Peter Pauper Press Bibliography Creator

Miguel Ángel Ruiz

Don Miguel Ruiz, 2011

Born(1952-08-27) August 27, 1952 (age 65)
Mexico
Pen nameDon Miguel Ruiz
OccupationAuthor, teacher, shaman
NationalityMexican
GenrePersonal growth
SubjectMotivational
Notable worksThe Four Agreements,The Mastery Of Love,The Voice Of Knowledge,The Fifth Agreement
Website
www.miguelruiz.com

Don Miguel Ángel Ruiz (born August 27, 1952), better known as Don Miguel Ruiz, is a Mexican author of Toltec spiritualist and neoshamanistic texts.

His work is best-received among members of the New Age movement that focuses on ancient teachings as a means to achieve spiritual enlightenment. Ruiz is listed as one of the Watkins 100 Most Spiritually Influential Living People in 2014.[1] Some have associated Ruiz's work with Carlos Castaneda, author of The Teachings of Don Juan.[citation needed]

Biography[edit]

Don Miguel Ruiz was born in rural Mexico, the youngest of 13 children. He attended medical school, and became a surgeon. For several years he practiced medicine with his brothers.[citation needed]

A near-fatal car accident changed the direction of his life. He promptly returned to his mother to acquire greater moral understanding. He then apprenticed himself to a shaman, and eventually moved to the United States.[citation needed]

While the Toltec culture left no written records, Ruiz employs the word Toltec to signify a long tradition of indigenous beliefs in Mexico, such as the idea that a Nagual (shaman) guides an individual to personal freedom. After exploring the human mind from an indigenous as well as scientific perspective, Ruiz combines traditional wisdom with modern insights.[citation needed]

The Four Agreements, published in 1997; was a New York Times bestseller for more than seven years. Other books have followed: The Mastery of Love, The Voice of Knowledge, Prayers, Beyond Fear and The Fifth Agreement, a collaboration with his son Don José. All of his books are international bestsellers.[2] His The Toltec Art of Life and Death was published in late 2015.

Fluent in Spanish and English, he often lectures and leads retreats in the United States.[3] In February 2002, Ruiz suffered a near-fatal heart attack. The damage from the heart attack and subsequent coma left him with a heart functioning at only 16% of capacity and in constant pain.[4] He claims to have handed over an Eagle-Knight lineage[5] to his son Don José Ruiz. On October 9, 2010, Ruiz underwent a heart transplant at a hospital in Los Angeles. He was at a retreat at the Lotus Ranch in Wimberley, Texas when he was notified that a heart was available, and had chartered a plane to get back to Los Angeles.[3]

The Four Agreements[edit]

His most famous book, The Four Agreements, was published in 1997 and has sold around 5.2 million copies in the U.S.[6] and has been translated into 38 languages. The book advocates personal freedom from beliefs and agreements that we have made with ourselves and others that are creating limitation and unhappiness in our lives.[7] It was featured on the Oprah television show.[8] The Four Agreements are:

  1. Be impeccable with your word.
  2. Don't take anything personally.
  3. Don't make assumptions.
  4. Always do your best.

Ruiz has received a U.S. Air Force challenge coin engraved with The Four Agreements, and he is referenced as a "National Heirloom of Mexico".[9][unreliable source?]

He wrote a companion book to The Four Agreements, titled The Four Agreements Companion Book, published in 2000.

Don Miguel Ruiz's son, Don Jose Ruiz, has subsequently released a sequel with his father, The Fifth Agreement, which adds a further agreement:[citation needed]

5. Be skeptical, but learn to listen.

Quotes[edit]

  • "Life is like dancing. If we have a big floor, many people will dance. Some will get angry when the rhythm changes. But life is changing all the time."
  • "Death is not the biggest fear we have; our biggest fear is taking the risk to be alive - the risk to be alive and express what we really are..."
  • "Every human is an artist. The dream of your life is to make beautiful art."
  • "Be impeccable with your word. Speak with integrity. Say only what you mean. Avoid using the word to speak against yourself or to gossip about others. Use the power of your word in the direction of truth and love..."
  • "Don't make assumptions. Find the courage to ask questions and to express what you really want. Communicate with others as clearly as you can to avoid misunderstandings, sadness and drama. With just this one agreement, you can completely transform your life..."
  • "Don't take anything personally. Nothing others do is because of you. What others say and do is a projection of their own reality, their own dream. When you are immune to the opinions and actions of others, you won't be the victim of needless suffering..."
  • "Always do your best. Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance, simply do your best, and you will avoid self-judgment, self-abuse and regret..."[10]

