On The Atlantic, Lindsay Lynch writes about typesetting letterpress and the en space in “How I Came to Love the En Space”:
To understand letterpress printing, imagine that every letter you see on your screen is an object, a tiny piece of metal. Not only is every letter an object, but every space between every letter is also an object. Every space between words, every space between lines—every bit of white space is an object. When typesetting, a printer has to think about negative space as something tangible.
This is where the en space comes in. An en space is a rectangular piece of metal or wood whose primary purpose is to be smaller than the metal or wood type being printed. The en space isn’t type-high—it doesn’t sit proud like an ordinary character—so it doesn’t catch ink when it’s run through the press. It just holds printable type together in a tight grid, creating spaces between words. It is never seen, but without it, everything printed would be nonsense.
On Wednesday, September 21st, I took my five Poetry Workshop students to see a Reading by Jenny Johnson and Joy Williams at Princeton University.
ENG 2015 Students Rachael, Ken, Devon, Heidi, and Tina outside Princeton’s Berlind Theatre, September 21, 2016.
ENG 2015 Students with poet Jenny Johnson (third from left)
In “In Medias Res,” students write and re-write a scene in the three different points of view from a YouTube video of a man texting and running into a wild bear. They likewise create a character profile for their point of view character to navigate Anne Lamott’s suggestion of an “emotional acre.” In doing so, they negotiate the scope, immediacy, and language of each point of view, and consider how “in the middle of things” each point of view feels.
In “Step 1,” I’m asking students to develop their skills in the imperative and descriptive moods so that a character and/or narrator can demonstrate or walk through an concept or action. They will base their preliminary discussion on “The Unforgivable Curses” chapter of Harry Potter and the Goblet of Fire, the semester’s icebreaker text, as well as read the opening pages of Lorrie Moore’s “How To Be an Other Woman.” In doing so, they will likewise refer to some of the terminology we’ve gone over in previous classes—diction, syntax, dialogue, concrete details, point of view—and demonstrate their understanding of that terminology by relying on those literary concepts to make an effective piece.
In this presentation, I’m giving my undergraduate Literary Editing & Publishing a little context of modernism and it’s motivations with the hope that they will make the connections between the advent of modernism and the emergence of little magazines. Prior to this discussion, my students will have read several essays in Paper Dreams about literary magazine publishing in the early half of the 20th century.
In this reading discussion prompt, students are asked to consider what elements contribute to our understanding of character in this “Guess Who” game in which students draw a character who appears in chapters 3–12 of Harry Potter and the Goblet of Fire and then describe them by answering a series of questions. They will use their descriptions to come up with three clues about the character: one is a concrete detail about the character’s appearance, the second is to identify a scene in which they appear, and the third is a literary craft element that helps reveal their character.
Next Wednesday, September 21st, my Poetry Workshop is traveling to Princeton to see Jenny Johnson and Joy Williams read at the Berlin Theatre at 4:30 pm. Information about the event can be found at “Award-winning writers Jenny Johnson and Joy Williams open 2016–17 Althea Ward Clark W’21 Reading Series.”