Six thematic sections gather Johnson’s poetry, fiction, and nonfiction, and a rich selection of historical appendices provides context for her public life and her work as a feminist and activist for Indigenous people.
A book bound by hand can be a work of art in a way that machine-bound books can never be. And in this comprehensive, profusely illustrated guide to hand bookbinding, a noted expert in the field explains the techniques needed to create your own choice specimens of the binder's art. Directed especially toward beginners, Creative Bookbinding shows how this ancient craft offers a satisfying hobby and rewarding aesthetic experience — even for those with little previous knowledge of the craft. As Pauline Johnson states in the Preface: "Even with a limited background of knowledge [the craftsperson] can experience a great deal of enjoyment in binding his own books and building up a distinctive personal library of which he can be proud. Each product can be an artistic creation to be cherished."
Detailed illustrated instructions for achieving such beautiful hand-crafted volumes are presented here in a readable, informal, and easy-to-follow format. After a brief history of printing and binding, the author provides an in-depth discussion of book design — the proportion and size of books, the parts of a book, materials, tools, and equipment needed for book construction ( a list of supply sources is included), and more. Working procedures are clearly explained, progressing from binding simple folders, notepads, folios, pamphlets, and magazines to full-size sewn books with bindings of cloth and leather. You'll also find an indispensable chapter on the preservation and repair of valuable or irreplaceable volumes.
Over 600 photographs and diagrams explain and clarify each step of each process, as well as depicting an abundance of beautiful bindings, both ancient and modern. With this book as a guide, bookbinders at all skill levels can strive to achieve similar magnificent results.
This comprehensive and superbly illustrated guidebook offers complete instructions for making an almost limitless variety of imaginative and beautiful paper objects — masks, hats, baskets, greeting cards, party decorations, costumes, trees, Christmas decorations, stars, birds, giftwrap, even mobile sculptures.
Art educator Pauline Johnson provides step-by-step instructions and expert advice on every technique involved: cutting, curling, bending, folding, scoring, fastening, and more. Over 470 photographs and 560 diagrams and illustrations accompany the easy-to-follow directions. Best of all, no complicated equipment is needed. Paper, a pair of scissors, an X-ACTO knife, staples, and adhesives are the only tools and supplies required to begin making paper magic!
"By far the most extensive and best treatment of the subject I have seen. A versatile and useful book which should appeal to art educators, classroom teachers, and … to the youngsters themselves." — Art Education
"A most thorough, creative, and beautifully organized book, so complete that it could be the basis for many art and craft projects for all age groups." — Recreation Magazine
Pauline Johnson was an unusual and unique presence on the literary scene during the late 19th and early 20th centuries. Part Mohawk and part European, she was a compelling female voice in the midst of an almost entirely male writing community. Having discovered her talent for public recitation of poetry, Johnson relied on her ancestry and gender to establish an international reputation for her stage performances, during which she appeared in European and native costume. These poems were later collected under the title of Flint and Feather (1912) and form the source of the selections appearing in this volume.
Later, suffering from ill health, Pauline Johnson retired from the stage and devoted herself to the writing of prose, collected in Legends of Vancouver, The Moccasin Maker (1913), and The Shagganappi (1913), gleanings from which form part of this collection.
This study reconstructs major developments in Habermas’ thinking about the public sphere, and is a contribution to the current vigorous debate over its plight. It marshals the significance of Habermas’ lifetime of work on this topic to illuminate what is at stake in a contemporary interest in rescuing an embattled modern public sphere.
Habermas’ project of rescuing the neglected potentials of Enlightenment legacies has been deeply controversial. For many, it is too lacking in radical commitments to warrant its claim to a contemporary place within a critical theory tradition. Against this developing consensus, Pauline Johnson describes Habermas’ project as one that is still informed by utopian energies, even though his own construction of emancipatory hopes itself proves to be too narrow and one-sided.