  hy phen press cata logue & al ma nack 2
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Edited by Robin Kinross
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Hyphen Press
Catalogue & Almanack 2011
Edited by Robin Kinross Designed by Patrícia D’Ambros Catalogue set in Fedra Serif (text) designed by Peter Bil’ak, in 2003. http://www.fontyukle.net/en/1,fedra And also set in Frutiger (titles) designed by Adrian Frutiger, in 1976. http://www.fontyukle.net/en/1,frutiger Printed in Milan, Italy 15/02/2011. Except where stated, all material copyright © Hyphen Press, 2010 We welcome enquiries and comments. Write by email to: info@hyphenpress.co.uk Robin Kinross Hyphen Press 115 Bartholomew Road London NW5 2BJ England
About Hyphen Press
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Almanack 2011
» About
Hyphen
Press Hyphen Press publishes books on design – in the largest
sense of the word. Based in London, our books are mostly produced on the European continent, in the attempt to find good standards of industrial craft. We cherish writing that is lively, precise, free of jargon; pictures that are realistic, vivid. We try to make books that are good for the reader. The first book issued by Hyphen Press, in 1980, was Norman Potter’s “What is a designer”. It set out an approach that we have maintained since. Without a question mark in the title, the book proposes as much as it asks and answers. It suggests that design is an activity, a verb rather than a noun, and that design is illuminated by literature, art, music. At the same time, Norman Potter suggested, design means technique, craft skills, human interactions, and assimilation of information; the book included lists of useful addresses, with telephone numbers.
Hyphen Press Catalogue & Almanack 2011
In the 1990s we began to concentrate on our home ground of typography, but trying to see it in wider contexts. Books such as Jost Hochuli’s “Designing books” and “Karel Martens: printed matter / drukwerk” also represented, in their very manufacture, an encounter with the European continent. We work from London but look over the Channel towards countries and cultures that maintain stronger industrial craft skills than are available in the UK. Recent developments include a loose series of smallformat paperbacks, consisting of works that have proved themselves: among these titles are (again) Potter’s “What is a designer”, the second edition of Robin Kinross’s “Modern typography”, and Gerrit Noordzij’s “The stroke”. Against the grain of contemporary publishing, with its incessant search for The New, we enjoy rediscovering existing but overlooked works and bringing them back to public attention. We are also expanding horizons beyond typography and design, following the hints thrown out in “What is a designer”. With “Morton Feldman says” we declared an interest in music; since then we have established our own CD label, Hyphen Press Music. At the same time we pursue new writing and new scholarship in our home ground of design.
5
Catalogue The Transformer: Principles Of Making Isotype Charts
Typography Papers 7 Department of Typography, University of Reading
Marie Neurath and Robin Kinross This occasional, book-length work The visual work of Otto Neurath and his associates, now commonly known as Isotype, has been much discussed in recent years. This short book explains its essential principles: the work of ‘transforming’, or putting information into visual form. This deeper level of their work – which is applicable in all areas of design – is routinely neglected in the assumption that Isotype is just a matter of symbols and pictograms. At the core of the book is a previously unpublished essay by Marie Neurath, the principle Isotype transformer, which she wrote in the last year of her life. This is supplemented by Robin Kinross with commentary on illustrated examples of Isotype and other supporting short essays.
+info Availability In Print
Dimensions 210 × 125 mm
Published 2009.05.07
Binding Sewn & Flapped Paperback
Extent 128 pp
is edited and produced at the Department of Typography, University of Reading, and is now published by Hyphen Press. It publishes extended articles on its subject, exploring topics to the length to which they want to go. Its scope is broad and international, its treatment – serious and lively.
+info Availability In Print
Dimensions 297 × 210 mm
Published 2007.08.09
Illustrations B&W + Colour Pictures
Extent 152 pp
Binding Sewn Paperback
Detail In Typography
Department of Typography, University of Reading
The book was published first, in several
Jost Hochuli
Hyphen Press Catalogue & Almanack 2011
Typography Papers 8 Modern Typography In Britain: Graphic Design, Politics, and Society
Jost Hochuli’s concise guide to microtypography considers everything that can happen within a column of text. languages, in 1987 and 1988. Hochuli then developed the German text, pub-
This remarkable volume is a collec-
lishing it again in 2005, with Verlag
tion of eleven essays and shorter arti-
Niggli in Switzerland. That new edition
cles which for the first time provide
is the basis for our book: translating and
rich contexts – social, cultural, and
adapting the work to English-language
political – for graphic design in Brit-
conditions.