Works[edit]

  • The Four Agreements: A Practical Guide to Personal Wisdom (A Toltec Wisdom Book), 1997, Amber-Allen Publishing, ISBN 978-1-878424-31-0
  • The Mastery of Love: A Practical Guide to the Art of Relationship (A Toltec Wisdom Book), 1999, Amber-Allen Publishing, ISBN 978-1-878424-42-6
  • The Four Agreements Companion Book: Using The Four Agreements to Master the Dream of Your Life (A Toltec Wisdom Book)", 2000, Amber-Allen Publishing, ISBN 978-1-878424-48-8
  • Prayers: A Communion with Our Creator (Toltec Wisdom), 2001, Amber-Allen Publishing, ISBN 978-1-878424-52-5
  • Wisdom from the Four Agreements (Charming Petites), 2003, Peter Pauper Press, ISBN 0-88088-990-X
  • Wisdom from the Mastery of Love (Charming Petites), 2003, Peter Pauper Press, ISBN 0-88088-425-8
  • The Voice of Knowledge: A Practical Guide To Inner Peace, 2004, Amber-Allen Publishing, ISBN 978-1-878424-54-9
  • The Fifth Agreement: A Practical Guide to Self-Mastery, 2010, Amber-Allen Publishing, ISBN 978-1-878424-68-6
  • The Toltec Art of Life and Death: A Story of Discovery, 2015, HarperCollins, ISBN 978-0-00-814796-9

References[edit]

  1. ^Watkins’ Spiritual 100 List for 2014
  2. ^"don Miguel Ruiz". Miguelruiz.com. Retrieved 2014-04-30. 
  3. ^ ab"Don Miguel Ruiz' heart Transplant Oct. 9th : An Exclusive Conversation on his New Heart". YouTube. 2010-11-06. Retrieved 2014-04-30. 
  4. ^"Miguel Ruiz official website, About don Miguel". Retrieved February 28, 2015. 
  5. ^Don José Luis interview by Julia Griffin
  6. ^"The Four Agreements: A Practical Guide to Personal Freedom [NOOK Book]". barnes and noble. Retrieved February 10, 2015. 
  7. ^"Publishers Weekly Magazine". April 18, 2013. Retrieved May 6, 2014. 
  8. ^"The Oprah Winfrey's Official Website". oprah.com. Archived from the original on September 22, 2008. Retrieved October 9, 2010. 
  9. ^"Interview with Women For One on Toltec Wisdom". Retrieved February 28, 2015. 
  10. ^"Don Miguel Angel Ruiz's Profile, Biography & Heritage". Katagogi. Retrieved 2014-04-30. 

External links[edit]

For other people named Bruce Rogers, see Bruce Rogers (disambiguation).

Bruce Rogers (May 14, 1870 – May 21, 1957) was an American typographer and type designer, acclaimed by some as among the greatest book designers of the twentieth century.[1] Rogers was known for his "classical" style of design, rejecting modernism, never using asymmetrical arrangements, rarely using sans serif type faces, favoring stolid roman faces such as Caslon and his own Centaur. His books now fetch high sums at auction.

Early life[edit]

Born Albert Bruce Rogers in Linwood, Indiana, he never used the name Albert and was known to associates as "BR." Rogers received a B.S. from Purdue University in 1890. He enrolled at age 16, and was quickly recognized in his studies of illustration, allowing him to work with University catalogs, lettering for the yearbook, and the College Quarterly Magazine.[2] At Purdue, he worked with political cartoonist John T. McCutcheon on the student newspaper and yearbook.

