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SALMAN RUSHDIE
Harrison, James
James Harrison's lively study of Salman Rushdie argues that, in experimenting with different prose styles and narrative modes, as well as in his use of plot, satire, parody, and intrusive authorial commentary, Rushdie expresses his preference for a world of multiplicity, flexibility, and tolerance.... This invaluable study provides a much needed insight into Salman Rushdie's writings and the exception that has been taken to them by Muslim fundamentalists. (dust jacket flap) Light wear and foxing to edges of dust jacket. Corners and ends of book spine lightly rubbed. Tight hinges.
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More On This Subject - -
> AUTHOURSHIP AND LITERARY CRITICISM, TWENTIETH CENTURY
> BIOGRAPHY, TWENTIETH CENTURY
> POETRY, TWENTIETH CENTURY
> UNITED STATES, NEW YORK
> LITERATURE
> SATIRE
> PARODY
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> Hough, Henry Beetle, COUNTRY EDITOR
> Smith, Stan, GREAT WRITERS STUDENT LIBRARY 20TH-CENTURY POETRY
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WINDJAMMERS
by Gleason, Duncan
This is copy number seven. Colophon signed by the designer, printer & binder Joe D'Ambrosio. It was printed using 14pt Della Robbia type on Rives BFK paper. Ingres marbled paper used for the box structure and endpapers. The front board creates a frame shaped like billowing sail. Behind it is French marbled paper with intersecting white cords used to suggest rigging ropes. (A Memoir of Book Design 1969-2000, page 106-107). This book is made from the limited edition plates created in 1973. In 1922, Duncan Gleason (1881-1959) created a series of copper etchings for the etched book Windjammers. Although the publisher planned 325 copies, probably not more than 100 pulls were made from the plates. No other editions or states of these etchings other than the 1973 edition printed at Triad Graphics in a limited edition of 25 numbered impressions. There are no signed or unnumbered impressions other than 10 publishers proofs which are so marked. The edition including the publishers proofs was done on Murillo paper using brown ink. There are a total of 50 trial proofs of various etchings done in black or brown ink and are marked as such. Each etching is impressed with the blind stamp of the Gallery Easel ( from the Certificate of the 1973 edition). Card from Lorson's Books & the certificate of the 1973 edition are laid-in. Case is somewhat faded on spine.
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