ain. Reaching from the Second World War to the early 1970s, they fizz with provocative interconnections: between print culture, photojournalism and publishing, the London of émigrés, political meetings and demonstrations, cultural cafés and art schools. From these disparate milieux emerged new ideas about
+info Availability Forthcoming
Dimensions 210 × 125 mm
Published 2008.06.18
Illustrations 75 B&W Pictures
Extent 64 pp
Binding Sewn & Flapped Paperback
designing: configuring and picturing the world of facts and processes, shaping them for understanding, learning, and action. Presented here are documents of the nation’s life in war, its reconstruction through the passages from scarcity to plenty, the seeds of later fragmentation, always fertile with multiple intersections between biography and history.
+info Availability In Print
Dimension 297 × 210 mm
Published 2009.09.03
Illustrations 161 B&W + 89 Colour Pictures
Extent 216 pp
Binding Sewn Paperback
7
Active Literature: Jan Tschichold and New Typography
The Stroke: Theory of Writing Gerrit Noordzij
Christopher Burke This is the first English-language In the first book on Tschichold to be based on extensive archive research, Burke turns fresh and revealing light on his subject. He sets Tschichold in the network of artists and designers who constituted New Typography in its moment of definition and exploration, and puts new emphasis on Tschichold as an activist collector, editor and writer.
edition of a major piece of thinking about writing (in its visual manifestation). Noordzij’s short and powerful text, illustrated with his own diagrams and examples, is the best exposition of a theory that is making a still growing impact on designers, and on those thinking about writing and letters.
Tschichold’s work is shown in colour throughout, in freshly made photographs of examples drawn from public and private collections. This is not a biography, but rather a discussion of the work seen in the context of Tschichold’s life and the times in which he lived.
+info Availability In Print
Dimensions 276 × 210 mm
Published 2007.08.02
Illustrations 700 Colour Pictures
Extent 336 pp
Binding Hardback
+info Availability In Print
Dimensions 210 × 125 mm
Published 2005.10.27
Illustrations B&W Pictures
Extent 88 pp
Binding Sewn Paperback
Karel Martens with Paul Elliman & Carel Kuitenbrouwer
Now that stocks of Karel Martens: printed matter are exhausted, we have published a short book that shows some of the uncommissioned printed work of Martens, with an essay on ‘The world as a printing surface’ by Elliman. This is very much an object-book, in which the work is not so much reproduced as bodied forth.
Type Now: A Manifesto, Plus Work So Far
Hyphen Press Catalogue & Almanack 2011
Karel Martens: Counterprint
Fred Smeijers
A short and strong statement of position by a type designer. The book takes a wide view, taking in the business of present-day font production, and the technics and the ethics of type as software. As always, Smeijers’s arguments are informed by a strong historical sense. The book also shows his own work as a designer, and is published as a conclusion to the award to him of the Gerrit Noordzij Prize.
+info Availability In Print
Dimensions 297 × 210 mm
+info
Published 2004.01.01
Illustrations Colour Pictures
Availability In Print
Dimensions 220 × 140 mm
Extent 32 pp
Binding Paperback
Published 2003.11.13
Illustrations B&W + Colour Pictures
Extent 144 pp
Binding Sewn Paperback
9
Designing Books: Practice and Theory Jost Hochuli & Robin Kinross
A vastly experienced Swiss book-designer explains his trade with plentiful illustrations of designed books. Two complementary components are added: an essay by Hochuli on some dogmas of typography, and arguing for an attitude of critical openness of mind; and reproduction of books designed by Hochuli himself, with analytical captions by Kinross.
+info
Department of Typography, University of Reading
This occasional, book-length work is edited and produced at the Department of Typography, University of Reading, and is now published by Hyphen Press. It publishes extended articles on its subject, exploring topics to the length to which they want to go. Its scope is broad and international, its treatment – serious and lively.
