changes to test directory

server-extras/fallback.html.pt

@@ -1 +1 @@
-◊(->html (html (head (meta 'charset: "UTF-8")) (body "Rendered without template:" (hr) main)))
+◊(->html (html (head (meta 'charset: "UTF-8")) (body "Rendered without template:" (hr) doc)))

server-routes.rkt

@@ -37,7 +37,7 @@
   (define client (request-client-ip req))
   (define localhost-client "::1")
   (define url-string (url->string (request-uri req)))
-  (message "Request:" (string-replace url-string world:dashboard-name " dashboard")
+  (message "request:" (string-replace url-string world:dashboard-name " dashboard")
            (if (not (equal? client localhost-client)) (format "from ~a" client) "")))
 
 ;; pass string args to route, then

tests/-stain.html

@@ -1,3 +0,0 @@
-OH JOY
-
-◊(put-as-html main)

tests/-stain.html.pp

@@ -1,5 +0,0 @@
-#lang planet mb/pollen/pre
-
-OH JOY
-
-◊"◊"(put-as-html main)

tests/bibliography.html

@@ -1 +0,0 @@
-<root-function><p><topic class="small">Bibliography</topic></p><p><lc>T</lc>his is not, by any measure, a comprehensive bibliography. Rather, it’s a selection of favorites from my own bookshelf that I consult most frequently in my work as a writer and a typographer.</p><p><subhead>writing</subhead></p><p>Bryan A. Garner, <book>Garner’s Modern American Usage</book>, 3rd ed. (New York: Oxford University Press, 2009).</p><p><indented style="position:relative;top:-0.4em">Long before he agreed to write the foreword for my book <book>Typography for Lawyers</book>, Bryan Garner was a hero of mine. Garner thinks and writes about American English in a way that’s rigorous, convincing, and accessible. He is stern but not shrill; authoritative but not authoritarian. He is a vigorous advocate for clear, simple writing. His work should be mandatory reading for all writers.</indented></p><p><subhead>Typography</subhead></p><p>Matthew Butterick, <book>Typography for Lawyers</book> (Houston: Jones McClure Publishing, 2010).</p><p><indented style="position:relative;top:-0.4em">The precursor to <book>Butterick’s Practical Typography</book>. Lawyer or not, consider buying a copy, because it’s a virtuous act. See <xref>how to pay for this book.</xref></indented></p><p>Jan Middendorp, <book>Shaping Text</book> (Amsterdam: BIS Publishers, 2012).</p><p><indented style="position:relative;top:-0.4em">If you get a second book on typography, get this one. Middendorp’s beautifully written and illustrated book is full of careful details and lucid explanations.</indented></p><p>Carolina de Bartolo, <book>Explorations in Typography</book> (<slink>explorationsintypography.comhttp://explorationsintypography.com</slink>, 2011).</p><p><indented style="position:relative;top:-0.4em">Using a Spiekermann essay from <book>Stop Stealing Sheep</book> (see below), de Bartolo shows how different typesetting choices change the effect of the text.</indented></p><p>Cyrus Highsmith, <book>Inside Paragraphs</book> (Boston: Font Bureau, 2012).</p><p><indented style="position:relative;top:-0.4em">Highsmith’s charmingly hand-illustrated book focuses on the paragraph as a unit of typographic interest.</indented></p><p>Robert Bringhurst, <book>The Elements of Typographic Style</book>, 3rd ed. (Vancouver: Hartley and Marks Publishers, 2004).</p><p><indented style="position:relative;top:-0.4em">Bringhurst’s book has become something of a standard reference guide among professional typographers, bringing together the history, theory, and practice of typography.</indented></p><p>Ellen Lupton, <book>Thinking With Type</book>, 2nd ed. (New York: Princeton Architectural Press, 2010).</p><p><indented style="position:relative;top:-0.4em">Intended as an introduction to typography for design students, Lupton’s book is more accessible than Bringhurst’s. It includes full-color illustrations from every era of typography.</indented></p><p><subhead>Fonts</subhead></p><p>Erik Spiekermann and E. M. Ginger, <book>Stop Stealing Sheep &amp; Find Out How Type Works</book>, 2nd ed. (Berkeley, California: Adobe Press, 2002).</p><p><indented style="position:relative;top:-0.4em">Ginger &amp; Spiekermann, a self-described typomaniac (and author of the <xref>foreword</xref>) explain how fonts work, and how they differ in appearance and in function. My font <xref>Hermes</xref> is among those featured.</indented></p><p>Stephen Coles, <book>The Anatomy of Type</book> (London: Quid Publishing Ltd., 2012).</p><p><indented style="position:relative;top:-0.4em">Explores the major categories of fonts and their characteristic qualities by examining 100 fonts in detail.</indented></p><p><subhead>Design principles</subhead></p><p>Edward Tufte, <book>Envisioning Information</book>, 4th printing ed. (Cheshire, Connecticut: Graphics Press, 1990).</p><p>Edward Tufte, <book>The Visual Display of Quantitative Information</book>, 2nd ed. (Cheshire, Connecticut: Graphics Press, 2001).</p><p><indented style="position:relative;top:-0.4em">These are two of my favorite books of all time. Tufte makes an eloquent and compelling case for why design matters. Both books are fantastically interesting and beautifully illustrated with examples of information design from many historical periods.</indented></p><p>William Lidwell, Kritina Holden, and Jill Butler, <book>Universal Principles of Design</book>, 2nd ed. (Beverly, Massachusetts: Rockport Publishers, 2010).</p><p><indented style="position:relative;top:-0.4em">An excellent and accessible introduction to design principles that apply not only to printed documents, but to all objects that we interact with.</indented></p></root-function>

