Scholarly/Professional Reference Scholarly Scholarly Illustrated Scholarly Book Series Cover/Jacket
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FIRST Reference
222 • Scholarly/Professional
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Lean Logic: A Dictionary for the Future and How to Survive It David Fleming
PUBLISHER/IMPRINT
ILLUSTRATOR/PHOTOGRAPHER
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Chelsea Green Publishing
Various
Conrad Gesner
PUBLICATION DATE
TYPEFACE
COVER/JACKET PRINTING
09/08/16
Palatino Linotype
Edwards Brothers Malloy
FORMAT
TEXT STOCK
COVER/JACKET STOCK & FINISH
Hardcover
55# Enviro 100 Natural
100# Endurance gloss
TRIM SIZE
PREPRESS/COMPOSITION
CASE MATERIALS
9" x 7"
Melissa Jacobson
PRODUCTION STAFF
PRINTING/BINDING
Angela Boyle
Edwards Brothers Malloy
Paper over board; notch hardcover; 0.098 caliper Low Density Boards; 80# Rainbow B Antique Finish endpapers
TEXT ART DIRECTION
COVER/JACKET ART DIRECTION
Patricia Stone
Patricia Stone
TEXT DESIGN
COVER/JACKET DESIGN
Melissa Jacobson
Evan Gaffney
Effective combination of preprinted sides and spine material. Beautiful reproduction of interior art.
2017 New York Book Show • 223
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SECOND Reference
224 • Scholarly/Professional
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The Oxford Companion to Cheese Catherine Donnelly
PUBLISHER/IMPRINT
TEXT DESIGN
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Oxford University Press
Brady McNamara
© Joseph De Leo / Offset.com
PUBLICATION DATE
TYPEFACE
COVER/JACKET PRINTING
11/22/16
Arno Pro, Myriad Pro Bold SemiExtended
Sheridan
FORMAT
TEXT STOCK
COVER/JACKET STOCK & FINISH
Hardcover
45# Glatfelter B18, Natural
80# C1S, gloss film lamination
TRIM SIZE
PREPRESS/COMPOSITION
CASE MATERIALS
7" x 10"
SPI
PRODUCTION STAFF
PRINTING/BINDING
Rainbow Ivory Antique, Rainbow Black Antique
Brad Rosenkrantz
Sheridan
TEXT ART DIRECTION
COVER/JACKET ART DIRECTION
Brady McNamara
Brady McNamara
Handsome case and well-printed endpapers. Nice use of cheese wheel graphic on title page and chapter openers.
COVER/JACKET DESIGN
Brady McNamara
2017 New York Book Show • 225
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FIRST Scholarly
oethe Essential
Goethe
Edited by M A T T H E W B E L L
226 • Scholarly/Professional
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The Essential Goethe Johann Wolfgang von Goethe, Edited by Matthew Bell
The Essential
Goethe Joh a n n Wol fg a ng von G oe t h e
Edited and Introduced by
M AT T HE W BEL L
Pr i nc e t on U n i v e r s i t y Pr e s s Princeton & Oxford
PUBLISHER/IMPRINT
ILLUSTRATOR/PHOTOGRAPHER
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Princeton University Press 01/12/16
Frontispiece: 1791 engraving of Johann Wolfgang von Goethe, by Johann Heinrich Lips
Jacket art: 1791 engraving of Johann Wolfgang von Goethe, by Johann Heinrich Lips
FORMAT
TYPEFACE
COVER/JACKET PRINTING
Hardcover
Gulden Draak and Adobe Garamond Pro
John P. Pow Company, Inc.
TRIM SIZE
TEXT STOCK
COVER/JACKET STOCK & FINISH
6 ⅛" x 9 ¼"
45# 640ppi Glat offset B18
80# C1S, scuff-free matte lamination
PRODUCTION STAFF
PREPRESS/COMPOSITION
CASE MATERIALS
Terri O’Prey, production editor; Betsy Litz, production coordinator
Book Comp, Inc. PRINTING/BINDING
Arrestox B black cloth with gold foil spine stamp
TEXT ART DIRECTION
Maple Press
Chris Ferrante
COVER/JACKET ART DIRECTION
TEXT DESIGN
Maria Lindenfeldar
Chris Ferrante
COVER/JACKET DESIGN
PUBLICATION DATE
Chris Ferrante
Clever use of jacket layout, playful use of “the” and scale. Beautiful cloth case. Balance of classic and modern. Quality and bulk of paper appropriate to page count. Restrained interior design. Our unanimous first choice!
