Browse by Title

Back+Forth Back + Forth
Marta Chudolinska
ISBN 0-88984-313-9
Back Flip Back Flip
Anne Denoon
ISBN 0-88984-238-8
Bad Imaginings Bad Imaginings
Caroline Adderson
ISBN 0-88984-172-1
Baldoon Baldoon
James Reaney and C.H. Gervais
ISBN 0-88984-016-4
Bambina Bambina
Francesca Piredda
ISBN 978-0-88984-295-3
Banana Kiss Banana Kiss
Bonnie Rozanski
ISBN 0-88984-276-0
Bastardi Puri Bastardi Puri
Walid Bitar
ISBN 0-88984-267-1
Belle of the Bayou Belle of the Bayou
Joanna Goodman
ISBN 0-88984-198-5
Black River Black River
Kenneth Sherman
ISBN 0-88984-289-2
Black Velvet Elvis Black Velvet Elvis
J D Black
ISBN 0-88984-277-9
Blue Husbands Blue Husbands
Don Dickinson
ISBN 0-88984-123-3
Book of Hours Book of Hours
George A Walker
ISBN 978-0-88984-335-6
The Book of Were Book of Were, The
Wayne Clifford
ISBN 0-88984-281-7
Borderline Borderline
Bonnie Rozanski
ISBN 0-88984-293-0
The Box Social & Other Stories Box Social &
Other Stories, The

James Reaney
ISBN 0-88984-173-X
The Boy with an R in His Hand Boy with an R
in His Hand, The

James Reaney
ISBN 0-88984-059-8
A Brazilian Alphabet for the Younger Reader Brazilian Alphabet for the
Younger Reader, A

P K Page
ISBN 0-88984-265-5
The Bubble Star Bubble Star, The
Lesley-Anne Bourne
ISBN 0-88984-199-3
Buying on Time Buying on Time
Antanas Sileika
ISBN 0-88984-186-1

The Porcupine’s Quill is remarkable in Canadian publishing in that most of the physical production of our journal is completed in-house at the shop on the Main Street of Erin Village. We print on a twenty-five inch Heidelberg KORD, typically onto acid-free Zephyr Antique laid. The sheets are then folded, and sewn into signatures on a 1907 model Smyth National Book Sewing machine.

To take a virtual tour of the pressroom, visit us at YouTube for a discussion of offset printing in general, and the operation of a Heidelberg KORD in particular. Other videos include Four Colour Printing, Smyth Sewing and Wood Engraving. Photographs of production machinery used on these pages were taken by Sandra Traversy on site at the printing office of the Porcupine's Quill, December 2008.

The Porcupine's Quill would like to acknowledge the support of the Ontario Arts Council and the Canada Council for the Arts for our publishing program. The financial support of the Government of Canada through the Book Publishing Industry Development Program (BPIDP) is also gratefully acknowledged.

“The Porcupine's Quill published my first book in 1993. Back then,‘acid-free Zephyr Antique Laid’ and ‘folded and sewn into signatures in the traditional manner’ were meaningless to me. I was simply delighted to be published. Two books and a dozen years later, I now see a book as more than just the story it contains. It's a physical object. When I hold a page of Bad Imaginings to the light, the pattern and texture of the paper remind me what paper really is — pounded fibres. I think of papyrus. I think of a cart full of rags. If I open the book in the middle of one of its signatures, I can touch the actual threads that hold the pages together. On the cover is a painting, not an image from a digital photobank. What a beautiful, tactile thing! The Porcupine's Quill is one of a very few presses in this country committed to the art of the book. Congratulations to Tim and Elke for their long service to beauty and permanence.” —Caroline Adderson, author of Bad Imaginings