#yale press

[doodles-bi-tea]

claim your “I was a Lewis Pullman fan before Thunderbolts” ticket here! (in case he blows up in popularity any more than he might have after things like TGM and Lessons in Chemistry…)

[meganwhalenturner]

While at Elliot Bay Books, my ears perked up at a casual mention of poetry by “some woman from ancient Sumer or Ur.”

Was it Enheduana???? Yes!

I’m still bummed I missed the exhibit on Enheduana at the Morgan Library.

So, even though I had *just* said that I wasn’t ever going to haul paper books around in my suitcase again, I bought this translation by Sophus Helle.

I’m so glad I did. It’s a great book. Great subject, great writing. I can’t comment on the accuracy of the translation, but the poetry is knockout and the essays are accessible and fascinating.

[garadinervi]

Converging Lines: Eva Hesse and Sol LeWitt, Edited by Lucy R. Lippard, Blanton Museum of Art in association with Yale University Press, New Haven, MA, and London, 2014

Essays: Lucy R. Lippard, Veronica Roberts, and Kirsten Swenson

Exhibitions: Blanton Museum of Art, The University of Texas at Austin, Austin, TX, February 23, 2014 – May 18, 2014; Cleveland Museum of Art, Cleveland, OH, April 3 – July 31, 2016

Cover Art: Eva Hesse, Untitled, (gouache, watercolor, silver paint, and pencil on paper), 1968. Cleveland Museum of Art, Cleveland, OH. Private collection. © The Estate of Eva Hesse. Courtesy Hauser & Wirth)

[thurstongrey]

[uwmspeccoll]

Wood Engraving Wednesday

PAUL NASH

British painter, war artist, designer, illustrator, and wood engraver Paul Nash (1889-1946) was influential in the development of modern English art and was a prominent member of the Society of Wood Engravers that was co-founded by his younger brother John Nash in 1920.

In the 1920s, he began to produce wood-engraved illustrations for works by noted English authors, including this collection of character studies, Cotswold Characters by English poet and playwright John Drinkwater (1882-1937), published in New Haven, Connecticut, by Yale University Press in 1921. These were Nash's first set of wood engravings to be published as book illustrations.

Besides publishing his first wood-engraved book illustrations, 1921 was a very significant year in Nash's short life. In that year, Nash's close friend, the artist and designer Claud Lovat Fraser, died; Nash displayed his textile designs at an exhibition at Heal's in London; and he began exhibiting a series of health issues related to war trauma that we would call PTSD today, which occasioned his move to Dymchurch in southeast England for his health, where he would produce an important series of seawall and seascape paintings.

Our copy of Cotswold Characters is another donation from the estate of our late friend Dennis Bayuzick.

View other posts related to Paul Nash.

View other books from the collection of Dennis Bayuzick.

View more posts with wood engravings!

[germanpostwarmodern]

For almost four decades Elain Harwood (*1958) has been researching and writing about British postwar architecture, greatly contributing to their protection and creating awareness of their quality. Her magnum opus „Space, Hope and Brutalism: English Architecture 1945-1975“, published by Yale University Press in 2015, is a 700+ page tome in which she recounts the better and lesser-known currents of English postwar architecture. Although prominent figures like Peter & Alison Smithson, Denys Lasdun or Basil Spence naturally receive the space they deserve based on their importance Harwood sheds particular light on the unsung architects working in local authority offices, e.g. Rosemary Stjernsted, who designed a broad range of buildings and structures for their local areas of responsibility. 

Against the background of a generally bad reputation of postwar architecture and urbanism in Britain Harwood also discusses the conflicts within planning processes: flaws have often been associated with a dogmatic omnipotence infused with Corbusian thoughts, an assumption that is very much unsustainable as architects and planners operated in a complex context of underfunding, last-minute alterations and lack of materials. The often young architects responsible for the execution of these lackluster plans themselves regularly quarreled with their position within the system and the high hopes they initially had. Accordingly the circumstances for the realization of ambitious plans couldn’t have been worse.

