J J Lankes

Taylor (English, U. of Richmond) paints a rich portrait of Lankes, arguably the first genuine native-born American woodcut artist who was the sole creator of about 1,300 b&w images used on everything from book jackets to theater posters. He presents Lankes' varied and striking renditions of the peop

Includes Part 1, Number 1: Books and Pamphlets, Including Serials and Contributions to Periodicals (January - June)

This delightful text contains a comprehensive guide to decorate woodcutting. Complete with a plethora of helpful tips, step-by-step instructions, and beautiful illustrations, this guide constitutes a definitive manual sure to be of great interest to the discerning woodworker. Both detailed and concise, this guide is perfect for those with little experience in the subject, yet also contains a wealth of information sure to be of value to the professional or seasoned woodcutter as well. The chapters of this book include: Tools and Materials, Action, Refinement, Woodcutting, Press Printing, Dampened Paper, Colour, Editions, Storage, Matting, Exhibiting, Packing, Framing, The Bookplate, Greetings, Money Matters, Tool Making, History, Specimens, Bibliography, Exhibitions... and more. We are proud to republish this antique book here complete with a new introduction on decorative woodwork.

The third installment of Harvard’s five-volume edition of Robert Frost’s correspondence. The Letters of Robert Frost, Volume 3: 1929–1936 is the latest installment in Harvard’s five-volume edition of the poet’s correspondence. It presents 589 letters, of which 424 are previously uncollected. The critically acclaimed first volume, a Times Literary Supplement Book of the Year, included nearly 300 previously uncollected letters, and the second volume 350 more. During the period covered here, Robert Frost was close to the height of his powers. If Volume 2 covered the making of Frost as America’s poet, in Volume 3 he is definitively made. These were also, however, years of personal tribulation. The once-tight Frost family broke up as marriage, illness, and work scattered the children across the country. In the case of Frost’s son Carol, both distance and proximity put strains on an already fractious relationship. But the tragedy and emotional crux of this volume is the death, in Montana, of Frost’s youngest daughter, Marjorie. Frost’s correspondence from those dark days is a powerful testament to the difficulty of honoring the responsibilities of a poet’s eminence while coping with the intensity of a parent’s grief. Volume 3 also sees Frost responding to the crisis of the Great Depression, the onset of the New Deal, and the emergence of totalitarian regimes in Europe, with wit, canny political intelligence, and no little acerbity. All the while, his star continues to rise: he wins a Pulitzer for Collected Poems in 1931 and will win a second for A Further Range, published in 1936, and he is in constant demand as a public speaker at colleges, writers’ workshops, symposia, and dinners. Frost was not just a poet but a poet-teacher; as such, he was instrumental in defining the public functions of poetry in the twentieth century. In the 1930s, Frost lived a life of paradox, as personal tragedy and the tumults of politics interwove with his unprecedented achievements. Thoroughly annotated and accompanied by a biographical glossary and detailed chronology, these letters illuminate a triumphant and difficult period in the life of a towering literary figure.

The record of each copyright registration listed in the Catalog includes a description of the work copyrighted and data relating to the copyright claim (the name of the copyright claimant as given in the application for registration, the copyright date, the copyright registration number, etc.).

" From the artist whom Nicholas Basbanes calls "the most important book illustrator working in America today" comes a primer on the art of wood engraving, a pursuit which one can "learn" in less than an hour but which one can master only through years of persistence, dedication, and indefatigable energy. Learning to engrave a block, says Barry Moser, is like learning to play the piano: it is all practice, practice, practice, all teaching the muscles how to perform the basics. At first your every gesture will be halting, labored, and self-conscious; then at last will come the moment when, like Ashkenazy at the keyboard, you can forget about "process," about "technique," and focus all your mental energy on making art. "There are no shortcuts," warns Moser. "Mastery comes only with time, work, and repetition. A great number of bad wood engravings must be made before one can expect to make a good one. Once your muscles know how to do their work, once they know how to carve thin white lines into boxwood, your mind will be free to invent." There is a lifetime of knowledge in this book: how to prepare a printing block; how to think in the medium's properties of line, shape, and ink; how to transfer a drawing onto a block. There is advice, too, on tools: not only on gravers (burins, scorpers, stipplers, and spitzstickers) but also on lights (you'll need a good strong one) and engraving bags (the leather pillows that cradle the blocks as you carve). Here is how to ink, how to choose paper, and how to print. Here is how to fail, how to move on, and how to acquire the habit of work that leads to real achievement. Wood Engraving is an art lesson and a life lesson. And because it's a book by Barry Moser, it is also a gallery of prints and beautiful to behold."--Publisher's website.

Praise for the earlier edition: "Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form--Sixteenth Modern American Authors--it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains."--American Studies