The Casual Optimist

Books, Design and Culture

February 16, 2017
by Dan

Bookstores Embrace Protest

At the New York Times, Julie Bosman looks at how American bookstores have become hubs of resistance: 

Political organizing is perhaps a natural extension of what bookstores have done for centuries: foster discussion, provide access to history and literature, host writers and intellectuals.

“All bookstores are mission-driven to some degree — their mission is to inspire and inform, and educate if possible,” said Elaine Katzenberger, publisher and executive director of City Lights in San Francisco, a store with a long history of left-wing activism.

“When Trump was elected, everyone was just walking around saying: ‘What do I do. What do we do?’” she added. “One of the places you might find some answers is in books, in histories, in current events, even poetry.”

February 13, 2017
by Dan

Book Covers of Note February 2017

A little later than usual — between one thing and the apocalypse — but there are some great covers out this month, including at least one contender for cover of the year:

The Bear and the Serpent by Adrian Tschaikovsky; design by Neil Lang (Pan Macmillan / February 2017)

The cover for the previous book in the series, The Tiger and the Wolf, was also designed by Neil: 

Birds Art Life Death by Kyo Maclear; design by Jonny Pelham; illustration by Kyo Maclear (Fourth Estate / February 2017)

The cover of the US edition published by Scribner, which also features illustrations by Kyo Maclear, was designed by Lauren Peters-Collaer:

The Blot by Jonathan Lethem; design by Gray318 (Jonathan Cape / February 2017)

The Brand New Catastrophe by Mike Scalise; design by Oliver Munday (Sarabande Books / January 2017)

Civil Wars by David Armitage; design by Peter Mendelsund (Yale University Press / February 2017)

Darke by Rick Gekoski; design by Pete Adlington (Canongate Press / February 2017)

Emergency Admissions by Kit Wharton; design by Jonny Pelham (Fourth Estate / February 2017)

Is That Kafka? by Reiner Stach; design by Erik Carter (New Directions / February 2017)

Erik’s design for the hardcover was included in my June post last year:


It Can’t Happen Here by Sinclair Lewis; design Jim Stoddart (Penguin / January 2017)

The Lucky Ones by Julianne Pachico; design by Luke Bird (Faber & Faber / February 2017)

Manly Health and Training by Walt Whitman; design by Richard Ljoenes (Regan Arts / February 2017)

The Memory Book by Lara Avery; design by Sinem Erkas (Quercus / January 2017)

Never Enough by Barney Hoskyns; design by Jamie Keenan (Constable / January 2017)

Nicotine by Nell Zink; design by Julian Humphries (Fourth Estate / October 2016)

Had I seen this cover last year when the book was published, it would undoubtedly made my end of the year list.

And on the topic of covers of the year, here’s that early contender for 2017:

A Separation by Katie Kitamura; design by Jaya Miceli (Riverhead / February 2017)

And from the sublime to the hilarious…

Spurt by Chris Miles; design by Lucy Ruth Cummins (Simon & Schuster / February 2017)

A Simple Story by Leila Guerriero; design by Oliver Munday (New Directions / February 2017)

This is the Ritual by Rob Doyle; design by Greg Heinimann (Bloomsbury / January 2017)

Greg’s design for the hardcover of This Is The Ritual, also published by Bloomsbury, was included in my January post last year:

Who Lost Russia by Peter Conradi; design by Mark Ecob (Oneworld / February 2017)


February 10, 2017
by Dan

The Martian Invasion of 1894

Tom Gauld for The Guardian

February 10, 2017
by Dan


Based on the short story “Her Lover” by Maksim Gorky, BOLES is short animated film by Špela Čadež about a writer with writer’s block and the woman who lives next door:

February 10, 2017
by Dan


At The Guardian, Lorraine Berry looks into the curious history of compulsive book buying:

In the 19th century, book collecting became common among gentlemen, mostly in Britain, and grew into an obsession that one of its participants called “bibliomania”. Thomas Frognall Dibdin, an English cleric and bibliographer, wrote Bibliomania, or Book Madness: A Bibliographical Romance, which was a gentle satire of those he saw as afflicted with this “neurosis”. Dibdin medicalised the condition, going so far as to provide a list of symptoms manifested in the particular types of books that they obsessively sought: “First editions, true editions, black letter-printed books, large paper copies; uncut books with edges that are not sheared by binder’s tools; illustrated copies; unique copies with morocco binding or silk lining; and copies printed on vellum.”

