I have to preface this by saying that I haven’t actually read this whole book yet, but rather listened to some excerpts. I will appreciate the irony (noted by Gomez) that I will be reading a book about how reading paper books is dead when the time comes, but I wanted to put down some thoughts before I lost them.
Gomez submits here that the debate over the coming demise of printed books is moot, as print is already dead, much in the way that global warming may have already been tipped too far to be corrected. Basically, we are all just waiting for the technology that will free us from bound paper.
Part of his proof is that we...more
Another working title for this book was How to be a graphic designer without losing your shirt, and that one actually reads a bit more accurate than this one. This is more about good business practices for ﬁnding a job, being freelance, and setting up & running a studio than the more philosophical practices I thought I might ﬁnd here. It’s still useful for starting designers in terms of understanding the industry and potential employers a little more, though those looking for more speciﬁc info on pricing and legal info may be better served by The Graphic Artists Guild Handbook.
The design is really attractive, but it was interesting when I would read at night under moderate (not...more
Two good friends gave this the highest of ratings, so I took notice. A copy came through at the library just in time for a short trip down to the bay area, and it was pretty much the perfect reading for traveling, both in the subject matter and in the length of the essays. Every other one is called “The Blue of Distance,” and I love all the diﬀerent ways Solnit explores this concept.
It occurred to me while reading that this exactly how I wish The Future of Nostalgia was written: not just ﬂuﬀy ideas on being lost but contextual and personal. Many of the essays seem to progress through haphazardly connected stream-of-consciousness, seeming to get lost themselves...more
Sometime in the spring, I was looking for used copies of Didion’s books and instead impulsively bought the Everyman’s Library volume of her collected nonﬁction, We Tell Ourselves Stories in Order to Live. It’s taken only brief journeys oﬀ the shelf since it’s so darn unwieldy, and I tend to grab something else for on-the-go reading, get caught up in that, put this one back on the shelf, etc.
I had only a passing awareness of Didion before The Year of Magical Thinking. As this is a collection of works written for diﬀerent publications, it’s less of the “Book” Magical Thinking is. Yet the pieces sit together really well, or they are all interesting in their own right...more
I got this book out from the library the same day as The Book of the Bookshelf, and Petroski makes several references to this book, so that was a kind of odd coincidence. I can’t remember now what made me seek out these two books speciﬁcally. Then I was also thinking about “books about books” and whether I should integrate it as a category. This one ends with a short chapter of recommending reading that begins, “Most good secondhand bookstores have a shelf labeled ‘Books About Books.’” Not particularly earth-shattering, but it’s always interesting when synchronicity abounds, especially around a common locus.
Fadiman’s collection of personal essays about reading were originally published in the Library of Congress magazine...more
In this book he begins staring at his bookshelves and wondering how much he really sees them or just the books on them, or some combination of the two entities in which they are fully dependent on each other being there to be seen at all. It segues into a history of bookshelves through the book itself, but not just the progression from scroll to codex, but also how books were used and stored and organized. From the earliest scribed volumes to later printed...more
I mentioned when I read Julie and Julia that I felt this book might be more up my alley. Indeed, I sped through this in a matter of days. While the book is focused on Julia and Paul’s time in Paris and France and later time spent in Provence, it oversees the entirety of their life together, with just enough background on the non-France parts to give context without detracting from that focus. There isn’t necessarily always a steady narrative ﬂow—things, like her younger sister’s pregnancy for instance, are introduced, but then it isn’t until years later that the child is discussed again. But then seeing as her grandnephew, Alex Prud’homme, collected these stories through interviews and casual conversations...more
This collection of personal essays dissects the house as home, meandering from room to room while simultaneously shifting between Busch’s personal experiences and more general ideas gleaned from history and literature. She doesn’t really succeed in placing her experiences into a comprehensive context, yet the book isn’t presented entirely in an anecdotal manner.
At times she seems to suggest some kind of universal Home experience, yet she is pretty much talking about a speciﬁc middle-to-upper class, suburban/rural demographic, perhaps more speciﬁcally the locales where she herself has lived. One of the few times she talked about urban homes, I felt that she was writing from assumption rather than experiences. From the chapter on porches:
While stoop sitting continues to be...more
I loved the concept of this book but eventually had to accept that it was a bit more academic than I wanted it to be. But that enabled me to just skip to the parts I wanted to read instead of feeling like I had to read every word. That may sound like a lackluster recommendation, but I’m sure to return to this book and skim again.
Nostalgia, like progress, is dependent on the modern conception of unrepeatable and irreversible time. The romantic nostalgic insisted on the otherness of his object of nostalgia from his present life and kept it at a safe distance. The object of romantic nostalgia must be beyond the present space of experience, somewhere in the...more
One of the great advantages to designing book covers is that you don’t ever have to have an idea, much less a thought, ever, in your head. That is the author’s job. Through a manuscript, he or she will give you all the ideas and thoughts that you could possibly need to design a jacket.
If you’ve heard of Chip Kidd before, the phrase “the closest thing to a rock star in graphic design” will probably ring a few bells, if not a huge gonging irritation for the inordinate ubiquity of the quote. That said, Kidd is probably one of the few contemporary designers well-known both in and outside of the design world. This monograph collects his work from the...more