Old books, new looks.

Welcome. Old books aren’t always boring. They aren’t necessarily hard to read. They aren’t the ‘bran’ of literature (good for you, but not much flavour). They just end up looking that way.

So I am trying to change that.

Each Gladstone Press book has been diligently sourced using its original text (or, in some cases, from the text most considered to be the ‘official’ version), typeset with care, and designed using a clean, modern aesthetic, to insure that you will enjoy reading them the way they were always intended: as great stories. A matte finish, printed inside covers, and quality paper stocks complete the look.

The Scarlet Letter by Nathaniel Hawthorne has just been released, and more great titles will follow throughout the year – sign up for my newsletter to find out what’s coming up next!

— Ingrid

Mugs!

Along with our beautiful classic novels, you can order ceramic mugs featuring three of the Gladstone Press covers! This is a limited time offer for the holiday season. Pre-order now!

News!

The Age of Innocence in the NYT

To describe the world more fully is to change it. To let the world go undescribed is, in some way, not to know it, at one’s own peril. ‘The Age of Innocence’ opens in ‘a kind of hieroglyphic world, where the real thing was never said or done or even thought, but only represented by a set of arbitrary signs.’ In the course of the novel, Wharton puts those ‘real things’ into thought and writing….In a way, every age is an age of innocence, because every age has its own unsaid, half-known truths, which are articulated more clearly over time. Even after the particular circumstances described in a novel have vanished, we can still recognize ourselves and our lives in them.

Elif Batuman wrote about Edith Wharton’s The Age of Innocence for last week’s Sunday NYT Books section. Lovely stuff.

Interview on All Lit Up

It’s not easy to find the right symbol, much less find a lesser-used symbol: if you look at other editions of The Scarlet Letter, the vast majority use the red ‘A.’ It’s impossible to avoid using it, really, so I did use the red ‘A’ – but in the title itself and on a red background, so it is invisible. I’m just trying to find ways to make a person stop, think, and reevaluate this book. Perhaps these symbols intrigue them enough to get them to read.

I was interviewed about Gladstone Press’s mandate, how the designs happen, etc. on All Lit Up’s blog. You can read it here.