Similar to the first edition of Why We Love Books, the second communicated a range of ideas about the preciousness of books as both conceptual and physical objects that readers, writers, librarians and artists connect with deeply. The projects tapped into the myriad reasons that people love books as objects of infinite possibility, expression and knowledge. For the second edition the participants shared memories of their first book ever read or made, offered confessions about disliking altered books, and considered whether or not writing in a library book is ever okay. The format of the workshop was instrumental in this exchange; as participants moved around the room in game of musical typewriters, each sheet loaded into a machine became a potential conversation. Writers could allow previous responses to shape their thoughts or they could start fresh with a new sheet. The prompts, which were written in collaboration with members of the guild and meeting volunteers, were more much specific for this project, and the materials were limited to sheets of paper and typewriters. This allowed participants to really focus during our hour-long session. To be more inclusive, prompts encouraged contributors to consider a range of experiences, from literary to creative. Many contributors were book artists, but many were also librarians, writers, curators and avid readers.
These were the prompts for the second volume paired with a favorite selection of responses:
- Describe, in detail, the first book you ever made.
Before I could read, I stapled my drawings together and gave them to my mother. Book after book after book.
- Which bookmaking activity do you like best, folding, gluing or sewing? (Follow up: which one do you hate most?)
GLUING IS HIGH STAKES. Folding calms me right down, sewing makes me feel productive and industrious.
- What kind of book or art materials would spend a lot of money on?
I spend my money on the triangles. I love the triangles so very much. All the triangles.
This response was followed by:
I love that answer. I’m the same way about triangles, especially brass ones. I’m not allowed near a leather seller. :) Triangles and squares are lovely, but I have to add paper. PAPER!
- Is there a book that you like to keep with you?
A sketchbook, a book for lists, a book of debris that is not always useful.
- What is a book you’ve read over and over again?
I’m such a cliché because I read over and over is the Great Gatsby. Gaaaaaaaatsby, Old sport.
- Would you ever draw or write in a library book?
I would NEVER write inside a library book! I also don’t like to make altered books. They are creepy and sort of horrifying, though I realize that many people don’t agree with me and have a lot of fun “recycling” old books that way. Which is why I keep quiet about this opinion and don’t sign up for any altered books workshops.
- Do you keep journals or sketchbooks and would you ever share them in public?
I have shared my sketchbooks in public. It was kinda okay.
- Which story do you remember most vividly from childhood?/ Which author or artists have influenced you?
Margaret Atwood and Audrey Niffenegger.
And,
i had a book called 100 dresses and i think it’s why i enjoy thrifting so much.
- What would the most mysterious book in the world look like, smell like, feel like? Would it be heavy or light? Large or small?
70% imagery. 30% text. has a lot of funny jokes. Measures 6” in height. Some pages open out into 3D models of different things that represent cultures.
And,
Your face is on the cover. The plot is the opposite of every choice you’ve ever made. But it ends the same.
And,
The most mysterious book will change every time someone reads it. Sometimes it would be big, sometimes it would be tiny. Sometimes it would smell sweet.
- The typewriter asks, “Do you have any questions for me?”
Do you like being attended by nimble fingertips? What does a typical day look like? Where are the exclamation marks? Do you feel obsolete?
As the curator of this collection, I can identify several common threads from the responses. First, it seems that books are highly valued objects, whether we make them, write them, collect them or read them. Secondly, it seems that many book artists fell in love with making books as young readers; there is a clear connection between being an avid reader and becoming a book artist. As most people are first exposed to literary books and only later learn about artists’ books, this trajectory sheds light on the unique ways in which our community of practitioners has developed, examined, and expanded this rather recent genre of contemporary art. It’s interesting to think about how book arts will continue to to evolve as society’s relationship with the book as an object changes over time.
Rachel Simmons is an artist and educator from Orlando, Florida who makes artist books, comics, zines, and prints. In her creative practice, she explores environmental and social activism, science, philosophy and memory. She teaches book arts and printmaking at Rollins College and serves on the board of CBAA. You can find her work at www.rachelsimmons.net and follow her on instagram @bearwithjetpack.
