very operation and favoritism of this decentralized administration. The mandate for maximum feasible participation was an underappreciated part of the civil rights movement and an attempt to force the unelected representatives already in power to share that power with other unelected representatives previously excluded, all under the label of participation. A funny thing happens when participation is legalized, however: it creates a war of participants. On one side were City Hall and its expert planners, bureaucrats, and career politicians; on the other, AWC and its “local” knowledge, representative identities, and “lay” participation. On the one side, the government of experts and on the other, the people. However, by virtue of legalizing participation and implementing “maximum feasible participation” as a formal, organizational, and funded practice, AWC members were rapidly turned into experts through “technical assistance” and through attempts to institutionalize the kind of participation mandated in the law. But even as this quasi-professionalization of the participants proceeded, the system rejected it as a threat. As the members of AWC increasingly experienced participation—experienced the workings of local government and the politics of urban planning, resource distribution, grant writing, organizing of residents, and planning for the renovation and construction of schools, community centers, or homes—the members of City Hall suddenly recognized in AWC not citizens participating, but new expert competitors for their own power. The dispute over whether participation would mean “consultation” or “control” came to a head. Analytically, this tension is another sign of the different grammars of participation, and the distinct forms of life at stake in participation. The perplexity that emerges between AWC and City Hall should have been an indicator of the best of all possible forms of participation— demanding recognition, if not resolution, as a clear sign of the need for change. What happened instead was the 166

Pa r t i c i Pat i o n , a d m i n i s t e r e d

Participation, Developed Around 1994 The Participant is in a village in “Bolivia, Brazil, Cape Verde, Costa Rica, Côte d’Ivoire, Ethiopia, Ghana, Guinea Bissau, India, Indonesia, Kenya, Lesotho, Mali, Mexico, Mongolia, Nepal, Nigeria, Pakistan, the Philippines, Senegal, South Africa, Tanzania, Thailand, Togo, the United States, Zambia, Zimbabwe, and elsewhere.”1 The Participant is a contraption of people and paper. The Participant is saturated in the latest development theories and critiques from elite American and European universities; immersed in the most sophisticated—but ultimately useless—statistical techniques; and despite it all, still passionate about the possibility of helping impoverished people around the world escape their immiseration. The Participant is part of a movement against the technocrats and the out-of-touch development officials who never come to the villages. The Participant is against distant expertise, and for politics, and against state power, and for empowerment of the poor. All over the world, The Participant is bringing the same methods and approaches to the people, unleashing creativity and inventiveness. Instead of manipulating statistical software on an expensive computer in an office in Delhi, or Lagos, or Caracas, he insists instead on traveling the countryside, at all times of year, with a “small briefcase (26 x 33 x 10

Pa r t i c i Pat i o n , D e v e l o P e D


The Participatory Development Tool Kit, created by Deepa Narayan, Lyra Srinivasan, and others, funded by the World Bank and the UN Development Program, produced in India by Whisper Design of New Delhi, coordinated by Sunita Chakravarty of the Regional Water and Sanitation Group in New Delhi in 1994. This copy owned by Getty Research Library, Los Angeles.

resolution of perplexity in favor of procedure: the reduction of participation from a practice of expert control over the processes of urban planning to one of mere consultation. Nixon’s administration would give the lie to Johnson’s attempt to reform the Great Society precisely at this moment, by refusing to extend any more opportunities to such citizen interlopers—it terminated the Economic Opportunity and Model Cities programs. But even before this federal move, the scene in Philadelphia had become one of zero-sum fighting over concrete things like money, positions, plans, and projects. In short, it reproduced politics inside the administration. As long as they played by the rules of “maximum feasible participation,” City Hall and AWC could fight it out. The move by Goldie Watson and City Hall— changing the rules—was the technically illegal part of what happened to AWC. In some ways, City Hall and the Nixon administration read this double bind clearly: as an outrageous demand that would hand power over to people who were not elected. Despite the rosy rhetoric of expanding participation, and especially in the fraught context of civil rights, in which centuries of exclusion were visible in the very physical and biological fabric of those who were being taunted with the prospect of self-government at last—it ran contrary to the ideals and the legal frameworks of representative constitutional democracy. Where the Johnson administration had propped a ladder against City Hall and invited in the People (in the form of AWC), City Hall, with Nixon’s help, kicked the ladder away, and stood smugly and righteously opposed to the “unusually heavy reliance on new corporations” and in defense of “the basic principles of democratic government.” That ladder represented one kind of experiment in expanding democracy in new ways—beyond what City Hall interpreted as its “basic principles”—and it was a ladder that connected (and made indistinct) the legislative and the administrative operations of government. If that ladder had become a permanent part of the Pa r t i c i Pat i o n , a d m i n i s t e r e d

We who believe devoutly in the democratic process should be the first to urge the use of methods that will keep the administration of national functions from becoming so concentrated at the national capital and so distant from the everyday life of ordinary people, as to wither and deaden the average citizen’s sense of participation and partnership in government affairs. For in this citizen participation lies the vitality of a democracy. ✴ David E. Lilienthal, TVA: Democracy on the March (New York: Harper & Brothers, 1944), 146 (original emphasis)

Cook and Morgan diagnosed this problem clearly in their account of participatory democracy: they distinguished forms of “co-determination” from those of “self-determination.” The former invoked hyphenated entities like worker-management committees, while the latter entailed a true selfgovernance of the classic form. AWC sought the strongest form of the latter, City Hall the weakest of the former. See Cook and Morgan, eds., Participatory Democracy.


THE UNIVERSITY OF CHICAGO PRESS A Century of Participation in Four Stories Christopher M. Kelty Designer Jill Shimabukuro Production Skye Agnew Acquiring editor Karen Merikangas Darling Production editor Tamara Ghattas Trim size 6 × 9 in Number of pages 326 Number of copies 630 pbk / 75 cl

A Century of Participation in Four Stories C h r i s t op h e r M . K e lt y The UniversiT y of ChiCago Press ChiCago and London

Compositor Jill Shimabukuro Text type 10.8/13 Arno Pro SmText × 22p6 Display type Alright Sans, Zapf Dingbats Paper 50lb Natures Natural Inks black Printer/binder Sheridan Books Binding method notch Printing method offset Jacket designer Jill Shimabukuro Jacket printer John P. Pow Co., Lithographers

Designer comment The author had a strong vision for this book, where the relationship between the main text and the marginal notes & imagery is a fundamental part of the reading experience. The author is a fan of Robert Bringhurst, which, in turn, made me a fan of the author. This project was a challenge

antly incisive—this is a truly original book. Read it icipation the same way again.” Pet e r R e df i e l d, cal Journey of Doctors without Borders

y is professor at the University of California, Los tments in the Institute for Society and Genetics, the dies, and the Department of Anthropology. He is the Significance of Free Software.


IISBN-13: S B N -13: 9 7 8 - 0 -2 2 6 - 6 6 6 7 6 - 1 978-0-226-66676-1 IISBN-10: S B N - 1 0 : 0-226-66676-X 0 -2 2 6 - 6 6 6 7 6 -X


7 8 0 2 2 6

6 6 6 7 6 1

C h r i s t op h e r M . K e lt y

yth that we owe the ‘participatory turn’ in culture and ough a special kind of anthropological design history showcases a set of decisive transformations of particments and makes clear why the drive toward particioday.” Noortje Marres, University of Warwick


cisive book, Kelty goes down the rabbit hole of pars—emerges in a wonderfully unfamiliar land, where new and tantalizing meaning. Most important of all, entral but elusive figure of twentieth-century demoo appreciate the full experiential weight of partaking k to understand the ephemerality of contemporary e point from which to imagine democratic forms of aun, University of Oxford

9 0 0 0 0


and a pleasure.

ay. It has been formalized, measured, standardized, d sent around the world. New technologies offer to many have had the opposite effect. We find ourselves extracts our data or monetizes our emotions, and the ecomes, the more it seems to recede from our grasp. tories of participation across the twentieth century, much longer-term problem concerning the individual resentative democracy. In the last century or so, the dled; over time, it has been molded in ways that cramp to participate has spread to nearly every kind of huorld. The Participant is a historical ethnography of the gating how it has evolved into the form it takes today. e participate?” And sometimes, “Why do we refuse?”



The Participant

A Century of Participation in Four Stories

SH Expertly handled typography and layout allow text to wrap pleasingly and effectively around a wide variety of figures and notes. There is a terrific energy and balance to the spreads, and the frontmatter pages are especially handsome. LH I always love seeing a clever approach to a contents page. This book attends to all of the finer

C h r i s t op h e r M . K e lt y


points of typography and I am especially drawn to the way the marginalia is handled.

scholarly typographic



Deep Water The Mississippi River in the Age of Mark Twain Thomas Ruys Smith Designer Michelle A. Neustrom Production Michelle A. Neustrom Acquiring editor James Long Production editor Catherine L. Kadair Trim size 6 × 9 in Number of pages 344 Number of copies 750 Compositor Michelle A. Neustrom Text type 10.3/13.9 Whitman (Font Bureau) 25p6 × 41p4 Display type Amber Whiskey Shadow Paper 50lb Nature’s Natural Inks black Printer/binder Sheridan Books Binding method smyth sewn Printing method offset Binding materials Pine Rainbow paper, gold headbands, gold stamping Jacket designer Michelle A. Neustrom Jacket printer Sheridan Books

SH Historically based display typography, printer’s ornaments and rules, and typographic “water” elements are handled expertly and with restraint; they combine beautifully with Whitman to make appealing, readable pages. The lovely cover and frontmatter pages set a tone that is managed consistently throughout. LH Everything in this book is well handled: it’s readable, elegant, and inviting. Perhaps a tiny bit too much ornament on the chapter openers but otherwise a very pleasant reading experience.

scholarly typographic


sch ola rly 26

illu str ated



To be or not En kunstnermonografi om Elisabeth Toubro Ulrikke Neergaard, Rune Gade, Lise Skytte Jakobsen, and Line Marie Bruun Jespersen Designer Anni’s Production Cecilie Harrits Acquiring editor Cecilie Harrits Production editor Cecilie Harrits Trim size 17.1 × 29.5 cm Number of pages 239

Designer comment The b/w pictures from the col-

Number of copies 800

lection “Vandringskvinden” are printed on uncoated

Compositor Anni’s

recycled paper. The manifesto from the artist herself

Text type Lars

is printed on narrow pages to give the impression of

Paper Munken Print White 150g and Luxomagic

an exclusive text.

Printer/binder Narayana Press Binding method smyth sewn

SH This designerly, well-organized book is both

Printing method offset

gritty and refined inside and out. Both large-dotted

Binding materials 2.5 mm cardboard

and refined halftones are printed on uncoated stock;

Jacket designer Illustrated by Iselin E. Forslund

they play well with color photos printed on coated

Toubro Jacket printer Narayana Press

pages. Large type is confidently presented on pages with either tight or wide margins, depending on the source. Discerning touches include bold notes intruding dramatically into text blocks, black or white borders around full-page images, the artist’s manifesto bound into the book on narrower pages, and appealingly crunky endpapers inside a striking, utilitarian cover. LH I love this book. For me it was a highlight. It’s so refreshing to see some book design that wasn’t so firmly hitched to the conventions of American university press-style “politeness” and decorum. This book is European and it shows. Book design has moved into more creative terrain outside the U.S. and I would point to this book as an example of an excellent marriage between form and content and reader expectations. Bravo.

scholarly illustrated



What Images Do Edited by Jan Bäcklund, Henrik Oxvig, Michael Renner, and Martin Søberg Designer Michael Renner and Lucinda Cameron Production Sanne Lind Hansen Acquiring editor Sanne Lind Hansen Production editor Sanne Lind Hansen Trim size 19.5 × 27.5 cm Number of pages 327 Number of copies 900 Compositor Michael Renner and Lucinda Cameron Text type Swift, Neue Haas Display type Swift, Neue Haas Paper Lessebo Design smooth 130g Printer/binder Narayana Press Binding method smyth sewn Printing method offset

Designer comment It has a strong duotone look.

Binding materials 2.5 mm cardboard

Orange and black on the cover and black and

Jacket designer Michael Renner and Lucinda

white with strong graphic blocks and lines in black


throughout the book.

Jacket printer Narayana Press SH Gigantic black rectilinear shapes are masterfully juxtaposed with blocks of type to create energetic spreads. Skillfully balancing positive and negative spaces with plenty of breathing room, each section and chapter opening spread features a different black form. Handsome display and text faces contrast effectively with one another. The readable text block uses dramatic indents, and wraps comfortably around bold footnotes that bite deeply into it, creating their own textured shapes. LH This book speaks to me. I love everything about the typography and the use of contrasting weights, marginalia, how the footnotes are positioned. Also I’m very drawn in by the abstract forms on opening pages. Exquisite.

scholarly illustrated


CONTENTS Introduction 1

Part 1: The Sixties Return 15 Sixties Children 20 Topography of the Sixties 33 After the Revolution 39 The Double: Return and Reenactment 57 “A No Man’s Land of Time” 72 Judging the Sixties 94 Red Scarf Children 122 Part 2: Entropy as Monument 149 The Smithson Return 151 Two “Sixties” 158 Kent, Ohio (1970) 166 A Woodshed Series (1996–2004) 177 Against Nostalgia 199 Continuing Smithson 222 An Unintentional Monument 237 The Monuments of Kent (2008) 242 Entropy and Death 255 Part 3: The End of the Sixties 267 Acknowledgments 293 Notes 297 Index 347

Fig. 2.2. Robert Smithson, Spiral Jetty, 1970. Great Salt Lake, Utah. Mud, salt crystals, rocks, water. Collection of Dia Art Foundation, New York. Photograph by George Steinmetz. Art © Holt-Smithson Foundation / Licensed by VAGA, New York. Courtesy of Dia Art Foundation, New York.

