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is is not a list of my favourite books

 or of the books I enjoy as guilty pleasures.




It is a list of five books that make interesting
                 use of their type.
5 in Mind

      Part 5

Adventures in Type
For a sense of scale, my hand is included in
          several of the pictures.
However, I am aware that most of you have never
                seen my hand

 but many will have visited the city of London.
So to give you a sense of the scale of my hand,

        here it is in front of London.
Adventures in Type
You will have to adjust for perspective.
#5
Adventures in Type
A classic science fiction novel of brutal monomania,
e Stars My Destination is conventionally typeset for
               almost its entire length.
Only towards the end do things go strange, as the
 protagonist begins to suffer from synaesthesia.
His senses merging, the text unmoors from its grid
             to match his confusion.
Adventures in Type
So while,
         for the character,
light is becoming movement and
   sound is becoming pattern,


          for the reader,
 text is becoming illustration.
Adventures in Type
#4
Adventures in Type
For A Humument, the artist Tom Phillips took the
Victorian novel A Human Document and treated the pages -

 working over the top of them so that only some of the
 original text and none of the original meaning remains.
Adventures in Type
It is more a beautiful object than a captivating read
but there’s nothing wrong with that.
Adventures in Type
Adventures in Type
#3
Adventures in Type
More type appropriation:

Woman’s World is entirely made up of (about 40,000)
  clippings from women’s magazines of the 60s.
Adventures in Type
It isn’t an unnecessary gimmick, either –

 making it into an obsessive clippings book of borrowed
phrases constantly reinforces the narrator’s obsession with
these magazines and the womanly concerns to which they
                       are devoted.
Adventures in Type
And the ransom note aesthetic is a handy reminder of
          her rather fragile state of mind.
Adventures in Type
#2
Adventures in Type
Four books (to be read in the order 3,1,2,4)

     telling two very different stories

    (Gray perhaps combining them,
     the text itself suggests, because
  ‘the author thinks a heavy book will
make a bigger splash than two light ones’)

   there’s plenty brilliant oddness about
      Lanark that could be discussed.
But, as this list’s about
 typographical storytelling antics,

I will direct you to the fourth book,
  where a fraught meeting occurs
  between protagonist and author.
Here Gray inserts an embedded column indexing
            the works he has plagiarised,

 while simultaneously hijacking the running heads to
narrate a condensed account of the doings of each page.
Adventures in Type
Adventures in Type
God, I love Lanark.
Adventures in Type
#1
Adventures in Type
is might sound implausible but House of Leaves
 manages the neat trick of being both a lengthy
 explication of Derridean theory and a creepy,
             readable horror story.
It is also an impressive exercise in typographical excess.
ere are two narrators, each with their own typeface,

there are footnotes referencing footnotes referencing
 footnotes that you have to chase around the page,

 there is writing mirrored, sideways or upside down

and layouts that mimic the events of the story or the
      handwriting of a distressed, frantic hand.

       e word house always appears in blue,
        the word minotaur always in red.
Adventures in Type
Adventures in Type
e story concerns a house that starts out inexplicably
a quarter of an inch larger, when measured from the inside,
  than it is when measured from the outside, which then
       becomes infested with other unreliable spaces.

                      It’s very good.
I am sorry I used the word ‘Derridean’.
Adventures in Type

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Adventures in Type

  • 1. is is not a list of my favourite books or of the books I enjoy as guilty pleasures. It is a list of five books that make interesting use of their type.
  • 2. 5 in Mind Part 5 Adventures in Type
  • 3. For a sense of scale, my hand is included in several of the pictures.
  • 4. However, I am aware that most of you have never seen my hand but many will have visited the city of London.
  • 5. So to give you a sense of the scale of my hand, here it is in front of London.
  • 7. You will have to adjust for perspective.
  • 8. #5
  • 10. A classic science fiction novel of brutal monomania, e Stars My Destination is conventionally typeset for almost its entire length.
  • 11. Only towards the end do things go strange, as the protagonist begins to suffer from synaesthesia.
  • 12. His senses merging, the text unmoors from its grid to match his confusion.
  • 14. So while, for the character, light is becoming movement and sound is becoming pattern, for the reader, text is becoming illustration.
  • 16. #4
  • 18. For A Humument, the artist Tom Phillips took the Victorian novel A Human Document and treated the pages - working over the top of them so that only some of the original text and none of the original meaning remains.
  • 20. It is more a beautiful object than a captivating read
  • 21. but there’s nothing wrong with that.
  • 24. #3
  • 26. More type appropriation: Woman’s World is entirely made up of (about 40,000) clippings from women’s magazines of the 60s.
  • 28. It isn’t an unnecessary gimmick, either – making it into an obsessive clippings book of borrowed phrases constantly reinforces the narrator’s obsession with these magazines and the womanly concerns to which they are devoted.
  • 30. And the ransom note aesthetic is a handy reminder of her rather fragile state of mind.
  • 32. #2
  • 34. Four books (to be read in the order 3,1,2,4) telling two very different stories (Gray perhaps combining them, the text itself suggests, because ‘the author thinks a heavy book will make a bigger splash than two light ones’) there’s plenty brilliant oddness about Lanark that could be discussed.
  • 35. But, as this list’s about typographical storytelling antics, I will direct you to the fourth book, where a fraught meeting occurs between protagonist and author.
  • 36. Here Gray inserts an embedded column indexing the works he has plagiarised, while simultaneously hijacking the running heads to narrate a condensed account of the doings of each page.
  • 39. God, I love Lanark.
  • 41. #1
  • 43. is might sound implausible but House of Leaves manages the neat trick of being both a lengthy explication of Derridean theory and a creepy, readable horror story.
  • 44. It is also an impressive exercise in typographical excess.
  • 45. ere are two narrators, each with their own typeface, there are footnotes referencing footnotes referencing footnotes that you have to chase around the page, there is writing mirrored, sideways or upside down and layouts that mimic the events of the story or the handwriting of a distressed, frantic hand. e word house always appears in blue, the word minotaur always in red.
  • 48. e story concerns a house that starts out inexplicably a quarter of an inch larger, when measured from the inside, than it is when measured from the outside, which then becomes infested with other unreliable spaces. It’s very good.
  • 49. I am sorry I used the word ‘Derridean’.