After graduation Rogers worked as both an artist for the Indianapolis News and as office boy for a railroad. After seeing several Kelmscott Press editions, Rogers became interested in producing fine books, and so moved to Boston, then a center of publishing, where he free-lanced for L. Prang and Co..[3]

Typographer and type designer[edit]

[edit]

In 1895 he took a position designing books for Riverside Press in Cambridge, Massachusetts where he worked on trade books and designed book advertisements for the Atlantic Monthly. In 1900 a Department of Special Bookmaking for the production of fine editions was created with Mr. Rogers its head. More than sixty of these Riverside Press Editions were designed by Rogers, decorated with illustrations and ornament largely by him, and printed on handmade, damped paper.[4] It was there, in 1901, that he cut his first typeface, Montaigne, a Venetian style face named for the first book it appeared in, a 1903 limited edition of The Essays of Montaigne.[5]

New York/Dyke Mill period (1911–1916)[edit]

In 1912 Rogers moved to New York City, where he worked both as an independent designer and as house designer for the Metropolitan Museum of Art. It was for the Museum's 1915 limited edition of Maurice de Guérin'sThe Centaur that he designed his most famous type-face, Centaur. Like Montaigne it was based on the Venetian faces of Nicolas Jenson. Rogers considered this face to be an improvement on his earlier Montaigne, both because his design had matured and because, on the advice of Frederic Goudy, he had employed Robert Wiebking as the punch-cutter; and Rogers used Centaur extensively for the rest of his career[6]The Centaur was produced by Rogers in Dyke Mill at Carl Purington Rollins' Montague Press (hand-set by his wife, Anne Rogers (1867–1931)), and it is now one of the most collected books ever printed.[7]

First visit to Britain[edit]

In 1916 Rogers left for England to work with Emery Walker, hoping to establish a press for fine editions. However, because of wartime conditions, only one book was produced, and Rogers soon sought employment with the Cambridge University Press. He found conditions at the press to be poor, and his report to the syndics of the press resulted in many reforms and paved the way for the hiring of Stanley Morison as typographic adviser.[8]

Mount Vernon period (1919–1928)[edit]

After returning to the U.S., Rogers met William Edwin Rudge, who began to use Rogers extensively as a book designer for his Mount Vernon Press. This was Rogers' most productive and remunerative period, as he worked three days a week designing books for Rudge, served as typographic adviser and designed books for Harvard University Press (from 1920–1936), served as typographic adviser to Lanston Monotype, and produced a few books for the June House Press, which he operated in partnership with James Raye Wells and James Hendrickson.[9]

Second visit to Britain[edit]

In 1928 Rogers left for England in hopes of producing an edition of Homer's Odyssey translated by T.E. Lawrence. Despite Rogers's being very "bookish," he soon became close, lifelong friends with the dashing Lawrence of Arabia. The project took four years and the fine book was printed in Centaur types, on gray handmade paper, bound in black Niger leather. Rogers also became engaged to produce the renowned Oxford Lectern Bible for Oxford University Press. This project took six years, requiring annual trips to Oxford to oversee its completion in 1935. Joseph Blumenthal called this "The most important and notable typographic achievement of the twentieth century."[10] To produce the Bible, an italic complement to Centaur was needed. As he did not feel capable of designing the sort of chancery face that he thought appropriate, Rogers chose to pair Centaur with Frederic Warde'sArrighi, a pairing retained to this day.[11]

October House period (1932–1957)[edit]

In later years Rogers worked as a free-lancer, designed his World Bible, and wrote and designed his book on printing, Paragraphs on Printing, published by William E. Rudge's Sons in 1943.[12]

Personal life[edit]

In 1900 Rogers married Anna Embree Baker, and they remained together until her death in 1936. As Rogers spent most of his working life as a free-lancer, they lived frugally and were often in financial straits. Rogers purchased October House, his residence in New Fairfield, Connecticut, in 1925, and made this his permanent home from 1932 until his death. Rogers was a member of the Typophiles, and smoked imported English cigarettes.[13]

Death[edit]

Rogers died on May 18, 1957 in New Fairfield, Connecticut.