Fig. 2.1. Nancy Holt, Sun Tunnels, 1973–76. Great Basin Desert, Utah. Concrete, steel, earth. Art © HoltSmithson Foundation / Licensed by VAGA, New York. Courtesy of Holt-Smithson Foundation.

the cylinders are punctured with holes arranged in patterns evoking the constellations. Drops of sunlight quiver in the cool interiors as the earth moves. A long drive around the lake’s northern edge, past the Golden Spike Monument, and we reach Rozel Point down a dirt road rutted with rocks. The car crawls along a bluff. We fall silent as we look down at a large whorl floating in the gray water: Spiral Jetty (fig. 2.2). The work is hard for Holt to reach. Afflicted with bad knees, she has trouble navigating the terrain she walked with Smithson. She places her hands on my shoulders for balance as we make our way through this lunar landscape, as we edge down a plunging path slithering narrowly between black boulders. I feel the force of Holt’s small body pressing on my back, the full weight of her sixty-nine years. At the lake’s edge she points uphill—“Bob drew there”—and I recall certain sketches Smithson made of the earthwork from this spot. On that summit, gazing down to the shore, he adjusted the work’s size to its expansive setting, established its scale. He designed a taut spiral that sucked the lake water, shoreline, and sky into its churning shape like a

Holt her Sun Tunnels on the northern and western shores of the Great Salt Lake. Our group includes artists and scholars and museum professionals. Holt is our guide. We drive first to the Bonneville Salt Flats, the fastest surface on earth, where drag races are held and car commercials are filmed, a remnant of the enormous pluvial Lake Bonneville that covered much of what is now Utah during the Ice Age. (I grab a handful of salt; the crystals crumble in my hand.) We stop for a steak-and-potatoes dinner at the Maddox Ranch House, where Smithson and Holt often ate as he built Spiral Jetty, and drive past the abandoned Golden Spike Motel in Brigham City, where the artists stayed with Smithson’s gallerist and patron Virginia Dwan. (A “for sale” sign hangs at the entrance. The cracked windows are boarded up.) We take a twisting dirt road north of the casino town of Wendover to a plain surrounded by mountains. In the distance we spy an arrangement of four large concrete barrels laid down in the middle of nowhere that Holt has transformed into a “somewhere”: Sun Tunnels. We walk around and inside these gorgeous drums, and sit down (fig. 2.1). The walls of 154

The obscure awareness of these moments, these places, perhaps more than anything else, confers on childhood memories a quality that makes them at once as evanescent and as alluringly tormenting as half-forgotten dreams. Walter Benjamin, A Berlin Chronicle




The Art of Return The Sixties & Contemporary Culture James Meyer Designer Monograph / Matt Avery Production Joan Davies Acquiring editor Susan Bielstein

The University of Chicago Press Chicago and London

Trim size 7 × 9 in Number of pages 368 Compositor Monograph / Matt Avery Text type 8.9/13 Atlas Grotesk (Commercial Type) × 25p10 Display type Graphik Condensed (Commercial Type) Paper 128gsm GE matt art Inks 4/4-4cp Printer/binder C&C Offset Binding method smyth sewn Printing method offset Binding materials Faimei FM-SGM15 cloth; MT-174 headbands; Foiland GB-730 foil;

Designer comment For this book about the “long

printed endpapers

Sixties,” we used bold typography to evoke this era

Jacket designer Monograph / Matt Avery

of protest and revolution—but without resorting

Jacket printer C&C Offset

to period typography—so as to avoid slipping into nostalgia or a gratuitously retro look. SH An open, flexible grid and contrasting typo­ graphy join forces with a variety of image shapes

l, and timely book, Meyer draws cians who have helped to shape nd effectively folds the legacies of ces and concerns. Written with a lit­ s breathtaking, the author’s impas­ nterpretations are at once inherently convincing in the way they address stic production today.”

ction in Reverse: wentieth-Century Latin American Art

The University of Chicago Press


In this innovative work, James Meyer turns to art criticism, theory, memoir, and fiction to examine the fascination with the long Sixties and contemporary expressions of these cul­ tural memories across the globe. Meyer draws on a diverse range of cultural objects that re­ imagine this revolutionary era stretching from the 1950s to the 1970s, including reenactments of civil rights, antiwar, and feminist marches, paintings, sculptures, photographs, novels, and films. Many of these works were created by artists and writers born during the long Sixties who are driven to understand a monumental era that they missed. These cases show us that the past becomes significant only in relation to our present, and our remembered history never perfectly replicates time past. This, Meyer ar­ gues, is precisely what makes our contemporary attachment to the past so important: it provides us a critical opportunity to examine our own relationship to history, memory, and nostalgia.

scuff­resistant matte lay flat

New Games: ontemporary Art

More than any other decade, the Sixties cap­ tures our collective cultural imagination. And while many Americans can immediately imag­ ine the sound of Martin Luther King Jr. declaring “I have a dream!” or envision hippies placing flowers in gun barrels, the revolutionary Sixties resonates around the world: China’s communist government inaugurated a new cultural era, African nations won independence from colonial rule, and students across Europe took to the streets, calling for an end to capitalism, imperi­ alism, and the Vietnam War.

4­color process

historian of extraordinary rigor and insight, are better equipped to write on the ‘long’ n is a striking and generous reflection on reimagined by artists, writers, filmmakers, er is to be especially commended for his istories too often marginalized in art­ the long Sixties and the connections he global view of art history.”


Keyline 5­22­2019

Memoir and Public Enemy: t


ked up on December 31, 1969, and et the Sixties, like the Dude, abides. charm, standard, or whip—chaos evil’s own playground to some, a eams that ignited the fuses of pos­ and the worst of times. Meyer dives urage, and clarifying intelligence. itive portrait of that time, and of our nd symbol and into the heart of life nfinished, trembling, and real.”

and sizes to make a bold, contemporary statement. Type is nicely ragged and captions fit naturally in the margins. The two-color cover is striking, with large condensed typography, dynamic left and right alignments, and decisive color breaks. LH This has a strong voice: sixties counter culture without being too over-the-top; and the interior upholds high typographic standards. Excellent rags! Yay!!

scholarly illustrated



Surrealism at Play Susan Laxton Designer Amy Ruth Buchanan Production Venus Bradley Acquiring editor Ken Wissoker Production editor Susan Albury Trim size 7 × 10 in Number of pages 384 + 16 pg insert Number of copies 1,500 pbk / 100 case Compositor Westchester Publishing Services Text type 11.2/14 Garamond Premier Pro (Adobe) × 24p9 Display type Univers Extended, Bodoni MT, Century Handtooled Paper 60lb house matte text Inks black w/ 16pp 4c insert Printer/binder Four Colour Print Group Binding method perfect Binding materials 10 pt. C1S (plus printed litho for case) Jacket designer Amy Ruth Buchanan Jacket printer Four Colour Print Group

SH Disparate typefaces are skillfully combined to 7 × 10 SPINE: 0.8125

Art history / Modernism

new history of surrealism in which she traces the centralement and its ongoing legacy. For surrealist artists, play in their aesthetic as they worked in, with, and against reasingly dominated by technology and functionalism. uisite corpse drawings, Man Ray’s rayographs, or Joan ealists became adept at developing techniques and prorantee aleatory outcomes. In embracing chance as the reseeable ends, they shifted emphasis from final product the disciplinary structures of industrial modernism. As play became a primary method through which surrealism ctice, everyday experience, and the nature of subjectivity.

important book situates surrealism in relation to Walter ith the withering of aura, there is an expansion of room shows how surrealist activities unleashed the revolutions on modernity’s overvaluation of rationality and utility. vered technology’s ludic potential. This approach casts of Man Ray, Joan Miró, and Alberto Giacometti, among o illuminate the work of postwar artists.”

ERSEN , author of Photography, Trace, and Trauma

he Manifesto of Surrealism by remembering childhood are white or black, one will never sleep!’ Susan Laxton’s ptures the sense that surrealism should be approached as open and as transgressive as this. Bucking the tendency to purely an aesthetic affair, Laxton has produced the most ount of the movement in a generation. Essential reading nt-garde.”

R , author of The Artwork Caught by the Tail: Francis


Associate Professor of Art History at the University of nd the author of Paris as Gameboard: Man Ray’s Atgets.

d rayograph, 15 Trust/

for the body text and subheads contrast beautifully with one another and the display text. Textured rules enliven and anchor the playful frontmatter and dynamic chapter opening spreads, and the wellspaced running feet and bold folios add quiet emphasis. Cover and frontmatter pages are beautiful. LH The slightly wacky chapter openers, with just

Susan Laxton




unmistakably contemporary. Well-chosen typefaces

Susan Laxton



create an evocative, period display treatment that is



AT P L AY 12/11/2018 3:47:30 PM

scholarly illustrated

the right touch of restraint, felt spot on. Nice use of contrasting typefaces.



Book of Beasts The Bestiary in the Medieval World Edited by Elizabeth Morrison with Larisa Grollemond Designer Kurt Hauser Production Michelle Deemer Production editor Ruth Lane Trim size 9.5 × 11.5 in Number of pages 356 Number of copies 3,000 Compositor Tina Henderson Text type 9.8/13 Whitney Book (Hoefler&Co.) Display type 24 pt Whitney Semibold (Hoefler&Co.) Paper 157gsm Vincent White Inks 4/C + PMS Printer/binder Artron Art Group Binding method smyth sewn (3-piece case) Printing method offset

Designer comment The contrasting textures of the

Binding materials JHT cloth and silkscreened type

cover draw attention to the wide variety of media

Jacket designer Kurt Hauser

in this exhibition. A special “Animal Tales” section

Jacket printer Artron Art Group

alludes to the storybook aspect of the medieval bestiary. SH Packed with rich images, gorgeous color, and handsome typography, the dynamic pages of this book have room to breathe. Great care has been taken to balance every kinetic spread, from the vertical type to the well-ragged body text, making these medieval images at home in this fresh, contemporary setting. The cover is breathtaking. LH When an illustrated book handles its details so well (notes, captions, tombstones, all the secondary text), it really stands out. Other than the table of contents which is a bit busy, I really appreciate how all the small details of the secondary text have been attended to with such grace.

scholarly illustrated



Out of Bounds The Collected Writings of Marcia Tucker Edited by Lisa Phillips, Johanna Burton, and Alicia Ritson, with Kate Wiener Designer Catherine Lorenz Production Michelle Deemer Production editor Lauren Edson Trim size 6.5 × 8.5 in Number of pages 288

unfolding of the cover further captures this, both

Number of copies 1,250

visually and structurally.

Compositor Tina Henderson Text type Halyard Text Book

SH Pleasingly straightforward typography with

Display type Halyard Text Black and Book

clear hierarchies, a decisive grid with generous white

Paper 120gsm Kinmari Dull-Ex woodfree uncoated

space, and well-placed images appear in harmonious


spreads. The body text is nicely ragged. Orange from

Inks 4/4-4cp

the cover’s dramatically intrusive, boundary-creating

Printer/binder Midas Printing International

box is repeated inside. The rounded folio tabs add

Binding method smyth sewn

an appealing horizontal tension to the spreads, and

Printing method offset

uncoated paper adds a soft, non-glaring richness.

Binding materials Limpbound with double cover Jacket designer Catherine Lorenz

LH I love this book’s design. I love the way the

Jacket printer Midas Printing International

paperback jacket wraps back around itself, I love the use of color both in the interior and the exterior;

Designer comment The design of the cover cap-

there are clever touches like the tab-like demarca-

tures the idea of the title, Out of Bounds, by visu-

tions for the part title pages and the folios. Elegant

ally breaking boundaries. The revealing of Marcia

and contemporary. Made me want to go out and buy

Tucker—younger, older, at home, at work—in the

the book.

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Pierre Koenig A View from the Archive Neil Jackson Designer Catherine Lorenz Production Victoria Gallina Production editor Lauren Edson Trim size 10 × 11 in Number of pages 304 Number of copies 2,000 Compositor Diane Franco Text type Suisse Int’l Cond. Regular (Swiss Typefaces) Display type Suisse Int’l Cond. Light (Swiss Typefaces) Paper 157gsm Vincent Inks 4/4-4cp Printer/binder Artron Art Group Binding method smyth sewn (Casebound with white foil stamping) Printing method offset Binding materials 157gsm Vincent, metallic fluted endpapers Jacket designer Catherine Lorenz Jacket printer Artron Art Group Designer comment The design of the book uses some of Koenig’s own design rules: alignment, grids, clean, modern, stylish. Adding a blue flare on the cover creates a fresh approach to a familiar image. Recognizable yet new, like the content, which is a fresh insight into Koenig’s work. SH Refreshing, straightforward typography, decisive grid alignments of text and imagery, and large margins: this clean, flexible format showcases a wide variety of images in dramatic, readable spreads. Blue from the cover is used throughout the interior, adding a lively touch to this attractive book.

scholarly illustrated



Tremaine Houses One Family’s Patronage of Domestic Architecture in Midcentury America Volker M. Welter Designer Kurt Hauser Production Michelle Deemer Production editor Laura Santiago Trim size 9.5 × 10 in Number of pages 224 Number of copies 1,750 Compositor Tina Henderson Text type 9.75/14 Whitney Regular (Hoefler&Co.) Display type 30 pt Akziedenz Grotesk Pro (Adobe) Paper 115gsm Kasadaka White Inks 4/4-4cp Printer/binder Artron Art Group Binding method smyth sewn (quarter bound) Printing method offset Binding materials 157gsm Chinese Oji gloss paper and Colorplan Citrine paper Jacket designer Kurt Hauser

Designer comment Sunny, California-yellow titles

Jacket printer Artron Art Group

and endpapers are derived from the Julius Shulman photo on the cover, and the cantilevered type used for the heads and subheads relate to aspects of mid-century architecture. SH Carefully considered architectural layouts bring blocks of nicely ragged text, narrow captions, and a variety of figure shapes and sizes into balance. Vertical and cantilevered display text works well with the contrasting typographic hierarchies. Color from the solidly designed cover is used throughout, to great effect. LH Elegant, appropriate design for the content. Love the unusual move of having the chapter titles serving as a platform for the text above.

scholarly illustrated



Cham The Best Comic Strips and Graphic Novelettes, 1839–1862 David Kunzle Designer Pete Halverson Production Pete Halverson Acquiring editor Vijay Shah Production editor Shane Gong Stewart Trim size 10 × 13.5 in Number of pages 588 Number of copies 500 Compositor Pete Halverson Text type 11/15 Minion Pro Display type 30/15 Bauer Bodoni Paper 120gsm TaiGeLin Pure Cream Inks 4/4-4cp Printer/binder Four Colour Print Group

Designer comment This is the largest book we have

Binding method smyth sewn (printed 3-piece case,

ever published. It is the complete catalog of French

cloth spine) Printing method offset

comic artist Cham. This book almost killed me, but now that it is done I love having it on my shelf.