tests/favicon.ico

@@ -1 +0,0 @@
-

tests/polcom

@@ -1,3 +0,0 @@
-#! /usr/bin/racket
-#lang racket/base
-(require (planet mb/pollen/command))

tests/pollen-file-1.html

@@ -1,3 +0,0 @@
-OH JOY
-
-put-as-htmlroot-functionptopicclasssmallBibliographyplcThis is not, by any measure, a comprehensive bibliography. Rather, it’s a selection of favorites from my own bookshelf that I consult most frequently in my work as a writer and a typographer.psubheadwritingpBryan A. Garner, bookGarner’s Modern American Usage, 3rd ed. (New York: Oxford University Press, 2009).pindentedstyleposition:relative;top:-0.4emLong before he agreed to write the foreword for my book bookTypography for Lawyers, Bryan Garner was a hero of mine. Garner thinks and writes about American English in a way that’s rigorous, convincing, and accessible. He is stern but not shrill; authoritative but not authoritarian. He is a vigorous advocate for clear, simple writing. His work should be mandatory reading for all writers.psubheadTypographypMatthew Butterick, bookTypography for Lawyers (Houston: Jones McClure Publishing, 2010).pindentedstyleposition:relative;top:-0.4emThe precursor to bookButterick’s Practical Typography. Lawyer or not, consider buying a copy, because it’s a virtuous act. See xrefhow to pay for this book.pJan Middendorp, bookShaping Text (Amsterdam: BIS Publishers, 2012).pindentedstyleposition:relative;top:-0.4emIf you get a second book on typography, get this one. Middendorp’s beautifully written and illustrated book is full of careful details and lucid explanations.pCarolina de Bartolo, bookExplorations in Typography (slinkexplorationsintypography.comhttp://explorationsintypography.com, 2011).pindentedstyleposition:relative;top:-0.4emUsing a Spiekermann essay from bookStop Stealing Sheep (see below), de Bartolo shows how different typesetting choices change the effect of the text.pCyrus Highsmith, bookInside Paragraphs (Boston: Font Bureau, 2012).pindentedstyleposition:relative;top:-0.4emHighsmith’s charmingly hand-illustrated book focuses on the paragraph as a unit of typographic interest.pRobert Bringhurst, bookThe Elements of Typographic Style, 3rd ed. (Vancouver: Hartley and Marks Publishers, 2004).pindentedstyleposition:relative;top:-0.4emBringhurst’s book has become something of a standard reference guide among professional typographers, bringing together the history, theory, and practice of typography.pEllen Lupton, bookThinking With Type, 2nd ed. (New York: Princeton Architectural Press, 2010).pindentedstyleposition:relative;top:-0.4emIntended as an introduction to typography for design students, Lupton’s book is more accessible than Bringhurst’s. It includes full-color illustrations from every era of typography.psubheadFontspErik Spiekermann and E. M. Ginger, bookStop Stealing Sheep & Find Out How Type Works, 2nd ed. (Berkeley, California: Adobe Press, 2002).pindentedstyleposition:relative;top:-0.4emGinger & Spiekermann, a self-described typomaniac (and author of the xrefforeword) explain how fonts work, and how they differ in appearance and in function. My font xrefHermes is among those featured.pStephen Coles, bookThe Anatomy of Type (London: Quid Publishing Ltd., 2012).pindentedstyleposition:relative;top:-0.4emExplores the major categories of fonts and their characteristic qualities by examining 100 fonts in detail.psubheadDesign principlespEdward Tufte, bookEnvisioning Information, 4th printing ed. (Cheshire, Connecticut: Graphics Press, 1990).pEdward Tufte, bookThe Visual Display of Quantitative Information, 2nd ed. (Cheshire, Connecticut: Graphics Press, 2001).pindentedstyleposition:relative;top:-0.4emThese are two of my favorite books of all time. Tufte makes an eloquent and compelling case for why design matters. Both books are fantastically interesting and beautifully illustrated with examples of information design from many historical periods.pWilliam Lidwell, Kritina Holden, and Jill Butler, bookUniversal Principles of Design, 2nd ed. (Beverly, Massachusetts: Rockport Publishers, 2010).pindentedstyleposition:relative;top:-0.4emAn excellent and accessible introduction to design principles that apply not only to printed documents, but to all objects that we interact with.

