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On Gaspereau Press’ “Glenn Goluska in Toronto” by Andrew Steeves

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In 2011, Glenn Goluska received the Robert R. Reid Award for his lifetime of distinguished contributions to the book arts in Canada. Sadly he died that year. It is hard to believe that it is five years since Glenn left us – that makes the Gaspereau Press publication Glenn Goluska in Toronto especially welcome. In 2011, Andrew Steeves visited Glenn and recorded him speaking about his early years as a designer and printer. One of these occasions was the afternoon of the day that Glenn was presented with the Robert R. Reid Award and medal in Montreal.

The text is just Glenn speaking; Andrew has not included his questions in the text.

As Will Rueter notes in his Afterword, Glenn was very self-deprecating. He never wrote about himself. The main exception is an article entitled “A Linotype for the Home” that appeared in The Devil’s Artisan Number 4 (1981). We are fortunate that Andrew Steeves thought about asking Glenn to talk about his beginnings and recorded Glenn’s reminiscences. As much as I knew Glenn for many years, the text fills in some gaps in my knowledge. I really could hear Glenn’s voice as I read the text.

In the prospectus the book is described:
The book was composed in Sem Hartz’s Juliana typeface on Goluska’s model 31 Linotype, with an assortment of wood type on the title page and jacket. The text was printed from metal using a Vandercook 219 ABP cylinder press and handmade paper from the now –closed Imago Paper Mill in California. The paper remained from a batch purchased by Goluska in the early 1980’s…The sheets were folded making 24 pages, then hand sewn into a black card stock cover with black linen thread. The cover was decorated with an ornament designed for Linotype by W. A. Dwiggins, printed in silver using Goluska’s Vandercook Universal I AB cylinder press. The bound books were enfolded in a grey text-weight paper made in Germany by Zerkall. The jacket was printed in four colours using wood and metal type. All of these tasks were personally carried out by Andrew Steeves at the Gaspereau Press. The edition was limited to 100 numbered copies.

A copy of the prospectus came with my book and I intend to keep them together. This is another occasion where the prospectus tells you more about the book than is printed in the book itself. The description quoted above appears in the prospectus but not in the colophon. The book has no illustrations but the prospectus is illustrated with the title page and text pages as locked up in the form, a trial of the cover and a photograph. The photograph I found amusing because it is a reproduction of a photograph of the staff at Coach House Press taken in the 1979 that hangs on the wall of the second floor of the Press. Glenn is in the group as well as Stan Bevington.

Andrew Steeves has paid appropriate homage to his mentor. One only wishes that Andrew would have had more opportunities to record Glenn talking about his career.