Jacket designer Pete Halverson Jacket printer Four Colour Print Group

SH Traditional 19th-century typography and ornamentation are expertly reinterpreted to create a fresh, contemporary book that is necessarily gigantic in order to display the artist’s vast collection of finelydetailed work. Beautifully designed frontmatter and chapter openings set the tone, which is wonderfully consistent throughout. LH The book as a whole is impressive and elegant. The proportions of the page and the columns of type are well handled and have an air of the 18th century. The paper is luscious and the beautifully overwrought title page is breathtaking. It’s an oversized and weighty tome and honestly, I am not entirely sure it needed to be quite so big and quite so heavy. But I appreciate the excellent typesetting.

scholarly illustrated



The Life of Animals in Japanese Art Edited by Robert T. Singer and Kawai Masatomo Designer Wendy Schleicher Production Chris Vogel Acquiring editor Emiko Usui Production editors Julie Warnement and Takesue Akiko Trim size 9 × 12 in Number of pages 344 Number of copies 8,700 Text type DIN Pro Paper Perigord Inks 4/4-4cp Printer/binder Verona Libri Binding method smyth sewn Printing method offset Jacket designer Wendy Schleicher Jacket printer Verona Libri

SH Masterful use of a single typeface throughout— with clear hierarchies, nicely ragged text, and dramatic paragraph indents—creates a contemporary setting for a wide array of rich, colorful images. Folios in the outer margins and vertical side-running feet anchor the spreads. Hanging, banner-like vertical type adds drama, especially on the gorgeous cover and title page. LH Gorgeous book that handles a large variety of visual images expertly.

scholarly illustrated



Drawing Degree Zero The Line from Minimal to Conceptual Art Anna Lovatt Designer Regina Starace Production Jennifer Norton Acquiring editor Eleanor Goodman Production editor Annika Fisher Trim size 8 Ă— 9.5 in Number of pages 240 Number of copies 600 Compositor Regina Starace Text type 11/14 Whitman (Font Bureau) Ă— 29p Display type Akzidenz Grotesk (Berthold) Paper 140 gsm Golden Sun woodfree Inks 4/4-4cp Printer/binder Four Colour Print Group Binding method smyth sewn Printing method offset Binding materials Spine: JHT cloth with foil stamping, covers: exposed binders board with UV Varnish Jacket designer Regina Starace Jacket printer Four Colour Print Group

SH Open, inviting spreads include skillfully handled typography, ample margins, judiciously used hairline rules, and a wide variety of figure shapes and sizes. Hairline rules bleeding onto the pages anchor folios, running feet, and captions, while visually expanding the spreads. LH The only problem with this otherwise beautiful book (wow, that contents page!) is the white paper. A very slightly warmer paper would have set off the typography nicely. Everything else is expertly handled.

scholarly illustrated



Insect Artifice Nature and Art in the Dutch Revolt Marisa Anne Bass Designer Jenny Chan Production Steve Sears Acquiring editor Michelle Komie Production editor Lauren Lepow Trim size 8 × 10 in Number of pages 312 Number of copies 2,000 Compositor Jenny Chan Text type 9.25/14.25 Janson Display type Avenir Next

Designer comment It was in the smallest details of

Paper Moorim Neo Matte and Kasadaka Natural

Hoefnagel’s warm, delicate, and meticulous work that

Inks 4/4-4cp

we found the tenor of this project. There were many

Printer/binder Asia Pacific Offset

rhythms in the hand-lettering that we were able to

Binding method smyth sewn

reflect in our typography. For the plates section, we

Printing method offset

chose a contrasting paper stock with a strong back-

Binding materials Wibalin paper on case

ground color to create a distinct environment to view

Jacket designer Jenny Chan

the manuscript.

Jacket printer Asia Pacific Offset SH This book was designed with great care, from the compelling cover to the handsome endnotes. Chapter titles, figures, and their captions intrude dramatically into the readable text blocks, creating inviting, dynam­ic layouts. Multiple figures are expertly sized and grouped without being crowded, and red figure labels and captions add contrast and cohesiveness. LH An elegantly designed book with care and attention paid to details of space, color, text wrapping, and typography. This book doesn’t attempt to break any rules, but rather does what needs doing with care and charm. Easy to read and a delight to flip through. Love the red figure captions and dark background for the images; also, such a beautiful entry into the front matter. Janson was a good choice too!

scholarly illustrated


Foreword Mic hael Taussig

In 1983, at the age of twenty-one, Maria Thereza Alves traveled from New York City to visit the village of her father in the Brazilian state of Paraná and then the small town of her mother in the state of São Paulo. Maria Thereza had been living some years in New York City and was a junior studying photography at Cooper Union. She took her camera, took pictures of people, and wrote this book in which each word seems chiseled in stone: so dry, so refined, so immensely moving that I thought of Walter Benjamin’s reference to Herodotus, whose drier-than-dry, unsentimental cryptic stories beg neither theory nor psychologizing nor explanation. They just are. How a slip of a girl, aged twenty-one, could write such a text, let alone make such intense photographic portraits, is unfathomable. She says she wrote it in one shot from notes shortly after visiting. No doubt the photographs played a crucial role in the writing. But what alchemy was there at work in this historic encounter between this kid who shows up one day, whose parents made it to the United States, and her subjects. She is an insider and outsider with an almost wicked eye for human frailty, hypocrisy, and the terrible, grinding injustice running through every damn thing big or small. Was there ever a book like this that says so much about the world in so few words? It is almost frightening, this shock treatment, little darts that swarm through the stimulus shield you have spent a lifetime cultivating. Perhaps it is the apparent simplicity that does this—that and what I can only call “authenticity,” meaning the integrity aroused by a shockingly level-headed confrontation with life. Dostoyevsky comes to mind—the grain and the pathos—as does Primo Levi’s account of Auschwitz; James Agee and Walker Evans’s American classic, Let Us Now Praise Famous Men; and John Berger’s work with photographer Jean Mohr.




Alfredo and Beatriz

with his Volkswagen. I pay the bank for him to ride in a car that throws mud at me. ”Everything has a commander and an assistant commander, like God and the devil, like husband and wife (not comparing her to the

Alfredo likes to look up archaic Portuguese words in the dictionary.

”The bank manager said when the harvest comes in, to pay the

your place. He said since I lived outside of Brazil, I was esquamaritado.

bank back first, then to pay the rent on the land. What’s supposed to

This year, Alfredo voted for the opposition party. Since he had only recently become a resident of the village, his voter registration was still filed in his former town. There is no public transportation to town. Alfredo was going to pay Dorival to drive him to the highway, twentyfive kilometers away, so he then could take the bus to the town.

happen to the family who earns their income from the rent? The bank isn’t going to go hungry.” The radio reported that the Banco do Brasil is sixth in the world in profits derived from interest rates. I asked if Alfredo could farm without the bank. “No,” he said.

There are a half-dozen families in the village that own cars, but

“I have no more money saved up, so I have to work as much as I can at

they all voted for the government party. When Alfredo asked Dorival

odd jobs to feed the family. How can I farm without the bank? When I

to drive him to the highway, Dorival asked which party he was going

started farming, I could buy eighteen sacks of fertilizer with the money

to vote for. “The opposition,” answered Alfredo. Dorival told Alfredo

I got selling one sack of beans. Now it costs two sacks of beans to buy

he could walk to the highway. Alfredo explained that he was going to pay for the ride. Dorival told him he could still walk. Alfredo walked the twenty-five kilometers, took the bus to town, and voted for the opposition. Alfredo served in the army for the mandatory one year. He was

one sack of fertilizer. You have to get involved with the bank. You must be like a bee: ‘You want honey, you will get sticky.’ ” I asked him how much money he would need for food and seeds. Alfredo estimated, “Twenty-five thousand cruzeiros a month would be good with a 60 percent interest rate.”

in the kitchen detail. Once, an American general came to visit. Since

Alfredo said the minimum wage should be “40,000 to 50,000 cru-

it was a special occasion, Alfredo, a cook, was given a recipe for beef

zeiros a month (instead of 33,500 cruzeiros). Then I could pay back the

Stroganoff. He remembers there were fifty-two ingredients. At the time, it was the fanciest dish in Brazil, Alfredo said. After the meal, the general said he did not like it. Alfredo showed me a picture of him serving

bank. I desire to be rich and I will.” Since Alfredo has had to sell his horses, he will have to rent horses from a neighbor who, he says, “is a real friend. There isn’t one person

the general, and one of him and his friends lounging around the dinner

here who would lend his horses and wagon to anybody. After the rent on

table after the general left.

the land is paid, half of the harvest will be mine and the other half his.”

Alfredo showed me his keepsake box. There was a checkbook

As we are talking, Luizão, a neighbor, passes by. He wears loose

“from the time we used to have money in the bank.” Four bullets, sou-

cotton trousers, an unbuttoned shirt, a very wide hat, and seems to be

venirs from the army, which his wife polishes once in a while. A pen he

gliding by. He builds houses and drinks. He charges four dollars and

got as a present and one metal earring painted gold that Beatriz, his

all the cachaça he can drink for building a house; for those who cannot

wife, is going to send to the jeweler to melt down and make into a ring. Alfredo borrowed money from the bank. He says, “To work with

afford it, he only charges all the cachaça he can drink. Alfredo talked about another neighbor. “They say this place is

the bank is no good because it’s just like working for another person.”

good; they say no one goes hungry here. But I knew a man who made a

And on top of it all, he had to sell his horses.

living by making baskets and by healing people. He had three children

”I’m going to have to rent out my house to keep up with the bank payments and the bank manager splashes me with mud on the road 190

devil), and the Banco do Brasil has managers and assistant managers.

Ardente means burn and esquamaritado means you are removed from

who were deaf, mute, and crippled. He had no wife. They lived like pigs. ”This thing about healings—those who believe get better and 191


Recipes for Survival

Recipes foR suRvival

Maria Thereza Alves Designer Monograph / Matt Avery Trim size 9 × 10 in Number of pages 256 Compositor Monograph / Matt Avery Text type 9.5/15 Atlas Grotesk (Commercial Type) × 27p Display type Dala Floda (Commercial Type) Paper Dala Floda (Commercial Type) Inks 2-color Printer/binder Four Colour Print Group Binding method smyth sewn Printing method offset Binding materials JHT-0169 (cloth), NV-U-1 Red (foil) Jacket designer Monograph / Matt Avery

Designer comment The first part of the book, featuring the photographic plates, is printed on coated paper; the latter part, containing notes and essays, is printed on an a tinted, uncoated stock. I collaborated closely with the artist, who suggested bright colors for the binding materials like those the villagers furnish their homes with. SH This powerful book is organized and designed with great care, inside and out. When opened to the dramatic spreads, the outer edges of the bright cloth cover remain pleasantly in view. The display face adds a rustic texture that contrasts nicely with the clean, right-ragged text. Photos are large and gorgeous in the open, breathable layouts, and the blue pages (with and without nicely trapped halftones) call attention to remarkable individual stories.

scholarly illustrated



Zilia Sánchez Soy Isla Vesela Sretenovic Designer Margaret Bauer Production Mary Mayer Acquiring editor Amy Canonica Production editor Kate Zanzucchi Trim size 9.5 × 10 in Number of pages 200 Number of copies 3,000 Compositor Margaret Bauer Text type 9.75/14 Profile OT light

uncoated paper. Large details between sections em-

Display type Profile OT extra light

phasize her work’s three dimensionality and playful

Paper 150gsm Galerie Art Volume

graphic flourishes. The book is an intimate size that

Inks 4/4-4cp

sits comfortably in one’s hands. Blue endpapers (also

Printer/binder Verona Libri

used for type highlights within) reflect the blue hues

Binding method smyth sewn

in her work as well as the ocean that surrounds her

Printing method offset

beloved island homes (Cuba and Puerto Rico).

Binding materials Cialux CX 1562 Pewter Jacket designer Margaret Bauer

SH This lovely book, with its fairly light display

Jacket printer Verona Libri

and text type, is meticulously designed. Dramatic spreads accommodate a striking variety of figure

Designer comment The catalog for the Zilia Sán-

sizes and shapes, with lots of room to breathe. The

chez exhibition was designed to complement the

text block has a graceful rag and dramatic paragraph

artist’s bold, graphic, and sensuous work. Asym-

indents, and sits pleasingly on the page. The clear

metric essay and section openers are built with a

typographic hierarchy and hanging quotation marks

slender sans serif and paired with cool-to-the-touch

add crispness throughout. Well-placed, vertical side-running heads anchor spreads and add drama. The blue from the gorgeous cover is used inside, and the uncoated paper adds a rich, silky dimension. Frontmatter pages are beautiful. LH This lovely art book does what museum books do so well. Elegant type, plenty of white space, gorgeous treatment of images. The type is thoughtfully handled, and the pages are light and airy. A perfect container for this artist’s amazing work.

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tra de 56

ty po gr ap hic


The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2018 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2018 Printed in the United States of America 27 26 25 24 23 22 21 20 19 18

1 2 3 4 5


ISBN-13: 978-0-226-55516-4 (cloth) ISBN-13: 978-0-226-55533-1 (e-book) DOI:[9780226555331].001.0001

{~?~CIP data to come} This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).



Conspiracy Theories and Conspiracism · 0

The Invention of Conspiracy Theory: The French Revolution and the Bavarian Illuminati · 000 2

Conspiracism Takes Shape in the United States · 000

Preconditions for Modern Conspiracism: Jewish Assimilation,


Premillennialism, and Aryan Occultism · 000 4

The International Jewish Conspiracy and the


The Emergence of the Hidden Hand · 000

Secret Government · 000

6 7

The Rise and Fall of the Hidden Hand · 000

From Neo-Nazi to White Supremacist Conspiracism · 000 8

The Emergence of the New World Order · 000

their situation deteriorating are particularly susceptible to conspiracy

Several related factors have been seen as contributing to Americans’

theories. Feelings of increasing powerlessness, especially of a diminu-

tendency to turn social problems into conspiracies. Traditionalists often

tion of sociopolitical control, lead people to conspiratorial conclusions.

felt threatened by growth, increasing prosperity, and encroaching cos-

Believing that one’s plight is caused by a conspiracy can provide “a

mopolitanism—all exacerbated by the influx of immigrants. Nativists

clear explanation for a negative outcome that otherwise seems inex-

feared betraying—or at least failing to live up to—the spirit of the Amer-

plicable.”111 Such powerlessness can also lead to increased religious

ican Revolution. This fear was catalyzed by the fiftieth anniversary of

intensity or greater acceptance of authoritarian leaders, but when these

the revolution in 1826, which generated an almost cultish fervor for the

feelings are linked with overwhelming, shocking events—such as the French Revolution and its associated terror—the odds of turning to conspiracy theory are increased.112

founding fathers, the Minutemen, even the Pilgrims. In addition, Hofstadter famously stressed a distinctively American anti-intellectualism as a factor.115 Another possible factor, noted in passing by many, is a severely repressed sexuality, which played up threats to the purity of

Homegrown Conspiracies: Freemasons, Catholics, the “Slave Power”

American womanhood. To some degree, this reflected an obsession of Robison’s: that the French Revolution was a victory for libertinism, the corruption of women, and the “cultivation of sensual pleasures.” How-

Unlike Europe, nineteenth-century America was a secular republic that

ever, most of the “affinity of paranoia and pornography” appears to have

did not have residual Bonapartist secret societies or insurgent nation-

been homegrown.116

alist groups such as the Hetairia or the Carbonari to contend with. But

What is widely considered the first indigenous American “conspiracy

even in Europe, fear of conspiracy was mostly the obsession of a small

theory” grew out of the anti-Mason movement.117 In 1826 in western New

number of autocrats and the “aberration of a few hundred writers,”

York, one William Morgan, a disgruntled ex-Mason about to publish an

whereas conspiracy thinking sporadically cut a wide swath through the

exposé of Freemasonry, was arrested, jailed, and then abducted. Neither

American populace.113 There was a seemingly constant parade of imag-

he nor his book was ever seen again, and he was widely assumed to have

ined conspiracies in the antebellum years. But why?