+info
Availability In Print
Dimensions 255 × 170 mm
Published 2003.05.29
Illustrations 240 Two-Colour Pictures
Extent 168 pp
Typography Papers 5
Binding Sewn & Flapped Paperback
Availability In Print
Dimensions 297 × 210 mm
Published 2003.01.01
Illustrations B&W Pictures
Extent 128 pp
Binding Sewn Paperback
Paul Renner: The Art Of Typography
Norman Potter
Christopher Burke
This long-established title shows
The work and life of this German type
powers of self-renewal, as new
and book-designer are, for the first
young readers find in it a stimulus
time, presented at length and with full
to thought and action unavailable
historical documentation. Renner lived
from more showy, duller items.
through the first half of the twentieth
An urgent book, it combines
century, and this book is, in effect, a
high-flown generalities with often
history of typography in Germany in
striking specificity of reference. It
those years. It also speaks to present
addresses especially students at fur-
concerns in design, and especially to the
ther education level in every design
search for a rationality deeper than one
discipline, including architecture.
of easy rules of style.
+info
+info
Availability In Print
Dimensions 210 Ă— 125 mm
Availability In Print
Dimensions 240 Ă— 170 mm
Published 2002.01.10
Binding Sewn Paperback
Published 1998.01.01
Illustrations 110 B&W + 20 Colour Pictures
Extent 184 pp
Extent 224 pp
Hyphen Press Catalogue & Almanack 2011
What Is a Designer: Things, Places, Messages
Binding Sewn & Jacketed Paperback
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Âť
Forthcoming
books
From Hieroglyphics to Isotype: A Visual Autobiography Otto Neurath / edited by Matthew Eve & Christopher Burke
Otto Neurath wrote From hieroglyphics to Isotype during the last two years of his life: this is the first publication of the full text, carefully edited from the original manuscripts. He called it a ‘visual autobiography’, documenting the importance of visual material to him: from his earliest years to his professional activity with the picture language of Isotype. Neurath draws clear links between the stimulus he received as a boy from illustrated books, toys, exhibitions, to the considered work in visual education that occupied him for the last twenty years of his life. This engaging and informal account gives a rich picture of CentralEuropean culture around the turn of the twentieth century, seen through the eyes of Neurath’s insatiable intelligence, as well as a detailed exposition of the technique of Isotype. The edition includes the numerous illustrations intended by Neurath to accompany his text, and is completed by an extensive appendix showing examples from the rich variety of graphic material that he collected.
Human Space
Fred Smeijers
it was published in Germany in 1963,
O.F. Bollnow
Human space is an English translation of one of the most comprehensive studies of space as we experience it. Since
Hyphen Press Catalogue & Almanack 2011
Counterpunch: Making Type In The Sixteenth Century, Designing Typefaces Now
Bollnow’s text has become a key readA book that moves in towards an investigation into the technics of making metal type by hand, and then out towards a discussion of designing digital type now. In the course of the discussion, Smeijers takes in the fundamentals of designing and making letters, so that he can be read as a guide to type and font construction in any medium. Lively, pointed drawings and photographs complement an equally fresh text.
ing in architecture, anthropology, and philosophy. In 2004 the German edition was issued in its tenth impression. The book is serious academic research and something more – showing a great sensitivity to the near and the everyday. The text is enlivened and illustrated with many quotations, principally from German and English literature. Our edition is translated by Christine Shuttleworth and has an introduction by Joseph Kohlmaier, who places the work in its context of philosophical and architectural discussion.
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Almanack Jost Hochuli in conversation with Hans Peter Willberg W
Jost, old friend, you say that the VGS (VGS Verlagsgemeinschaft St.Gallen) is not just a small publisher, but a smallest publisher. What does that mean? How many books does it publish in a year?
H
There is no magic needed to discover this, Hans Peter — not even for an outsider. Our list of books tells the story: one, sometimes two, rarely three, and occasionally in earlier times — but that was extraordinary — it was even four a year; and for the past three years there has been an Edition Ostschweiz booklet.
W
And that fills your working days?
H
Of course we do them on the side, so to speak.
W
What does ‘we’ mean? I always thought that you alone were the Lord and Master — you, because you have always maintained that you are a born lone fighter, unsuited for any teamwork.
H
Yes I am; the work on the board of directors of the VGS is the exception.
W
How is that possible?
H
Because I, in the second place, get on well with the two women and seven men of the board, and because, firstly and most importantly, it would hardly be possible to undertake this work (however small) without the knowledge and collaboration of the others: a journalist, a librarian, a historian and politician, a medievalist, a Germanist, an antiquarian, a bookseller, a lawyer, and a man from an insurance company, who keeps an eye on our finances and has a feeling for balance sheets — and deficits.
