Collecting Women’s Literary Lives

Guest blog article by Eleanor Clark, winner of the Colin Franklin Prize for Book-Collecting 2023.

I first encountered Winifred Holtby’s South Riding in Exeter’s Oxfam shop, in a worn Virago reprint. I was twelve and didn’t yet know to hold out for the darker green originals. The novel is nearly 600 pages long, including maps and character lists. Exactly the kind of tome that a bookish twelve-year-old can devour in a week, moving only to dodge footballs in the playground. I think if I came across it now, I’d find it harder to commit to. There’s a voraciousness to being twelve which I doubt I’ll ever see again. It’s fortuitous, then, that books, like people, sometimes come along at precisely the right moment in our lives.

Winifred Holtby, South Riding, first edition 1936. London and Glasgow: Collins Clear-Type Press, first printing 1936. Purchased with the support of the Colin Franklin Prize for Book Collecting, 2023.

On dust jacket of the first edition of South Riding, Jonathan Cape describes it as ‘unquestionably the greatest novel we have been privileged to publish’. Not even Virago would write that about Holtby today. Until I held this copy of South Riding in my hands – the first edition I’ve been privileged to be able to buy for the Library as part of the Colin Franklin Prize – I had no idea that Cape had written this endorsement. The ‘middlebrow’ label has not only completely swamped many interwar women writers’ works, but swallowed what they once meant to readers. I think the familiar generic forms of these fictions veil a quiet radicalism that allows readers, especially women, to envisage a life beyond social prescription, a life on the fringes of the possible. And in many cases, the radicalism isn’t even particularly quiet.

My collection began with a dust jacket-less first edition of Vera Brittain’s Humiliation with Honour, for £2.50. The Prologue is an epistle to Brittain’s son, with whom she had a complex relationship. The letter might read as a mother who prioritised political and literary life belatedly acknowledging her child. But my copy denies that reading. A child’s heavy scribbles cover the title page and prologue, over a scrawled inscription from 1943. I like to imagine it plucked from a busy mother’s handbag and defaced before she notices. A male dominated market desires purity, but real life is more truly captured when high textual ideas and messy material reality incorporate each other.

My copy of Thrice a Stranger extends this principle from feminism to socialism. This is a scarce title and, as a Gollancz publication, scarcer still with dust jacket. My copy is signed but bears three Manchester Public Library stamps. The co-existence of value-augmenting signature and value-diminishing stamps fascinates me. It’s possible that Brittain, a committed socialist, chose to sign a library copy to which working people had access.

This is why I collect books: the physical object is where we see readers interacting with texts. Rare book markets stigmatise marks left by readers, unless they are the ‘right’ kind of reader: the illustrious kind. I find this completely nonsensical. How can evidence that a book has been read, listened to, and loved, by the audience for whom it was written possibly diminish its value? Only if our notions of the value of stories are themselves warped.

I am proud that my collection includes damaged books. I can’t pretend I intended it to be so: I began collecting both cluelessly and pennilessly. But now I find that collecting books whose market value is derided is part of the work of revalorising texts whose critical fortunes have also fallen. I value the ‘middlebrow’, and I value its readers.

When I survey my collection, I feel the tenacity of these writers. Women like Holtby, Brittain, Spark and Bowen were not always brave and bold, but they wrote women who are. They write us all how we would like ourselves to be – a little bit more self-confident. Copies of their books that embody that self-confidence, that defiance of odds and social standards; copies that make testaments to the youth that grew up with them – those are the copies I want on my bookshelf.

Eleanor Clark wins the Colin Franklin Prize for Book Collecting 2023

The 2023 Colin Franklin Prize for Book Collecting has been awarded to Eleanor Clark for her collection of first edition books by female authors 1900-2000, documenting women’s literary lives in the twentieth-century. Writing of her collection, which includes both fiction and non-fiction,  Eleanor describes how she pays attention to just to the text but also to material imperfections: “A male dominated market desires purity, but real life is more truly captured when high textural ideas and messy material reality incorporate each other.” Eleanor is in her second year, studying BA English Language and Literature at Merton College, Oxford University. You can read more about Eleanor’s collection in her blog article here.

On receiving the award, Eleanor said: “I’m delighted to have won the Colin Franklin Prize: over the last few weeks, my eyes have been opened to the world of rare books in Oxford, and I’ve been able to hold in my hands a near-pristine first edition of South Riding, the novel that started it all. I’m hugely grateful to everyone involved in the prize.”

