by Russell Kirk
But what Edmund Jackman saw in that dreadful masked figure, Logan knew: the shape of his victim, and the face of his nightmare horror. With a moan, Jackman turned to run. He took one bound in that high place, and upon the brink the heather gave beneath him; and where Lagg had gone down, there Jackman fell.
Though they say that the ocean yields up all its dead upon the skerries of Carnglass, no man found Jackman after. As from the cliffhead at Gadara, the unclean spirit was cast into the sea. And Logan, with Malcolm Mor kneeling beside him and Dumb Angus shivering with fright against the dyke, heard no sound from below but the suck of the tide upon the weary stones.
A NOTE ON THE TYPE
OLD HOUSE OF FEAR has been set in Kingfisher, a family of types designed by Jeremy Tankard. Frustrated by the paucity of truly well-drawn fonts for book work, Tankard set out to create a series of types that would be suitable for a wide range of text settings. Informed by a number of elegant historical precedents – the highly regarded Doves type, Monotype Barbou, and Ehrhardt among them – yet beholden to no one type in particular, Kingfisher attains a balance of formality, detail, and color that is sometimes lacking in types derived or hybridized from historical forms. The italic, designed intentionally as a complement to the roman, has much in common with earlier explorations in sloped romans like the Perpetua and Joanna italics, yet moderates the awkward elements that mar types like Van Krimpen’s Romulus italic. The resulting types, modern, crisp, and handsome, are ideal for the composition of text matter at a variety of sizes, and comfortable for extended reading.
SERIES DESIGN BY CARL W. SCARBROUGH