But as a designer, you have said more than once, no one interferes with you. Do you know what a lucky devil you are?
H
I know, I know. If I hear about my colleagues in large publishing houses — Elke Enns at Rowohlt, Ruedi Gögerle at Ravensburger, Peter Fischer at Beck, Rolf Staudt at Suhrkamp, or Wilfried Meiner at Fischer — when I hear about them, and how everything interferes
Hyphen Press Catalogue & Almanack 2011
W
in the design: oh my goodness! The author, the editor, the subeditor: and when you have perhaps got round these obstacles, then it is the marketing people, the representatives, who believe they know exactly what sells and what doesn’t and yet nevertheless are always wrong. And if you have the extraordinary luck to receive the agreement of the sales people, then you will be instructed by the production manager to go to the lousiest text-setting bureau, and will have to use any old printer at home or abroad, and a bookbinder that isn’t worthy of the name — in any event you will not be able to go to Buchbinderei Burkhardt. I at least would not like to grow old in such a publishing house: in which one is forced to make foul compromises, from morning to evening, for a whole working life; and in which, in the headlong rush of readiness to make compromises, one can hardly bring anything good into existence, and in which one has to call in someone from outside if, for once, it really is a matter of quality. Of course designers in a large publishing house cannot see things exactly as I am used to seeing them. In one year dozens of titles pass through their hands, but it could be possible to achieve a better average quality. W
When you designed the Thomas Mann edition, did Fischer really leave you alone and not interfere?
H
Yes, I was fortunate. Only with the position of the ISBN on the back of the cover — did they not ask me — and they then of course placed it wrongly: symmetrically,
17
while everything else on the covers is asymmetric. Of course I would have liked a slightly smaller format and thinner (‘bible’) paper, so that the individual volumes could have been easier to handle ahd lighter, and so that the whole edition — 38 volumes, 20 of them double volumes, thus 58 books altogether! — could have been brought down in length. But I did not insist on it, because I knew that either the one or the otherwould be unacceptable to the people buying the whole edition, and because in addition a still smaller size of type would have to be used. Also a compromise, if you wish... W
Back to the VGS! Usually you print in small editions; do you make bibliophile books?
H
Well, now you have given me a cue, and you know that I am allergic to it. Bibliophile books? No, we certainly don’t make bibliophile books. Though if the adjective bibliophile is understood literally, then I would have nothing against it: bibliophile indeed means ‘loving books’. However one does not understand it in this original meaning, but rather as it is described by Duden: “loving (beautiful and luxurious) books, valuable for lovers of books, luxuriously provided for (of books).” No, not valuable, not luxurious. The paper that we use can be found in normal collections; text-setting is not in lead type as in the time of Gutenberg, but with QuarkXPress on the Mac; printing is not on a creaking hand-press, but on an up-to-date offset machine; and binding is with one of the usual binders. If we make small editions, that’s just because we cannot sell local and regional titles in larger quantities — as much as we’d like to. No, we do not follow the maxim ‘small runs, high prices’. We believe that the opposite is essentially right: that quite ordinary books, including paper-
book culture. Book culture, not book art. I know that you have this meaningless concept in your vocabulary, but, Hans Peter, what the devil has a book to do with art? Yes, of course, if it is a ‘bibliophile edition’; if it is printed on hand-made paper; if the paper is so valuable that one may hardly touch it; ifthe text is set in a so-called artist’s typeface,
Hyphen Press Catalogue & Almanack 2011
backs, must be carefully produced. That would be
which one can only read with an effort, and in a layout in which one loses any sense ofwhere things are; and if the whole thing is bound in leather and decorated with gold and silver embossing — so that it hurts the hands ifone tries to pick it up. Yes, that is probably art, but it is not a decent book. Or, as I once formulated it: The bourgeois attitude: classical literature — Goethe, Holderlin, for a change even Rilke — printing on a hand-press with handset type on hand made paper, bound by hand in leather; small edition, high price: bibliophile, ‘book art’. The socialist attitude (in fact not, but inflated to be so): social revolutionary text — Marx, Ché, La Passionara — unreadable, but looking visually ‘creative’, copied or printed in any old way, held together in metal or plastic covers; small edition, unsocial high price: experiment, ‘book art’. Both may have something to do with art, I suppose. But anyone who intends to hold the book has to fool themselves that it’s something else — one will not need that thing. And a proper book is also a useful object: one has to need it, one has to be able to use it. W
Yes, my dear — are you feeling better now?
