Anatomy is Destiny is the first monograph of artist Marina Font. Her photo-based work explores ideas about identity, gender, territory, language, memory and the forces of the unconscious. The book¿s title, stemming from Freud, also speaks to the ever-evolving understanding of gender and self-realization in the 21st century.The unique pieces reproduced in Anatomy is Destiny stem from a single source photograph made by Font of a nude female figure. Reminiscent of Da Vinci¿s Vitruvian Man, but with arms down and palms forward, the black and white photograph is both consistent and variant as Font renders each piece through application of embroidery, paint, yarn, and other materials. Through the rituals of these traditionally feminine practices, she, in her own words, ¿opens a dialogue between biology and psychology, our social and private persona¿ in the ¿evolving mutability¿ of womanhood.

This publication was initiated during a Type Design brief at Zurich University of the Arts. Students were tasked to select an typeface published before 1999, to which they had a strong emotional connection, either positive or negative. Parallel to articulating personal emotions, students also collected information about the designer, type foundry, historical context and technology of production that led to the creation of the typeface. Then they proposed a contemporary redesign or revival. The design methodology was flexible, allowing for a range of approaches: from a classic revival in which the designers used their skills to digitize a typeface that was unavailable (or available in poor quality only), to a different design interpretation of the typeface. It was also possible to use the historical typeface as a mere formal or conceptual inspiration for a new creation. In different ways, then, the students investigated the definition, role and limitation of a revival typeface today. Their research and design processes are reflected in the texts which the students present in this publication, along with specimen pages for their typeface. The texts grew out of a two-weeks writing class at Zurich University of the Arts called Designers as Writers. Considering a broad range of writing practices pursued by designers long before (and also while), academic thesis writing took hold at art schools, from Jan Tschichold, Anna Simons and Hildegard Korger to Adrian Frutiger and Otl Aicher, from Hans-Rudolf Lutz and Fiona Ross to Zuzana Licko, Dexter Sinister, Alphabettes and more, the students familiarized themselves with (various combinations of) four basic approaches to writing: autobiographical, programmatic, historiographical and theoretical. These approaches informed daily writing exercises and staged impromptu readings in the evening, and eventually they also informed, to various degrees, the texts about the typefaces.

Smoke Rings follows a group of friends who use their youthful experiences smuggling marijuana to form the basis for smuggling cigars into the United States. Now in their mid-forties, attorney Jorge Montes de Oca and his best friend, John Davis, a medical doctor, find themselves lured into this adventure by another friend, a Cuban exile and political activist who must finance his activities against the Cuban regime. As they become more involved in the adventure, Jorge and John risk their professional lives to engage in the cigar smuggling. At the same time, the cop who had pursued them during their marijuana-smuggling days is hot on their trail again; and this time, the stakes are so much larger! Examining the intricacies affecting Cuban politics and the love of Cuban cigars, Smoke Rings is fast-paced thriller filled with action and the beautiful scenery of Miami, Havana, and the Florida Keys.

The instant New York Times bestseller and publishing phenomenon: Marina Keegan’s posthumous collection of award-winning essays and stories “sparkles with talent, humanity, and youth” (O, The Oprah Magazine). Marina Keegan’s star was on the rise when she graduated magna cum laude from Yale in May 2012. She had a play that was to be produced at the New York Fringe Festival and a job waiting for her at The New Yorker. Tragically, five days after graduation, Marina died in a car crash. Marina left behind a rich, deeply expansive trove of writing that, like her title essay, captures the hope, uncertainty, and possibility of her generation. Her short story “Cold Pastoral” was published on NewYorker.com. Her essay “Even Artichokes Have Doubts” was excerpted in the Financial Times, and her book was the focus of a Nicholas Kristof column in The New York Times. Millions of her contemporaries have responded to her work on social media. As Marina wrote: “We can still do anything. We can change our minds. We can start over…We’re so young. We can’t, we MUST not lose this sense of possibility because in the end, it’s all we have.” The Opposite of Loneliness is an unforgettable collection of Marina’s essays and stories that articulates the universal struggle all of us face as we figure out what we aspire to be and how we can harness our talents to impact the world. “How do you mourn the loss of a fiery talent that was barely a tendril before it was snuffed out? Answer: Read this book. A clear-eyed observer of human nature, Keegan could take a clever idea...and make it something beautiful” (People).