been murdered by Freemasons. This incident was seized on by people

Part of Americans’ penchant for seeing conspiracies stems from the

who already found Masonry suspicious and by New York opponents of

nature of religious belief in the United States, which is rooted both in its

President Jackson (himself a Freemason). Fostered by friendly news-

Puritan heritage and in a related strain of antipapism that never faded

paper publishers and by New York politician Thurlow Weed, the move-

away. In addition, the rise of evangelical Protestantism, peculiar to

ment was quickly transformed into a political party—the Anti-Masonic

the United States and manifested by the Second Great Awakening—is

Party—that became quite successful in New York, as well as in Vermont

a factor in conspiracy thinking, as was America’s exceptional mission

and Pennsylvania.118

to civilize the world and spread republican virtue. This mission natu-

The unanswered question in this tale is why people found Freema-

rally made the United States a target for conspirators, all the more so

sonry so suspicious and threatening that an incident in a remote back-

because of particularly fragile form of government, which could be eas-

water could inspire a national movement. One reason was the relentless

ily undermined. Richard Hofstadter observed that nineteenth-century

flogging of the incident by Weed and his allies. But, beyond that, there

conspiracy believers always felt as if they were “fending off threats” to

was a widespread perception that, in town after town, Masonic lodges

the nation.114

had become the headquarters of a coterie of important, well-to-do citi38 · CHAPTER ONE


was even applied to explain the trial of O. J. Simpson as part of the Jewish conspiracy to create race wars (their earlier effort—the prosecution of Charles Manson—having failed in this regard).269 Other notable late twentieth-century secret government conspiracists include University of Illinois classics professor Dr. Revilo P. Oliver and Eustace Mullins. Today, in its purest form, the secret government conspiracy survives most clearly in the wealth of books and websites devoted to what G. Edward Griffin terms “the creature from Jekyll Island,” the Federal Reserve System.270


The present world-wide economic collapse, the breaking down of moral standards, . . . the general disregard for God, the birth and development of Communism, and the atheizing of the masses of people, may all be explained by the hypothetical proposition that behind the scenes there is a hidden hand; a small group of super-intelligent personalities who control the gold of the world and pull wires for the deliberate purpose of tearing down the Gentile peoples. Gerald Burton Winrod, The Hidden Hand

Given the tumult of the 1930s—a worldwide economic depression, the rise of fascism, and the dramatic political shift into the New Deal— extremist reactions were to be expected. In the United States, adherents of Stalinist Russia and of Nazi Germany probably had a greater political voice than their numbers justified but were nevertheless remarkably numerous. Mainstream political ideology was also sharply antagonistic, with FDR’s followers seeing him as a savior while his opponents saw him leading the nation to ruin. In the background of this political strife, the anti-Semitism that had become more common in the wake of the Bolshevik revolution and the spread of the Protocols 94 · CHAPTER ONE



Conspiracies of Conspiracies How Delusions Have Overrun America


Thomas Milan

Thomas Milan Konda


Designer Isaac Tobin


Production Lauren Reese


Acquiring editor Tim Mennel


Production editor Yvonne Zipter Trim size 6 × 9 in Number of pages 456 Number of copies 2,550


Chicago and London

Compositor GCI Text type 9.8/15 Lyon Text (Commercial Type) × 24p6 Display type Franklin Gothic (ITC), Courier Prime Paper 55lb Natural Inks black

Designer comment I wanted to refer to the visual

Printer/binder Sheridan Books

language of paranoia while still imposing a sense

Binding method perfect (3-piece case)

of hierarchy and order. I drew my own nonsense

Printing method offset

paranoic flow-chart and discovered without labels it

Binding materials Rainbow case, Rainbow

looked like an Alvin Lustig pattern. The Courier and

endpapers Jacket designer Isaac Tobin

Franklin suggest a secret government document, and are offset by a sharp and clean contemporary serif.

Jacket printer Phoenix SH Super-fresh typeface combinations, a nicely balanced page, and an astounding variety of energetic hairline arrows make this book a contemporary gem. Sophisticated frontmatter and chapter opening pages feature bleeding arrows that point ironically throughout. Courier adds a pleasing monospaced grit and texture to the running feet, folios, and frontmatter. LH Sometimes a squiggle, an arrow, a doo-dad enlivens a book that could otherwise seem dry. This book has been designed with care, with consideration to proportion; clean, readable, and appropriate typography; and the arrows and line work add just enough levity.

trade typographic



The Masters A Hole-by-Hole History of America’s Golf Classic, Third Edition David Sowell Designer Annie Shahan Production Alison Rold Acquiring editor Rob Taylor Production editor Elizabeth Zaleski Trim size 6 × 9 in Number of pages 304 Number of copies 2,500 Compositor Erin Cuddy Text type 11/15.25 Sabon Next Pro (Linotype) × 25p0 Display type Sabon Next Pro (Linotype) Paper 55lb Natures Recycled Inks 4/4-4cp

SH Clear, classical typography, generous white

Printer/binder Sheridan Books

space, and restrained use of hairline rules create a

Binding method smyth sewn (3-piece case)

hushed interior design. Smart typographic allusions

Printing method offset

to the game of golf can be found in the dramatically

Binding materials Spine: Arrestox 19990 black

narrow contents text block and the ruled, scorecard-

Sides: Rainbow Antique Forest

like chapter openings. One quibble: I found the large

Jacket designer Annie Shahan

script text in the illustrations to be a bit intrusive

Jacket printer Sheridan Books

on the quiet chapter opening spreads, and wish they had been re-set to match the rest of the book. LH I was delighted by the inside of this book and found myself surprised and engaged by the drawings opposite the chapter openers. The swashy display type accompanying the drawings might’ve been slightly unnecessary but all the other details of the book were well done. The disconnect between the interior design and the jacket of this book is quite unfortunate and worth mentioning. No need to introduce extended type on the jacket (feels totally out of place) and the cover image is not as well considered as the beautiful and timeless typography on the inner pages.

trade typographic



This Fish Is Fowl Essays of Being Xu Xi Designer Nathan Putens Production Alison Rold Acquiring editor Alicia Christensen Production editor Sara Springsteen Trim size 6 × 9 in Number of pages 320 Number of copies 1,000 Compositor Erin Cuddy Text type 11.5/17 Garamond Premier Pro (Adobe) × 25p6 Display type DIN Next Paper 50lb Natures Book Inks black Printer/binder Thomson-Shore Binding method perfect Printing method offset

Designer comment The black bars running to the

Binding materials 10pt C1S

outside edge should have aligned with the cover im-

Jacket designer Nathan Putens

age, I noticed this when in hand. It would have been

Jacket printer Thomson-Shore

a nice touch. SH Like the title, this design is about contrast. Quirkily almost-monospaced display type contrasts effectively with classically elegant body text. Section titles knocked out of bleeding bars provide drama without dominating, and the title spread is both balanced and kinetic. All this feels like an astute, monochromatic interpretation of the cover design, with its edge-abutting illustration and saturated colors. LH The cover drew me in immediately: whimsical, crisp, minimal. The interior design is light and airy. Leading, while perhaps a tad loose, is readable and inviting. DIN (Next) was overused for a while but I enjoyed seeing it again here, nicely deployed.

trade typographic



Fungipedia A Brief Compendium of Mushroom Lore Lawrence Millman; Illustrations by Amy Jean Porter Designer Chris Ferrante Production Steve Sears Acquiring editor Robert Kirk Production editor Mark Bellis Trim size 4.5 × 6.75 in Number of pages 200 Number of copies 15,000 Compositor BookComp, Inc. Text type 10/12 Plantin Pro (Monotype) × 19p6 Display type Windsor (Tilde), Futura PT Bold (ParaType) Paper 130gsm Yulong Pure paper, Vol 1.3 Inks black Printer/binder Imago Binding method smyth sewn Printing method offset Binding materials JHT Purple 0094; Foiland Red 763, White 710; red headband; PMS 2607 U printed ends Jacket designer Chris Ferrante; Illustration by Amy Jean Porter Jacket printer Imago

SH This pocket-sized, information-packed book uses seventies-era display text in a straightforward and readable layout, complete with groovy dropcaps and effective line drawings. Mushroom gill imprints add texture and charm. LH It is so nice to see a mushroom guide that is not glossy, overly heavy, and templated!! This delightful book makes you want to go mushroom hunting! Purple is a nice nod to some of the more poisonous of the fungi world; the endpapers are almost convincing as spore prints, and the use of Windsor, Plantin, and Futura together is expertly handled.

trade typographic



Introduction, Bill Broyles and Bruce J. Dinges 3

Begi n n i n gs Over the Rainbow, Peg Bowden 17 On Campus, David F. Allmendinger 23 Taking History Off Campus, Charles Bowden 27 Street Signs with Lew Kreinberg and Charles Bowden, Barbara Houlberg 33 Chuck Becomes a Reporter, Kathleen Dannreuther 38 Let the Tortoises Roll, Norma Coile 43 The Jimi Hendrix of Journalism, Tony Davis 47

Bow den ’s So u t h w est Stand My Watch, Katie Lee 59 Give Light to the Air, Molly McKasson 63 How’s My Government?, Ray Carroll 70 Discovering Chuck, Winifred J. Bundy 74 Mr. Southwest, Joseph C. Wilder 76 Chuck’s Desert Garden, Kasey Anderson 78 Planting Trees, Kim Sanders 83


A Man for All Seasons, Phil Jordan 86

Writing in the Moment M e l i ss a H a r r i s

“I was waiting for your kind to call.” A sonorous voice at the other end of the line: deep and gravelly, with a hint of skepticism. He’d been white-gloved one too many times perusing various treasures at his hometown’s Center for Creative Photography to embrace a call from a photography editor—without an eye-roll. The December 1996 issue of Harper’s had just come out, and within days I’d received a cluster of phone calls from colleagues— several photographers, and my friend Burt Joseph, a First Amendment lawyer—about a devastating article titled “While You Were Sleeping,” by Charles Bowden. In that text, Bowden had focused on a group of young, unknown Mexican photographers who were risking their lives daily in the border city of Juárez to confront and combat narcotraficantes, rapists, murderers, and corruption— including in the government and police forces. They were bearing witness to it all with their cameras. Along with its exceptional reporting on a subject that had been largely ignored up until then, Bowden’s piece placed front and center photography’s searing ability to insist that attention must be paid. Chuck was prescient, as always. This was years before Juárez would be regularly covered in the US press, before it would enter the public eye. He was also courageous—both physically, and in terms of his convictions, which were not always popular. And he was bilingual in words and images, understanding how those two languages can “brush up against each other” (as he might put it), realizing a power together that neither might achieve alone.


America’s Most Alarming Writer Essays on the Life and Work of Charles Bowden Edited by Bill Broyles and Bruce J. Dinges Designer Monograph / Matt Avery Trim size 5.5 × 8.5 in Number of pages 348 Compositor Monograph / Matt Avery Text type 10.6/15 Adobe Text Pro × 23p6 Display type Pitch (Klim), Graphik Condensed (Commercial Type)

Killing the Hidden Waters (1977) Street Signs Chicago: Neighborhood and Other Illusions of Big-City Life, with Lewis Kreinberg and Richard Younker (1981)

Down by the River: Drugs, Money, Murder, and Family (2002) Blues for Cannibals: The Notes from Underground (2002)

Blue Desert (1986)

A Shadow in the City: Confessions of an Undercover Drug Warrior (2005)

Frog Mountain Blues, with Jack W. Dykinga (1987)

Inferno, with Michael P. Berman (2006)

Trust Me: Charles Keating and the Missing Billions, with Michael Binstein (1988) Mezcal (1988)

Exodus/Éxodo, with Julián Cardona (2008) Some of the Dead Are Still Breathing: Living in the Future (2009)

Red Line (1989) Desierto: Memories of the Future (1991) The Sonoran Desert, with Jack W. Dykinga (1992) The Secret Forest, with Jack W. Dykinga and Paul S. Martin (1993) Blood Orchid: An Unnatural History of America (1995) Chihuahua: Pictures from the Edge, with Virgil Hancock (1996) Stone Canyons of the Colorado Plateau, with Jack W. Dykinga (1996) Juárez: The Laboratory of our Future, with Noam Chomsky, Eduardo Galeano, and Julián Cardona (1998)

Trinity, with Michael P. Berman (2009) Murder City: Ciudad Juárez and the Global Economy’s New Killing Fields, with Julián Cardona (2010) Dreamland: The Way Out of Juárez, with Alice Leora Briggs (2010) The Charles Bowden Reader, edited by Erin Almeranti and Mary Martha Miles (2010) El Sicario: The Autobiography of a Mexican Assassin, with Molly Molloy (2011)

Essays on the Life and Work of


Charles Bowden Edited by Bill Broyles and Bruce J. Dinges

The Red Caddy: Into the Unknown with Edward Abbey (2018) Dakotah (2019)

Eugene Richards, with Eugene Richards (2001)

University of Texas Press Austin

Inks black Printer/binder Sheridan Books Binding method smyth sewn (3-piece case) Printing method offset Binding materials spine: Sierra cloth, sides: Rainbow antique Jacket designer Monograph / Matt Avery Designer comment Charles Bowden is both a literary icon and an iconoclast. I tried to evoke both in the design. SH Solid black pages divide this dramatic book into its attentively designed sections, as full- and side-bleeding photos visually open the pages well beyond their smallish boundaries. Carefully considered running heads and folios anchor the workmanlike, inviting text pages. Effective use of monospaced typewriter-y and bold compressed sans fonts add meaningful depth. LH This book handles itself nicely. Excellent use of contrasting typefaces, good proportions to the page, the margins, the book block. Nice use of black on the part title pages, and well done using a typewriter font (Pitch by Klim) so nicely while avoiding it looking cliché.

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Gandhi’s Search for the Perfect Diet Eating with the World in Mind Nico Slate Designer Katrina Noble Acquiring editor Lorri Hagman Production editor Julie Van Pelt Trim size 6 × 9 in Number of pages 264 Number of copies 2,500 Compositor Westchester Publication Services Text type 10.25/14.4 Cala Regular Display type Circular Std Medium, Cala Regular Paper 50lb uncoated cream Inks black Printer/binder Sheridan Books Binding method smyth sewn Printing method offset Binding materials Rainbow Charcoal, Lustrofoil S36 Copper stamp, Ecru H/T bands, 4c printed ends Jacket designer Katrina Noble Jacket printer Sheridan Books

SH Beautifully balanced pages with classical typography are enlivened by attractive typeface combinations, expert use of caps and all small caps, and nicely contrasting bold folios and dropcaps. The uncoated, whimsical cover and playfully elegant endpaper designs add to the warmth of this charming book. LH From the cheeky cover to the simple but readable interior and the touch of whimsy on the endpapers, this is a nice package.

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tra de 70

illu str ated




b y S y M o n t g o M e r y   xi


by iSa LeShko 3

List of Sanctuaries Visited  15 Plate Gallery  17 Animal Stories

b y i S a L e S h k o   89

What Farm Sanctuaries Teach Us

b y g e n e b a u r   99

Empathy That Became Advocacy

b y a n n e W i L k e S t u c k e r   103

Notes  109 Suggested Reading  117 Author and Contributor Biographies  121 Acknowledgments  123

Plat e 13 . Melvin, an Angora goat, age 11+, spent the first six years of his life tied to a tire in a barren yard without shelter from the elements (see story on page 93).