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SECOND Scholarly
228 • Scholarly/Professional
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The Great East Asian War and the Birth of the Korean Nation JaHyun Kim Haboush
PUBLISHER/IMPRINT
TYPEFACE
COVER/JACKET PRINTING
Columbia University Press
10.8/15 Requiem with News Gothic
Edwards Brothers Malloy
PUBLICATION DATE
TEXT STOCK
COVER/JACKET STOCK & FINISH
03/08/16
50# Recycled Natural Stock
80# C1S
FORMAT
PREPRESS/COMPOSITION
COVER/JACKET EFFECTS
Hardcover
Newgen
Matte lamination
TRIM SIZE
PRINTING/BINDING
CASE MATERIALS
6" x 9"
Edwards Brothers Malloy
PRODUCTION STAFF
COVER/JACKET ART DIRECTION
Multicolor 80#, mahogany, burnished leather finish, white stamping
Jennifer Jerome
Julia Kushnirsky
TEXT ART DIRECTION
COVER/JACKET DESIGN
Julia Kushnirsky
Chang Jae Lee
TEXT DESIGN
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Chang Jae Lee
Byun Bak, Battle of Tonnae (Tongnaebu Sunjeoldo), 1760, Museum of the Korean Military Academy
Consistent design carried through from cover to title pages to chapter openings to index. Handsome cover materials and stamping. Show-through pages are an effective and attractive design element.
2017 New York Book Show • 229
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THIRD Scholarly
230 • Scholarly/Professional
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Little Magazine, World Form Eric Bulson
No. 3
in italia, all’estero the transmission was also happening in reverse with foreign influences, ideas, and writers coming back in. For that reason, “in Italia” was paradoxically a way for some little magazines to acknowledge that they were bene-
in italia, all’estero
fiting from “un apertura,” or an opening, that made it impossible to close Italy off from within.
Di più nei giovani scrittori venuti su con la “Voce” e con la “Ronda” c’era pure una bramosia di ritrovarsi di comunicarsi proposte e speranze tenendo l’occhio all’estero ma cercando proprio e oneste cammini. What’s more among the young writers who grew up with la “Voce” and with la “Ronda” there was also a longing to find oneself communicating ideas and hopes keeping an eye abroad but also searching for the right and honest path.
▸ Carlo Linati, “Di un ritrovo della intelligenza e di una rivista letteraria”
In the years immediately preceding World War I, there was enough sympathy among European nations to encourage dreams of a shared literary culture that could be effectively mediated by little magazines. All of that changed, however, once the war erupted, and by 1918, when a tentative peace was finally achieved, there was a sense that Italy had lost its way, its path to modernity blocked by years of senseless destruction. In 1919, Vincenzo Cardarelli founded La ronda in Rome precisely to jumpstart the process of a “ritorno all’ordine” (return to order), and in the opening editorial, he gave readers a pretty bleak diagnosis of the situation: “Ritardata la nostra modernità di più di un mezzo secolo a causa di avvenimenti storici che non é il caso di discutere e rifatta l’Italia grettamente nazionalistica e provinciale nelle arti, la nostra letteratura intraducibile è poco valida ad attestare della nostra universalità tra le nazioni contemporanee, forse è giusto per noi il momento di uscire e di farci intendere in questo contagioso crepuscolo della civiltà moderna europea” (Having delayed our modernity by more than half a century because of historic events not worth discussing further and having remade an Italy narrowly nationalistic and provincial in the arts, our untranslatable literature is of little use
IN ITALIA, ALL’ESTERO:
in Italy, and abroad. This phrase is familiar enough to anyone who has had to navigate the Italian postal system, and it was one originally intended to distinguish between destinations for foreign and domestic mail. Little magazine editors at the beginning of the twentieth
to prove our universality between contemporary nations, perhaps it’s the right moment for us to leave and make ourselves understood in this contagious twilight of modern European civilization).1 As Cardarelli and his more liberal-minded compatriots believed, the hypernationalization that began with unification and reached fever pitch during the war brought with it an increased provincialization and isolation of Italy’s culture. Any hope in the future for a more meaningful engagement with developments
century were soon attaching this phrase to their subscription notices, and before long “all’estero” was a subtle way for them to advertise international range, taste, and connectivity. More than implying that a par ticular title was simply going to readers abroad, “all’estero” was there to signify that
