Comments on "Typefaces past" - Faerye Net

Editions of Shakespeare

2009-07-11T14:18:12+00:00

I just returned from a trip to Old City Philly, where I discovered a nice, overstuffed used book shop. They had a handsome five-volume Everyman’s Library edition of the complete works. I must say, I really like the Everyman’s Library series. They’re a nice size that’s comfortable in your hands, and have lovely, thin, creamy paper stock. Plus, the ribbon bookmarks sewn into the binding are a nice touch.

I also have definite favorite and least favorite editions of Shakespeare. For single works, I like the New Folger’s Library series. I like having the notes on the facing page, and the woodcuts and such from the Folger collection are fun. On the other end of the scale, the Oxford editions drive me a little crazy. It’s more an editing thing than a book design thing, but the sheer volume of often esoteric notes kind of gets on my nerves. I also have a single volume complete works that I picked up at some point because it was cheap. The paper is far too thick for the number of pages, and it’s not very well proportioned. The whole thing is about the size of a cinder block. Also, it’s a paperback with a pretty low-quality binding. It suffices for reference, but it’s not very friendly if you actually wanted to read a play.

Re: Anathem

2009-07-06T15:34:35+00:00

Although there must be exceptions (like the hypothetical book in this comment by Teresa Nielsen Hayden) I think a really gorgeous book design is often the result of a series of people at the publishing company who really believe in the book. Cynically, there may be cases where they only believe in it economically, but I think often when you open a beautiful book in the store, you get the strong feeling that it’s been made with love. Another layer of communication between those who make the book and those who read it.

Anathem

2009-07-01T12:36:17+00:00

I just picked up Neal Stephenson’s Anathem. It felt good in my hands: solid, refined, nothing loose or uneven. Textured gold/brown endpapers, with the text block having a smooth, slightly powdery feel. I took off the cover, an hour after buying it, and discovered they’d gone to the trouble of covering the spine in little gilt circles. For an ordinary mass-produced hardcover, this one hits the mark.

William Morrow did a neat job of it, and I think the combination of good bookmaking and the story itself (which, in my humble opinion, is thus far fantastic), makes it a book I’ll keep forever.