Funder of the Colin Franklin Prize Anthony Davis said of the submissions 2023: “This was the ninth year of the Colin Franklin Book Collecting Prize and as always the standard of entrants was very high indeed making choosing a winner hard.  Apparently Oxford students collect subjects as diverse as books about happiness, children’s editions of Chaucer and Faber jacket designs; one entrant has 288 miniature books at the last count.  After difficult decisions we awarded the prize to Eleanor who collects books about Women’s Literary Lives and has found books to treasure even in charity shops. We were very impressed with the way Eleanor related to the books and what they represented not just to authors but to prior owners too.  The judges look for a sense of the physical materiality of the books and Eleanor showed a close connection with hers, writing  a perceptive essay about how the books as physical objects tell stories about their context and histories. Congratulations to Eleanor!”

Keeper Special Collections, Chris Fletcher, and one of the judges on the prize said of Eleanor’s essay: “I was impressed by the sensitive and quizzing consideration given to questions of value and their relationship to material form, rarity and personal passion.   An imperfect book can be the perfect book.”

The Colin Franklin Prize is awarded every year to an undergraduate or postgraduate student of the University of Oxford for a collection of books or other printed materials. You can find out more about the Prize on the Bodleian website.

In 2022, the joint-winners of the award were: Alexander Laar, DPhil Candidate at New College for his essay, Books with names: collecting previous owners; and Ashley Castelino, DPhil Candidate at Lincoln College for his essay, Translation: Medieval & Modern.

BOOKNESS speaks to Justine Provino

In the final podcast in this series of BOOKNESS, book conservator and PhD candidate Justine Provino talks about her research into the self-destructive book Agrippa: A Book of the Dead.

Listen to the episode here.

Justine Provino with Agrippa (Rec. a.25) at the Bodleian’s Visiting Scholars’ Centre.

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 codex wrapped in the textile ‘shroud’ within a recess in the box base.
Detail of label on the box lid.
Condition record of unbound Agrippa image, with traces of the ‘disappearing image’ (MS. Eng. b. 2160)

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
  • Read Justine’s article in issue 3 of Inscription

BOOKNESS speaks to Stephen Emmerson

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.

Listen to the episode here.

In transforming, playing, or recomposing books, I’m trying to reconnect with the magic of it.

A record photograph taken by the Bodleian’s Conservation team showing the condition of  ‘Translation’ (Cons.Res. 43) in May 2021.

I kept it on the window sill … and it completely dried out … the preservation was kind of accidental to begin with …

” A nice array of fruiting”. A record photo showing a detail of the mushroom growth.

It could be rehydrated again, in theory, but hopefully it’s no longer spore producing for the sake of all the other books in the library…

Useful links and glossary checks in this episode:

Women in the Margins: Eadburg and Bodleian Library, MS. Selden Supra 30

by Jessica Hodgkinson and John Barrett

A series of exciting inscriptions, almost invisible to the naked eye, have been discovered in the margins of an important eighth-century manuscript in the Bodleian Library, MS Selden Supra 30. Revealed through state-of-the-art 3D recording technology by the ARCHiOx project, these marginal annotations provide tantalising new insights into this manuscript’s history and its links to women, in particular, to a woman called Eadburg.

Introducing Bodleian Library, MS Selden Supra 30

Bodleian Library, MS. Selden Supra 30 is a copy of the Acts of the Apostles, a book of the New Testament, written in Latin. It is a small volume, measuring only 229 x 176 mm (only slightly bigger than an A5 piece of paper).

Bodleian MS. Selden Supra 30 open at pp. 18-19
Bodleian MS. Selden Supra 30 open at pp. 18-19

Like most surviving manuscripts from this period, MS. Selden Supra 30 does not contain a formal colophon or scribal note recording when, where, and by whom it was made.

However, certain features of this manuscript, including the style of uncial script used to copy the text, demonstrate that it was produced in England, most likely somewhere in the kingdom of Kent, probably in the first half of the eighth century (i.e., between c. 700 and c. 750 AD).

MS. Selden Supra 30 was certainly in Kent by the fourteenth century when a shelf mark was added to p. 1 showing that it was then in the library of the monastery of St Augustine’s in Canterbury.