The architectural quality of those buildings and plans still existing is nonetheless striking and ranges from sleek Scandinavian-influenced early postwar modernism to Brutalism and early High-Tech, an immense degree of breadth that leaves the reader indeed astonished.

In view of the incredible richness of the book’s information it is a publication to frequently return to in order to read about a certain time period rather than something to consume in one go, a circumstance that in no way diminishes the enjoyable reading experience.

[downthetubes]

Manga: A New History of Japanese Comics by Eike Exner announced for 2025

Yale University Press have announced they will be publishing Will Eisner Comic Industry Awards-winning author Eike Exner new history of Japanese comics next August

Yale University Press have announced they will be publishing Will Eisner Comic Industry Awards-winning author Eike Exner new 256-page history of Japanese comics next August. The publisher of Manga: A New History of Japanese Comics describes the book as “the groundbreaking story of Japanese comics from their nineteenth-century origins to the present day. “The immensely popular art form of manga,…

[expendablemudge]

This #MLKDay get yourself a first ever bio of JOHN LEWIS: In Search of the Beloved Community, a "Citty Upon a Hill" longed from since the time of Winthrop, via Yale University press

My 5* #BookReview:

[youhavereachedtheendofpie]

Hang on, Princeton is in New Jersey?????

[religion-is-a-mental-illness]

By: Sahar Tartak

Published: Aug 29, 2023

Like many campus clubs, the Yale Free Press (YFP) is a decades-old college paper that has risen and fallen with the times. During the pandemic, the YFP nearly died. Last year, an ambitious editor-in-chief brought it back, but unfortunately felt it was necessary to use the pseudonym “Gentleman Jack.” He wasn’t alone—many writers also went by pseudonyms. Why? The Yale Free Press is right-of-center. Journalists are not immune to fear of retaliation for wrongthink, even at (especially at?) the university level. To espouse an opinion deemed unacceptable by campus activists has a real potential to cause consequences for the writer. This year I’m counting on the maturity of my fellow classmates; I’m betting that by putting my real name on the masthead, I can encourage others to own their opinions, and to treat those with differing opinions with kindness and respect.

Yale has developed a reputation as a place where free thought is met with contempt. Undergraduates encircled, vilified, and yelled at a professor who told them they should not need administrators to create a sensitive environment for them. Law school administrators attempted to coerce a student into signing a pre-written apology for using the phrase “trap house” in a party invitation. Multiple federal judges boycotted clerkship applicants from Yale Law School because of its failure to uphold the value of free speech. The university should be a place for vigorous intellectual debate and conversation, but support for this seems to be dwindling as students increasingly demand safe spaces and trigger warnings. Many would gladly trade in their curiosity for conformity if given the chance. It appears some already have. 

Yet, as a Yale student and editor-in-chief of the Yale Free Press, I do not see my campus only in terms of horror stories. Nor should I. Last fall, I published an op-ed in the Wall Street Journal criticizing critical race theory in public schools, followed by interviews with Fox, Newsmax, Quillette, and more. I found a home in the William F. Buckley Institute, a bastion of viewpoint diversity on our campus, and the Yale Political Union, a confederation of primarily conservative debate societies. I wrote for both the Yale Free Press and the better-known Yale Daily News, espousing the benefits of conservative religious practices and even criticizing a free speech debacle at Stanford Law School. 

Fortunately, opportunities abound in the viewpoint-diversity network: internships, travel, and high-profile political meetings. On campus, life is good. Friends who disagree with my politics accept me and are too curious to be intolerant. If anything, they view heterodoxy as exotic, exciting, and even a tad rebellious. Professors and administrators are also kind; they have treated me with a sense of care that I can only call familial. 

