Specification Book for "Whose Calling Who a Lost Generation? Excerpts from Hemingway's Paris Years"

TYPE SPECIFICATION COLLEEN CUMMINGS

02 STRATEGY 04 GRIDS 06 CUSTOM BASELINE 08 TYPEFACE 10 BOOK SECTIONING 10 NOVELS 13 ACADEMIC PAPER 15 NEWSPAPER 18 PERSONAL LETTERS 20 POETRY 21 PULL QUOTES 23 EXPRESSIVE TYPE 24 TIP INS 25 SECTION TITLES 25 WIDOWS & ORPHANS 26 WESTERN UNIONS

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STRATEGY This book celebrates the migration of Ernest Hemingway during his time as a part of “The Lost Generation” living in Paris in the 1920s. My typographic response is influenced by Hemingway at this time.This book is inspired by the limits that Hemingway’s typewriter would have had. For example, a typewriter can only underline or use UPPERCASE to emphasize text. Therefore, no italics are used within the body text of this book. A typewriter cannot type the number ‘1’ as typewriters needed to save space on the keyboards. Therefore, all number ones are typed as lowercase L’s (l) which is what one had to do with a typewriter. Em dashes (—) did not exist on a typewriter, so two hyphens had to be used instead (--). Ellipsis (…) did not exist on a typewriter, so three periods would have been used (...). A typewriter would only come with one standard point size, so all text is all set in 9pt. Typewriters used black ink, this book is printed in black ink.

Coloured paper is used to showcase colour.

In addition, different stocks of paper are used depending on the medium of the text. Letters have one stock of paper, novels another, newspapers another, and so on—all based on the texture of the paper that would have been used for these mediums in the 1920s. Lastly, tip-ins are placed throughout the book that follow Hemingway through Paris. These give an extra glimpse into Hemingway’s time in Paris while dictating reading pace for the reader.

The size of the book is based on Letter sized US paper, as this is the size of paper Hemingway would have been typing on. The book is sized half-letter to mimic the size that novels were printed on in this time period.

This book is an anthology, if you will, of Hemingway’s migration to Paris.

It focuses on his struggles and triumphs of moving to a new country in response to a war he had been a part of.

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GRIDS 5

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Document size: 5.5 in x 8.4375 in Top Margin: 0.5625 in Inside Margin: 0.6389 in Outside Margin: 0.6389 in Bottom Margin: 0.5625 in Module Grid: 0.2373 in Gutter: 0.125 in Baseline Increment: 13.5 pt

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GRIDS Due to the long-form text narrative of the book, my baseline grid structured the traditional nature of the book while the 12 column grid allowed me to modernise the format of letters, novels, newspapers, and poetry.

CUSTOM BASELINE I created a baseline that would end evenly at the bottom of each page.

My book is set up as half-letter pages relating to the American letter size Hemingway would have typed on. I used a half-letter sizing instead of letter size as this correlates to the size American novels would be printed in (5.5 in x 8.5 in). The formula that I followed is: 1. Change document size to points (396 pt x 612 pt) 2. Divide the document height by the leading/baseline increments (612pt/13.5pt = 45.33pt) 3. Round number (45pt) 4. Multiply rounded number by leading/baseline increment (45pt*13.5pt=607.5pt) 5. Change document height to result (8.4375 in)

The Sun Also Rises

Hemingway

morning.”

“There you go. And you claim you want to be a writer too. You’re only a newspaper man.

An expatriated newspaper man. You ought to be ironical the minute you get out of bed.

You ought to wake up with your mouth full of pity.”

“Go on,” I said. “Who did you get this stuff from?”

“Never mention that,” Bill said. “That’s 10

the sort of thing that can’t be spoken of.

That’s what you ought to work up into a mystery. Like Henry’s bicycle.”

He had been going splendidly, but he stopped. I was afraid he thought he had hurt me with that crack about being impotent. I wanted to start him again.

“It wasn’t a bicycle,” I said. “He was

“Everybody. Don’t you read? Don’t you ever see anybody? You know what you are? You’re an expatriate. Why don’t you live in New York?

Then you’d know these things. What do you want me to do? Come over here and tell you every year?”

riding horseback.”

“I heard it was a tricycle.”

“Well,” I said. “A plane is sort of like a

“Take some more coffee,” I said.

“Good. Coffee is good for you. It’s the caffeine in it. Caffeine, we are here.

Caffeine puts a man on her horse and a woman in his grave. You know what’s the trouble with you? You’re an expatriate. One of the worst type. Haven’t you heard that? Nobody that ever left their own country ever wrote anything worth printing. Not even in the newspapers.”

it.”

“Let’s lay off that,” Bill said.

“All right. I was just standing up for the tricycle.”

tricycle. The joystick works the same way.”

“But you don’t pedal it.”

“No,” I said, “I guess you don’t pedal

“I think he’s a good writer, too,” Bill said. “And you’re a hell of a good guy.

Anybody ever tell you were a good guy?”

“It sounds like a swell life,” I said.

“When do I work?”

“You don’t work. One group claims women

“I’m not a good guy.”

“Listen. You’re a hell of a good guy, and I’m fonder of you than anybody on earth.

I couldn’t tell you that in New York. It’d mean I was a faggot. That was what the Civil War was about. Abraham Lincoln was a faggot. He was in love with General Grant.