H
Are you making fun of me?
W
Yes, a little. You obviously don’t seem to notice how much you are still under the influence of the great Swiss typographers of the post—War years
19
— Lohse, Bill, Ruder and Büchler. They too cared nothing for book art, were ultra-sober in their views, and sneered at bibliophily and bibliophile societies. Didn’t you once tell me that Emil Ruder described the Schweizerische Bibliophile Gesellschaft as a ‘doily-cloth association’? H
Yes, I remember. It’s also completely clear to me where my refusal of bibliophile kitsch comes from. But while other views from earlier ears have changed, my views about bibliophily and book art haven’t just stayed the same, but have even strengthened. Both ideas share something false, inauthentic, something inflated: bluff, showing off, shoulder padding, exaggeration, something — forgive me — deeply German.
W
Thanks for the broadside! I won’t forget to pay you back. But first the following question: If it isn’t a bibliophile book that you, the VGS, aspires to, how would you describe your ideal book?
H
My ideal is the perfect tool for reading, or — depending on the type of book — tool for looking or tool for reading and looking.
W
Then what does, for example, a perfect tool for reading look like? Could you name one ofyour books that you consider to be perfect?
H W
You are silent? Even if you think that every other book designer has done more books than you, you must believe that among all those that you have made, that one or another — although not perhaps perfect — yet comes close to perfection. How else would you have won the Gutenberg Prize?
H
Oh gosh! You know that most prize awards are based on errors and misunderstandings. Or perhaps you do really take seriously the prize-circus and the whole over-heated cultural hullabaloo.
Stop, stop! This typically Swiss deprecation is just as unsympathetic to me as its opposite!
H
Well, good. Among the few purely reading books for which I am responsible, first to be considered would be the volumes of the new Thomas Mann edition. But first — as I’ve already indicated — they are rather too large in format, and secondly, the paper — although rather thin, is still too thick. As I’ve said, both things couldn’t
Hyphen Press Catalogue & Almanack 2011
W
be changed. I regret it. No, if I wanted to nominate a reading tool as ideal or at least approaching ideal, I have to point to the early Insel books of the first three decades ofthe twentieth century; for example to the Großherzog-Wilhelm-Ernst edition ofthe works of Goethe, Schiller, Kant, Schopenhauer, and Korner, whose first volumes began to appear in 1905. Later printings in different bindings no longer carry the name ‘GroBherzog-Wilhelm-ErnstAusgabe’. But the format and typography remain the same. From this series of classic texts, we — you and I — both own, among others, the volume of Goethe’s “Gespräche mit Eckermann”. This little book is for me the perfect or the nearly perfect reading tool; in any event, the best that I know. Ahandy format (10 × 17.2 cm) in the literal sense, which one can put in any trouser or coat pocket, bible paper — even with exactly 800 pages the volume is just 22 mm thick. (‘I don’t like bible paper’, someone might grumble. I know it needs a bit offinger culture; and that comes only through practise, certainly not from sitting in front ofthe television.) Didn’t I sneer previously at leather bindings? What have we here but a leather binding? Yes — but leather is not always just leather. Here the leather is no bluff, here it serves a function. No other binding material, really no other, is as flexible as this thin, pressed calves’ leather, which does not break and which goes — when one has bent it — back into position, and then stays like that. And the gold embossing? Gold in itself do not like. It is too ostentatious. A gold watch would be horror for
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me. But to be fair and more objective, one should add this: even now gold foil is still really the only problemfree embossing foil; itwas even more so at the beginning of the last century. The book is at least 80 years old (it lacks a year of publication), and it has been used, as one can see; but the lettering on the spine and the front cover is as fresh as if it has just been embossed. This little book (‘little book’ — yet 800 pages, don’t forget!) this little book is something I can take on a stroll, on a walk; in a field at the edge of a wood I can take it out ofmy coat pocket or rucksack and read, and if I let it fall into cow dung that isn’t a catastrophe; I can wash the leather and embossing, even with soap, and no part is damaged. The typography inside is of the simplest and most modest kind; no typographer had to be involved, trying to be ‘creative’. The typeface is unpretentious, undisturbing, but wonderfully readable — it is the Monotype Old Style no. 2, at that time a typographic workhorse as later Times Roman would be. My single objection: the paragraphs do not open with an indentation. But otherwise: the perfect tool for reading. W
Agreed in every point. When will the VGS publish the perfect tool for reading?