abroad, then, depended on the production of a modern literature and art that could be translated and exported elsewhere.2 So began what the Milanese critic, writer, and translator Carlo Linati described as a process of keeping “l’occhio all’estero” (an eye abroad). The
I
115
PUBLISHER/IMPRINT
TYPEFACE
COVER/JACKET PRINTING
Columbia University Press
DessauPro and MercuryText
Sheridan Books
PUBLICATION DATE
TEXT STOCK
COVER/JACKET STOCK & FINISH
11/29/16
50# 500ppi House Natural
100 # C1S, matte lamination
FORMAT
PREPRESS/COMPOSITION
CASE MATERIALS
Hardcover
Westchester Book Group
TRIM SIZE
PRINTING/BINDING
6 ⅛" x 9 ¼"
Sheridan Books
Rainbow Eclipse Handspun; GRL Lustrofoil #48 metallic red Headbands: red
PRODUCTION STAFF
COVER/JACKET ART DIRECTION
Jennifer Jerome
Julia Kushnirsky
TEXT ART DIRECTION
COVER/JACKET DESIGN
Lisa Hamm, Julia Kushnirsky
Rouemy Design
TEXT DESIGN
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Lisa Hamm
Rouemy Design
Strong art deco/Bauhaus design. Consistent reproduction of archival materials. Carrythrough of design: red spine stamping picks up jacket design.
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MERIT Scholarly
232 • Scholarly/Professional
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Of Reality Gianni Vattimo
I N T E RM I S S I O N
of experience conducted by Heidegger in Being and Time is of great value to hermeneutic ontology, that it was a pragmaticist analysis, but certainly not a Berkeleian one. To follow the second Heidegger, the Heidegger of the nihilistic ontology of the event, does not at all abandon the originarily phenomenological awareness of experience as the encounter with the other by itself. The existential analytic, if ever, brings to phenomenology the indispensible opening onto the historical dimension of the encounter. Nietzsche’s maxim “this too is an interpretation” is not tantamount to reestablishing the difference between things in themselves and the cognitive schemata that Husserl already, and later, among others, Davidson, had rightly set aside. That in respect to which interpretation is “only” an interpretation is not the world out there as the fixed totality of the objects independent of my consciousness, but the inheritance of other interpretations in their turn inseparable from what was given to them as object. It is not surprising that Heidegger calls this very handing down of interpretations (inseparable from the facts that they understand) the “history of Being.” Even the appeal to the objectivity of things as they are in themselves matters only insofar as it is a thesis by some person against some other, namely, insofar as it is an interpretation motivated by projects, anticipations, and interests (in the better sense of the word). Reality “itself ” does not speak by itself; it needs a spokesperson—that is, to be precise, motivated interpreters who decide how to represent on a map a territory to which they have had access through more ancient maps. If one abandons the idea of cognitive schemata opposed to the world as a fixed totality of independent objects, it becomes clear that the passivity of the experience of the world is provenance (being thrown, not beginning from zero, by itself, and so on) rather than the receptivity of sense organs that are always “objectively” equal. That reality is (our) history does not turn it into a fable, for if the true world has become a fable, as Nietzsche writes, by that very act the fable (the cognitive schema that ought to reduce everything to itself ) is also negated. From this point, it seems, a hermeneutic recovery of “reality” can begin.
III
THE GIFFORD LECTURES
/ 78
PUBLISHER/IMPRINT
TYPEFACE
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Columbia University Press
Museo Sans, Minion Pro
PUBLICATION DATE
TEXT STOCK
© Ben McLaughlin/Wilson Stephens Fine Art, London, Bridgeman Images
03/15/16
50# 440ppi Nature’s Natural
COVER/JACKET PRINTING
FORMAT
PREPRESS/COMPOSITION
Phoenix Color
Hardcover
Cenveo Publisher Services
COVER/JACKET STOCK & FINISH
TRIM SIZE
PRINTING/BINDING
80# C1S with matte lamination
6" x 9"
Thomson-Shore
CASE MATERIALS
PRODUCTION STAFF
COVER/JACKET ART DIRECTION
Jennifer Jerome
Julia Kushnirsky
Rainbow Midnight Pinstripe, S7 Platinum foil, blue and gold headbands
TEXT ART DIRECTION
COVER/JACKET DESIGN
Lisa Hamm, Julia Kushnirsky
Lisa Hamm
TEXT DESIGN
Unexpected jacket for a scholarly book—looks like a novel. Provocative cover image that ties in with the book’s subject.