So was Jefferson Davis. Lincoln just freed the slaves on a bet. The Dred Scott case was framed by the Anti-Saloon League. Sex explains it all. The Colonel’s Lady and Judy O’Grady are Lesbians under their skin.” He stopped. “Want to hear some more?”

support you. Another group claims you’re impotent.”

“No,” I said. “I just had an accident.”

“Shoot,” I said.

“I don’t know any more. Tell you some more at lunch.”

He drank the coffee. “You’re an expatriate. You’ve lost touch with the soil.

You get precious. Fake European standards have ruined you. You drink yourself to death.

You become obsessed by sex. You spend all your time talking, not working. You are an expatriate, see? You hang around cafés.”

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l4 AND l5 FEBRUARY l922 TO GRACE HALL HEMINGWAY Dear Mother-Dads letter of Feb 2 came today--a very fast crossing. It must have made the Awuitania.

What boat a letter comes on makes any amount of difference in the time we get it. Hash had a lovely letter from you that she is going to answer soon. She’s in a great spell of working on the piano now and isnt writing at all. She is very well and strong and healthy.

Lately I’ve had a rotten cold and have been feeling very foul but as soon as we get some spring here it will clear up. We know a good batch of people now in Paris and if we allowed it would have all our time taken up socially; but I am working very hard and we keep plenty of time to ourselves. It is fun living in this oldest quarter of Paris and we have a wonderful time. Paris is so very beautiful that it satisfies something in you that is always hungry in America.

I have such a cold in my head that it is quite impossible to think or write consecutively. That stuffed out moist but stupid feeling you know.

Gertrude Stein who wrote Three Lives and a number of other good things was here to dinner last night and stayed till mid-night[.] She is about 55 I guess and very large and nice.

She is very keen about my poetry--My Corona typewriter is being repaired. The femme de menage knocked off my writing table while she was cleaning and I dont get it until tomorrow Next day--Madame came in yesterday while I was writing to clean the room and so I had to stop.

Got the typewriter today again...Tomorrow I’m

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TYPEFACE Pitch

Bold

Light

Medium

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ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890

TYPEFACE Pitch

Medium Italic

Regular

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890

TYPEFACE RATIONALE This book is inspired by the capabilities of Hemingway’s typewriter in the 1920s. I needed a typeface that was reminiscent of a typewriter but also modernized and clear. Kris Sowersby designed the typeface Pitch and described it as “a love letter to the typewriter.” This typeface complimented the content of the book as it presented Hemingway’s letters, poetry, novels, articles, and quotes in the way he would have typed out his words on his Corona 3 typewriter. It is a monospaced typeface, further emulating the typewriter.

The book is created with the limits of Hemingway’s typewriter in mind. For example, a typewriter can only underline or use UPPERCASE to emphasize text. Therefore, no italics are used within the body copy of this book. A typewriter would only come with one standard point size, so all text is set in 9pt (beside tip ins and expressive text pages). I did use different weights to clarify hierarchy within my book, but modestly.

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BOOK SECTIONING The content of my book is broken down into the following content types: 1. Novels 2. Academic Paper 3. Newspaper Articles 4. Personal Letters 5. Poetry 6. Pull quotes 7. Expressive Type 8. Tip Ins 9. Section Titles 10. Western Unions Each section is treated differently from page layout to paper stock.

NOVELS 1. Paper Stock: GF Smith Peregrina Majestic, Milk 2. Chapter Heading: Pitch, Bold, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, 5 Baseline Increments down from margin, Kerning=1 letterspace, Aligned Centre 3. Body Copy: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Paragraph indents=0.2361 in (4 letter widths), Aligned Left

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BOOK SECTIONING

C H A P T E R

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When I woke in the morning I went to the window and looked out. It had cleared and there were no clouds on the mountains.

Outside under the window were some carts and an old diligence, the wood of the roof cracked and split by the weather. It must have been left from the days before the motor-buses.

Bill was still sleeping, so I dressed, put on my shoes outside in the hall, and went downstairs. No one was stirring downstairs, so I unbolted the door and went out.

It was cool outside in the early morning and the sun had not yet dried the dew that had come when the wind died down. I hunted around in the shed behind the inn and found a sort of mattock, and went down toward the stream to try and dig some worms for bait.

The stream was clear and shallow but it did not look trouty. On the grassy bank where it was damp I drove the mattock into the earth and loosened a chunk of sod. There were worms underneath. They slid out of sight as I lifted the sod and I dug carefully and got a good many. Digging at the edge of the damp ground I filled two empty tobacco-tins with worms and sifted dirt onto them. The goats watched me dig.

When I went back into the inn the woman was down in the kitchen, and I asked her

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BOOK SECTIONING NOVELS CONT. 4. Running Heads: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Sits on top margin, Aligned Left Left page=Novel title Right page=Author 5. Page Numbering: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, 3 baselines down from margin, Aligned Centre 6. Text Box: 10 Columns wide, 5 baselines from top of page, 3 baselines from bottom of page

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The Sun Also Rises to get coffee for us, and that we wanted a lunch. Bill was awake and sitting on the edge of the bed.

“I saw you out of the window,” he said.