At Yale, as is usually the case in life, the truth of free speech's status lies somewhere between the well-publicized horror stories and rainbow showers described above. It lies in a generation of students who are sympathetic to shouting down controversial speakers and installing cameras in bedrooms to prevent sexual assault, while others still self-censor for fear of becoming the main character in a cancellation story themselves. It lies in campus clubs quietly rejecting students because they are spooked by their political views. It lies in the politicization of every campus institution — tutoring centers, resident life, and religious groups. It lies in freshman orientation programs that refuse to address crime because to do so would be “racist” and to teach students preventative measures against sexual assault because that is “victim-blaming.”

Yale’s campus culture right now is mostly normal, and I am consistently impressed by those with whom I share a campus. I am insistent on the goodness of our students and faculty alike and the goodness of human beings in general. I am insistent on the insatiable appetite of my truth-seeking peers, who are more interested in facts than dogma. I am insistent on a shared common sense, which recognizes the absurdity of ignoring literal safety measures for the sake of political correctness. 

For these reasons and more, I am ramping up the Yale Free Press as its editor-in-chief. We are recruiting more writers, and we intend to write more this year. We are tapping into resources for student journalists and creating those resources as we go. For instance, we formed an online network of student journalists from campuses across the country to share tips, opportunities, and offer support. We will cover what other campus papers do not: the issues of speech that lie in between space—those that require nuance and complexity to understand. The “exotic” philosophies— conservatism, classical liberalism, religious traditionalism, and so on—that sharp students are fascinated by but shielded from. The common-sense questions that everyone seems afraid to ask. At the Yale Free Press, we are choosing to treat university students as the adults we are, adults who are capable of grappling with contentious topics with maturity and intellectual rigor. 

Yale is a renowned university and a one-way ticket to public influence. Its students must question the day-to-day happenings on campus, and they cannot ask questions if these happenings go unnoticed. Future leaders ought to be immersed in uncertainty if they hope to create something positive one day. That is the purpose of higher education. It is neither professional development nor social justice bootcamp. It is time to think. 

On our university's coat of arms, the words “light and truth” are written in Hebrew and Latin. The Yale Free Press has an ambitious goal of keeping readers out of the dark by relentlessly reporting the truth, and we intend to succeed.

==

You may remember Sahar from 2022 when she battled race essentialism, implemented under the misnomer "antiracism."

[theblackestofsuns]

Unpacking My Library: Architects And Their Books (2009)

Jo Steffens, ed.

Yale University Press

[roughghosts]

Looking back at a year of reading: 2024 edition

Each year when I review the list of books that I have read, I face the same challenge deciding what to include and what to leave out of a final accounting. As usual there are the books that I know, even as I am reading them, will be among my favourites for the year. Just as I know the ones I don’t like, the ones I won’t even mention or take the time to review. Basically, everything else that I…

[archivist-dragonfly]

Book 531

Five hundred years of book design

Alan Bartram

Yale University Press 2001

For a book on book design, this has a very unusual trim size of 7” x 12”. Lovely to be sure, but I doubt I have another book of the same dimensions. It’s neither here nor there really, but you just know the book design involved a lot of conversations. And I find it interesting they landed on this. So, what ends up happening is that the text is confined to the tops of the pages with the examples below. And it works. It allows for full two-page layout examples while simultaneously allowing a continuation of text across two pages. If it were a more square book, you wouldn’t be able to do that. So, I get it, and I think it says a lot about the author/designer. Alan Bertram, a distinguished book designer and typographer, looks at questions of form and function through history, providing his personal takes on successes and failures, while also providing a brief summary of 500 years of book design and technology. It’s a good time.

[uwmspeccoll]

it’s Fine Press Friday!

This week we present  another title illustrated by American artist and illustrator, Lynd Ward (1905-1985): Idylls of the King, by English poet Alfred Lord Tennyson (1809-1892), with introduction by Henry Van Dyke, and published in 1952 by the Limited Editions Club, in an edition of 1500 copies signed by the artist. Idylls of the King was first published as a cycle of twelve narrative poems, between 1859 and 1885. 

