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Do you think the things that makes an edition special goes missing while converting to e.g. Standard Ebooks. I remember both the The Castle and Das Schloss like they had typesetting that helped me in perceiving the feel of the book. Is there anyway to preserve that feeling and still keep within the bounds of standardisation you adhere to? (I did a quick look through my copy and it does not seem to be much that makes it unique really, just the size of the book, and the chapter heading graphics..)

Do you know if the project try to look at other languages at all?

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Nothing particularly in The Castle, from my production of it. As this was not previously PD there wasn’t any Gutenberg (or other) transcription available, so I did my own from the OCR of the original scans. A large part of the feel of the work, to me at least, comes from the extreme sentence / paragraph lengths though.

We do have a default typography across all our works (the “Standard” in “Standard Ebooks” refers to a standard imprint; think Penguin) but we usually retain specific famous things where possible in a reflowable format. For example, the Mouse’s Tail in Alice’s Adventures in Wonderland,[1] or the letter in E. A. Poe’s “Thou Art the Man”.[2]

We don’t take on other languages, no. Our tooling[3] and style guides[4] are tailored specifically to English. Absolutely nothing stopping another project from forking the codebase (it’s GPL-3) and giving it a go.

[1] https://standardebooks.org/ebooks/lewis-carroll/alices-adven...

[2] https://standardebooks.org/ebooks/edgar-allan-poe/short-fict...

[3] https://github.com/standardebooks/tools

[4] https://standardebooks.org/manual/

It seems you may be making assumptions that the formatting and typesetting of any particular edition were intentional or even deliberate on the part of the author, not any number of people, from editors to printers, who could and would have influenced those things for various reasons.

Something I am rather familiar with is brought out by your mention of the German edition/title; that the continental market seems to generally produce books that are far more densely formatted, i.e., smaller font and typesetting, thinner pages, and leading to overall tighter book formats. I actually appreciate it when, e.g., a book is 1/2 the size and weight, and usually also made far more durably; but it will invariably compromise any author intention related to the arrangement of the lettering.

Maybe you can confirm that based on what seems to be your English and German editions of the same novel.

Well that depends, there are obviously authors that care about these things. I have no idea what Brods intentions were with the book, and if he cared about layout.

The German and Swedish editions I read were similarly typeset, and the first scan I found in English felt similar. What I wanted to know was if there was some thought into it, because the website is nicely designed so striving for a unique typesetting strategy could be a goal.

> tighter

I found it amusing, considering all those memes about German words with 35 letters each.

And, as I get older, I began to consider letter size relevant to choose a book edition. Gave up buying new books and went for used, older editions with bigger letters.

The formatting they are referring to is not that of the original text but that of the Standard Ebooks project.

I seem to remember that they had some very opinionated rules at the beginning regarding allowed spelling and typography. Some of them felt distinctly American to me. I don't know if that's still the case.

Apart from that, they produce nice editions.

It’s en-US typography (flavoured by the Chicago Manual of Style). Spelling is based on the original book, though some modernisations are made. Commits with these always start with [Editorial] for easy later reference, and are typically things like to-day -> today.

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