“Didn’t want to interrupt you. What were you doing? Burying your money?”

“You lazy bum!”

“Been working for the common good?

Splendid. I want you to do that every morning.”

“Come on,” I said. “Get up.”

“What? Get up? I never get up.”

He climbed into bed and pulled the sheet up to his chin.

“Try and argue me into getting up.”

I went on looking for the tackle and putting it all together in the tackle-bag.

“Aren’t you interested?” Bill asked.

“I’m going down and eat.”

“Eat? Why didn’t you say eat? I thought you just wanted me to get up for fun. Eat? Fine. Now you’re reasonable. You go out and dig some more worms and I’ll be right down.”

“Oh, go to hell!”

“Work for the good of all.” Bill stepped into his underclothes. “Show irony and pity.”

I started out of the room with the tacklebag, the nets, and the rod-case.

“Hey! come back!”

I put my head in the door.

“Aren’t you going to show a little irony and pity?”

I thumbed my nose.

“That’s not irony.”

As I went down-stairs I heard Bill singing, “Irony and Pity. When you’re feeling...Oh, Give them Irony and Give them Pity. Oh, give them Irony. When they’re

Hemingway

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feeling...Just a little irony. Just a little pity...” He kept on singing until he came down-stairs. The tune was: “The Bells are Ringing for Me and my Gal.” I was reading a week-old Spanish paper.

“What’s all this irony and pity?”

“What? Don’t you know about Irony and Pity?”

“No. Who got it up?”

“Everybody. They’re mad about it in New York. It’s just like the Fratellinis used to be.”

The girl came in with the coffee and buttered toast. Or, rather, it was bread toasted and buttered.

“Ask her if she’s got any jam,” Bill said.

“Be ironical with her.”

“Have you got any jam?”

“That’s not ironical. I wish I could talk Spanish.”

The coffee was good and we drank it out of big bowls. The girl brought in a glass dish of raspberry jam.

“Thank you.”

“Hey! that’s not the way,” Bill said. “Say something ironical. Make some crack about Primo de Rivera.”

“I could ask her what kind of a jam they think they’ve gotten into in the Riff.”

“Poor,” said Bill. “Very poor. You can’t do it. That’s all. You don’t understand irony. You have no pity. Say something pitiful.”

“Robert Cohn.”

“Not so bad. That’s better. Now why is Cohn pitiful? Be ironic.”

He took a big gulp of coffee.

“Aw, hell!” I said. “It’s too early in the

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BOOK SECTIONING ACADEMIC PAPER 1. Paper Stock: GF Smith Strathmore Writing Wove, Natural White 2. Chapter Heading: Pitch, Bold, 9pt/13.5pt leading, All Caps, C=0 M=0 Y=0 K=100, 6 Baseline Increments down from margin, Aligned Left

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WHEN HEMINGWAY HATED PARIS: DIVORCE PROCEEDINGS, CONTEMPLATIONS OF SUICIDE, AND THE DELETED CHAPTERS OF THE SUN ALSO RISES JEFFREY HERLIHY-MERA

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I do not know what I thought Paris would be like but it was not that way.

-The Ernest Hemingway Collection, JFK Library item l86

Literary expatriation had an important role in the development of twentieth-century modernist writing, particularly for Americans in Paris during the interwar years. The critics who study this group tend to focus on similar themes — rejection of conservative mores in America, sexual liberation and alcohol consumption, creative cross-fertilization, and so on — such that the cultural migration to France itself is generally treated as a positive experience. Susan Beegel, editor of The Hemingway Review, notes that “Hemingway criticism has tended to celebrate expatriation” (“Report” l), and due to this inclination, literary scholarship (and work from popular spheres, certainly) has constructed an idealistic image of “Ernest Hemingway in Paris.” Upon close review of the journalism, letters, and fiction he wrote during his residence in France, however, we find an expatriate scene that is sometimes wrought

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3. Author Byline: Pitch, Regular, 9pt/13.5pt leading, All Caps, C=0 M=0 Y=0 K=100, 7 Baseline Increments down from margin, Paragraph indents=0.2361 in (4 letter widths), Aligned Left 4. Quotation: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Underline weight 0.2pt, Underline offset 3pt, Paragraph indents=0.2361 in (4 letter widths), Aligned Left

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BOOK SECTIONING ACADEMIC PAPER CONT. 5. Body Copy: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Paragraph indents=0.2361 in (4 letter widths), Aligned Left 6. Running Heads: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Sits on top margin, Aligned Left Left page=Paper title Right page=Author 7. Page Numbering: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, 3 baselines down from margin, Aligned Centre 8. Subheading: Pitch, Medium, 9pt/13.5pt leading, All caps, C=0 M=0 Y=0 K=100, Kerning=1 letterspace, Aligned Left 9. Text Box: 10 Columns wide, 5 baselines from top of page, 3 baselines from bottom of page 5

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WHEN HEMINGWAY HATED PARIS with strain, irritability, even contempt. “(I’ve) been in hell now since Christmas” (Selected Letters 2l7), he wrote to F. Scott Fitzgerald in September l926 before enduring several months of despondency, during which he contemplated suicide and drafted a last will.

The critical locus of this essay interprets the outcomes of long-term cultural immersion, the consequences of cultural shocks and readjustments, and the implications of social distance — to analyze an important but often neglected dimension of Hemingway’s life in Paris.

