ghostofamerica book design

Selected Spreads

Spread showing a vintage transistor-amplifier circuit schematic rendered in thin white linework on a near-black ground, spanning the verso and bleeding onto the recto
A found-object move: a vintage transistor-amplifier schematic, all thin white linework and circuit notation, glows against a near-black ground spanning the verso and bleeding onto the recto — technical diagram repurposed as pure composition, setting the book's terrain before a single word of verse appears.
Title spread with the words 'Library', 'o', 'f', and 'branches' broken apart and stacked in a thin, wide-tracked sans-serif on a white field, beside a solid dark left-hand page
The title arrives broken into pieces — "Library," then "o" and "f" pulled apart across a wide gap, then "branches" — set in a thin, wide-tracked modern sans that reads almost like code. It sits small and right-aligned on a white field beside a solid dark verso, the architecture of the word itself starting to resemble the branching the book is named for.
Pages 20 and 21, each holding two short stanzas set in a thin, evenly spaced typewriter-style face, surrounded by wide margins of white space
The poems arrive in a thin, evenly spaced typewriter-style face, each stanza floating in a sea of white with wide gutters and low, unobtrusive folios — a grid that treats silence and spacing as part of the poem's own punctuation.
Pages 22 and 23, continuing the same spare typewriter setting, with one line of text lifted into italics
The same spare typewriter setting continues, with a single line lifted into italics — "Rainy Day People, 98.9" — the only typographic accent on the page, marking where the text quotes something overheard rather than spoken.
Pages 24 and 25, holding the same spare grid of short-measure stanzas and generous white margins
Pages 24–25 hold the collection's spare grid steady: short-measure stanzas, generous leading, and wide white margins that give each line room to land on its own before the next begins.
Pages 26 and 27, the closing spread of the excerpt, set in the same restrained typewriter face and open field of white as the rest of the section
The closing spread keeps faith with the same restrained typewriter setting and open field of white — the design never raises its voice, letting the poems' own quiet, fractured rhythms carry the book to its final page.