But Dibdin himself was obsessed with the physical aspects of books, and in his descriptions paid an intense attention to the details of their bindings and printings (rather than the content) that betrayed his own love. In a letter published in an 1815 journal, he beseeched subscribers to bulk up their subscriptions to help complete a set of volumes called The Bibliographical Decameron – more beautiful than they could imagine. “I should be loth to promise what is not likely to be performed, or to incur the censure of vanity or presumption in asserting that the materials already collected, in this department of the work, are more numerous, more beautiful, and more faithful, than any which, to my knowledge, have come under the eye of the publick.”

February 9, 2017
by Dan

Goudy & Syracuse: The Tale of a Typeface Found

The tale of rediscovering Sherman, a typeface designed by American type designer Frederic Goudy in 1910 and revived by Chester Jenkins for Pentagram in 2016 for Syracuse University:

February 8, 2017
by Dan

Fade to Black

Hilton Als on James Baldwin, movies, and Raoul Peck’s documentary I Am Not Your Negro, for The New Yorker:

One has the sense, in the sections of “I Am Not Your Negro” that are devoted to Baldwin’s relationship to film, that Peck is stepping in to make the film that Baldwin couldn’t make. From the beginning of his career, Baldwin longed to make movies. In the introduction to his 1955 landmark collection, “Notes of a Native Son,” he wrote, “About my interests: I don’t know if I have any, unless the morbid desire to own a sixteen-millimeter camera and make experimental movies can be so classified.” To my knowledge, Baldwin never satisfied that desire (morbid, perhaps, because he knew of the herculean effort that goes into getting any movie made), but he never stopped yearning to be a filmmaker. Like a number of other significant twentieth-century authors—James Agee, Truman Capote, Susan Sontag, and his friend Norman Mailer—he knew that the page was not enough in the modern world; cinema was a powerful medium with many more “readers.” What would his life as an artist have been like, and what would American cinema be like now, had it opened itself up to him?

February 7, 2017
by Dan

Chris Ware on George Herriman and Krazy Kat

The New York Review of Books has an essay by cartoonist Chris Ware on George Herriman the creator Krazy Kat, one of the most beautiful, poetic and inventive comic strips ever created:    

Krazy Kat has been described as a parable of love, a metaphor for democracy, a “surrealistic” poem, unfolding over years and years. It is all of these, but so much more: it is a portrait of America, a self-portrait of Herriman, and, I believe, the first attempt to paint the full range  of human consciousness in the language of the comic strip. Like the America it portrays, Herriman’s identity has been poised for a revision for many decades now. Michael Tisserand’s new biography Krazy does just that, clearing the shifting sands and shadows of Herriman’s ancestry, the discovery in the early 1970s of a birth certificate which described Herriman as “colored” sending up a flag among comics researchers and aficionados. Tisserand confirms what for years was hiding in plain sight in the tangled brush of Coconino County, Arizona, where Krazy Kat is supposedly set: Herriman, of mixed African-American ancestry, spent his entire adult life passing as white. He had been born in the African-American neighborhood of racially mixed, culturally polyglot 1880s New Orleans, but within a decade Herriman’s parents moved George and his three siblings to the small but growing town of Los Angeles to escape the increasing bigotry and racial animosity of postbellum Louisiana. The Herrimans melted into California life, and it was there that George, with brief professional spates in New York, would remain for the rest of his life.

