This trade edition of Moby-Dick is a reduced version of the Arion Press Moby-Dick, which was published in 1979 in a limited edition of 250 copies and has been hailed as a modern masterpiece of bookmaking. It was hand set under the supervision of one of America's finest book designers and printers. The initial letters that begin each chapter were designed especially for this book and christened Leviathan. The illustrations, of places, creatures, objects or tools, and processes connected with nineteenth-century whaling, are original boxwood engravings by Massachusetts artist Barry Moser. The text of Moby-Dick used in this edition is based on that used in the critical edition of Melville's works published by the Northwestern University Press and the Newberry Library.
This reduced version is smaller in size than the Arion edition and the California deluxe edition, but it includes all of the original pages and illustrations. It is printed in black only throughout, and it is not slipcased.
Herman Melville (1819-1891) was born in New York. Family hardships forced him to leave school for various occupations, including shipping as a cabin boy to Liverpool in 1839--a voyage that sparked his love for the sea. A shrewd social critic and philosopher in his fiction, he is considered an outstanding writer of the sea and a great stylist who mastered both realistic narrative and a rich, rhythmical prose.
BARRY MOSER is the prize-winning illustrator of many beautiful books for children and adults, including Harcourt's Telling Time with Big Mama Cat and Sit, Truman!, both co-illustrated by his daughter Cara Moser and written by Dan Harper. He has won the American Book Award and earned accolades from the American Library Association and the American Institute of Graphic Arts. Mr. Moser lives in western Massachusetts.
"Historically, the two great typographical edifices of West Coast printing are the Grabhorn "Leaves of Grass and the Nash "Divine Comedy. Now the Arion Press "Moby Dick takes its place beside them. . .It is the textual weft of hand composition that forms the chief glory of this work. Hoyem seems to have found the perfect measure to accommodate text to type. We turn page after page of matchless composition. . .as the magical result. I would venture the opinion that this constitutes a feat of modern craftsmanship unexcelled in modern printing."--"Fine Print