E X P A T R I A T E C R I T I C I S M : A C E L E B R A T O R Y R E G I S T E R The critical inclinations concerning Ernest Hemingway in Paris likely derive from the tendency to use A Moveable Feast as a definitive resource on the period. The memoir is unreliable on many levels, however, because it was written in Cuba and Idaho thirty years after Hemingway left the city. The nostalgic tones therein imply that Hemingway was enduringly captivated by and happy in the city, but that portrayal is contradicted by many nonfiction texts and letters he wrote while in Paris (which I will soon discuss). These negative aspects of foreign life, nonetheless, tend to be overlooked by Hemingway critics, nearly all of whom read Paris as a positive experience: Robert Gajdusek asserted that “Paris always remained his favorite city” (l0); David Donnell proclaimed without qualification that “Hemingway loved Paris” (56); and Richard Bennet Hovey’s opinion is that “We know that Hemingway preferred being an expatriate” and “that he loved Paris” (69). Hemingway’s

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HERLIHY-MERA

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relationship with Paris was a succession of high and also very low points, but this is clouded by the glowing nature of much of the critical work on the topic.

The demographic of the scholars who study this theme is also an important factor in the discussion. Very few American critics who have written about Hemingway in Paris live and work in France (Katy Masuga and Adam Gopnik are notable exceptions). Many visit Paris — possibly for up to a year or two as a student or visiting lecturer — before commencing their work, but the realities of scholarship in nonUS cultural studies command circumstances local to those subjects. The studies of expatriation (carried out from the US) tend to overlook many critical circumstances about long-term cultural displacement — many of which are negative.

Brooke Lindy Blower, for example, spent a year in Paris and returned to the US to write Becoming Americans in Paris: Transatlantic Politics and Culture between the Wars. While she noted that “It is hard to resist such romanticizing” (l) about expatriate life in Paris (see also Benstock 4, Kennedy xi, and Pizer 20, 26), her critical perspectives are dominated by a somewhat unreal positivity of the temporary visitor: “Through American eyes,” she commented, “Paris glimmered, shimmied” (l9). She believes the place has “a seductive atmosphere” and “87,775 trees for lovers to embrace under” (4). While Blower arrived at these judgments through analyses of primary texts and other materials from l9l8 to l939, some of the speculative assumptions on expatriation itself — in particular, her perceptions of the rhythms of everyday life — are at least indirectly interpreted through

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Standing stiff as a statue,

Tancredo never moved. To move would have been fatal.

He simply fixed his eyes on the bull.

and the bull dash out into the glare of the bullring.

Momentarily blinded by the sunlight, he would then sight Tancredo and charge him.

would be released. The gate of the toril would swing open

like a statue facing the toril from which the bull

Tancredo appeared after the third bull had been killed.

Dressed in white, his head bound in a white cloth, his face covered with flour, he walked out from the barrera amid a roar of applause and took his place in the center of the sanded arena, standing

else could. His name on the posters meant a packed arena.

in the bullring. He was no bullfighter. But he thrilled the crowds that came to the bullfights as nothing

Tancredo’s fame was made

worked early and often. But a woman impersonator came along and spoiled the whole game for him.

For many years Tancredo was famous throughout the Latin world. For ten minutes’ work he used to get $5,000. And he

known as the bravest man in the world. And he died in a dingy, sordid room in Madrid, the city where he had enjoyed his greatest triumphs.

amplona, Spain.

Nov. 24 — No. He was neither an opera singer nor a five-cent cigar. He was once

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T A N C R E D O I S Ernest Hemingway

THE TORONTO STAR WEEKLY

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But imitators sprang up in bullrings all over Spain.

Tancredo no longer had a monopoly. He could no longer command his high prices, for the imitators had an added

Never in all his performances was he gored by a bull. His eyes were allpowerful.

The ten-minute appearance was all he had to do, and he could name almost his own price.

Then a torero would vault over the barrera and attract the bull away with his cape, and Tancredo would break his stiff pose and walk away across the arena while the crowd thundered applause.

fixed on Tancredo slowly backed away, tossing its head and snorting to make itself believe it was not afraid.

But the bull always stopped, and with its eyes

plowing up the sand. Until this moment the audience was in a hush of suppressed excitement. They never knew but what the bull might not stop.

he gimleted the bull with his eyes. Just as the bull was about to hit him, it stopped, stiffening its short legs and

Tancredo’s death, Doña Tancredo was nowhere near perfect. She was thrown sometimes, and this the Spaniards considered unesthetic and called on the authorities to suppress the act.

Tancredos were in operation all over the Spanish peninsula. Some of them were seated in chairs when the bull came out. Some of them would remain standing in the center of the ring throughout the bullfight. Most of them spent a large part of their time in the hospital. And then the woman.

Bullfight fans began

Then a woman emulator came along. That was the final straw.

According to the New York Herald dispatch announcing

to automobile road races and the Grand National Steeplechase.

In the end Tancredo’s popularity was lost because of his own perfection.

There was no possibility of an accident with Tancredo.