But imagine knowing something about yourself that’s considered so damning, so dire, so disgusting, that you must, at all cost, never tell anyone. Imagine leaving behind a life to which you cannot claim allegiance or affection. Imagine suddenly gaining advantages and opportunity while you see others like you, who have not followed in the footsteps of your deception, suffering. Herriman, once he was considered white, didn’t even have a way of voicing this identity. Until he started drawing Krazy Kat.

Krazy, the new biography of Herriman by Michael Tisserand that Chris Ware mentions, was also recently reviewed for New York Times Book Review by Nelson George: 

Though Herriman’s “Krazy Kat” comic strip was admired in his lifetime, it wasn’t until years after his death in 1944 that his vast influence received widespread critical respect. Herriman’s depiction of the tangled relationships among the black cat Krazy, his white mouse tormentor and sometime love interest Ignatz and the bulldog Officer Pupp, set against a desert backdrop in fictional Coconino County (taken from a real area of Arizona), inspired several generations of cartoonists. Charles M. Schulz’s “Peanuts,” Ralph Bakshi’s “Fritz the Cat” and Art Spiegelman’s “Maus” all owe a debt to Herriman’s draftsmanship and poetic sense.

Schulz got turned on to “Krazy Kat” right after World War II, he said, and it “did much to inspire me to create a feature that went beyond the mere actions of ordinary children.” Theodor Geisel (Dr. Seuss), whose animal characters strongly resemble Herriman’s, told a biographer, “At its best, the comic strip is an art form of such terrific wumpf! that I’d much rather spend any evening of any week rereading the beautifully insane sanities of George Herriman’s Krazy Kat than to sit myself down in some opera house to hear some smiling Irish tenor murdering Pagliacci.” The iconoclastic Robert Crumb called Herriman the “Leonardo da Vinci of comics,” while the ambitious Spiegelman argued that “Krazy Kat” “crossed all kinds of boundaries, between high and low, between vulgar and genteel.” All this alone would have made Herriman worth serious study.

But then in the early 1970s, a quarter-century after his death, a birth certificate was found stating that Herriman was born “colored” to Creole parents in that 19th-century hotbed of miscegenation, New Orleans. Clearly his work had to be re-examined. Not to question its genius, but to see how much of it dealt with hiding a huge part of himself in plain sight.

If you haven’t read any Krazy Kat, seek it out. The strange language, the small, inky art, and the repetitiousness of the strips — collected together into numerous, beautifully designed, paperbacks by Fantagraphics — can seem a little intimidating at first, but it really pays off if you stick with it. 

From “Krazy Kat,” April 16, 1922.

January 27, 2017
by Dan


1984 by George Orwell; design by WH Chong (Text Publishing)

The dystopia described in George Orwell’s nearly 70-year-old novel “1984” suddenly feels all too familiar. A world in which Big Brother (or maybe the National Security Agency) is always listening in, and high-tech devices can eavesdrop in people’s homes. (Hey, Alexa, what’s up?) A world of endless war, where fear and hate are drummed up against foreigners, and movies show boatloads of refugees dying at sea. A world in which the government insists that reality is not “something objective, external, existing in its own right” — but rather, “whatever the Party holds to be truth is truth.”

“1984” shot to No. 1 on Amazon’s best-seller list this week, after Kellyanne Conway, an adviser to President Trump, described demonstrable falsehoods told by the White House press secretary Sean Spicer — regarding the size of inaugural crowds — as “alternative facts.” It was a phrase chillingly reminiscent, for many readers, of the Ministry of Truth’s efforts in “1984” at “reality control.” To Big Brother and the Party, Orwell wrote, “the very existence of external reality was tacitly denied by their philosophy. The heresy of heresies was common sense.” Regardless of the facts, “Big Brother is omnipotent” and “the Party is infallible.”