I think I could turn and live with animals, they are so placid and self-contain’d, I stand and look at them long and long. Wa lt W h i t m a n

Silently the animal catches our glance. The animal looks at us, and whether we look away (from the animal, our plate, our concern, ourselves) or not, we are exposed. Whether we change our lives or do nothing, we have responded. To do nothing is to do something. J o n at h a n S a f r a n f o e r



Animal Stories Isa Leshko

Although I care about all the animals I photographed for this project, some affected me more profoundly than others. I share their stories here. These animals led remarkable lives, but they themselves were not remarkable for their species. As you read about them, please keep in mind what made Babs, Ash, Melvin, Teresa, and Valentino exceptional: it wasn’t their memorable personalities or intelligence; it was that they escaped their abusive circumstances, unlike the billions of their kind who never will.

BaBs The moment I saw Babs’s brown unruly fur, I thought of my favorite Sesame Street character from childhood, Mr. Snuffleupagus. Then I looked into her soulful eyes, and all comparisons to Snuffy abruptly halted. The old donkey’s eyes had a weariness that suggested she had endured trauma at some point in her life. During the first seventeen years of her life, Babs (plates 5 and 6) had been used for roping practice on a ranch in Eastern Washington. Donkeys are inexpensive, so cattle ranchers often learn roping techniques on them instead of on mechanical dummies. Many rodeos also use donkeys for entry-level roping competitions. Roping involves electrically shocking a donkey to make her run, chasing her on horseback, and then tossing a lasso around her neck or rear legs to pull her to the ground.1 Donkeys endure this practice repeatedly until they are exhausted, maimed, or killed. When Babs arrived at Pasado’s Safe Haven in Sultan, Washington, she was covered in rope burns. She also suffered from Equine Cushing’s disease, a pituitary disorder that causes insulin resistance and hyperglycemia. She was placed on a restricted diet of hay that had been soaked in water to reduce the sugar content. Whenever she was out of her stall, she had to wear a muzzle that prevented her from grazing on grass. Babs also arrived at the sanctuary with chronic laminitis, a painful inflammation of tissues (laminae) in equine hooves that leads to lameness. Her condition was too severe to cure, but Pasado’s animal care workers managed her pain with twice- daily ice baths, massage, and acupuncture. She also wore orthotic boots throughout the day.




Allowed to Grow Old Portraits of Elderly Animals from Farm Sanctuaries Isa Leshko

Allowed to Grow Old P o r t r a i t s o f E l d E r ly a n i m a l s f r o m fa r m s a n c t u a r i E s

Designer Jill Shimabukuro Production Joan Davies

Isa Leshko

Acquiring editor Susan Bielstein/Christie Henry Production editor Jenni Fry

forEword by sy montgomEry E s s ay s b y g E n E b a u r a n d a n n E w i l k E s t u c k E r The University of Chicago Press | Chicago and London


Trim size 9.5 × 10.25 in Number of pages 138 Number of copies 6,000 Compositor Jill Shimabukuro Text type 10.5/15 Dolly Pro × 29p Display type Alright Sans Paper 100lb Garda Silk white coated Inks 4/C + PMS Warm Gray 2 Printer/binder Friesens Binding method smyth sewn Printing method offset Binding materials Brillianta Ecru cloth; Copper foil; Rainbow Antique black endsheets; Black cotton headbands Jacket designer Jill Shimabukuro Jacket printer Friesens Designer comment A wonderful and rewarding collaboration with photographer and author Isa Leshko. The design, pacing, color palette and tone are in service to these poignant images of elderly animals. SH Judiciously chosen typefaces, a clean grid Isa Leshko

with substantial white space, and careful layouts showcase dramatic, well-placed photographs. Muted, neutral color is used sparingly and beautifully throughout the graceful spreads. Frontmatter pages are admirably designed and set the stage for a remarkable book.

Allowed to Grow Old forEWord by sy montGomEry

P o r t r a i t s o f E l d E r ly a n i m a l s fr o m fa r m s a n c t ua r i E s E s s ay s b y G E n E b a u r a n d a n n E W i l k E s t u c k E r

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LH This sweet and sad book touched us all.



True Grit American Prints from 1900 to 1950 Stephanie Schrader, James Glisson, and Alexander Nemerov Designer Jim Drobka Production Victoria Gallina Production editor Nola Butler Trim size 10 Ă— 10 in Number of pages 112 Number of copies 2,000 Compositor Diane Franco Text type Neue Plak Text Regular Display type HWT Konop (P22 Type Foundry)

Designer comment American prints of city life

Paper Vincent

from mid-twentieth century provided inspiration

Inks 4/4-4cp

for the chapter openers, which suggest paper and

Printer/binder Artron Art Group

overprinting. The title is set in a new font design

Binding method smyth sewn

inspired by traditional wood type. The letters for the

Printing method offset

title on the cover were cut in wood and proofed at

Binding materials Vincent paper, varnish,

the Hamilton Wood Type & Printing Museum. These

illustrated endpapers Jacket designer Jim Drobka

proofs were scanned and composited to give the title a gritty overprinted texture.

Jacket printer Artron Art Group SH Cover-to-cover, this striking book combines contrasting typefaces, a straightforward grid, and acres of white space to showcase the dramatic, well-placed images. The subtle color scheme adds warmth, and rugged display type adds drama. Spreads are nicely anchored by the top-aligned bold captions and folios. The cover and frontmatter pages are especially handsome. LH When a book shows care and consideration for every detail, and achieves a high level of craft such as this one, my heart sings. Such a perfect use of the Hamilton Wood Type font Konop. The paper is a good compromise between coated and uncoated: so glad there is no glossy glare.

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Gyorgy Kepes Undreaming the Bauhaus John R. Blakinger Designer Marge Encomienda Production Janet Rossi Acquiring editor Roger Conover Production editor Matthew Abbate Trim size 7 × 9 in Number of pages 504 Number of copies 1,500 Text type Dante MT Pro Display type Dante MT Pro Paper 70lb coated matt Inks 4/4-4cp Printer/binder Versa Press Binding method smyth sewn Printing method offset Jacket designer Marge Encomienda Jacket printer John P. Pow Co., Lithographers Designer comment The design gave prominence to the images which were painstakingly researched and documented by the author. We also wanted to pay homage to the stylistic approach of the original Kepes publications with the use of mixed typefaces, a strong vertical orientation, and contrasts of scale. SH Masterful typography, flexible grid, and a wide variety of well-placed images make every spread appealing. Chapter openings are especially engaging. Lively bleeds and vertical side-running text anchor and yet visually expand the layouts. LH The design of this book does a beautiful job interpreting this Bauhaus-influenced modernist’s approach to design. The clean, functional grid sets off the numerous illustrations beautifully. I find the part title pages especially strong.

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Among Others Blackness at MoMA Darby English and Charlotte Barat Designer Sรกnchez/Lacasta Production Marc Sapir Acquiring editor Christopher Hudson Production editor David Frankel with Emily Hall Trim size 9 ร 10.5 in Number of pages 480 Text type Post Grotesk Book, Book Italic, Bold, and Bold Italic; Grotzec Condensed Demibold Paper 150gsm Perigord Printer/binder Verona Libri Binding method smyth sewn Printing method offset Jacket designer Sรกnchez/Lacasta Jacket printer Verona Libri

SH Bold display contrasts handily with nicely ragged body text in a clean, flexible grid. Type aligns decisively with powerful images, with plenty of room to breathe. Smaller figures fit naturally in the generous outer margins. Frontmatter pages are wonderfully dynamic. LH The bold treatment of the contents page was a great opening feature: putting the plates list up front and then gorgeous spreads for entries with the images. Just beautiful.

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Frances Benjamin Johnston The Hampton Album Sarah Hermanson Meister Designer Amanda Washburn Production Marc Sapir Acquiring editor Christopher Hudson Production editor Alexander Scrimgeour Trim size 9.75 × 13.5 in Number of pages 344 Text type Domaine Paper 150gsm Munken Lynx Printer/binder Trifolio Srl Binding method smyth sewn Printing method offset Jacket designer Amanda Washburn Jacket printer Trifolio Srl

SH Expertly handled typography and gorgeous photographs are presented in sophisticated, dramatic spreads. The rag-right text block, with its deep indents and comfortable leading, relates naturally to the centered display text. Generous white space emphasizes every meticulous detail, including the distinctive handwritten script that adds a personal and historical touch. LH I can’t say enough about this project. It’s an incredibly important book, and I am so glad it’s in the world. It’s a story that needs telling and the design handles it with such grace and care. I only wish it weren’t quite so big and unwieldy.

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Lincoln Kirstein’s Modern Samantha Friedman and Jodi Hauptman Designer IN-FO.CO Production Marc Sapir Acquiring editor Christopher Hudson Production editor Diana C. Stoll Trim size 9 × 10.5 in Number of pages 208 Text type Mier, Arnhem Paper 150gsm Creator Silk Printer/binder Graphius Ghent Binding method smyth sewn Printing method offset Jacket designer IN-FO.CO Jacket printer Graphius Ghent

SH Clearly hierarchical typography and a flexible grid create an engaging framework for a rich variety of figures. Text is nicely ragged and the notes and captions fit naturally in the margins of these careful layouts. LH From the geometric end papers to the weird collision of fonts on the contents page, this book manages to be at once graceful and edgy; uncomfortable and rational. It’s a classic European modernist grid and handled well. I truly appreciate the perfect rag in both the essays and the captions. And I also appreciate the dynamism of the images and how they are arrayed across spreads. Well done.

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Capturing Nature Early Scientific Photography at the Australian Museum 1857–1893 Vanessa Finney Designer Pfisterer + Freeman Production Rosie Marson Acquiring editor Elspeth Menzies Production editor Emma Hutchison Trim size 200 × 260 mm Number of pages 208 Number of copies 3,000

Australian Museum are both fascinating and maca-

Compositor Pfisterer + Freeman

bre. A strong use of black in the design, frames the

Text type 8.5pt Mercury; subheads: 10.4pt Gotham

eerie beauty of these black and white images and the

Display type Eames Century Modern

light and spacious typography keeps the focus on

Paper 128gsm Kinmari matt art

the photography. The part title and chapter opening

Inks 4/C + overall matt press varnish

pages reference the difficult process of plate-making

Printer/binder 1010 Printing

with strong black backgrounds, light exposure and

Binding method smyth sewn

negative light effects. The spot UV on the cover cap-

Printing method offset

tures the process of pouring light sensitive collodion

Binding materials flexi-cover on 350gsm C1S art

liquid onto a fresh glass plate and overlaid frames


capture the sense of exposure and negative light.

Jacket designer Pfisterer + Freeman Jacket printer 1010 Printing

SH Compelling images from another century are made fresh and relevant thanks to the designer’s

Designer comment The early scientific glass-

skillful handling of typography, layout, imagery,

plate photography of animal specimens from the

and color. An open, flexible grid accommodates beautifully contrasting typefaces and nicely ragged text blocks. Variably-sized imagery and sensitive use of color add drama throughout. The cover, with its visual and tactile layers, is splendid. LH Beautifully handled, expert grid, and especially love how the images are set off against the black. Always a little sad to see coated paper in these instances of showing off art from the 19th century. The binding and the paper quality were a poor choice for this truly beautiful interior design.

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Pier Groups Art and Sex Along the New York Waterfront Jonathan Weinberg Designer Regina Starace Production Jennifer Norton Acquiring editor Eleanor Goodman Production editor Suzanne Wolk Trim size 7 Ă— 9 in Number of pages 232 Number of copies 3,000 Compositor Regina Starace Text type 9.75/14.5 Miller Text (Carter & Cone) Ă— 27p Display type Swiss 721 (Bitstream) Paper 120g Munken Polar Rough Inks 4/4-4cp Printer/binder Oddi Binding method smyth sewn Printing method offset Binding materials 4/0 Wibalin Natural White with matte varnish Jacket designer Regina Starace Jacket printer Oddi

SH A striking combination of typefaces, expertly handled in a flexible, spacious grid, creates inviting layouts that include a broad array of gorgeous images. Uncrowded hairlines below titles and folios add an airy, cohesive texture. Folios and vertical side-running heads in the outer margins anchor the spreads while adding a quietly kinetic element. The velvety uncoated paper enhances all this beauty. LH This is an absolutely lovely and tasteful book that elevates and frames a complicated and important story/a subject matter that might otherwise make you blush. The uncoated paper here is everything! Smart choice. The typefaces work so well and there is just the right amount of white space. Beautifully handled vertical running heads.

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The Shape of Difficulty A Fan Letter to Unruly Objects Bret L. Rothstein Designer Regina Starace Production Jennifer Norton Acquiring editor Eleanor Goodman Production editor Nicole Wayland Trim size 7 × 9 in Number of pages 228 Number of copies 2,000 Compositor Regina Starace Text type 10/15 Scala Pro (FontShop) × 27p6 Display type Scala Sans Pro (FontShop), Knockout (HTF), and Geo (Ben Weiner) Paper 140gsm Gold Sun white woodfree (FSC) Inks 4/4-4cp Printer/binder Four Colour Print Group Binding method smyth sewn Printing method offset Binding materials JHT with blind stamping front and foil (spine)

SH Refreshing color combinations, lovely type choices, and skillful use of a spacious grid crafti-

Jacket designer Regina Starace

ly evoke puzzles and their effect on us. Energetic

Jacket printer Four Colour Print Group

frontmatter pages and chapter openings feature stair-stepped text blocks and dramatic white spaces. Photographs are handsomely presented, and their captions extend squarely into text blocks, creating even more dynamic shapes. Thick, uncoated stock adds an appealing softness. The unruly title spread is beautiful, the oversized chapter numbers are playful, and a lurking bunny plays hide-and-seek throughout. What elegant fun. LH It is refreshing to see typography set with con­sideration of form and counterform. In this inviting book, all the details have been nicely thought out. Also, excellent use of display fonts Geo and Knockout.

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Monument Lab Creative Speculations for Philadelphia Edited by Paul M. Farber and Ken Lum Designer Luke Bulman Production Kate Nichols and Dave Wilson Acquiring editor Aaron Javsicas Production editor Joan Vidal Trim size 6.75 × 9.375 in Number of pages 336 Number of copies 3,000 Compositor Luke Bulman

perspective presentation on the reality and possibili-

Text type 9/12 Lyon Text, Atlas Grotesk

ty of new monuments in contemporary Philadelphia.

Display type Helvetica Neue Condensed Black

The design reflects the complexity of the undertak-

Paper 100lb Flo Matte Text

ing while still creating an accessible environment for

Inks 4/4-4cp

the reader. The recurring yellow pages show ideas

Printer/binder Four Colour Print Group

for monuments made by citizens placed between

Binding method smyth sewn

documentation of artists’ proposals—each offers a

Printing method offset

counterpoint to the other. The typography is pur-

Binding materials 80# Rainbow over 70pt boards

posefully direct and varied, deploying a number of

Jacket designer Luke Bulman

type sizes and spatial configurations to emphasize

Jacket printer Four Colour Print Group

different voices.

