The other font, used across the novel for chapter numbers on the table of contents, the dedications, numerous “HARRY POTTER AND THE SORCERER’S STONE”’s before the story unfolds, chapter titles, the two-line drop-caps, page numbers, and headings, reveals the sheer magic of the novel, conjuring new font styles for visual delight. Despite several online ask.com users stating the back cover of each Harry Potter novel identified its typeface, a 12-point Adobe Garamond, such could not be found in my edition. You could not identify the typeface, even by looking through the pages. You could not visualize the semi-coarse pages glued to the spine, as opposed to a much sturdier woven fashion, marking the paperback as a massed-produced, short-lived item rather than an object worthy of artifact-status centuries from now I will prove those bookmakers wrong. You would not conceptualize the size of the novel: 7.5×6.5x.75 inches, which is small compared to the hardcover and later books in the series, but large for its time as a juvenile novel. Even though I provided pictures of the novel, you could not inherently know that cracked embossed metallic silver-gold lettering for the author, series title, a “THE EXTRAORDINARY NEW YORK TIMES BESTSELLER,” and the writing on the spine still stood out from the smooth, semi-sheen outer book layer. I focused in on how my copy reflected my memories with the prized item, rather than vivid details of the book itself. After one post about a very well-known, non-antique item, I could no longer see what should be described. When deciding whether to continue exploring my previously mentioned item, a tattered copy of Harry Potter and the Sorcerer’s Stone, the object’s lack of inheritance or personal cultural significance stopped my initial drive short.
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