In later life Rogers and his wife Anne donated a substantial collection of books, early manuscripts, and antique furniture to Purdue University's Special Collection Library. The bulk of his papers are in the collection of the Beinecke Rare Book and Manuscript Library.[14]

Works[edit]

Sayings of Bruce Rogers[edit]

  • "Don't borrow contemporary work — you are sure to be found out."
  • "Never apologize."
  • "The first requisite of all book design is orderliness."
  • When told that something he had produced was not "according to Hoyle" he answered, "We're Hoyle.".[15]

Typefaces[edit]

Bookplates[edit]

In addition to his work as a typographer and type designer, Rogers worked designing ephemera, such as bookplates. Bookplates by Rogers that have survived in library and museum collections show that his bookplate designs were text-based, only rarely including small images, and frequently showcased his type designs.

  • Bookplates designed by Bruce Rogers
  • An early (1900) Bruce Rogers bookplate, lacking his usual block text.

  • A second bookplate for the Harvard College Library, featuring a different typeface

  • A third bookplate for the Harvard College Library, featuring a third typeface

Additional reading[edit]

  • Kelly, Jerry. The First Flowering: Bruce Rogers at the Riverside Press, 1896-1912 (2008. David Godine, Boston, USA) [with check-list]
  • Rogers, Bruce. Pi; a hodge-podge of the letters, papers, and addresses written during the last sixty years (1972. Freeport, NY: Books for Libraries Press)
  • Rogers, Bruce, Paragraphs on Printing (1943. William E. Rudge's Sons, NY. Reprint 1980. Dover Publications, NY)
  • Targ, William. The making of the Bruce Rogers World Bible (1949. Cleveland: World Publishing Co.)
  • Warde, Frederic. Bruce Rogers, designer of books And Bruce Rogers: a bibliography; hitherto unrecorded work 1889-1925, complete works 1925-1936, by Irvin Haas. (1936. Mount Vernon: The Peter Pauper Press; 1967 Port Washington, NY: Kennikat Press)
  • The work of Bruce Rogers, jack of all trades, master of one: a catalogue of an exhibition arranged by the American Institute of Graphic Arts and the Grolier Club of New York. With an introduction by D. B. Updike, a letter from John T. McCutcheon, and an address by Mr. Rogers. Publisher: Oxford University Press, New York 1939

References[edit]

  1. ^This view is advanced by Daniel Berkeley Updike, William Addison Dwiggins, Thomas Maitland Cleland, Will Bradley, Frederic Goudy, Frederic Warde, Rudolph Ruzicka, and Stanley Morison. Hendrickson, James, Bruce Rogers, in Heritage of the Graphic Arts edited by Chandler B. Grannis, R.R. Bowker Company, New York & London, 1972, p. 61.
  2. ^Annand, Carolyn (2000). Revival of the fittest : digital versions of classic typefaces. New York: RC Publications. p. 72. ISBN 9781883915087. 
  3. ^Hendrickson, Bruce Rogers, pp. 61-63.
  4. ^Hendrickson, Bruce Rogers, p. 63.
  5. ^Hlasta, Stanley C., Printing Types & How to Use Them,Carnegie Press, Pittsburgh, PA, 1950, pp. 19-24.
  6. ^Hlasta, Printing Types & How to Use Them, pp. 19-24.
  7. ^Hendrickson, Bruce Rogers, p. 64.
  8. ^Hendrickson, Bruce Rogers, pp. 65-66.
  9. ^Hendrickson, Bruce Rogers, pp. 65-66.
  10. ^Hendrickson, Bruce Rogers, pp. 72.
  11. ^Hlasta, Printing Types & How to Use Them, pp. 19-24.
  12. ^Hendrickson, Bruce Rogers, pp. 73-74.
  13. ^Hendrickson, Bruce Rogers, pp. 67 & 77.
  14. ^Hlasta, Printing Types & How to Use Them, pp. 19-24.
  15. ^Hendrickson, Bruce Rogers, pp. 68, 66, 77, & 68.
  16. ^Lawson, Alexander, Anatomy of a Typeface, David R. Godine, Publisher, Boston, 1990, ISBN 0-87923-332-X, pp. 62-73.

External links[edit]

Rogers bookplate for the Newberry Library, featuring Rudolf Koch's Locarno typeface

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