Trade Typographic

chapter nine depend on them, how species evolve and adapt to changing environments—we could be doing a much be er job of growing food within an ecological framework. at would mean incorporating at a larger scale the practices some farmers already use: rotating crops, diversifying elds, keeping soils healthy, and sca ering nonagricultural land amid our elds as habitat for animals and insects that are part of a healthy ecological system. But how do you inspire changes in practices, particularly if those changes might mean lower short-term nancial gains, and run counter to recommendations of global industries, which have prospered by marketing products that make farming easier and more productive? Farmers make decisions with an eye to markets and regulatory requirements. For a crop like wheat, those markets are o en regional or international, rarely local. As long as ecology is separate from food production, and long-term ecological costs aren’t included in the calculations of short-term economic gains, we can continue to grow crops with blinders on.

186 CHAPTER TWO The First Encounter

A the while that the plant kingdom was morphing, growing, and evolving, the animal kingdom was on its own circuitous trajectory. When green algae rst washed up on land, the oceans had been teeming with life. But plants weren’t the rst higher organism on terra rma—a centipede, maybe 18 inches long with a couple of dozen legs, had le its imprint as it scu led across the sand dunes tens of mi ions of years before the rst liverwort, up on land to lay eggs or escape a predator. But land was no more hospitable for animals than it was for plants, and without the plants’ ingenious ce wa s, animals needed a way to hold themselves up outside the buoyant oceans and to keep from drying out. Amphibians were the rst group a er insects and scorpions to try life outside the pool, and they split their time between aquatic and terrestrial environments. Early amphibians were covered with scales, like the later evolving reptiles, to maintain their moisture on land. Mammals didn’t appear and ourish until long a er plants were owering, but our tale focuses on just one section of their part of the evolutionary tree: the branches that ended up in Homo sapiens sapiens. e details of how our species evolved are pieced together from sca ered skeletons and bones, and each new discovery not only adds another piece to the pu le but sometimes has us revising much of the story.1 at said, the rough outline is that 15 or 20 hominin species proliferated over the last 6 mi ion years. Our genus, Homo, split o from the others about 2 mi ion years ago,

23

EPILOGU E An Eternal Harvest

e rst plants that colonized land 400 mi ion years ago changed the earth’s surface by breaking apart the rocks into a substrate that slowly developed into soil. ey changed the trajectory of life by adding oxygen to the atmosphere to create a chemistry that favored the evolution of animals, including us. Of a the di erent species of plants—almost 400,000—there are an impressively sma handful of species that we use as food.

Wheat possesses characteristics that since the early days of our relationship have ensured its place as one of the most important plants for our species. Its seeds are nutritious and large compared with the other grasses. Their capacity for storage was a preadaptation for us; we used those seeds as a source of currency, a commodity to be transported long distances and traded for other foods or luxuries, and a staple food for people around the world. e cuisines that developed have generated a delectable variety of ways to cook or bake with wheat. Buttery layers of croissants, hard-crusted artisanal loaves of wholegrain bread, thick crackers, steamed buns, light chapati loaves, pasta of all shapes, Asian noodles, sweet baklava, aky piecrusts, tabouleh, bulgur pilaf, burbara and other wheat berry porridges, pita bread, dumplings, matzos, pancakes, cookies, muffins, wontons,

187

University of Chicago Press

Amber Waves e Extraordinary Biography of Wheat, om Wild Grass to World Megacrop Catherine Zabinski

DESIGNER Jill Shimabukuro

PRODUCTION COORDINATOR Joseph Claude ACQUIRING EDITOR Scott Gast PROJECT EDITOR Mary Corrado TRIM SIZE 5.25 × 8 in

NUMBER OF PAGES 256 PRINT RUN 2500 COMPOSITOR Jill Shimabukuro TEXT TYPE 10.1/14 Dolly Pro (Underware) × 22p DISPLAY TYPE Ziggurat (Hoe er&Co); Tribute (Émigré) PAPER Maple Antique Cream B18, 400ppi INKS Black

PRINTER/BINDER Maple Press METHOD OF PRINTING O set METHOD OF BINDING Notch BINDING MATERIALS 3-pc: Rainbow Antique Chestnut on spine;

Rainbow Antique Melon on side panels, Endsheets: Rainbow

Antique Melon, Spine foil: Metallic Gold, Head/Footbands: Royal/

White 414

JACKET/COVER DESIGNER Jill Shimabukuro JACKET/COVER PRINTER Phoenix Color

DESIGNER COMMENTS e decorative line drawings by Angela Mele inspired the design’s tone and typography.

University of Nebraska Press

Rez Metal Inside the Navajo Nation Heavy Metal Scene Ashkan Soltani Stone and Natale A. Zappia

DESIGNER Nathan Putens

PRODUCTION COORDINATOR Terrance Boldan ACQUIRING EDITOR Matthew Bokovoy PROJECT EDITOR Haley Mendlik TRIM SIZE 5.5 × 8.5 in

NUMBER OF PAGES 108 PRINT RUN POD COMPOSITOR Laura Buis TEXT TYPE 10.7/15.5 Info Text Regular × 23p10, justi ed DISPLAY TYPE Alfarn (Fontke) PAPER 50# Crème INKS Black PRINTER/BINDER Ingram Lightning Source

METHOD OF PRINTING Digital METHOD OF BINDING Perfect BINDING MATERIALS 80# C1S JACKET/COVER DESIGNER Nathan Putens JACKET/COVER PRINTER Ingram Lightning Source

DESIGNER COMMENTS e design was inspired by music zines of my youth, at least as much as I could get away with in a UP book, so if the digital print came out a bit like a photocopy, it could seem to t.