Tancredo was too brave.

the same thrill that sends people of other nations out

Sometimes the bull would halt and back away. Sometimes the eye of the amateur Tancredo would waver or he would give an involuntary shiver, and the bull would carry through his charge and the human statue would shoot up into the air in a tangle of gory sheeting.

The thrill of what might happen gave the Spanish crowd

advantage. They were not one hundred percent effective.

NOVEMBER 24, 1923

BOOK SECTIONING NEWSPAPERS

1. Paper Stock: GF Smith Peregrina Majestic, Milk

2. Headline: Pitch, Bold, 9pt/13.5pt leading, All Caps, C=0 M=0 Y=0 K=100, Kerning=1 letterspace, Aligned Left

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They attack the special Christmas dinner. The turkey is cut into a peculiar sort of geometrical formation that seems to include a small taste of meat, a great deal of gristle, and a large piece of bone.

“Do you remember the turkey at home?” asks the young girl.

“Don’t talk about it,” says

T H E W O R L D Ernest Hemingway

grease.

“What do you suppose they’re doing at home?” says the girl.

“I don’t know,” said the

through the softly curtaining snow past the grey bulk of

“It isn’t much like Christmas,” said the girl.

Christmas dinner being served.

rooms, four tiny tables and a cat, there is a special

The young man and his girl walk up the Rue Bonaparte from the Quai in the shadow of the tall houses to the brightly lighted little Rue Jacob. In a little second floor restaurant. The Veritable Restaurant of the Third Republic, which has two

It is very beautiful in Paris and very lonely at Christmas time.

57

boy. “Do you suppose we’ll ever get home?”

“I don’t know,” the girl answered. “Do you suppose we’ll ever be successful artists?”

The proprietor entered with the dessert and a small bottle of red wine.

“I had forgotten the wine,” he said in French.

The girl began to cry.

“I didn’t know Paris was like this,” she said. “I thought it was gay and full of light and beautiful.”

The boy put his arm around her. At least that was one thing you could do in a Parisian restaurant.

which are fried with too much grease.

“What do you suppose they’re doing at home?” asks the young girl.

“Don’t talk about it,” says the boy.

They attack the potatoes which are fried with too much

The buses rumble like green juggernauts through the snow that sifts down in the dusk.

White house walls rise through the dusky snow. Snow is never more beautiful than in the city. It is wonderful in Paris to stand on a bridge across the Seine looking up

the Louvre, up the river spanned by many bridges and bordered by the grey houses of old Paris to where Notre Dame squats in the dusk.

the boy.

They attack the potatoes

while they finger glasses of grog Americain and the newsboys shout the evening papers.

aris. Dec. 22 — Paris with the snow falling.

Paris with the big charcoal braziers outside the cafes, glowing red. At the cafe tables, men huddled, their coat collars turned up,

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“I miss the cranberries,” said the young man.

C H R I S T M A S O N T H E R O O F O F

THE TORONTO STAR WEEKLY

The boy and the girl were homesick. It was their first Christmas away from their own land. You do not know what Christmas is until you lose it in some foreign land.

bill and walked downstairs and out into the street.

The snow was still falling.

And they walked out into the streets of old Paris that had known the prowling of wolves and the hunting of men and the tall old houses that had looked down on it all and were stark and unmoved by Christmas.

They ate the dessert, and neither one mentioned the fact that it was slightly burned. Then they paid the

three days. Paris will be different. Just you wait.”

“Never mind, honey,” he said. “We’ve been here only

DECEMBER 22, 1923

BOOK SECTIONING

NEWSPAPERS CONT.

6. Layout: Turned 90°, based on baseline increments

6.1 Column width=12 6.2 Gutter=1 column 6.3 Page gutter=2 columns 6.4 Folio number=Centred to right outside margin width, Aligned Centre

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THE TORONTO STAR WEEKLY

DECEMBER 22, 1923

C H R I S T M A S O N T H E R O O F O F

“I miss the cranberries,” said the young man.

“Never mind, honey,” he said. “We’ve been here only

T H E W O R L D Ernest Hemingway

They attack the special Christmas dinner. The turkey

three days. Paris will be different. Just you wait.”

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is cut into a peculiar sort aris. Dec. 22 — Paris with the snow falling.

Paris with the big

They ate the dessert, and

of geometrical formation that seems to include a small

neither one mentioned the fact that it was slightly

taste of meat, a great deal

burned. Then they paid the

charcoal braziers outside the

of gristle, and a large piece

bill and walked downstairs

cafes, glowing red. At the

of bone.

“Do you remember the turkey

and out into the street.

The snow was still falling.

at home?” asks the young

And they walked out into the

girl.

“Don’t talk about it,” says

streets of old Paris that had known the prowling of wolves

the boy.

and the hunting of men and

cafe tables, men huddled, their coat collars turned up, while they finger glasses of grog Americain and the newsboys shout the evening papers.

The buses rumble like green juggernauts through the snow that sifts down in the dusk.

White house walls rise through the dusky snow. Snow is never more beautiful than

They attack the potatoes

looked down on it all and were stark and unmoved by

“What do you suppose they’re doing at home?” asks the young girl.

Christmas.

The boy and the girl were homesick. It was their first

“Don’t talk about it,” says

in the city. It is wonderful in Paris to stand on a bridge across the Seine looking up

the boy.