Lisa Hamm
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BEST IN CATEGORY
FIRST Scholarly Illustrated
234 • Scholarly/Professional
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The Voynich Manuscript Raymond Clemens, Editor
PUBLISHER/IMPRINT
TYPEFACE
COVER/JACKET PRINTING
Yale University Press
Adobe Minion Pro family
Asia Pacific Offset
PUBLICATION DATE
TEXT STOCK
COVER/JACKET STOCK & FINISH
11/01/16
128gsm Kinmari Ex Matt
FORMAT
PREPRESS/COMPOSITION
115gsm tracing paper, gloss lamination on underside
Hardcover
Asia Pacific Offset
COVER/JACKET EFFECTS
TRIM SIZE
PRINTING/BINDING
9" x 12"
Asia Pacific Offset
Printed 5/c with a white layer under the images and text
PRODUCTION STAFF
COVER/JACKET ART DIRECTION
CASE MATERIALS
Peter Blaiwas, Wordesign Services
Peter Blaiwas, Wordesign Services
128gsm Gold East glossy, matte lamination
TEXT ART DIRECTION
COVER/JACKET DESIGN
Peter Blaiwas, Wordesign Services
Peter Blaiwas, Wordesign Services
TEXT DESIGN
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Peter Blaiwas, Wordesign Services
David D. Driscoll, Beinecke Rare Book & Manuscript Library
Package succinctly conveys editorial intent of giving an intimate view of a medieval manuscript. Respects integrity of original manuscript. Printing is consistent. Effective use of gate folds. Vellum jacket allows preprinted case to show through beautifully.
ILLUSTRATOR/PHOTOGRAPHER
David D. Driscoll, Beinecke Rare Book & Manuscript Library
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FIRST Scholarly Book Series
236 • Scholarly/Professional
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Russian Library Various
96 \
Notes of a Hunter
We are pilgrims—he’s one far above us all, We are cripples—he’s one far above the rest. Our Kolya-Nikolay owns simply nil, Only crutches. And it snows, it really snows. Weather sucks. The bells clamor on the hill, And to find a place for slumber fly the daws. They fly straight across the river, scalawags, To the town of thieves and beggars for a nap. While we’re lugging on a hand sleigh garbage bags— Three archangels of recycling the old scrap. Ah, the time of dog and wolf I love so much: It’s like kindness mixed with sadness, isn’t it? I will also have a smoke; hold the match! So, we’re schlepping to the tailor, I repeat. Sewing clothing for the shelter of the blind, Our tailor’s sitting there by candlelight. Open up, dear fellow creature, be so kind, Welcome us—exhausted merchants—for the night. We were sitting by the window, feeling fine, Night was turning gray like pants too often washed. I forget now, where we finally got the wine, But remember—we got very soundly sloshed. In the morning, we see: Kolya learned to fly! Crutches—like a pair of wings he bore. He had turned into a falcon, poor old guy. Drank too much. And he simply was no more.
DISCORDS BEYOND THE ITIL
08
I
have scooped up, keep on readin, the hooch of human passions, tasted the rot of dreadful, deceitful broads, and the poison almost choked me. The dusk lasted and the darkness continued, and at dawn opened, like a wound, the unquenchable drought for the clean, for the crystal-clear water. I used whatever I had for a belt and stepped, figurelatively speakin, into the deep, squirmin. What is happiness and what is unhappiness, my dear Pozhilykh? Don’t pass, the answer ain’t complicated: Happiness is when it is. But I don’t complain; everythin will get milled over. We’ll finish clinkin with our unsharpened skates, hurtin from oaken clubs, frolickin and dancin, and one day in the mornin we’ll cast off to Bydogozhd. So many toasts will be drunk in our honor, so many tears will be spilled, so many collars will be ripped by our pals from each other’s coats on the ninth day. Earlier, we were seein others off, sailin noisily in sloops, and now others will revel followin us in dories, while we will peacefully lie in the front one with our sole akimbo. Foma Doom himself on the occasion of such an event rekindled his past—grabbed the oars. He is rowin, for sure, but at the same time on the sly searches with his bare foot
PUBLISHER/IMPRINT
ILLUSTRATOR/PHOTOGRAPHER
COVER/JACKET DESIGN
Columbia University Press
Various
Roberto de Vicq de Cumptich
PUBLICATION DATE
TYPEFACE
COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
12/06/16
Ingeborg, MrPalker, Arno Pro
Various
FORMAT
TEXT STOCK
COVER/JACKET PRINTING
Paperback
50# 500ppi House Natural
Sheridan Books
TRIM SIZE
PREPRESS/COMPOSITION
COVER/JACKET STOCK & FINISH
5 ½" x 8 ½"
Cenveo Publisher Services
100# C1S with matte lamination
PRODUCTION STAFF
PRINTING/BINDING
CASE MATERIALS
Jennifer Jerome
Sheridan Books
TEXT ART DIRECTION
COVER/JACKET ART DIRECTION
Rainbow, Handspun, case color and headband colors vary
Lisa Hamm, Julia Kushnirsky
Julia Kushnirsky
TEXT DESIGN
Lisa Hamm
Cohesive look with each title standing out on its own.
