Ba rBar a Henry. Whitman's Faces: Typographic Reading. Jersey City: Harsimus Press, 2012. 35 pp.This beautiful book object is a playful, wise, illuminating printing and analysis of poem most familiarly known as (originally published in 1855 of Grass as sixth titled Leaves of Grass, then called Poem of Faces in 1856, of Faces in 1860, A Leaf of Faces in 1867, and starting in 1871). It is offered in a limited edition of eighty copies by New Jersey typographer, printer, and graphic artist Barbara Henry. On striking rough, heavy orange paper cover (fifty of copies were prepared with paper covers; other thirty are in quarter-leather and printed paper-over-boards), we are confronted initially by two faces-linoleum cuts of a young W hitman on front cover and an elderly on back-but as we think about it, we realize cover actually presents us with three faces, since on spine appears Walt Whitman's Faces in Bulmer typeface. That play on word face-as referring both to human and to type faces-is key to typographic reading of that Henry offers. In this poem, Henry writes, Whitman plays out a central metaphor of printshop vocabulary, that sort, or individual piece of type, is a man.Henry includes two striking photographs in book, first an 1865 pho- tograph of Hudson Street in New York, in which we see at least thirty human and every bit as many typefaces, as humans looking into camera and multiple signs on various stores vie equally for our attention. The second photo, by Henry herself, captures a 2012 New York urban scene, where two human are surrounded by a cacophony of typefaces appearing on a vast array of signs. The photos make us keenly aware of how, in urban space, we are confronted continually by not only a diversity of human but an equal diversity of typefaces. W hen juxtaposed to Whitman's Faces, these photos help us suddenly hear in opening line-Sauntering pavement or riding country by-road, lo, such faces! -the double meaning of and and faces that Whitman's speaker encounters as he passes by people surrounded by city's welter of signs, broadsides, notices, and advertisements.In their illuminating introductory essays, Karen Karbiener and Henry remind us of W hitman's training as a typesetter and his intimate familiarity with both type itself and with printer's idiosyncratic lingo, what Karbie- ner calls the humanistic terminology of print industry: bodies, bellies and beards, shoulders and feet join as words with possible double entendres in Whitman's oeuvre. …