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The Haida world is a misty archipelago a hundred stormy miles off the coasts of British Columbia and Alaska. For a thousand years and more before the Europeans came, a great culture flourished in these islands. The masterworks of classical Haida sculpture, now enshrined in many of the world's great museums, range from exquisite tiny amulets to magnificent huge housepoles. Classical Haida literature is every bit as various and fine. It extends from tiny jewels crafted by master songmakers to elaborate mythic cycles lasting many hours. The linguist and ethnographer John Swanton took dictation from the last great Haida-speaking storytellers, poets and historians from the fall of 1900 through the summer of 1901. His Haida hosts and colleagues had been raised in a wholly oral world where the mythic and the personal interpenetrate completely. They joined forces with their visitor, consciously creating a great treasury of Haida oral literature in written form. Poet and linguist Robert Bringhurst has worked for many years with these century-old manuscripts, which have waited until now for the broad recognition they deserve. Bringhurst brings these works to life in the English language and sets them in a context just as rich as the stories themselves--one that reaches out to dozens of Native American oral literatures, and to mythtelling traditions around the globe. The world of classical Haida literature is a world as deep as the ocean, as close as the heart and as elusive as the Raven, whose unrepentant laugh persists within it all. This is a tradition brimming with profundity, hilariy and love. It belongs where Bringhurst sees it: among the great traditions of the world. Bringhurst, an acclaimed typographer and book designer, will be redesigning this edition in a beautiful new package.
In this fascinating study, Robert Bringhurst takes readers on a walking tour through the bramble of book design, from the mid-18th century to the present day. Along the way, he discovers a true "image trove" of identity, culture, and history. Transcending other works on the subject, Bringhurst here creates a truly national survey by bringing Canada's long history of aboriginal storytelling into a context of "book" -- a context that goes far beyond the printed page.
For the past four decades, Robert Bringhurst has been writing some of the most powerful poetry in English. Distinguished by engaged and passionate curiosity, a wide-ranging intelligence and true originality, his poetry has sometimes been mistaken as austere and opaque. In fact, his work engages in ideas about the human condition, myth, the natural world, language and philosophy, and is unusual for having both a pared simplicity and profound wisdom. His watchword is clarity, and the elements he considers crucial to effective typography could just as easily be looked for - and found - in his poetry: 'invite the reader into the text; reveal the tenor and meaning of the text; clarify the structure and the order of the text; link the text with other existing elements; induce a state of energetic repose, which is the ideal condition for reading.' There is such relish for the tactile, physical nature of words, for spare, elemental imagery and for rhetorical weight - in the voice, and the sound of the voice - that each poem has a sense of gem-like purity. While Bringhurst's work may not be the most fashionable poetry being written today, it is certainly amongst the most compelling in its truth, power and beauty.
Hermann Zapf was one of the great practitioners of the graphic arts and Palatino is probably the most widely known and used of all Zapf faces. Author Robert Bringhurst traces Palatino's development, with all its infinite permutations, and often invisible refinements through a long and fascinating history of variations and permutations, imitations and conflations-from hot metal, through the brief interlude of film setting and finally into the digital world. It is all here, in encompassing detail: a fully illustrated account of Palatino and its extended family: foundry and Linotype, Michelangelo, Sistina, Aldus, Heraklit, Phidias, Zapf Renaissance, PostScript Palatino, Palatino and Aldus Nova, and Palatino Sans. Included with the text are over 200 illustrations of design sketches, working drawings, smoke proofs and test prints, matrices, foundry and Linotype patterns. But beyond that, the book is an argument that artists who create letters can, and should, be judged by the same standards and held in the same esteem as composers who write music and artists who paint on canvas. Bringhurst asks the question, "Can a penstroke or a letterform be so beautiful it will stop you in your tracks and maybe break your heart?" In this groundbreaking and totally original book, he answers the question: "It can."
"Truth-filled meditations about grace in the face of mortality." @MargaretAtwood In this powerful little book, two leading intellectuals illuminate the truth about where our environmental crisis is taking us. Writing from an island on Canada's Northwest coast, Robert Bringhurst and Jan Zwicky weigh in on the death of the planet versus the death of the individual. For Zwicky, awareness and humility are the foundation of the equanimity with which Socrates faced his death: he makes a good model when facing the death of the planet, as well as facing our own mortality. Bringhurst urges readers to tune their minds to the wild. The wild has healed the world before, and it is the only thing that stands any chance of healing the world now -- though it is unlikely to save Homo sapiens in the process.
Renowned typographer and poet Bringhurst brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough revision and updating of the longest chapter.
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