Lynd Ward made over forty individual lithograph illustrations for this fine press edition. The illustrations have at least three colors each, Ward drew directly on the printing matrix, an incredible amount of work. This direct process is sometimes called autolithography. The term, autolithography aims to differentiate the direct process of an artist drawing on the printing matrix, a stone or plate, from lithographs that are made by transferring an image to the stone by other means.  The lithographic plates were printed at the Duenewald Printing Corporation. The typographic layout was designed by Carl Purington Rollins in Bakersville types. Goudy Text was used for headers and the title. The type was printed at the Printing-Office of the Yale University Press in New Haven, where Rollins had been master printer from 1920 to 1948. It is quarter-bound in vermilion sheepskin and English buckram cloth. The cover is stamped in gold with a design by Lynd Ward.  This book is a gift of Loryn Romadka, from the collection of Austin Fredric Lutter. 

View other posts with work by Lynd Ward.

View more Limited Edition Club posts.

View more Fine Press Friday posts.

– Teddy, Special Collections Graduate Intern

[thegirlwiththelantern]

2024 Poetry & Novels-in-Verse

It’s wonderful to see so many poets whose work I love have releases this year. And I’m very hopeful that other collections and novels on this list become artists I love too. Ædnan: An Epic by Linnea Axelsson, trans. Saskia Vogel | 25 / 01 / 24 – Pushkin Press In Northern Sámi, the word Ædnan means the land, the ground, the earth. In this majestic verse novel, Linnea Axelsson chronicles the…

[help-itrappedmyself]

Dead on Main short

Look, I don't know if you can tell, but I really like soulmate AUs, okay. Also, writing something exactly 500 words is more annoying than I thought it would be, but was a fun experiment.

Lightly inspired by this post.

Edit: there is a part 2 now!

Danny's parents were never concerned about the words on Danny’s wrist. Given their occupation, they thought Danny would meet someone while studying, or perhaps even lecturing on ghosts, or maybe as part of some other job in the future. Jazz has always been concerned about the words on Danny’s wrist. This is probably the normal reaction, given most people do not surround themselves with the dead. 

Danny himself was concerned about it for a while. But then he died. The amount of death surrounding him at all times, what with his parents’ study of ghosts, practically tripled after that. And suddenly the words ‘Is he dead?’ were a lot less concerning. Because in his life, oftentimes the answer was yes.

Not that he was always around dead bodies or anything. But the company he kept did include a large amount of ghosts and other ectoplasmic beings, that while they were not dead, weren’t technically alive either. 

So, Danny moved on with his life as normal. He knew what his words were, but was never actively listening for them. For a few years there he was barely hanging on to sanity, battling ghosts and trying to graduate high school. 

Eventually, life calmed down. His parents, unfortunately, died in their own lab accident. Danny was in his senior year at the time, and Jazz took a semester off of college to help him graduate and get accepted at university himself. Then they shut the portal down and moved on from Amity Park.

Jazz went back to Yale. Danny, who did not make high enough grades for that, went to Gotham University. It was there that he discovered he actually really liked college. School was a lot easier when he wasn’t fighting for his life all the time, and this time he got to take classes he was actually interested in. 

By the start of his second year, his life was looking up. He was majoring in mechanical engineering, and he loved all his science classes. He had a somewhat decent apartment, and was living without much worries on the money from selling his parents’ house. Gotham is not the best area, but it can be a really cheap place to live. And he didn’t see Sam, Tuck, or Jazz as often as any of them would like, but they were all happy where they were.

Which makes the current moment much more distressing than it would have been in his teenage years. As Danny looks at the now-dead body in front of him, then turns and presses his forehead into the alley wall. He’s seconds away from banging his head against it, but that would only give him a headache and would in no way help the current situation. 

The vigilante standing across the alley, on the other side of the body, did not move for a solid minute upon rounding the corner onto the scene. Then he asks, in a voice distorted by tech, “Is he dead?”.

This is not good.