•  edited by Seth and Brad Mackay •  This book is, without any doubt, Seth's crowning achievement as a book designer.  Into it he, and co-conspirator Brad Mackay, have poured all their enthusiasm for their subject.  To say that Doug Wright is the Charles Schulz of Canada is not fair to either party, but as this comparison is alluded to in the book's introduction it serves to give some idea how high the regard is for Wright and his work among those who appreciate his work.  Unlike Schulz, who has ever been before our eyes in death as in life, Wright has effectively faded from sight.  Thus, in order to forcefully revivify his corpus, dramatic measures are called for, and this volume is nothing if not dramatic.  The cover is – with the exception of a die-cut oval in the upper center revealing an embossed portrait of "Nipper," Wright's most famous creation – a solid wraparound of glossy metallic ruby red, making look like the gift to its readers that it is clearly intended to be, as well as boldly announcing the retinal reverb in red that is this  volume's central design motif.  It measures a regal 11" x 15", runs 240 pages printed in full color and black & white as called for, and is designed with a flair that simply must be seen up close and personal to truly appreciate (a meager simulacra of its aesthetic pleasures may be had here.).  Evidently, while the work contained in this volume brings tears of nostalgic joy to its Anglophone Canadian creators, it brings tears of anger to at least one Canadian(?) of Francophone persuasion, whose piece while reeking of sour grapes nevertheless provides some interesting historical context in which to view the work on display here.  We'll go on record as finding this collection to be a true joy to behold that is in no way dependent on one's opinion (or, indeed, of the fact) of the lasting value of the work it collects:  this volume stands on its own by the simple fact that its design and presentation so effectively embodies its creators' reverence for Wright and his work.