They attack the potatoes which are fried with too much

through the softly curtaining snow past the grey bulk of

grease.

the Louvre, up the river spanned by many bridges and bordered by the grey houses of old Paris to where Notre Dame squats in the dusk.

It is very beautiful in Paris and very lonely at Christmas time.

The young man and his girl walk up the Rue Bonaparte from the Quai in the shadow of the tall houses to the brightly lighted little Rue Jacob. In a little second floor restaurant. The Veritable Restaurant of the Third Republic, which has two rooms, four tiny tables and a cat, there is a special Christmas dinner being served.

“It isn’t much like Christmas,” said the girl.

the tall old houses that had

which are fried with too much grease.

Christmas away from their own land. You do not know what Christmas is until you lose it in some foreign land.

“What do you suppose they’re doing at home?” says the girl.

“I don’t know,” said the boy. “Do you suppose we’ll ever get home?”

“I don’t know,” the girl answered. “Do you suppose we’ll ever be successful artists?”

The proprietor entered with the dessert and a small bottle of red wine.

“I had forgotten the wine,” he said in French.

The girl began to cry.

“I didn’t know Paris was like this,” she said. “I thought it was gay and full of light and beautiful.”

The boy put his arm around her. At least that was one thing you could do in a Parisian restaurant.

57

6.4 17

BOOK SECTIONING PERSONAL LETTERS 1. Paper Stock: GF Smith Lorenzo, White 2. Chapter Heading: Pitch, Bold, 9pt/13.5pt leading, All Caps, C=0 M=0 Y=0 K=100, 2 Baseline Increments down from margin, Aligned Left

1

l4 AND l5 FEBRUARY l922 TO GRACE HALL HEMINGWAY

2

Dear Mother-Dads letter of Feb 2 came today--a very fast crossing. It must have made the Awuitania.

What boat a letter comes on makes any amount of difference in the time we get it. Hash had a lovely letter from you that she is going to answer soon. She’s in a great spell of working on the piano now and isnt writing at all. She is very well and strong and healthy.

Lately I’ve had a rotten cold and have been feeling very foul but as soon as we get some spring here it will clear up. We know a good batch of people now in Paris and if we allowed it would have all our time taken up socially; but I am working very hard and we keep plenty of time to ourselves. It is fun living in this oldest quarter of Paris and we have a wonderful time. Paris is so very beautiful that it satisfies something in you that is always hungry in America.

I have such a cold in my head that it is quite impossible to think or write consecutively. That stuffed out moist but stupid feeling you know.

Gertrude Stein who wrote Three Lives and a number of other good things was here to dinner last night and stayed till mid-night[.] She is about 55 I guess and very large and nice.

She is very keen about my poetry--My Corona typewriter is being repaired. The femme de menage knocked off my writing table while she was cleaning and I dont get it until tomorrow Next day--Madame came in yesterday while I was writing to clean the room and so I had to stop.

Got the typewriter today again...Tomorrow I’m

18

3

3. Body Copy: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Paragraph indents=0.2361 in (4 letter widths), Aligned Left

BOOK SECTIONING PERSONAL LETTERS CONT. 3. Running Heads: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Sits on top margin, Aligned Left Left page=Month Right page=Year 4. Page Numbering: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, 3 baselines down from margin, Aligned Centre 5. Text Box: 10 Columns wide, 5 baselines from top of page, 3 baselines from bottom of page 3

4

January getting four stories off to the Star and will have to work hard all day. Hash, who is now called Binney, is going shopping for a spring hat and a fur piece for her neck to we[a]r in the spring eith a suit and dresses as soon as she leaves off her coat.

Tell Dessie and Nubbins that we are living just two blocks away from the Jardin des Plantes which has th largest zoological gardens in the world. There are hundreds of animals and birds Oinbones has never seen before. Mountain goats from the Atlas mountains with horns that are curl three feet long and funny whiskers on their front legs. All sorts of hawks and eagles from South America and Africa and all sorts of

1922 l922

120

I hope you are very well and haveing a good time. Give my love to Dad and all the kids and the family. I’m writing Dad shortly.

The stamps on this are for Carol with my love.

121

Ever so much love, Ernie

South African animals. There is a big cage too full of Condors that have awful naked heads and red eyes and black wings twelve feet wide. It is the most wonderful collection of birds and animals I have ever seen and all thr cages are outdoors. There is a snake house that is as big as the largest building in the Lincoln Park Zoo. Friday we are going to tea at Ezra Pounds.

He has asked me to do an article on the present literary state of America for the Little Review. Binney is reading Lytton Strachey’s Queen Victoria while I am writing this. You will enjoy it if you have not read it already.

I am sorry to write such dull letters, but I get such full expression in my articles and the otehr work I am doing that I am quite pumped out and exhausted from a writing stand point and so my letters are very common-place. If I wrote nothing but letters all of that would go into them. You know what Flaubert said, “The artist must live like a bourgeois and think like a demi-god.”

5

19

BOOK SECTIONING POETRY 1. Paper Stock: GF Smith Gmund bier, Weizer 2. Title: Pitch, Bold, 9pt/13.5pt leading, All Caps, C=0 M=0 Y=0 K=100, Kerning=1 letterspace, Aligned Left

1

2 C A N S M E R I K E A I L I reigner

By A Fo ns. .

