It’s a nesting doll about ageing and decay, and the publisher, the artist, and the writer really worked together … to express all these ideas throughout the materiality of every component of the artists’ book
The release of this episode of BOOKNESS on 9th December 2022 marks the 30th anniversary of the publishing of this work. Happy birthday Agrippa!
Useful links for this episode:
Watch William Gibson’s poem Agrippa: A Book of the Dead
running in emulation on a 1992-era Mac computer here
In the third podcast in the series, BOOKNESS talks to poet and artist Stephen Emmerson about his work Translation of Die Aufzeichnungen des Malte Laurids Brigge, a paperback novel ‘translated’ into mushrooms.
It’s a book as much as it is an art object … as a book, read it, interact with it, touch its pages, infuse its pages with your warmth … from the art experience, I guess it’s more about the audiences way of how they want to interact with it …
I’ve always been interested in interactive books since I was little, I am neurodiverse myself so it’s easier for me … to engage with books that … use different senses because they would capture my entire focus.
It is an artwork that is supposed to be touched and it’s supposed to wear and tear … as you start to expose and touch … as you’re reading the content, it becomes more familiar with you …
This is already basically a book … these things look like pages, they’re kind of packed together, there’s an order, all I really did was bind those together and give them the cover. I thought it was interesting how it just becomes a book through that process
This image of the Bodleian’s “pristine” copy of 20 Slices was taken by the Conservation team in May 2021 as part of the documentation of the object to record its condition.
I think of it as a book. But I also have a very broad definition of a book
BOOKNESS is a podcast series that wanders into the Bodleian Library’s collection of artists’ books, pokes around a bit and asks ‘what’s all this then?’
In the series we will be talking to artists, makers, researchers and curators and pondering matters such as what makes a book a book, anyway? What happens if a book is made of something that decays? Are there any limits to what a library can collect? And, of course, what does this book smell like?
BOOKNESS is hosted by conservator Alice Evans and librarian Jo Maddocks, and the release of this series coincides with the final month of the Bodleian Library’s Sensational Books exhibition, which is showing at the Weston Library until the 4th December 2022. It’s brought to you by the Bodleian Library’s Centre for the Study of the Book and has been supported by a generous donation to the Bodleian Bibliographical Press.
In this introductory episode, BOOKNESS is joined by Chris Fletcher, Keeper of Special Collections, and Professors Emma Smith and Adam Smyth, to set the scene of the Bodleian’s artists’ books collection and some of the ways these objects can be used and thought about.
… artists’ books reflect on ‘bookness’ … they are metabooks, they are books about books … they are about the book form …
The following artists’ books from the Bodleian collection are mentioned in this episode…
Useful links and glossary checks in this episode:
You can read the full definition of ‘artists’ books’ from the Library of Congress here (.pdf)
The Bodleian oath is taken by all new staff and readers. The current version, in use since 1970, reads: “I hereby undertake not to remove from the Library, nor to mark, deface, or injure in any way, any volume, document or other object belonging to it or in its custody; not to bring into the Library, or kindle therein, any fire or flame, and not to smoke in the Library; and I promise to obey all rules of the Library.” If you want that on a Tea Towel we can make it happen.
The next edition of Inscription on ‘Folds’ is out later this month.
In the summer of 1594 William Shakespeare decided to invest around £50 to become a shareholder in a newly formed acting company: the Lord Chamberlain’s Men. This lecture examines the consequences of this decision, unique in English theatrical history.
By examining the early modern theatrical marketplace and the artistic development of Shakespeare’s writing before and after this moment, it is hoped that this talk shows why 1594 was, by some measure, Shakespeare’s most important year.
This lecture will celebrate Shakespeare’s immortality on the exact 400th anniversary of his burial. It will begin from Theseus’ famous speech in A Midsummer Night’s Dream about the magical, transformative power of poetry.
It will argue that Shakespeare inherited from antiquity a fascination with the intimate association between erotic love, magic and the creative imagination, and that this is one of the keys to the enduring power of his plays.
Sir Jonathan Bate, Provost of Worcester College and Professor of English Literature at Oxford University, is one of the world’s most renowned Shakespeare scholars, the author of, among many other works, Shakespeare and Ovid, The Genius of Shakespeare, Soul of the Age and (as co-editor) The RSC Shakespeare: Complete Works. He co-curated Shakespeare Staging the World, the British Museum’s exhibition for the London 2012 Cultural Olympiad, and he is the author of Being Shakespeare: A One-Man Play for Simon Callow, which has toured nationally and internationally and had three runs in the West End.
Coroners’ inquest reports into accidental deaths tell us about the hazards of everyday life in Shakespeare’s day. There were dangerous jobs, not just building, mining and farming, but also fetching water, and travel was perilous whether by cart, horse or boat. Even relaxation had its risks, from football and wrestling to maypole-dancing or a game of bowls on the frozen River Cherwell.
John Donne’s sermon, Death’s duell, was part of an early Stuart vogue for funeral sermons. Professor McCullough discusses Donne’s contribution to this genre, and looks at how this tradition is connected to the poetic and dramatic representations of death on display in the exhibition, Shakespeare’s Dead.
Professor Katherine Duncan Jones, Senior Research Fellow, Somerville College, gives a talk on Shakespeare’s poem, Venus and Adonis.
In 1592-93, with London playhouses closed because of plague, Shakespeare wrote his most technically perfect work. Venus and Adonis (1593) is a highly original ‘take’ on the ancient Greek myth of the doomed Adonis – presented here as a pubertal boy incapable of responding to the goddess’s amorous advances. It was a tearaway success with Elizabethan readers.
Ben Jonson wrote in 1623 that Shakespeare ‘art a Moniment, without a tombe/ And art alive still, while thy Booke doth live’: centuries later Jorge Luis Borges observed that ‘when writers die, they become books’, adding, ‘which is, after all, not too bad an incarnation’. This lecture considers Shakespeare’s First Folio as a literary memorial to Shakespeare, alongside other elegies, epitaphs, and responses to the playwright’s death.