tests/pollen-file-1.p

@@ -1,70 +0,0 @@
-#lang planet mb/pollen
-
-◊meta["template" "-stain.html"]
-
-◊topic['((class "small"))]{Bibliography}
-
-◊lc{T}his is not, by any measure, a comprehensive bibliography. Rather, it’s a selection of favorites from my own bookshelf that I consult most frequently in my work as a writer and a typographer.
-
-◊(define (book-description . stuff)
-`(indented ((style "position:relative;top:-0.4em")) ,@stuff))
-
-◊subhead{writing}
-
-Bryan A. Garner, ◊book{Garner’s Modern American Usage}, 3rd ed. (New York: Oxford University Press, 2009).
-
-◊book-description{Long before he agreed to write the foreword for my book ◊book{Typography for Lawyers}, Bryan Garner was a hero of mine. Garner thinks and writes about American English in a way that’s rigorous, convincing, and accessible. He is stern but not shrill; authoritative but not authoritarian. He is a vigorous advocate for clear, simple writing. His work should be mandatory reading for all writers.}
-
-◊subhead{Typography}
-
-Matthew Butterick, ◊book{Typography for Lawyers} (Houston: Jones McClure Publishing, 2010).
-
-◊book-description{The precursor to ◊book{Butterick's Practical Typography}. Lawyer or not, consider buying a copy, because it's a virtuous act. See ◊xref{how to pay for this book.}}
-
-Jan Middendorp, ◊book{Shaping Text} (Amsterdam: BIS Publishers, 2012).
-
-◊book-description{If you get a second book on typography, get this one. Middendorp’s beautifully written and illustrated book is full of careful details and lucid explanations.}
-
-
-Carolina de Bartolo, ◊book{Explorations in Typography} (◊slink["explorationsintypography.com" "http://explorationsintypography.com"], 2011).
-
-◊book-description{Using a Spiekermann essay from ◊book{Stop Stealing Sheep} (see below), de Bartolo shows how different typesetting choices change the effect of the text.}
-
-Cyrus Highsmith, ◊book{Inside Paragraphs} (Boston: Font Bureau, 2012).
-
-◊book-description{Highsmith's charmingly hand-illustrated book focuses on the paragraph as a unit of typographic interest.}
-
-
-
-Robert Bringhurst, ◊book{The Elements of Typographic Style}, 3rd ed. (Vancouver: Hartley and Marks Publishers, 2004).
-
-◊book-description{Bringhurst’s book has become something of a standard reference guide among professional typographers, bringing together the history, theory, and practice of typography.}
-
-Ellen Lupton, ◊book{Thinking With Type}, 2nd ed. (New York: Princeton Architectural Press, 2010).
-
-◊book-description{Intended as an introduction to typography for design students, Lupton’s book is more accessible than Bringhurst’s. It includes full-color illustrations from every era of typography.}
-
-
-◊subhead{Fonts}
-
-Erik Spiekermann and E. M. Ginger, ◊book{Stop Stealing Sheep & Find Out How Type Works}, 2nd ed. (Berkeley, California: Adobe Press, 2002).
-
-◊book-description{Ginger & Spiekermann, a self-described typomaniac (and author of the ◊xref{foreword}) explain how fonts work, and how they differ in appearance and in function. My font ◊xref{Hermes} is among those featured.}
-
-Stephen Coles, ◊book{The Anatomy of Type} (London: Quid Publishing Ltd., 2012).
-
-◊book-description{Explores the major categories of fonts and their characteristic qualities by examining 100 fonts in detail.}
-
-
-
-◊subhead{Design principles}
-
-Edward Tufte, ◊book{Envisioning Information}, 4th printing ed. (Cheshire, Connecticut: Graphics Press, 1990).
-
-Edward Tufte, ◊book{The Visual Display of Quantitative Information}, 2nd ed. (Cheshire, Connecticut: Graphics Press, 2001).
-
-◊book-description{These are two of my favorite books of all time. Tufte makes an eloquent and compelling case for why design matters. Both books are fantastically interesting and beautifully illustrated with examples of information design from many historical periods.}
-
-William Lidwell, Kritina Holden, and Jill Butler, ◊book{Universal Principles of Design}, 2nd ed. (Beverly, Massachusetts: Rockport Publishers, 2010).
-
-◊book-description{An excellent and accessible introduction to design principles that apply not only to printed documents, but to all objects that we interact with.}