Michiko Kakutani, New York Times

As Nineteen Eighty-Four is suddenly more relevant than ever, I thought I would share a few of the recent covers for Orwell’s classic novel…

1984 by George Orwell; design by David Pearson (Penguin Classics)

1984 by George Orwell; design by Gray318 (Penguin)

1984 by George Orwell; illustration Daniel Mitchell (Penguin Random House Spain)

1984 by George Orwell; illustration by Marion Deuchars (Penguin Modern Classics)

1984 by George Orwell; design by Shepard Fairey (Penguin)



January 20, 2017
by Dan

The life-Changing Magic of Decluttering in a Post-Apocalyptic World

See all Tom Gauld‘s post-apocalyptic decluttering tips at The New Yorker

January 19, 2017
by Dan

Philip K. Dick’s Vision of Fascism in America

I have to confess that I haven’t seen the TV adaptation of Philip K. Dick’s The Man in the High Castle, but I found Aaron Bady’s discussion of the series — and how it differs from the book — at The New Yorker, quite interesting:

In another year, the show’s insistence on humanizing fascists might have seemed like a provocative choice—an effort, like Arendt’s, to understand how normal people can find it in themselves to commit the worst atrocities. In 2017, however—when it is more urgent than ever to distinguish right from wrong, real news from fake, and differences of political opinion from the dangerous undermining of democracy—it feels instead like a pernicious cynicism. At the same time, the series depicts the ideological excesses of the Resistance in the most unforgiving light. More like Al Qaeda than French partisans of the nineteen-forties, they are grim, unsympathetic zealots, who use scattershot terror tactics and have no qualms about causing the suffering of innocent bystanders…

…This nihilism would have been alien to Philip K. Dick… Dick’s “The Man in the High Castle” focussed on how everyday people struggle to carve out lives of integrity in the face of evil, even while knowing—perhaps especially while knowing—that their actions will not ultimately change the course of history. In the novel, Frank Frink’s primary struggle is how to be an artist, not how to overthrow the Reich. In Dick’s view, this, too, was a form of resistance: his major theme as a novelist was the unavoidable complicity of living “normally” under empire; he believed in evil because he saw it everywhere. But if there wasn’t much hope in Dick’s fiction, that was exactly the point of writing it: even in the midst of a triumphant fascist dystopia, the quest for intellectual autonomy lived on in the dissident imaginations of those who could envision a different kind of world. It is telling, too, that the “man in the high castle” was in Dick’s novel not a collector of film reels but a novelist—an eccentric inventor of alt-histories who served as a stand-in for Dick himself. The character was, above all, a tribute to artists who dare to resist power in dark times.

The cover of the Penguin Modern Classic edition (pictured above) was design by Jim Stoddart.  

January 19, 2017
by Dan

So Meta

Adrian Shaughnessy talks to Erik Spiekermann about his typeface FF Meta, the corporate font of Herman Miller, for the company magazine WHY:

FF Meta was not designed with Herman Miller in mind, however. It was designed for the German Post Office (Deutsche Bundespost), which hired Spiekermann to rethink the entire graphic design system for the organization—everything from order forms to the once ubiquitous telephone directories. Deutsche Bundespost’s previous font? Like Herman Miller, it was Helvetica. With typical forthrightness, the then 38-year-old Spiekermann urged them to drop it, announcing that it was “unfit for purpose” and “overused.”

Spiekermann recognized that it was the Bundespost’s phone books that offered the greatest potential to benefit from a new typeface: “With just a change of typeface you could save a million trees and be a hero,” he recalls. And so he set about designing FF Meta (then called PT55), a process that involved meticulous research into the proportions of classic letterforms and analysis of developments in printing technology. “We have a great German word, ‘Kopfgeburt’—it means something that springs from your brain. The design of Meta wasn’t like that at all. The process was very theoretical. It wasn’t emotional. This was because at that time I had no experience and couldn’t rely on talent or practice. Everything had to be deducted.”

So thorough was Spiekermann’s process that he arranged to have his new letterforms tested for legibility by perception scientists at Braunschweig University of Technology. “There was a guy there who looked at it, and in his view, there was a little too much ‘noise,’ which you can see in my early drawings. So, I toned down the contrast. There were a couple of numerals that he said were a little too in love with themselves—mannered, in other words.”


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