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An interior look at Roberto Calasso's work as a publisher and his reflections on the art of book publishing In this fascinating memoir, the author and publisher Roberto Calasso meditates on the art of book publishing. Recalling the beginnings of Adelphi in the 1960s, he touches on the Italian house's defining qualities, including the considerations involved in designing the successful Biblioteca series and the strategy for publishing a wide range of authors of high literary quality, as well as the historic critical edition of the works of Nietzsche. With his signature erudition and polemical flair, Calasso transcends Adelphi to look at the publishing industry as a whole, from the essential importance of graphics, jackets, and cover flaps to the consequences of universal digitization. And he outlines what he describes as the "most hazardous and ambitious" profile of what a publishing house can be: a book comprising many books, a form in which "all the books published by a certain publisher could be seen as links in a single chain"—a conception akin to that of other twentieth-century publishers, from Giulio Einaudi to Roger Straus, of whom the book offers brief portraits. An essential book for writers, readers, and editors, The Art of the Publisher is a tribute to the elusive yet profoundly relevant art of making books.
An interior look at Roberto Calasso's work as a publisher and his reflections on the art of book publishing In this fascinating memoir, the author and publisher Roberto Calasso meditates on the art of book publishing. Recalling the beginnings of Adelphi in the 1960s, he touches on the Italian house's defining qualities, including the considerations involved in designing the successful Biblioteca series and the strategy for publishing a wide range of authors of high literary quality, as well as the historic critical edition of the works of Nietzsche. With his signature erudition and polemical flair, Calasso transcends Adelphi to look at the publishing industry as a whole, from the essential importance of graphics, jackets, and cover flaps to the consequences of universal digitization. And he outlines what he describes as the "most hazardous and ambitious" profile of what a publishing house can be: a book comprising many books, a form in which "all the books published by a certain publisher could be seen as links in a single chain"—a conception akin to that of other twentieth-century publishers, from Giulio Einaudi to Roger Straus, of whom the book offers brief portraits. An essential book for writers, readers, and editors, The Art of the Publisher is a tribute to the elusive yet profoundly relevant art of making books.
This unconventional book details how to become a publisher and author of audio programs without any prior experience or the help of sound engineers.
Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.
This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.