TypoMag is a publication devoted to the use of typography in contemporary magazines.

Necessary Stranger, Graham Foust's third book, offers agile poems of dread and humor. Robert Creeley writes, "These poems move in close to luxuriant circles, round and round each particular syllable, neither hurrying nor dragging behind—just there. At times there seems an almost physical presence to them, a third dimension, which is substance."

Poetry. Fiction. Literary Nonfiction. NEW PONY includes work by Erik Anderson, Cynthia Arrieu-King & Kristi Maxwell, Sarah Bartlett & Emily Kendal Frey, Eric Baus & Seth Perlow, Sommer Browning & Brandon Shimoda, Adam Clay, Gary L. McDowell, and Brandon Shimoda, Julia Cohen & Mathias Svalina, Thomas Cook & Nate Slawson, Bruce Covey & Terita Heath-Wlaz, MTC Cronin & Peter Boyle, Mark DeCarteret, DZ Delgado & Sandy Florian, Jennifer K. Dick, Camille Dungy & Ravi Shankar, Annie Finch & Erika Howsare, Shawn Huelle & Jess Wigent, Kirk Keen, The Pines, Seth Perlow & Catherine Theis, Dani Rado, Andrea Rexilius & Susan Scarlata, Kate Schapira, Paul Siegell, Justin Taylor & Bill Hayward, and William Walsh.

The Cloud Factory is a unique book – blending memoir, travelogue and reportage – a book that is not written but borne out of the author’s journey, without itinerary, to the New World. Adapted from the Book of Clouds, the author shares his passion for Latin American literature, which ultimately led him to the shores of South America and the stories that illuminate the nature and uniqueness of Venezuela. The Cloud Factory depicts the author’s intimate emotions and small epiphanies that together offer an inspiring insight into what it means to embrace a new culture and language. María Eugenia Calzadilla Life is simple, deep, magical and wonderful. Thank you for reminding us.

A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first publication to deal with the avant-garde in the Nordic countries in this period. The essays cover a wide range of avant-garde manifestations: literature, visual arts, theatre, architecture and design, film, radio, body culture and magazines. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: the pre-war and wartime responses to international developments, the new cultural institutions, sexual politics, the impact of refugees and the new start after the war.

This book highlights the role of cultural representations and perceptions, such as when Iran is represented in the French media as a rogue state obsessed with its nuclear programme, and when France is portrayed in the Iranian media as a decadent and imperialist country. Here, Laetitia Nanquette examines the functions, processes, and mechanisms of stereotyping and imagining the "other" that have pervaded the literary traditions of France and Iran when writing about each other. She furthermore analyzes Franco-Iranian relations by exploring the literary traditions of this relationship, the ways in which these have affected individual authors, and how they reflect socio-political realities. With themes that feed into popular debates about the nature of Orientalism and Occidentalism, and how the two interact, this book will be vital for researchers of Middle Eastern literature and its relationship with writings from the West, as well as those working on the cultures of the Middle East.

What if the Renaissance had the right idea about character? Most readers today think that characters are individuals. Poets of the Renaissance understood characters as types. They thought the job of a character was to collect every example of a kind, in the same way that an entry in a dictionary collects definitions of a word. Character as Form celebrates the old meaning of character. The advantage of the old meaning is that it allows for generalization. Characters funnel whole societies of beings into shapes that are compact, elegant, and portable. This book tests the old meaning of character against modern examples from poems, novels, comics, and performances in theater and film by Shakespeare, Molière, Austen, the Marx Brothers, Raul Ruiz, Denton Welch, and Lynda Barry. The heart of the book is the character of the misanthrope, who, in Shakespeare's phrase, “banishes the world.”

This collection of narrative essays by sex workers presents a crystal-clear rejoinder: there's never been a better time to fight for justice. Responding to the resurgence of the #MeToo movement in 2017, sex workers from across the industry—hookers and prostitutes, strippers and dancers, porn stars, cam models, Dommes and subs alike—complicate narratives of sexual harassment and violence, and expand conversations often limited to normative workplaces. Writing across topics such as homelessness, motherhood, and toxic masculinity, We Too: Essays on Sex Work and Survival gives voice to the fight for agency and accountability across sex industries. With contributions by leading voices in the movement such as Melissa Gira Grant, Ceyenne Doroshow, Audacia Ray, femi babylon, April Flores, and Yin Q, this anthology explores sex work as work, and sex workers as laboring subjects in need of respect—not rescue. A portion of this book's net proceeds will be donated to SWOP Behind Bars (SBB).

Povel is a compulsive reading and writing experience; a fantastic, extended excursion into the mind and life (in words) of Geraldine Kim, a young first-generation Korean-American woman born into the most modern of all situations: the end of the 20th century in a small town in New England, whence she launches herself through venues urban and cerebral, academic and commercial. The book-length poem's stream of consciousness is trained and leashed, and its form is strictly, if arbitrarily regulated by another of our most modern conveniences: the justified stanza, which provides not only a container for the author's thinking, saying, and doing, but also a means of signification: This is a poem-novel--or "povel"--by virtue of its self-reliance and its bold marking of territory. Povel is, in the author's own words: "a successful merging between confessional verse poetry and the novel"--hence the coinage of its title. Povel is also a radical entry in the annals of the several genres. The author purports an omniscient skepticism about its future: that it will ever be read; that it can be appreciated. Its reader cannot help but be amazed and heartened at the vigor this book injects into its chosen forms, and the humor with which its despair is tempered.

How are typefaces designed? What is the process? Which characters are essential? What is the difference between roman, italic and cursive? What is OpenType? In How to create typefaces Cristóbal Henestrosa, Laura Meseguer and José Scaglione answer these and many other questions in a straightforward and direct way--Résumé de l'éditeur.