Designer comment This book combines a research

SH Clear organization and straightforward, read-

project, art installations, conversation transcripts,

able typography in a flexible grid make an engaging

and essays that together offer a poly-vocal, multi-

presentation of this complex project. Images are well-placed, and the variety of citizens’ suggestion forms on full-bleed yellow pages add authenticity and depth. LH I love the color choice for the endpaper and the yellow tint throughout; I am happy to see contemporary typography being used in a university press book. The bold Helvetica Neue and the tight top margins feel fresh and current and yet handle the space with elegance and readability. This was a complex book to design and it was managed well, especially the survey cards.

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Big Wonderful Thing A History of Texas Stephen Harrigan Designer Erin Mayes Production Dustin Kilgore Acquiring editor Dave Hamrick Production editor Lynne Ferguson Trim size 6.125 × 9.25 in Number of pages 944 Number of copies 35,000 Compositor Erin Mayes Text type 9.75/14 Iowan Old Style Display type Knockout Paper 60lb Glatfelter Natural Eggshell Inks 2-color Printer/binder Sheridan Books Binding method smyth sewn Printing method offset Jacket designer Erin Mayes Jacket printer Phoenix

SH Carefully considered typography (oversized and not) combines with smartly understated use of hairline rules, lone star ornaments, big and bold folios, and a rich brown second ink to make this book a wonderful thing. The frontmatter pages and chapter openings are suitably dramatic. Well-ragged text blocks and smart use of the second ink make the text pages especially handsome. I only wish the striking and well-designed typographic cover included a bit of the interior’s wily “Texasness.” LH Large display type, well-designed and readable text, nice use of contrasting fonts, and strong use of color and scale (it’s a thick book!) all work together to make this a well-designed book.

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Mercados Recipes from the Markets of Mexico David Sterling Designer Derek George Production Sarah Mueller Acquiring editor Casey Kittrell Production editor Lynne Ferguson Trim size 9.5 Ă— 11 in Number of pages 560 Number of copies 5,500 Compositor Derek George Text type 9.5/13.25 Livory Display type Abolition Paper 128gsm Chinese Gold East Matte Art Inks 4/4-4cp Printer/binder Sheridan Books Binding method smyth sewn Printing method offset Jacket designer Derek George Jacket printer C&C Offset

SH This smartly organized travelogue/cookbook is as exuberant as it is well designed. Decorative and simple borders barely contain the vivid photographs, dynamic layouts, and beautifully color-coded sections. Handsome frontmatter pages hint at the treats to come. Â LH I am surprised that I like this book. It has so much going on, but in the end, we decided that the complete exuberance elevated it to a place of joy. The photographs are abundant and illustrative and convey the sense of markets in Mexico.

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A is for Archive Warhol’s World from A to Z Matt Wrbican Designer Daphne Geismar Production Sarah Henry Acquiring editor Patricia Fidler Production editor Kate Zanzucchi Trim size 10.25 × 11 in Number of pages 320 Number of copies 8,750 Compositor Daphne Geismar Text type Akkurat Display type Akkurat Paper 140gsm Magno Natural FSC Inks 4/C + PMS 805 Printer/binder Pristone Pte. Ltd. Binding method smyth sewn Printing method offset

Designer comment The archival content required

Binding materials PLC case with matt lamination;

an inventive design, handled in an almost encyclope-

Kraft paper jacket with silkscreen Jacket designer Daphne Geismar

dic way, more editorial—whimsical and bold—than traditional museum catalogue. The color palette is drawn from the material in the archive. The typeface, Akkurat, is a utilitarian modern font, reminiscent of the classic san serifs with a bit of unobtrusive contemporary playfulness. SH M is for Masterful: typography, flexible grid with ample white space, exuberant chapter titles, and lively colors bring order to a wide array of images. Body text is skillfully ragged while vertical side-running heads and folios in the wide outer margins are both lively and anchoring. Nice use of dayglo ink and craft paper. LH Love the use of large scale fluorescent orange initial caps for the entries; love the playful color palette. Makes me smile. Andy W. would like it too.

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poe tr y and


lit era ture



An Autobiography of the Autobiography of Reading Dionne Brand Designer Alan Brownoff Production Alan Brownoff Acquiring editor Peter Midgley Production editor Mary Lou Roy Trim size 5.25 × 9 in Number of pages 72 Number of copies 1,000 Compositor Alan Brownoff Text type 10/16 Fayon Display type Birra Stout Paper 55lb Enviro cream Inks black Printer/binder Houghton Boston Printers Binding method perfect Printing method offset Binding materials 1/2 ml. matte lamination Jacket designer Alan Brownoff Jacket printer Houghton Boston Printers

SH Bold, quirky display type contrasts nicely with classically readable text in an inviting and open format. Full-bleed details of the cover artwork appear throughout, creating dynamic spreads and— cleverly—texturally mimicking and making seem intentional the thin paper’s ink show-through that is visible on other pages.

poetry and literature



Exhibit Paul Zits Designer Melina Cusano Production Melina Cusano Acquiring editor Brian Scrivener Production editor Helen Hajnoczky Trim size 6 × 9 in Number of pages 136 Number of copies 550 Text type 11/14 pt Minion Pro (Adobe) Display type Minion Pro (Adobe), Historical handwriting Paper Rolland Opaque Smooth Natural FSC-mix 30% Inks black Printer/binder Marquis Binding method perfect w/ 5” French flaps Printing method offset Jacket designer Melina Cusano Jacket printer Marquis

SH Clearly structured and beautifully designed inside and out, this attractive book is—paradoxically—about a murder trial. Elegant typography effectively communicates different voices and source materials in open, airy layouts. Different sections are nicely signaled using silhouetted photos of evidence. The spoon motif is effectively used with admirable restraint. LH This strange and lovely book is perfectly designed for its content: poetry and experimental language that tells a story of murder and trial.

poetry and literature



Jack and the Ghost Chan Poling with illustrations by Lucy Michell Designer Anders Hanson Production Daniel Ochsner Acquiring editor Erik Anderson Production editor Erik Anderson Trim size 6.125 × 8 in Number of pages 80 Compositor Anders Hanson Text type Tribute (Emigre Fonts) Display type Mary Read (Melle Diete) Inks 4/4-4cp Printer/binder Friesens Binding method smyth sewn Printing method offset Binding materials Midnight Pearl Linen on 120 pt board; GRL Gold Lusterfoil Jacket designer Anders Hanson Jacket printer Friesens Designer comment I was interested in creating a tactile object that had a bit of mystery to it—something that invited you to pick it up and explore it. The construction of the book helps tell the story by introducing the characters, setting the tone and place, and, hopefully, suggesting some intriguing narratives before it’s ever opened. SH The powerful, simple cover is intriguingly wrapped in a watery, translucent flap. Inside, the well-handled typography integrates smoothly with gorgeous illustrations. Beautiful, poignant endpapers add to the bittersweet charm of this treasure. LH Just charming. Glad the illustrations do all the work here. The typography isn’t anything to write home about, but it does its job in an appropriate way that allows the artwork and the story to shine.

poetry and literature



The Music of Her Rivers Poems Renny Golden Designer Mindy Basinger Hill Production Mindy Basinger Hill Acquiring editor Elise McHugh Production editor James Ayers Trim size 6 Ă— 9 in Number of pages 104 Number of copies 400 Compositor Mindy Basinger Hill Text type 10.2 / 14 pt Caslon Pro (Adobe) Ă— 26 picas Display type Caslon Pro (Adobe) Paper 55lb Glatfelter Natural 360 ppi Inks black Printer/binder Versa Press Binding method perfect Printing method offset Binding materials 12 pt C1S, 166 ppi; Nylon Matte Film Lamination Jacket designer Mindy Basinger Hill

SH Skillfully handled interior typography uses quiet but clear hierarchies and nicely ragged text that flows through an open, inviting layout. Scratchy lines are nicely used throughout to create divisions and add interest. LH Sometimes, a book of poetry just hits that sweet spot between typographic elegance, a bit of necessary restraint, and a touch of something just a little unusual. This one does that.

poetry and literature



These are Love(d) Letters Ames Hawkins Designer Jessica Jacobs Production Kristin Harpster Acquiring editor Annie Martin Production editor Kristin Harpster Trim size 7 × 9 in Number of pages 296 Number of copies 750 Compositor Jessica Jacobs

with its own illustration approach at the beginning

Text type 9.5/15 Questa (The Questa Project),

of the chapter. Each of the 20 chapters is preceded

10/14 Questa Sans; 9.5/15 Questa Slab;

by a pale blue interleave meant to mimic the blue of

10.5/14.5 Mr Eaves XL (Emigre)

many of the envelopes. Each chapter opens with an

Display type 11.5/18 Questa; 54pt Mrs Eaves XL (Emigre)

image of the front of the envelope and closes with an image of the back of the envelope. Once inside the

Binding method perfect

chapter, all of the imagery is pulled from the letter

Printing method offset

on that particular date. Any instance of the word

Binding materials paperback

“love” in that letter was pulled out and floats across

Jacket designer Jessica Jacobs

the chapter from top to bottom. We developed different type styles for each of the “kinds” of writing

Designer comment The process of designing These

in the book: narrative passages, theoretical analy-

are Love(d) Letters was an intensive, iterative collab-

sis pieces, imagined fiction passages, and creative

oration between the designer, Jessica Jacobs, and the

pieces. The master design theme of this book is that

author, Ames Hawkins. The master design theme of

it feels as much like a letter as possible.

this book is that it feels as much like a letter as possible. There are five 4-chapter arcs in the book, each

SH From front to back, this carefully organized treasure is exquisitely designed. Letter and handwriting imagery—sometimes spreading gracefully across gutters—is skillfully integrated with thoughtfully considered typography and generous white space. Color is used expertly throughout, and the uncoated stock adds a nostalgic softness. LH Although the cover is unassuming, the interior of this book has just the right tone: soft and unexpected. The silhouetting of the letters is beautifully done.

poetry and literature


Jour nals




Archives of American Art Journal Smithsonian Archives of American Art Designer Polygraph Production Emily Shapiro (managing editor) Acquiring editor Tanya Sheehan (executive editor) Trim size 8 × 10.5 in Number of pages ~96 Number of copies ~1,300 Text type 8.5/12.5 Tiempos Text (Klim Type) × 25p Display type Patron Bold, Milieu Grotesque, 42/43.75 Paper 100lb and 80lb Via Satin Uncoated Radiant White

include a bold half-cover flap (the color of which changes with each issue) that accommodates the

Inks 4/4-4cp (UV inks) CMYK + Pantone cover

journal’s lengthy title while retaining the integrity

Printer/binder Mosaic

of the cover art, color-coded tabs and other graphic

Binding method perfect

elements that help readers navigate our diverse

Printing method offset

content, a revised layout that seamlessly integrates

Binding materials PUR glue

word and image, and a refreshed typographic

Jacket designer Polygraph

palette that honors the journal’s traditions whilst

Jacket printer Mosaic

enhancing clarity and legibility.

Designer comment The Archives of American Art

SH A successful evolution of this established

Journal (est. 1960) was recently redesigned as part of

journal’s graphic identity, this redesign uses a fresh

a larger overhaul of the publication. The final prod-

combination of contrasting typefaces in a dynamic,

uct reflects our enduring commitment to presenting

flexible grid that includes plenty of breathing room.

innovative scholarship about primary sources in a

Color is used strategically and effectively through-

visually compelling package. Redesign highlights

out, especially for article opening titles and tabs. The TOC spreads are dynamic and inviting. The short-sheet cover flap, physically separating the relevant text from the artwork, is an attractive update that respects the journal’s typographic history of featuring bold, vertical type on the cover. LH This journal is exquisite. I am truly pleased to see such a detailed and joyful approach to scholarly work, both typographic and visual. Every single detail is expertly handled.



Jack ets 114


Cov ers



Unhistorical Poems Brittany Cavallaro Designer Amy Freels Illustrator Suzanne Moxhay Typeface(s) Baskerville (Monotype) Paper 12pt C1S Inks 4 color process Coating/finish soft touch matte laminate Printer/binder Bookmasters Print method digital TE A sensitive design with surprising depth as the letters are subtly obscured by branches. AT A most restrained design for an unrestrained and magical image.



Obstacle Course The Everyday Struggle to Get an Abortion in America David S. Cohen and Carole Joffe Designer Lia Tjandra Art director Lia Tjandra Illustrator Lia Tjandra Production coordinator Angela Chen Typeface(s) Lulo Clean (Yellow Design Studio) Paper C1S Inks 4 color process Coating/finish matte Printer/binder Phoenix Print method offset Designer comment The book’s subject matter is visually communicated through simple graphics and typography. A spot gloss focuses your attention on the illustration. TE A captivating design that entangles the eye and forces it to confront a challenging topic. AT One would think this would be a challenging topic to illustrate. But a fresh modern take was accomplished here.

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World Literature in Translation Series (Series Design) Various Designer Lia Tjandra Art director Lia Tjandra Illustrator Lia Tjandra Production coordinator Jack Young Typeface(s) Walbaum (Monotype), M3

Designer comment Elegant and dramatic typography

Paper C1S

brought this series of translated historical manuscripts

Inks 4 color process

into the 21st century.

Coating/finish matte Printer/binder Sheridan Books

TE An exquisite set of typographic covers united by

Print method offset

delicate custom lettering.


