false 1036471 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 1036471 2 1022814 4 10 2004 The Logogryph: A Bibliography Of Imaginary Books total:24|5:4|4:11|3:7|2:2|1:0| 24 89 60 4 272813 3.59 216 39 59089999 95142 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.70 23 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 2 0 false Tue Jun 09 19:58:32 -0700 2009 Tue Jun 09 20:00:26 -0700 2009 9987394 659583 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 4 0 false Sat Sep 05 00:00:00 -0700 2009 Wed Dec 05 11:16:43 -0800 2007 Sun Sep 06 08:34:13 -0700 2009 more...]]> 36323487 108700 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Mon Oct 27 13:23:58 -0700 2008 Wed Sep 16 11:25:16 -0700 2009 12773016 796053 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 4 0 false Fri Feb 22 13:15:06 -0800 2008 Thu Jan 17 12:56:07 -0800 2008 Thu Jan 31 14:00:23 -0800 2008 81098632 3030639 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Tue Dec 15 11:12:15 -0800 2009 Tue Dec 15 11:12:15 -0800 2009 80412557 2919331 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Wed Dec 09 09:28:12 -0800 2009 Wed Dec 09 09:28:12 -0800 2009 77687501 1727571 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 5 0 false Fri Nov 13 15:16:43 -0800 2009 Fri Nov 13 15:16:43 -0800 2009 71420421 2744709 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Wed Sep 16 09:29:22 -0700 2009 Wed Sep 16 09:29:22 -0700 2009 70436646 2708302 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 4 0 false Mon Sep 07 22:12:56 -0700 2009 Mon Sep 07 22:13:07 -0700 2009 70116065 330272 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Fri Sep 04 21:08:41 -0700 2009 Fri Sep 04 21:08:41 -0700 2009 68841379 676747 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Tue Aug 25 11:14:42 -0700 2009 Tue Aug 25 11:14:42 -0700 2009 62920171 2493226 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 4 0 false Fri Jul 10 10:03:38 -0700 2009 Fri Jul 10 10:04:20 -0700 2009 61499229 2446389 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Mon Jun 29 08:35:28 -0700 2009 Mon Jun 29 08:35:28 -0700 2009 55089024 228922 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Tue May 05 19:10:16 -0700 2009 Tue May 05 19:10:16 -0700 2009 54171226 237469 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Mon Apr 27 16:14:25 -0700 2009 Mon Apr 27 16:14:25 -0700 2009 52531668 857203 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Mon Apr 13 13:27:35 -0700 2009 Mon Apr 13 13:27:35 -0700 2009 48245017 70142 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Wed Mar 04 14:03:36 -0800 2009 Wed Mar 04 14:03:36 -0800 2009 47682345 67156 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Fri Feb 27 07:40:29 -0800 2009 Fri Feb 27 07:40:29 -0800 2009 47528854 829561 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 0 0 false Wed Feb 25 15:17:06 -0800 2009 Wed Feb 25 15:17:06 -0800 2009 47026432 1146888 1036471 1894031911 9781894031912 4 <![CDATA[The Logogryph: A Bibliography Of Imaginary Books]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1036471.The_Logogryph_A_Bibliography_Of_Imaginary_Books 3.71 24 "The particular volume I’m looking for is nameless, lacking a cover, title page, or any other outward markings of identity. Over the centuries its leaves have known nothing but change. They have been removed, replaced, altered, lost. The nameless book has been bound, taken apart, and reassembled with the pieces of other dismembered volumes, until one could ask whether there is anything left of the original. Or if there ever was an original."

So begins Thomas Wharton's book about books. What follows is a sequence of variations on the experience of reading and on the book a physical and imaginative object. One tale traces the origins of a fictional card game. Another tells of a duel between two margin scribblers. Roving across the globe and from parable to mystery, Wharton positions his reader between the covers of a book that is not. How are we to read the pieces that follow? As extraneous to the nameless book, as parts of it in its original form or perhaps as evidence that it has relocated to other existing volumes?

The Logogryph takes its cues from magic realism and the techniques of cinematography. The result is a mind-bending caper through the process of reading, the relationships we establish with fictitious worlds and the possibility of worlds yet unread. Wharton indulges his reader with tales of fantastical cities where the only occupation is reading and of the plight of a protagonist suddenly dislodged from his own novel. And what becomes of the reader who reads all of this?

This book is a Smyth-sewn paperback with a jacket and full sleeve. The text was typeset by Andrew Steeves in Caslon types and printed on Rolland Zephyr Laid paper. The jacket was printed letterpress. The inside features illustrations by Wesley Bates.

]]> 2004 4 0 false Fri Feb 20 23:45:04 -0800 2009 Fri Feb 20 23:45:04 -0800 2009 8 http://www.goodreads.com/book_link/follow/8?book_id=1036471