The First Four Books of Poems
by Louise Glück
As you have probably guessed, one of my favorite poets. I love her work. The book has soft paper, very soft. There is an untitled Seeley on the front and a dark burgundy color on the back. It looks very serious. The font is interesting, but I'm not sure I like it. There is no colophon unfortunately, so I can't tell for sure what it is. There are two hundred and twelve pages of poems. This makes me happy. I can't stop touching the paper, rubbing my hands on it.
What's Written on the Body
by Peter Pereira
The cover is very nice: I like the idea that poems are what exist in the small of your back. The type here is perfect: Minion and Avenir with some Arial, bold apparently. I love the fonts. They work perfectly for me. Arial is an immensely underrated font for literary texts like Peter's last book and all of this one that I have read or heard. Peter is really a damn fine poet. I am very excited to finish it. The paper is thicker than Glück's, which is nice because I don't feel like I'm going to tear the page. But I like the soft paper a lot. If you haven't heard Peter read yet, do it. Jared Leising put on a reading with Rebecca and Peter the day Thompson died. That was the day I decided I liked poetry and wanted to do this poetry thing. My girlfriend is utterly in love with Peter's work and stole Saying the World from me for months. I told her if she didn't give it back she couldn't borrow this one. I got it back the next day.
The Cairo Trilogy: Palace Walk, Palace of Desire, Sugar Street
by Naguib Mahfouz
I love his work. This borders on worship. Nader Nazemi introduced him to me and I will forever hold Nazemi in high regard for that. This book is stocky. It is thick and the cover is smaller than both the other books. The dust-jacket features an awesome photograph by Chris Steele-Perkins with a faint, lined texture. I don't like this paper though: it is too thin without feeling soft like Glück's. The colophon is perfect: "This book is set in BEMBO which was cut by the punch-cutter Francesco Griffo for the Venetian printer-publisher Aldus Manutius in early 1495 and first used in a pamphlet by a young scholar named Pietro Bembo." I always check the colophon first. I love reading a colophon like that. Unfortunately, Bembo seems a little thin to me. But the book features a built-in, cloth book-mark like a Bible one. I love that. Regardless of my relationship with Bembo, I am excited to no end over this book. I can't wait till summer so I can get started on these thirteen hundred and thirteen pages of Mahfouz goodness.