tests/pollen-file-2.html

@@ -1 +0,0 @@
-FALLBACK! put-as-htmlroot-functionpdquo“Hello” world, aren’t you—yes, you—about 1–2 inches tall?bloqIn a blockpWefooblesquo‘Love’pGoodnightbrmoonpbar

tests/pollen-file-2.p

@@ -1,24 +0,0 @@
-#lang planet mb/pollen
-
-◊meta["metakey" "metavalue"]
-
-
-"Hello" world, aren't you --- yes, you — about 1--2 inches tall?
-
-
-◊;todo: make this recognized as a block.
-◊bloq{In a block}
-   
-We 
-
-◊fooble{'Love'}
-
-Goodnight
-moon
-
-
-◊foo
-
-
-
-

tests/samples/sample-01.html.pm

@@ -0,0 +1,3 @@
+#lang pollen
+
+This is sample 01.

tests/samples/sample-02.txt.pp

@@ -0,0 +1,3 @@
+#lang pollen
+
+This is sample-02.

tests/samples/sample-03.txt.p

@@ -0,0 +1 @@
+This is sample-03.

tests/server-routes/bar.html

@@ -1 +0,0 @@
-<html><body><p>bar</p></body></html>

tests/server-routes/foo.html

@@ -1,2 +0,0 @@
-FALLBACK! put-as-htmlroot
-                     foo

tests/server-routes/foo.pd

@@ -1,2 +0,0 @@
-#lang planet mb/pollen
-foo

tests/template/put.pd

@@ -1,7 +0,0 @@
-#lang pollen
-
-◊em{One} paragraph
-
-Another ◊em{paragraph}
-
-◊meta["foo" "bar"]

