“For several decades Herb Bailey was head of the Princeton University Press and one of America's most able and enlightened publishers. His Art and Science of Book Publishing became a classic in its field virtually on the day of publication. Twenty years later, I still cannot think of a more useful guide to this complex business that Bailey illuminates with unprecedented—and unsurpassed—clarity.”
Charles Scribner, Jr., Publisher
“When I first read Bailey's Art and Science of Book Publishing twenty years ago, it forced me to rethink much of what I thought I'd understood about the hows and especially the whys of book publishing. I've kept a copy within reach ever since.”
John G. Ryden, Director, Yale University Press
Now back in print, this volume discusses with authority every aspect of the editorial and financial operations of the modern publishing house. Unlike other books on this subject, The Art and Science of Book Publishing is distinguished by its conceptual approach, viewing the publishing house as a whole, emphasizing both its external and internal environments. The book proceeds through the basic activities of publishing to a pragmatic analysis of decisions on individual books and operations of the publishing house as a whole. This standard resource of the publishing industry will be welcomed by beginners, who will find the book eye–opening, as well as veterans who will see their work in a new light.
Herbert S. Bailey, Jr. was Director of Princeton University Press from 1954 to 1986. He was chosen as the annual Bowker Lecturer on publishing in 1977 and received the Bowker Award for Creative Publishing in 1987.
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In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world. By analyzing a work of art in its “constitutive heterogeneous strata,” Ingarden demonstrates that a work of art will reveal, when examined in the appropriate way, its own inherent structure.
“The genesis of House of Incest was in the dream. The keeping of dreams was an important part of that exploration of the unconscious. But I discovered dreams in themselves, isolated, were not always interesting. Very few of them had the complete imagery and tension to arouse others’ interest. They were fragmented. The surrealists delighted in the image themselves. This was satisfying to the painters and to the film-makers.