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FIRST Scholarly Cover/Jacket
Muslim Cool Su’ad Abdul Khabeer PUBLISHER/IMPRINT
NYU Press PUBLICATION DATE
12/01/16 FORMAT
Paperback TRIM SIZE
6" x 9" PRODUCTION STAFF
Adam B. Bohannon COVER/JACKET ART DIRECTION
Adam B. Bohannon COVER/JACKET DESIGN
Adam B. Bohannon COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Awol Erizku COVER/JACKET PRINTING
Versa Press COVER/JACKET STOCK & FINISH
12pt matte finish COVER/JACKET EFFECTS
Velvet matte Striking image, beautifully reproduced. Very strong and cohesive design reflects subject matter. Unanimous and immediate first place choice.
238 • Scholarly/Professional
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SECOND Scholarly Cover/Jacket
Mouthfeel Ole G. Mouritsen PUBLISHER/IMPRINT
Columbia University Press PUBLICATION DATE
12/30/16 FORMAT
Hardcover TRIM SIZE
7" x 10" PRODUCTION STAFF
Jennifer Jerome COVER/JACKET ART DIRECTION
Julia Kushnirsky COVER/JACKET DESIGN
Milenda Nan Ok Lee COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
iStock, Shutterstock; additional photos by Jonas Drotner Mouritsen COVER/JACKET PRINTING
Sheridan Books COVER/JACKET STOCK & FINISH
100# Enamel C1S with nylon matte scuff-resistant lamination CASE MATERIALS
Paper-on-board, 4-color printed case cover, .098 binders board Great use of saturated color and texture. Clean and elegant design. Density of black reproduced well.
2017 New York Book Show • 239
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A H isto ry
THIRD Scholarly Cover/Jacket
ISIS: A History Fawaz A. Gerges PUBLISHER/IMPRINT
Princeton University Press PUBLICATION DATE
03/14/17 FORMAT
Hardcover TRIM SIZE
5 ½" x 8 ½" PRODUCTION STAFF
Ellen Foos, Erin Suydam COVER/JACKET ART DIRECTION
Maria Lindenfeldar COVER/JACKET DESIGN
Jason Alejandro COVER/JACKET ILLUSTRATION/PHOTOGRAPHY
Typeface: Hammer Bold COVER/JACKET PRINTING
Phoenix Color COVER/JACKET STOCK & FINISH
100# C1S, PGS mylar film with gritty matte UV COVER/JACKET EFFECTS
2/c (PMS 152C and black) CASE MATERIALS
Rainbow black with matte white foil stamp Effective use of typography to convey subject matter.
240 • Scholarly/Professional
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MERIT Scholarly Cover/Jacket
Women as Wartime Rapists Laura Sjoberg PUBLISHER/IMPRINT
NYU Press PUBLICATION DATE
11/01/16 FORMAT
Paperback TRIM SIZE
6" x 9" PRODUCTION STAFF
Adam B. Bohannon COVER/JACKET ART DIRECTION
Adam B. Bohannon COVER/JACKET DESIGN
Adam B. Bohannon COVER/JACKET PRINTING
John Pow COVER/JACKET STOCK & FINISH
12pt C1S with matte finish COVER/JACKET EFFECTS
3D lamination Spot gloss is impressively registered to print. Overlay of type creates effective tension which relays subject matter.
2017 New York Book Show • 241
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