tests/test-pollen.html

@@ -1 +0,0 @@
-<root-function><p><topic class="small">Bibliography</topic></p><p><lc>T</lc>his is not, by any measure, a comprehensive bibliography. Rather, it’s a selection of favorites from my own bookshelf that I consult most frequently in my work as a writer and a typographer.</p><p><subhead>writing</subhead></p><p>Bryan A. Garner, <book>Garner’s Modern American Usage</book>, 3rd ed. (New York: Oxford University Press, 2009).</p><p><indented style="position:relative;top:-0.4em">Long before he agreed to write the foreword for my book <book>Typography for Lawyers</book>, Bryan Garner was a hero of mine. Garner thinks and writes about American English in a way that’s rigorous, convincing, and accessible. He is stern but not shrill; authoritative but not authoritarian. He is a vigorous advocate for clear, simple writing. His work should be mandatory reading for all writers.</indented></p><p><subhead>Typography</subhead></p><p>Matthew Butterick, <book>Typography for Lawyers</book> (Houston: Jones McClure Publishing, 2010).</p><p><indented style="position:relative;top:-0.4em">The precursor to <book>Butterick’s Practical Typography</book>. Lawyer or not, consider buying a copy, because it’s a virtuous act. See <xref>how to pay for this book.</xref></indented></p><p>Jan Middendorp, <book>Shaping Text</book> (Amsterdam: BIS Publishers, 2012).</p><p><indented style="position:relative;top:-0.4em">If you get a second book on typography, get this one. Middendorp’s beautifully written and illustrated book is full of careful details and lucid explanations.</indented></p><p>Carolina de Bartolo, <book>Explorations in Typography</book> (<slink>explorationsintypography.comhttp://explorationsintypography.com</slink>, 2011).</p><p><indented style="position:relative;top:-0.4em">Using a Spiekermann essay from <book>Stop Stealing Sheep</book> (see below), de Bartolo shows how different typesetting choices change the effect of the text.</indented></p><p>Cyrus Highsmith, <book>Inside Paragraphs</book> (Boston: Font Bureau, 2012).</p><p><indented style="position:relative;top:-0.4em">Highsmith’s charmingly hand-illustrated book focuses on the paragraph as a unit of typographic interest.</indented></p><p>Robert Bringhurst, <book>The Elements of Typographic Style</book>, 3rd ed. (Vancouver: Hartley and Marks Publishers, 2004).</p><p><indented style="position:relative;top:-0.4em">Bringhurst’s book has become something of a standard reference guide among professional typographers, bringing together the history, theory, and practice of typography.</indented></p><p>Ellen Lupton, <book>Thinking With Type</book>, 2nd ed. (New York: Princeton Architectural Press, 2010).</p><p><indented style="position:relative;top:-0.4em">Intended as an introduction to typography for design students, Lupton’s book is more accessible than Bringhurst’s. It includes full-color illustrations from every era of typography.</indented></p><p><subhead>Fonts</subhead></p><p>Erik Spiekermann and E. M. Ginger, <book>Stop Stealing Sheep &amp; Find Out How Type Works</book>, 2nd ed. (Berkeley, California: Adobe Press, 2002).</p><p><indented style="position:relative;top:-0.4em">Ginger &amp; Spiekermann, a self-described typomaniac (and author of the <xref>foreword</xref>) explain how fonts work, and how they differ in appearance and in function. My font <xref>Hermes</xref> is among those featured.</indented></p><p>Stephen Coles, <book>The Anatomy of Type</book> (London: Quid Publishing Ltd., 2012).</p><p><indented style="position:relative;top:-0.4em">Explores the major categories of fonts and their characteristic qualities by examining 100 fonts in detail.</indented></p><p><subhead>Design principles</subhead></p><p>Edward Tufte, <book>Envisioning Information</book>, 4th printing ed. (Cheshire, Connecticut: Graphics Press, 1990).</p><p>Edward Tufte, <book>The Visual Display of Quantitative Information</book>, 2nd ed. (Cheshire, Connecticut: Graphics Press, 2001).</p><p><indented style="position:relative;top:-0.4em">These are two of my favorite books of all time. Tufte makes an eloquent and compelling case for why design matters. Both books are fantastically interesting and beautifully illustrated with examples of information design from many historical periods.</indented></p><p>William Lidwell, Kritina Holden, and Jill Butler, <book>Universal Principles of Design</book>, 2nd ed. (Beverly, Massachusetts: Rockport Publishers, 2010).</p><p><indented style="position:relative;top:-0.4em">An excellent and accessible introduction to design principles that apply not only to printed documents, but to all objects that we interact with.</indented></p></root-function>

tests/test-render.rkt

@@ -0,0 +1,24 @@
+#lang racket/base
+(require rackunit)
+(require "../render.rkt")
+(require/expose "../render.rkt" (modification-date-hash))
+
+(check-pred hash? modification-date-hash)
+
+(define sample-dir (string->path "samples"))
+(define samples (parameterize ([current-directory sample-dir])
+                  (map path->complete-path (directory-list "."))))
+(define-values (sample-01 sample-02 sample-03) (apply values samples))
+
+(check-equal? (make-mod-dates-key samples) samples)
+
+(check-false (path->mod-date-value (path->complete-path "garbage-path.zzz")))
+(check-equal? (path->mod-date-value sample-01) (file-or-directory-modify-seconds sample-01))
+
+(check-equal? (store-render-in-modification-dates sample-01 sample-02 sample-03) (void))
+(check-true (hash-has-key? modification-date-hash (list sample-01 sample-02 sample-03)))
+
+(check-true (modification-date-expired? sample-01)) ; because key hasn't been stored
+(check-false (apply modification-date-expired? samples)) ; because files weren't changed
+
+

tests/test.pmap

@@ -1,5 +0,0 @@
-#lang planet mb/pollen
-
-
-pollen-file-1
-pollen-file-2