H
It’s hardly possible. We aren’t really a literary publishing house and mostly publish non-fiction books, which are hybrids of the pure reading book and the pure factual book: in order to be comfortably readable, these books should be smaller, and because of the large number of pictures they should be larger. No, the VGS will probably never be able to publish the perfect reading book. Alas. But we will try to make our factual books as friendly to readers as is possible.
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Checklist of
books
Stuart Bailey & Robin Kinross (editors) God’s Amateur: The Writing Of E.C. Large
Harry Carter A View of Early Typography: Up to About 1600
hb
£25 $35 €40
£10 $20
1978 – 0 – 907259 – 21 – 3
flpb
1978 – 0 – 907259 – 38 – 1
O. F. Boilnow Human Space
Jost Hochuli Detail in Typography flpb
hb
£12.50 $25
£25 $50
1978 – 0 – 907259 – 34 – 3
1978 – 0 – 907259 – 35 – 0
Christopher Burke Active Literature: Jan Tschichold and New Typography
Jost Hochuli & Robin Kinross Designing Books: Practice and Theory
hb
flpb
£35 $75 €55
£17.50 $30 €25
I978 – 0 – 907259 – 32 – 9
1978 – 0 – 907259 – 23–7
Christopher Burke Paul Renner: The Art of Typography jkpb £15/ $35
Robin Kinross Modern Typography: An Essay in Critical History
1978 – 0 – 907259 – 12 – 1
flpb £15 $27.50 €25
Peter Burnhill Type Spaces: In – House Norms in the Typography of Aldus Manutius
1978 – 0 – 907259 – 18 – 3
pb
Robin Kinross Unjustified Texts: Perspectives on Typography
£17.50 $35 €30
jkpb
1978 – 0 – 907259 – 19 – 0
£20 $30 €38.50 1978 – 0 – 907259 – 17 – 6
Gerrit Noordzij The Stroke: Theory of Writing
pbs
£15 $25 €20
£40 $7 €70.80
1978 – 0 – 907259 – 30 – 5
pb
1978 – 0 – 907259 – 09 – 1
E. C. Large Asleep in the afternoon
Norman Potter Models & Constructs: Margin Notes to a Design Culture
hb £17.50 $35
hb
1978 – 0 – 907259 – 37 – 4
£20 $40
Hyphen Press Catalogue & Almanack 2011
Robin Kinross (editor) Anthony Froshaug: Typography & Texts. Documents of a Life
1978 – 0 – 907259 – 04 – 6
E.C. Large Sugar in the Air £17.50 $35
Norman Potter What is a Designer: Things, Places. Messages
1978 – 0 – 907259 – 36 – 7
pb
hb
£12.50 $20 €21
Karel Martens Karel Martens: Counterprint flpb £17.5° $35 €30 1978 – 0 – 907259 – 25 – 1
1978 – 0 – 907259 – 16 – 9
Fred Smeijers Type Now: A Manifesto, Plus Work so Far flpb
Marie Neurath & Robin Kinross The Transformer: Principles of Making Isotype Charts pb
£17.50 $27.50 €25 1978 – 0 – 907259 – 24 – 4
Typography papers 5 pb
£12.50 $25
£20 $40 €35
1978 – 0 – 907259 – 40 – 4
I978 – 0 – 907259 – 28 – 2
25
Typography papers 6 pb
£20 $40 €35 1978 – 0 – 907259 – 29 – 9
Typography papers 7 pb
£20 $40 €35 I978 – 0 – 907259 – 33 – 6
Typography papers 8 pb
£20 $40 €35 1978 – 0 – 907259 – 39 – 8
Chris Villars (editor) Morton Feldman Says: Selected Interviews and Lectures 1964 – 1987 jkpb £25 $50 €45 I978 – 0 – 907259 – 31 – 2
David Wild Fragments of Utopia: Collage Reflections of Heroic Modernism flpb £18 $40 1978 – 0 – 907259 – 10 – 7
Bindings The following codes are used in the descriptions of the books:
pb flpb
a simple paperback paperback with flaps
jkpb
paperback with a loose jacket
pbs
paperback(s) in a slipcase
hb
cloth-covered hardback
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