America y. nadians I like eriousl like Ca n u o s cemen s e i r l a o p y e r h T ei h t e k a k. not t to drin They do ntreal e to Mo m o c y e Th ze. critici he war.

Not to y won t didn't. e h t im a t they l c y e Th art tha e . h t a lishmen y know for Eng But the respect h c u s ve oad.

They ha ths. ive abr take ba ke to l ow they h t u They li o b g a not bra They do e them. k a t y e . od.

But th r round e so go the yea eeth ar Their t .'s all D .

V .

B t. y wear about i .

And the e world 't brag y in th ey didn v h a t n h t s s i be I w d n o c e s ve the dent. it.

They ha r presi ention Ford fo never m y r y n e e h H t ve But e to ha uld lik im.

They wo elect h t o n l l wi y e h y t r B an.

But y. gh Bill y Sunda w throu of Bill d e They sa r ti . n s e t t u t c o r ve g nny hai They ha such fu pe. en have on Euro n i k Their m c su ard to h e r . a e c n They eff. there o t and J ve been le, Mut They ha ey Goog n r a B d oduce They pr . gs. rderers And Jig lady mu t hang o n . e o l d l evi They in vaud ost t them ening P They pu rday Ev u t a S e th d a . e s r u la They Santa C ieve in And bel ey n o m e k ey ma ney.

When th t of mo ke a lo a m y e h T people. e fine They ar -e.h.

20

66

3 4 5

3. Body Copy: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100,, Aligned Left 4. Page Numbering: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, 3 baselines down from margin, Aligned Centre 5. Text Box: 10 Columns wide, 5 baselines from top of page, 3 baselines from bottom of page, 7° rotation

BOOK SECTIONING PULL QUOTES 1. Paper Stock: Corresponding with book section (Novel, academic, poetry, or letter) 2. Correction Signs: Based off: Bailey, Paul. GCSE Typewriting.

MACMILLAN EDUCATION LTD, 1990.

Hand-drawn and scanned in. Examples: 1

2

3

4

5

6

7

8

9

10

1. Start a new paragraph 2. Change to lower case letters 3. Brings attention to mistake 4. Let it stand, leave “corrected” mistake be 5. Put in full stop 6. Something is incorrect/leave a space 7. Close up a space 8. Something has been left out 9. Put in a space 10. Put in comma

24

“You do not know what christmas is until you lose xx it in some foriegn land.” foreign

21

BOOK SECTIONING PULL QUOTES CONT. 3. Body Copy: Pitch, Medium, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, Aligned Left 4. Textures: Scanned in paper textures. Multiplied, 70% opacity. Examples:

22

BOOK SECTIONING EXPRESSIVE TYPE 1. Paper Stock: Corresponding with book section (Novel, academic, poetry, or letter) 2. Purpose: To expand on pull quotes and break up the long-form monotype text.

Allowances to break the grid and type restrictions of the typewriter.

WHEN HEMINGWAY HATED PARIS

X X PATRIOT

X

YOU’RE A

XX X X XX XX X X X XX XX

38

23

BOOK SECTIONING TIP INS 1. Paper Stock: Pastel stationary, 4.8611 in x 6.9469 in (8 baselines down from top of page to bottom of page, 12 Columns wide).

C=5 M=6 Y=0 K=0

C=71 M=32 Y=0 K=0

C=46 M=41 Y=5 K=0

2. Purpose: To further break up the long-form monotype text and offer insights onto Hemingway’s personal life during his Paris years. Inspired by the typewriter only able to print in one colour, I have chosen to use different colour paper stock to add vibrancies of colour into my book.

GNIHTEMOS

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^

^

24

ELSE

^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

GNIHTEMOS

^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^ ^^^^^^^^^^^ ^^^^^^^^^ ^^^^^^^ ^^^^^ ^^^

I NOW LOVE

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

I NOW LOVE ELSE

1

BOOK SECTIONING SECTION TITLES 1. Paper Stock: Corresponding with book section (Novel, academic, poetry, or letter).

2. Type: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, ASCII art (text-based visual art) Each letter is 1.125 in x 2.0625 in (11 baselines, 3 Columns).