Keyline 12/13/2018  4-Color Process  Scuff Resistant Matte Lay Flat Laminate


Crises of the Sentence

literary criticism


“A poem is the cry of its sentences. Jan Mieszkowski explores how sentences are made, and broken, in aphorisms andJohn slogans well as in Schlegel, Poe, DickinPrinter/binder P.asPow Co., Lithographers son, and Stein (among many others). Crises of the Sentence illuminates the aesPrint method offset thetics of literary style––as well as the style of literary aesthetics.” Charles Bernstein, author of Pitch of Poetry “No book hasDesigner given me such critical pleasure a long while, in part thanks to the comment Ainplayful, engaging typosatisfaction afforded by the successive unfolding of Jan Mieszkowski’s own flawgraphic design in which the simple effect of less sentences. I won’t call them elegantly crafted since he hasn’t manufactured them for theshifting reader’s pleasure. Rather, the book’savirtue is to make us supremely planes produces ‘crisis’ of legibility. aware of the strange capacity for one ‘complete thought’ to give way to another as a property inherent in all good prose.” Anne-Lise François, author of Openvisualization Secrets: The Literature of TE A satisfying of the Uncounted Experience


Jan Mieszkowski Crises of the Sentence

There are few forms in which so much authority has been invested with so little Jan Mieszkowski reflection as the sentence. Though a fundamental unit of discourse, it has rarely been an explicit object of inquiry, often taking a back seat to concepts such as the word, trope, or line of verse. Designer DiSantonot thinking—about the senTo understand what is atDrohan stake in thinking—or tence, Jan Mieszkowski looks atJill the difficulties confronting nineteenth- and twenArt director Shimabukuro tieth-century authors when they try to explain what a sentence is and what it can Production Agnewsentence, to do. From Romantic debates coordinator about the power of Skye the stand-alone the realist obsession with precision and revision, to modernist experiments with Typeface(s) Helvetica Neue (Monotype) ungovernable forms, Mieszkowski explores the hidden allegiances behind our ever-changing stylistic 10pt ideals. By showing how an investment in superior writing Paper C1S has always been an ethical, political, and aesthetic commitment, Crises of the Inks 4 color process Sentence offers a new perspective on our love-hate relationship with this fundamental compositional category. Coating/finish scuff-resistant matte stay-flat

AT The deconstruction of the type was a little Jan Mieszkowski is professor of German and humanities at Reed College and the author, most recently, of Watching War. challenging but grabbed my attention. The simple repeat of the title below made the all. Excellent typographically

driven design.

cover design by drohan disanto

jackets and covers


design workPress after The University of Chicago

Crises Crises Crises ofofthe the of the Crises SenSenSenof the tence tence tence Sentence Crises of the Sentence

Jan Mieszkowski



The Making of Measure and the Promise of Sameness Emanuele Lugli Designer Isaac Tobin Art director Jill Shimabukuro Production coordinator Joan Davies Typeface(s) Bembo Book (Monotype) Paper 80# C1S Inks 4 color process Coating/finish scuff-resistant matte laminate Printer/binder Phoenix Print method offset Designer comment This book cover needed to convey the subject matter (non-standard premodern measurement systems), suggest the time and place being studied (late medieval Italy), and at the same time indicate that the book is an exciting piece of contemporary analysis, drawing conclusions of broader interest. So instead of using period artwork, I used a period typeface in a modern way, interweaving the text with various measurement scales. TE A precise and balanced concept using classical type and form in a contemporary manner. AT This cover is so smart and elegant. Conception and execution are outstanding. The illustration and type seem of the same hand and although one element drops out and the other prints black they seem to share equal emphasis on the page. Master craftsmanship in a simple two-color printing job.



Mood and Trope

literary criticism / philosophy

and Poetics of ranges Affectwidely over philoso“This unusual, The potentRhetoric contribution to affect studies

mood and trope

phy and literature to explore the centrality of trope and rhetoric to the inescapJohn Brenkman able triad of mood (affect), understanding (thought), and speech (discourse). Reconnecting affect studies with major issues in literary studies, philosophy, and aesthetics, Brenkman makes a fundamental contribution to this emergent Designer Drohan DiSanto field.”—jonathan culler, cornell university

ArtJohn director Jill Shimabukuro In Mood and Trope, Brenkman introduces two provocative propositions to affect theory: that human emotion is intimately Sierra connected to persuasion Production coordinator Wilson and figurative language and that literature, especially poetry, lends precision to studying affectTypeface(s) because it residesAkzidenz-Grotesk there not in speaking about feelings but in the (Berthold), way of speaking itself.

the rhetoric and poetics of affect

john brenkman

Plantin (Monotype)

john brenkman

Engaging a quartet of modern philosophers—Kant, Nietzsche, Heidegger, and Paper 10pt C1S Deleuze—Brenkman explores how they all approach the question of affect primarily through literature and art. He draws on the differences and dialogues Inks 4 color process among them, arguing that the vocation of criticism is incapable of systematicity Coating/finish scuff-resistant matte stay-flat and instead must be attuned to the singularity and plurality of literary and artistic creations. In addition, he confronts these four philosophers and their laminate essential concepts with a wide array of authors and artists, including Pinter and Poe, Baudelaire, Jorie Graham and Li-Young Lee, Shakespeare, Tino Sehgal, Printer/binder John P. Pow Co., Lithographers and Francis Bacon. Filled with surprising insights, Mood and Trope provides a rich archive forPrint rethinking the nature of affect and its aesthetic and rhetorical method offset stakes. “Brenkman’s Mood and Trope is a major contribution to contemporary literDesigner comment I designed a grid of shapes ary studies, bringing a renewed conception of affect to bear upon poetics. Combining philosophical inquiry with brilliant interpretive readings, Brenkman and tones to allude to the author’s argument that not only draws out the distinctive imbrications of mood and trope across a range of modern poetic projects butbe also revitalizesto thethe concept of criticismand criticism must attuned singularity itself through a stunning reframing of Kantian aesthetic judgment in pragmatic, of literary artistic communicativeplurality terms.”—amanda anderson,and brown university creations.

john brenkman

AT Great modernist design that was enormously and effective. the university of chicago expressive press

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9 7 8 0 2 2 6

6 7 3 2 6 4

9 0 0 0 0


ISBN-13: 978-0-226-67326-4 ISBN-10: 0-226-67326-X

cover design: drohan disanto

is distinguished professor of English TE A deceptively simple solution toand a comparative literature at the City University of New York Graduate Center and director jargon-prone subject. of the US-Europe Seminar at Baruch College. He is the author of three books, most recently, The Cultural Contradictions of Democracy: Political Thought since September 11.

mood and trope



The Quality of the Archaeological Record Charles Perreault Designer Natalie Sowa

Designer Comment The cover uses illustrations of

Art Director Jill Shimabukuro

archaeological artifacts organized around the title to

Production Coordinator Joseph Claude

represent the structure of record-keeping.

Typeface(s) Masquelero (Monotype), Akzidenz-Grotesk (Berthold), Feijoa (Klim) Paper 10pt C1S

TE A perfectly-executed classic university press cover design.

Inks 4 color process Coating/Finish Gritty Matte UV

AT The use of vintage line drawings of archeological

Printer/Binder John P. Pow Co., Lithographers

finds was gathered on the page in a most organized,

Print Method offset

balanced, and effective layout.



What is Japanese Cinema? A History Yomota Inuhiko Designer Chang Jae Lee Art director Julia Kushnirsky Illustrator Teshigahara Hiroshi Š Sogetsu Foundation Production coordinator Jennifer Jerome Typeface(s) Lumier Bold (Tour de Force), Minion Pro (Adobe) Paper 10pt C1S Inks 4 color process Coating/finish Matte Printer/binder Sheridan Books Print method offset TE An appropriately austere composition with just the right amount of eccentricity. AT The cover photo simply looked cinematic while a horizontal author credit is a nod to Japanese typographic layout.Â

jackets and covers




Russian Library series (3 titles) Vladislav Khodasevich, Karolina Pavlova, Yuz Aleshkovsky Designer Roberto de Vicq de Cumptich

Designer comment The Russian Library cover design

Art director Julia Kushnirsky

uses a constructivist aesthetic framework and type­

Production coordinator Jennifer Jerome

faces reminiscent of old playbills to create mini posters

Typeface(s) Ingeborg Fat and Block (Typejockeys),

to convey the story of each book.

Mr Palkerson (Letterhead Studio-YG), Mr Palker Dadson (Letterhead Studio-YG), Parker (Tuscan) Paper 100# C1S

TE A bold set of colorfully illustrated and curiously decorated covers that are unified by their variety.

Inks 4 color process Coating/finish matte

AT The diagonal panels and font choices reveal more

Printer/binder Sheridan Books

obvious Constructivist influences. A modern color

Print method digital

palette makes it very fresh.

jackets and covers



One Hundred Autobiographies A Memoir David Lehman Designer Scott Levine Production coordinator Diana Silva

TE A straightforward cover enhanced by unusual

Typeface(s) Scala Pro (Monotype)

cropping and delicate line patterns.

Paper 80# C1S Inks 4 color process

AT This cover layout is classical and elegant with a

Coating/finish scuff-resistant matte stay-flat laminate

twist. The intricate line detailing subtly echoes the

Printer/binder John P. Pow Co., Lithographers

unconventional portrait’s gesture giving it a fresh and

Print method offset

modern sensibility.



The Black Avenger in Atlantic Culture GrĂŠgory Pierrot Designer Erin Kirk New Production coordinator Rebecca Norton Typeface(s) Eveleth Clean Regular (Yellow Design Studio), Minion Pro (Adobe) Inks 4 color process Coating/finish matte Printer/binder Lightning Source Print method digital TE An unsettling design made effective by isolating the illustration and using a striking color palette. AT Bold color and type were coupled so well with this powerful antique print that it appeared to be color enhanced. It was also striking how the yellow and black typography read equally well against the neutral grey background.

jackets and covers



The Cigarette A Political History Sarah Milov Designer Tim Jones Art director Tim Jones Production coordinator Abigail Mumford Typeface(s) PallMall (ITF), Lucida Sans (Monotype) Paper 100# Opus 30 Inks Black + PMS 874 + custom red Coating/finish spot gloss Printer/binder John P. Pow Co., Lithographers Print method offset TE A striking solution that effectively alludes to its subject in an addictively direct way. AT This works as the book cover clearly replicates a famous cigarette brand packaging down to the panel shapes, colors, and fonts.



Happy Like This Ashley Wurzbacher Designer Kathleen Lynch / Black Kat Design Art director Karen Copp Illustrator Kathleen Lynch / Black Kat Design Production coordinator Karen Copp Typeface(s) Salome (Atipo), Outbound (Ian Barnard) Paper 10pt C1S Inks 4 color process Coating/finish matte Printer/binder Versa Press Print method offset TE A bright and endearing cover with handdrawn illustrations, but unfortunately used a font for the handwriting. AT Loved how this cover only alluded to emoji. The pink and blue palette and hand-drawn images were much warmer than real emoji.

jackets and covers



These Boys and Their Fathers Don Waters Designer Kimberly Glyder Art director Karen Copp Illustrator Kimberly Glyder (waves), Shutterstock (surfers) Production coordinator Karen Copp Typeface(s) Blacker Display (Zetafonts), Brandon Text (HvD Fonts), hand lettering Paper 10pt C1S Inks 4 color process Coating/finish matte Printer/binder Versa Press Print method offset TE A frothy design made elegantly mid-century by the limited palette and angular display type. AT The nod to a silk-screened surfer poster is successful. Type layout and color palette support the surfing memoir.



Bloody, Brutal, and Barbaric? Wrestling with Troubling War Texts William J. Webb and Gordon K. Oeste Designer David Fassett Art director David Fassett Production coordinator Ben McCoy Typeface(s) Neutraface (House Industries) Paper 10pt C1S Inks 4 color process Coating/finish Nylon soft matte lay flat scuff free film with spot gloss UV Printer/binder Versa Press Print method offset Designer comment I wanted to create a graphic solution that avoided the use of blood since the title was already intense. I also wanted to communicate ancient war in a contemporary way since the theories are unique and make significant contributions to the discussion. TE A striking design using a reliable black, white, and red palette with a spot gloss to drive the point home. The geometric sans type is appropriately bold but the sizes and alignments seem arbitrary. AT We fell in love with the spear like graphic pattern. The gold foil and red were stunning and most contemporary.

jackets and covers



Delivering the News Thomas O’Grady Designer David Drummond Art director Elena Goranescu Production coordinator Elena Goranescu Typeface(s) Rama Gothic (Dharma Type) Paper Supreme Cover Matte 93 Lb (10.6 pts), C1S Inks 4 color process Coating/finish scuff-resistant matte laminate Printer/binder Imprimerie Gauvin Print method offset Designer comment The cover shows a swallow tearing across the water of the poet’s native Prince Edward Island. TE An elegant and inventive design. AT The carefully constructed tear speaks volumes on this refined cover.



Grotesque Tenderness Daniel Cowper Designer David Drummond Art director Elena Goranescu Production coordinator Elena Goranescu Typeface(s) Bodoni Book and Book Italic Paper Supreme Cover Matte 93 Lb (10.6 pts), C1S Inks 4 color process Coating/finish scuff-resistant matte laminate Printer/binder Imprimerie Gauvin Print method offset TE An effectively visceral visualization of the title, but the placement of the type seems to have made concessions to the presence of the tentacles. AT An inventive illustration of how love can ensnarl.

jackets and covers



Look Here Look Away Look Again Edward Carson Designer David Drummond Art director Elena Goranescu Production coordinator Elena Goranescu Typeface(s) Gotham Bold (Hoefler&Co.) Paper Supreme Cover Matte 93 Lb (10.6 pts), C1S Inks 4 color process Coating/finish scuff-resistant matte laminate + spot varnish Printer/binder Imprimerie Gauvin Print method offset Designer comment This is one of those covers where the title drives the design solution. TE A clever composition in which the letters perform the directives of the words. AT The poetically animated use of type is all the illustration this cover needed.



The Drink That Made Wisconsin Famous Beer and Brewing in the Badger State Doug Hoverson Designer Anders Hanson

iconic brands (or generic stock beer photos). I studied

Art director Daniel Ochsner

graphic and typographic tropes that showed up con-

Illustrator Anders Hanson

sistently throughout Wisconsin’s beer ephemera and

Production coordinator Daniel Ochsner

reformed them into something new that represents

Typeface(s) Bordonaro Spur (Estudio Calderon),

the history of the culture as a whole.

Bordonaro Script (Estudio Calderon), Hebden Grotesque (Lewis McGuffie Type), hand lettering

TE A referential cover that could have collapsed under

Paper 157 gsm Matt Art

its own nostalgia but somehow succeeds by fully com-

Inks 4 color process + metallic PMS

mitting to the style.

Coating/finish matte Printer/binder Imago USA

AT I’ve seen covers that looked like wine or beer labels

Print method offset

before so I wanted more from this book cover. And it delivered with a jacket that wrapped the cover as a beer

Designer comment Part of the challenge of this cover

label would wrap a bottle. Such a well-conceived and

was coming up with a design that felt like Wisconsin

executed package.

beer without using any specific images of its many

jackets and covers



The Trouble with Men Reflections on Sex, Love, Marriage, Porn, and Power David Shields Designer Jeff Clark

Art Director Comment The only direction we had

Art Director Juliet Williams

was from the author, which was this: “I think it should

Production Coordinator Juliet Williams

be dark, human, and deep, but with an edge of wit.�

Typeface(s) Franklin Gothic Condensed

Jeff came up with the rest. Photos are contributors to

Paper 12pt C1S

an issue of Playboy from 1969. Stroke of genius, in our

Inks 4 color process

opinion, is his treatment of the author photo.

Coating/Finish matte Printer/Binder McNaughton & Gunn

TE A good design made great by similarly obscuring

Print Method offset

the author photo on the back. AT Fabulous. Also appreciate how the one type and size fits all with simple color and placement to establish hierarchy.



Infinite Baseball Notes from a Philosopher at the Ballpark Alva NoĂŤ Designer Caroline McDonnell Art director Brady McNamara Production coordinator Tiffany Whaley Typeface(s) Bodoni Std (Monotype) Paper 80# C1S Inks 4 color process Printer/binder Sheridan Books Print method offset TE A design that so effectively illustrates the title that there is no other possible solution. AT Simple cleverness at its best equals Genius.

jackets and covers



Driving in Cars with Homeless Men Kate Wisel Designer Catherine Casalino Art director Joel W. Coggins Illustrator Stephen Gill / Gallerystock (photo) Production coordinator Joel W. Coggins Typeface(s) Caslon Pro (Adobe), hand lettering Paper 100# enamel Inks 4 color process + PMS 877C Coating/finish scuff-resistant matte laminate + spot varnish Printer/binder Maple Press Print method offset TE A wonderful bold mess of a cover that has seen some things. The silver accents are a nice touch. AT Casual, free-spirited, and self-deprecating, the cover seems to promise that the book will be a fun freewheeling adventure. I particularly love the scale of the lipstick stained cigarette and the gloss laminated type. The silver ink on the author’s name playfully harkens back to the cigarette brands silver striped filter. The casualness belies its thoughtful details. All in all, it was a delightful surprise amongst academic books.