Princeton University Press

A Series of Fortunate Events Chance and the Making of the Planet, Life, and You Sean B. Carroll

DESIGNER Chris Ferrante; Illustrations by Natalya Balnova

PRODUCTION COORDINATOR Jacquie Poirier ACQUIRING EDITOR Alison Kalett PROJECT EDITOR Ali Parrington TRIM SIZE 5.25 × 8 in

NUMBER OF PAGES 224 PRINT RUN 10000 COMPOSITOR Westchester Publishing Services TEXT TYPE 10.5/13 Skolar Latin (Rosetta Type Foundry) × 22p DISPLAY TYPE Block Pro (Berthold) PAPER 55# Glatfelter O set B18, cream, uncoated, 360 ppi INKS Black

PRINTER/BINDER Sheridan METHOD OF PRINTING O set METHOD OF BINDING Notch BINDING MATERIALS (case) Rainbow Eclipse, smooth nish; (spine foil) gloss white pigment; (head & tail bands) black-and-white striped JACKET/COVER DESIGNER Chris Ferrante; Illustration by Natalya

Balnova

JACKET/COVER PRINTER Sheridan

University of Texas Press

Haiku History e American Saga ree Lines at a Time H. W. Brands

DESIGNER Monograph / Matt Avery

PRODUCTION COORDINATOR Linda Ronan ACQUIRING EDITOR Robert Devens PROJECT EDITOR Robert Kimzey TRIM SIZE 4.5 × 7 in

NUMBER OF PAGES 152 PRINT RUN 7500 TEXT TYPE Harriet Text DISPLAY TYPE Harriet Display (Okay Type) PAPER 55# Hi-Bulk Natural 360 PPI INKS Black, Pantone 3005

PRINTER/BINDER Sheridan METHOD OF PRINTING O set METHOD OF BINDING Notch BINDING MATERIALS Rainbow Lapis with Buckram 127 texture JACKET/COVER DESIGNER Monograph / Matt Avery

JACKET/COVER PRINTER Phoenix Color

DESIGNER COMMENTS We worked to create an inviting, airy, and spare design in keeping with the haiku genre. Happily, we were able to commission the wonderful artwork from illustrator Lauren Nassef.

University of Texas Press

“Unnatural History of America” Charles Bowden sextet Charles Bowden

DESIGNER Monograph / Matt Avery PRODUCTION COORDINATOR Dustin Kilgore, Sarah Mueller, Linda

Ronan, Cassandra Cisneros ACQUIRING EDITOR Dave Hamrick, Casey Kittrell

PROJECT EDITOR Robert Kimzey TRIM SIZE 5.5 × 8.5 in

NUMBER OF PAGES Varies PRINT RUN Varies TEXT TYPE Untitled Serif (Klim Type Foundry), Pitch (Klim Type

Foundry) DISPLAY TYPE Balboa (Linotype) PAPER 55# Hi-Bulk Natural 360 PPI INKS Black

PRINTER/BINDER Sheridan METHOD OF PRINTING O set METHOD OF BINDING Smyth sewn BINDING MATERIALS ree piece case: Rainbow BB 171 charcoal for spine, Rainbow antq charcoal for boards JACKET/COVER DESIGNER Monograph / Matt Avery

JACKET/COVER PRINTER Phoenix Color

DESIGNER COMMENTS As with any series or multi-volume set, the main challenge was to create a design that worked across the full range of material. To introduce variety and exibility, we used a range of weights of the typeface Balboa on the covers and interior display typography for the di erent volumes.

University of Virginia Press

ree Rings A Tale of Exile, Narrative, and Fate Daniel Mendelsohn

DESIGNER Cecilia Sorochin

PRODUCTION COORDINATOR Niccole Coggins ACQUIRING EDITOR Eric Brandt PROJECT EDITOR Ellen Satrom TRIM SIZE 5 × 8 in NUMBER OF PAGES 128 PRINT RUN Cloth: 3000 / ebook: 300 COMPOSITOR Classic City Composition, LLC TEXT TYPE 10/14.5 Galliard ITC Std Roman (Mathew Carter / ITC) DISPLAY TYPE Mrs Eaves (Suzanna Licko / Émigré) and Galliard ITC

Jacket: Mrs Eaves Small Caps (Suzanna Licko / Émigré) PAPER 55# House Natural Hi-Bulk, 360ppi INKS Black / Jacket: 4-color process

PRINTER/BINDER Sheridan METHOD OF PRINTING O set METHOD OF BINDING Notch BINDING MATERIALS 80# Rainbow Opaque BB case material / Plain endsheets to match text / Black headbands / General Roll Leaf

GP460 spine stamp

JACKET/COVER DESIGNER Cecilia Sorochin JACKET/COVER PRINTER Phoenix Color

DESIGNER COMMENTS e labyrinths we enter when reading a story with circular narrative (“ring composition”), the mirrors we nd while wandering in those stories that re ect back on the beginnings, the new dimensions we nd—or get lost in—in them. A fascinating book to design: the page from a rare edition of the Odyssey, which takes us to the beginning of such a narrative, the new dimension introduced through the sense of touch (debossed labyrinth of the jacket). e three “rings” in the jacket, reminiscent of Turkish tiles patterns, which subtly bring Istanbul into the picture—the seminal location of exile in this book—are also to be found in the interior, aiming for a delicate balance so that the reader can be immersed in the universe of the book without being overwhelmed by graphics.