2

TTTTTTTTTTTTTT

HHHHH

HHHHH

EEEEEEEEEEEEEE

TTTTTTTTTTTTTT TTTTTTTTTTTTTT

HHHHH HHHHH

HHHHH HHHHH

EEEEEEEEEEEEEE EEEEEEEEEEEEEE

TTTTTT TTTTTT

HHHHH HHHHH HHHHHHHHHHHHHH

EEEE EEEEEEEEEEEEEE SSSSSSSS

UUUU

UUUU

NNNNN

TTTTTT TTTTTT TTTTTT TTTTTT

HHHHHHHHHHHHHH HHHHHHHHHHHHHH HHHHH HHHHH HHHHH HHHHH

EEEEEEEEEEEEEE SSSSSSSSSSSS EEEEEEEEEEEEEE SSSS SSSS EEEE SSSS SSSS EEEEEEEEEEEEEE SSSSSSS

UUUU UUUU UUUU UUUU

UUUU UUUU UUUU UUUU

NNNNNN NNNN NNNNNNN NNNN NNNNNNNN NNNN NNNN NNNNNNNNN

TTTTTT TTTTTT

HHHHH HHHHH

EEEEEEEEEEEEEESSSSSS EEEEEEEEEEEEEE SSSSSS

UUUU UUUU

UUUU UUUU

NNNN NNNNNNNNN NNNN NNNNNNNN

UUUU UUUU

UUUU UUUU

NNNN NNNN

HHHHH HHHHH

SSSS SSSS

SSSS SSSS

NNNN

NNNNNNN NNNNNN

SSSSSSSSSSSS SSSSSSSS

RRRRRRRRRRRR RRRRRRRRRRRRR RRRR RRRRR RRRR RRRRR

UUUUUUUUUUUU NNNN NNNNN UUUUUUUUUU AAAAAAAAAA NNNN LLLLL NNNN SSSSSSSS OO00000000 AAAAAAAAAAAA LLLLL SSSSSSSSSSSS 000OOOOOOO00 AAAA AAAA LLLLL SSSS SSSS 0000OOOOOO0000 AAAA AAAA LLLLL SSSS SSSS 0000 0000 AAAA AAAA LLLLL SSSSSSS 0000 0000 AAAAAAAAAAAAAA LLLLL SSSSSS 0000 0000 AAAAAAAAAAAAAA LLLLL SSSSSS 0000 0000 AAAA AAAA LLLLL SSSS SSSS 0000 0000 AAAA AAAA LLLLLLLLLLLLLL SSSS SSSS 0000OOOOOO0000 AAAA AAAA LLLLLLLLLLLLLL SSSSSSSSSSSS 000OOOOOO000 IIIIIIIIIIIIIIAAAA SSSSSSSS AAAA LLLLLLLLLLLLLL EEEEEEEEEEEEEE SSSSSSSS SSSSSSSS 00OOOOOO00 IIIIIIIIIIIIII SSSSSSSSSSSS EEEEEEEEEEEEEE SSSSSSSSSSSS IIIIIIIIIIIIII SSSS SSSS EEEEEEEEEEEEEE SSSS SSSS IIIIII SSSS SSSS EEEE SSSS SSSS

RRRRRRRRRRRRR RRRRRRRRRRR RRRRRRRRRRRRR RRRR RRRR RRRR RRRR RRRR RRRR RRRR RRRR

IIIIII IIIIII IIIIII IIIIII IIIIIIIIIIIIII IIIIIIIIIIIIII IIIIIIIIIIIIII

SSSSSSS SSSSSS SSSSSS SSSS SSSS SSSS SSSS SSSSSSSSSSSS SSSSSSSS

EEEEEEEEEEEEEE EEEEEEEEEEEEEE EEEEEEEEEEEEEE EEEE EEEEEEEEEEEEEE EEEEEEEEEEEEEE EEEEEEEEEEEEEE

SSSSSSS SSSSSS SSSSSS SSSS SSSS SSSS SSSS SSSSSSSSSSSS SSSSSSSS

NOTE ON WIDOWS & ORPHANS I have left all widows and orphans in my book due to the content and the nature of novels and writing. Each word is important, and publishers would not cut a sentance when dealing with literary novels just to avoid a widow.

The inspiration of my book is on Hemingway’s novels and each word holds value. Therefore, as novels in Hemingway’s time would not have removed widows and orphans neither have I.

25

BOOK SECTIONING WESTERN UNIONS 1. Paper Stock: Corresponding with book section (Novel, academic, poetry, or letter).

Acts as a transition page in between sections as Western Unions could be printed on variety of paper stocks.

2. Sources: All Western Union messages, dates and text are sourced from: Hemingway, Ernest. The Letters of Ernest Hemingway 1907-1922, edited

by Sandra Spanier & Robert W. Trogdon, vol. 1, Cambridge University Press, 2011.

Hemingway, Ernest. The Letters of Ernest Hemingway 1923-1925, edited

by Sandra Spanier & Robert W. Trogdon, vol. 2, Cambridge University Press, 2013.

The Western Union form used is circa 1922, which is the form Hemingway would most likely to have sent out and received during his Paris years.

Telegrams would typically be printed on a continuous paper strip cut and glued to the form. I have emulated this by cutting and pasting strips of type to each Western Union. I have also stamped a date where clearly given from the sourced telegrams. Where note has been made that the telegram is a copy, has been typed over, or hand-written on I veer from the paper strip to provide the most accurate form possible. All telegrams included in this book are telegrams sent to or from Hemingway during his Paris years.

3. Type: Pitch, Regular, 9pt/13.5pt leading, C=0 M=0 Y=0 K=100, cut and pasted onto an A4 print out of each Western Union, scanned back in and resized to book.

2

26

BOOK SECTIONING

3

䌀伀倀夀 伀䘀 䌀䄀䈀䰀䔀䜀刀䄀䴀 䐀䄀吀䔀䐀 吀伀刀伀一吀伀 伀䌀吀⸀ ㄀㄀⸀

匀夀䰀嘀䤀䄀 䈀䔀䄀䌀䠀 匀䔀嘀䔀一 倀伀唀一䐀 䈀伀夀 吀䠀刀䔀䔀 䠀伀唀刀匀 䄀䰀䰀 䨀䄀䬀䔀 ⴀⴀ䠀䔀䴀

27