At the Edge of Time Exploring the Mysteries of Our Universe’s First Seconds Dan Hooper Designer Sukutangan Art director Jess Massabrook Production coordinator Jacqueline Poirier Typeface(s) Baskerville (Linotype), Trajan Pro (Adobe) Inks 4 color process Coating/finish scuff-resistant matte laminate Printer/binder Sheridan Books Print method offset TE A hypnotically appealing design that manages to effectively curve type through space. AT The concentric layout and type configuration worked flawlessly with a fun and colorful illustration.

jackets and covers



Horace’s Ars Poetica Family, Friendship, and the Art of Living Jennifer Ferriss-Hill Designer Layla Mac Rory

TE An elegant composition deceptively printed with

Production coordinator Erin Suydam

just one color on uncoated paper.

Typeface(s) Caslon Pro (Adobe) Paper Mohawk Via Felt Jute 80# cover

AT What a gem! A simple illustration with a font uni-

Inks PMS 5743 U

fied in size and flush left arrangement of title, subtitle

Coating/finish uncoated

and author. It seemed fittingly organic that it was a

Printer/binder John P. Pow Co., Lithographers

one-color ink job, green printed on what appeared

Print method offset

to be a recycled paper.Â



Indebted How Families Make College Work at Any Cost Caitlin Zaloom Designer Amanda Weiss Art director Maria Lindenfeldar Production coordinator Erin Suydam Typeface(s) Futura (ParaType), Caslon Pro (Adobe) Paper 100# C1S Inks 4 color process Coating/finish scuff-resistant matte laminate + spot varnish Printer/binder Phoenix Print method offset TE A successfully stressful solution to a challenging topic. AT Such a smart concept and so well executed. The photo illustration works seamlessly with the straightforward title set in clean modern typography.

jackets and covers



The New Monuments and the End of Man U.S. Sculpture between War and Peace, 1945–1975 Robert Slifkin Designer Jeff Wincapaw Art director Jeff Wincapaw Illustrator (back of jacket, Mike Reddy) Production coordinator Steve Sears Typeface(s) Century Expanded, Trade Gothic Bold Paper 150gsm brown kraft paper Inks Black Coating/finish uncoated Printer/binder C&C Offset Print method offset Designer comment The design is rooted in mid-nineteenth century American military training manuals, which were provided to infantry in the form of small paperback books roughly 4.5” x 7” in size. The proportions of this book are the same in a larger format 7” x 9.75”. The ISBN was placed at the top of the cover, like the serial numbers on the original manuals. The typefaces were chosen to project the 1950s manuals. TE A stunningly bland cover in the best possible way, enhanced by a misaligned and horrifically prominent ISBN number. AT The faux officialness of this cover was the attraction. It stood out as official and then on second thought made you ponder how so much of the sculpture was commissioned by the Government. Very smart.



The Power of Cute Simon May Designer Amanda Weiss Art director Jess Massabrook Production coordinator Jacqueline Poirier Typeface(s) Futura (Bauer), Sabon (Monotype) Paper 80# C1S

TE A heartwarming design and adorable format

Inks 4 color process

conspire to demonstrate the claim of the title.

Coating/finish velvet soft touch matte Printer/binder Sheridan Books

AT Beyond cute. This might be my favorite cover

Print method offset

in the show.

jackets and covers



Hell and Damnation A Sinner’s Guide to Eternal Torment Marq de Villiers Designer Duncan Noel Campbell

Designer comment The devil mask on the cover is a

Art director Duncan Noel Campbell

nod to the author’s position that society’s ideas about

Typeface(s) Jenson Pro (Adobe), Celestial

Hell (and Heaven for that matter) are just a facade while

(Ramandhani Nugraha) Paper 80# Mohawk Loop Feltmark FSC Ivory Cover

the extravagant gold foil and matte textured stock add an air of luxury befitting a Prince (of Darkness).

Inks 4 color process + gold foil stamping Coating/finish scuff-resistant matte laminate (unprinted side)

TE A classy approach to a mischievous topic. The title could have been locked up a bit more tightly.

Printer/binder Friesens Print method offset

AT The luxe paperback packaging and elongated trim size was reminiscent of a typical User’s Guide carrying the humor to another level. Great effects like a top end Mixology Guide. So well conceptualized and produced.



I Wonder U How Prince Went Beyond Race and Back Adilifu Nama Designer Lindy Martin, Faceout Studio Art director Daryl Brower Illustrator Jurgen Reisch Production coordinator Daryl Brower Typeface(s) Futura, Neutraface No. 2 Text, hand lettering Paper 84# Neenah Starwhite Cover FLASH Inks 4 color process + 1 ink Coating/finish press varnish Printer/binder Phoenix Print method offset Designer comment The cover image originally appeared in color on Prince’s self-titled 1979 album. The hand-lettered purple type recalls the album artwork. TE A fresh approach to a familiar subject. AT This cover stood out amongst biographies. Strong photo is complimented by casual, purple hand lettering, and polished set subtitle.

jackets and covers



Reluctant Interveners America’s Failed Responses to Genocide from Bosnia to Darfur Eyal Mayroz Designer Faceout Studio Art director Vincent Nordhaus Production coordinator Vincent Nordhaus Typeface(s) Gotham Medium (Hoefler&Co.) Paper 100# C1S Inks 4 color process Coating/finish matte Printer/binder Bookmasters Print method digital TE A straightforward design featuring a clever illustration, which is somehow more effective at a small scale. However, the effect is lessened by the other unecessarily red elements. AT I marveled at the sophistication of this design. Love how the red type is slightly bolder than the white type so they both sit evenly on the page. The smart image, relates beautifully to the sans serif type strokes. A tough topic to illustrate.



Remembering Women Differently Refiguring Rhetorical Work LynĂŠe Lewis Gaillet and Helen Gaillet Bailey Designer Lindy Martin, Faceout Studio Art director Pat Callahan Production coordinator Lindy Martin, Faceout Studio Typeface(s) Dense (Charles Daoud), Cormorant (Christian Thalmann) Paper 100# enamel Inks 4 color process Coating/finish scuff-resistant matte laminate Printer/binder Maple Press Print method digital Designer comment In the cover photograph, Crystal Eastman is replaced by a floral illustration by background painter Maria Martin. Both women are discussed in the book as women whose contributions have slipped from cultural memory. TE A compelling interpretation of the subject, using unexpected yet relevant visual elements. AT The very artful collage with cutaway type panels was delightful and unexpected.

jackets and covers



Breaking the Frames Populism and Prestige in Comics Studies Marc Singer Designer Derek George Art Director Dustin Kilgore Production Coordinator Sarah Mueller Typeface(s) Knockout (Hoefler&Co.), Akzidenz-Grotesk (Berthold)

TE A playful design that stood out amidst several sim-

Paper 12pt C1S

ilar covers due to its clean composition and considered

Inks 4 color process


Coating/Finish scuff-resistant matte laminate Printer/Binder Thomson-Shore

AT We saw a few academic books on graphic novels

Print Method offset

and comics. This cover was our favorite.



Go Ahead in the Rain Notes to A Tribe Called Quest Hanif Abdurraqib Designer Sunra Thompson

Designer comment The author proposed the idea

Art director Dustin Kilgore/Hanif Abdurraqib

to riff on The Howlin’ Wolf Album. Acquiring editor,

Production coordinator Dustin Kilgore

Casey Kittrell, and Hanif Abdurraqib wrote the cover

Typeface(s) Neue Haas Grotesk (Linotype)

text together.

Paper 12pt C1S Inks Black + 2 DayGlo inks + gold foil stamping

TE A confident composition elevated by DayGlo inks

Coating/finish soft touch matte laminate

and foil stamping on a matte black background.

Printer/binder Phoenix Print method offset

AT Oh, the typographic simplicity and boldness. A lot of the cleverness is in the text with the title and author in flat color while the subtitle and reading lines are counterintuitively in gold foil!

jackets and covers



Guitar King Michael Bloomfield’s Life in the Blues David Dann Designer Dustin Kilgore Art director Dustin Kilgore Production coordinator Sarah Mueller Typeface(s) Neuzeit Office (Linotype) Paper 100# enamel

TE A contemplative composition in which type and

Inks 4 color process

image get cozy and allow thoughts to roam in the gen-

Coating/finish scuff-resistant matte laminate +

erous empty spaces.

raised UV Printer/binder Phoenix

AT The animated tilt of the block of type seems to

Print method offset

hug the star’s picture. Delightful!


“Beth Peterson’s interconnected essays layer together the personal, the mythoreligious, and the literary to explore a variety of losses—from the loss of one’s way in life and life itself to loss of ice through global warming and even the mythical loss of the island of Atlantis.” —

“Following the trails that Beth Peterson maps, you don’t so much find your way to and from the northern latitudes as get lost in them along with her—lost in a way that makes you look around in wonderment, gratitude, and grief.” —


author of Moby Duck


author of In the Mind’s Eye



San Antonio, Texas


he world’s ice is at a critical juncture marked by climate change, temperatures spiking, ice shelves breaking, and oceans rising. These changing landscapes are wrought with mystery, and for Beth Peterson it became personal. After she moved to a village on the edge of Europe’s largest glacier, things began to disappear: the glacier itself as well as several people in her life. To make sense of these losses she traveled across Scandinavia, Italy, England, and the United States. Peterson’s reflections along the way are a brilliant synthesis of science and storytelling orbiting the idea of disappearance and loss in both an unstable world and our individual lives.

$27.95 | Nature | Memoir



Dispatches from the End of Ice: Essays Beth Peterson Designer ALSO

TE An inventive solution that commendably photo-

Art director Jenny Volvovski/ALSO

graphed the title through an actual block of melting

Illustrator Jenny Volvovski/ALSO

ice, resulting in unexpected details like distortion

Production coordinator Sarah Nawrocki

and water droplets made to look real via a spot gloss

Inks 4 color process


Coating/finish matte + spot gloss Printer/binder Sheridan Books

AT Clever integration of type and photography

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creating a typographic illustration. The balanced but not centered type gives an added dimension.

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Shapes of Native Nonfiction Collected Essays by Contemporary Writers Edited by Elissa Washuta and Theresa Warburton Designer Katrina Noble Art director Katrina Noble Typeface(s) Gitan Latin (Rosetta Type Foundry) Paper 12pt C1S Inks 4 color process Coating/finish scuff-resistant matte laminate Printer/binder Sheridan Books Print method offset TE A pleasantly abstracted basket form leads the eye down the title like a cozy roller coaster. AT The spiral image and set type are done very neatly, matching the exact curves—we found this rare among submissions. The spirals alluded to Native American basket weaving, the subject that connected the essays.



Arabs A 3,000 Year History of Peoples, Tribes and Empires Tim Mackintosh-Smith Designer Alex Kirby Production coordinator Percie Edgeler Typeface(s) Conglomerate (Typetanic) Paper Uncoated 150gsm + Wibalin Buckram 565 over board Inks 4 color process + gold foil stamping

TE A stunningly gradated foil-stamped pattern leads to a perfectly spaced title on a brilliant blue backdrop.

Coating/finish matte Printer/binder Gomer Press Ltd.

AT We were really wowed by the graphic foil

Print method offset

stamping—a nod to Arabic mosaic patterns.

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How We Cooperate A Theory of Kantian Optimization John E. Roemer Designer Mary Valencia Art director Nancy Ovedovitz Production coordinator Maureen Noonan Typeface(s) Centaur Std (Monotype) Paper 100# C1S Inks Black + PMS 315 Coating/finish scuff-resistant matte laminate Printer/binder Sheridan Books Print method digital TE An extremely effective solution using linked letters which, while done before, has never felt so appropriate. AT This cover is so smart and simple. Using only two colors and one typeface—only a designer who fully understands typography, placement, and hierarchy could pull off so much elegance.



True Stories & Other Essays Francis Spufford Designer Alex Kirby Production coordinator Percie Edgeler Typeface(s) Synthica Black (Volcano Type) Paper uncoated 150gsm Inks 4 color process Coating/finish matte Printer/binder Hobbs Print method offset Designer comment I modified the typeface to ensure the strokes were the same weight, regardless of point size. TE A memorable typographic approach that took the time to adjust the letterforms to be consistent at different sizes. AT Sassy high contrast and colorfully illustrated type made this cover irresistible.

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Yale Series of Younger Poets Various Designer Sonia Shannon

Designer comment In commemoration of the Centen-

Art director Nancy Ovedovitz

nial Anniversary of the Yale Younger Poets Prize, Yale

Illustrator Various

University Press reissued 9 previous winning titles, with

Production coordinator Orna Johnston

dates ranging from 1942–2005. The new design, with

Typeface(s) Futura Light, Garamond

rounded corners, is meant to feel like a poets journal,

Paper 80# Finch Opaque Smooth

while simultaneously having a contemporary aesthetic.

Inks 4 color process Coating/finish press varnish + rounded corners

TE An appealing set of understated chapbooks that

Printer/binder John P. Pow Co., Lithographers

feel suitably personal.

Print method offset AT It has the perfect vintage vibe for a timeless subject. The rounded corners plus faded and layered type just makes one want to hold and own.

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ack now ledg men ts



he AUPresses Book, Jacket, and Journal


Show committee recognizes the individu-


als and companies whose generosity and

Joel W. Coggins, Chair, University of

expertise made the 2020 show and catalog possible.

Pittsburgh Press

We would like to express our appreciation to our

Jessica Booth, University of Utah Press

judges Tom Eykemans, Sue Hall, Lucinda Hitchcock,

Barabara Bourgoyne, LSU Press

and Anne Twomey for their time and efforts in this

Alan Brownoff, University of Alberta Press

endeavor. We would like to thank Kate Kolendo and

Karen Copp, University of Iowa Press

the AUPresses staff for their advice and assistance

Ani Deyirmenjian, University of Toronto Press

throughout the two days of judging. And lastly, many

Dan Ruccia, Duke University Press

thanks to Versa Press for supporting the work of

Isaac Tobin, University of Chicago Press

AUPresses by printing and binding the catalog.

CALL FOR ENTRIES Design and production Isaac Tobin

AWARD CERTIFICATE Design and production Alan Brownoff

CATALOG Design and typesetting Dan Ruccia Editor Karen Copp Typefaces Maelstrom (Klim Type Foundry), SangBleu Republic (Swiss Typefaces), Avenir LT Std (Adobe) Paper, printing, and binding Versa Press Paper 70# Sterling Ultra Matte

© Association of University Presses Association of University Presses 1412 Broadway, Suite 2135 New York, NY 10018 United States 917.244.1264 Printed in the U.S.A.


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