And I had a feeling as well that there were more folks out there who felt the same way, that my anger and frustration with Newfoundland in the new millennium wasnt all that unique. Because I also think that what cripples the vast majority of our culture and society here is the fact that we dont quite know what to be angry about.
from “God Help Thee: A Postscript”
God Help Thee: A Manifesto is Joel Thomas Hynes’s infamous performance piece, first presented at a fundraiser for the RCA Theatre Company, and later reprinted in Riddle Fence and Maisonneuve Magazine. In it, he takes on most of the cultural clichés and sacred cows of Newfoundland. It’s the kind of carefully crafted, smart and incisive writing that readers have come to expect from Hynes, and a wonderful counter to those quaint Newfoundland tourist ads.
This revised version features original illustrations by Massachusetts-based wood engraver Abigail Rorer. The chapbook, which has been letterpress-printed on specially prepared papers, and handsewn, can be read as a book, or opened out into an extended tirade.
The text was set by hand in Dante. It proved an amusing typesetting challenge – there being so many more “F”‘s and “k”‘s in the piece than in my typecase. Text paper for the manifesto was first printed using various wood types.
The text papers are Hahnemühle Natur Text; the cover papers are Hahnemühle Natur Cover and Fabriano Tiziano.
The chapbook was assembled and sewn by hand at Running the Goat Press in an edition of 375. Press work and binding by Marnie Parsons with the kind help of Rachel Dragland and Christopher Howse.
God Help Thee: A Manifesto was reprinted just seven months after its initial publication — same saucy text, same disconcerting pine martens, and same playful book structure, but with a slightly different cover, new text papers, and a new price.
For this printing, the text papers are Neenah Classic Crest; the cover papers are Hahnemühle Natur Cover and Fabriano Tiziano.