The opening page of MS. Selden Supra 30 (p. 1) which has suffered damage and is now significantly discoloured. The shelf mark from St Augustine’s, Canterbury (Di. I. G. III) is visible in the upper margin. 
The opening page of MS. Selden Supra 30 (p. 1) which has suffered damage and is now significantly discoloured. The shelf mark from St Augustine’s, Canterbury (Di. I. G. III) is visible in the upper margin.

Prayers added to p. 70, which was originally left blank, suggest, however, that very early in its history MS. Selden Supra 30 was owned and used by a woman.

These prayers were copied in the same type of script as the rest of the manuscript but by a different scribe to the two responsible for copying its main text.

The first prayer is a petition to God made by an anonymous woman, described as God’s “unworthy servant” (indignam famulam).

This strongly suggests that, at the time the prayer was added, MS. Selden Supra 30 was being used by a woman, or a group of women. The prayer may have been copied into the manuscript by a female scribe.

The formula of this prayer is unique and does not survive in any other manuscript. It could have been composed by the petitioner herself.

In 1935, in the first edition of Vol. 2 of Codices Latini Antiquiores, Elias Avery Lowe, then a Reader in Palaeography at the University of Oxford, suggested that another addition made to MS. Selden Supra 30 could provide further evidence of its links to women.

Lowe recorded, for the first time in print, that the letters EADB and +E+ had been incised into the lower margin of p. 47. He noticed that the letters had been cut into the parchment with force, apparently using a knife, slicing through the upper surface of the membrane.

ARCHiOx recordings of the letters inscribed at the bottom of p. 47.
ARCHiOx recordings of the letters inscribed at the bottom of p. 47.

Lowe suggested that these letters were abbreviated forms of the female name Eadburh/Eadburg.

Discovering Eadburg

Studying MS. Selden Supra 30 in the Weston Library’s Rare Books and Manuscripts Reading Room in 2022, Jessica Hodgkinson, a PhD student at the University of Leicester, funded by the AHRC Midlands4Cities consortium, spotted another inscription in the lower margin of p. 18. This inscription had never been noticed before. It was very small and almost invisible to the naked eye but appeared to contain Eadburg’s name written in full.

State-of-the-art technology has now not only confirmed this new inscription, but revealed several other instances of Eadburg’s name, alongside many more early marginal additions, incised into the parchment of MS Selden Supra 30. These discoveries provide new and exciting insights into the use of this book by a woman called Eadburg in eighth-century England.

Recording the inscriptions
by John Barrett

Scratched markings on the surface of a page are usually photographed using a single light positioned at a low angle. This simple principle is termed raking light.  However, through recordings made for ARCHiOx, it has been demonstrated that scratched markings may be far more effectively recorded using a technique called photometric stereo.

A description of ARCHiOx and an explanation of the technology and processes in use can be read in this blogpost:  ARCHiOx: research and development in imaging – The Conveyor

 The photometric stereo workflow adopted for ARCHiOx uses 2D images to record and store 3D information. These images map the direction and height of the original’s surface, and are processed into renders showing only the relief of the original with the tone and colour removed.

Renders produced using a photometric stereo workflow are superior to raked light images in three ways:

A 3D render lacks the excessive contrast of a raked light image making markings easier to discern. Through the use of software, it is possible to re-light renders virtually, giving complete control over the intensity of the shadow and highlight over the recorded relief of the original.

The ability to filter for different textural frequencies makes it possible to separate the scratched markings from the texture of material on which the markings have been made.

Renders can be re-lit virtually from any direction or height making it possible to reveal markings made along any angle.

In addition, the depth of a marking can be measured by examining a cross-section through it. The profile may also provide clues regarding the mark-making tool, in this case a drypoint stylus.

A cross-section through the lower horizontal line of the letter ‘E’. The depth of the drypoint inscription through this line measures around 18 microns (0.018mm).
A cross-section through the lower horizontal line of the letter ‘E’. The depth of the drypoint inscription through this line measures around 18 microns (0.018mm).

A photometric stereo recording of the near-invisible inscription on p. 18 was captured in May 2022.

The Selene, a prototype imaging system designed and built by the Factum Foundation, project partner for ARCHiOx, was used for the recording.

Multiple images were captured from the inscription before being processed, filtered, and enhanced. The resulting high-resolution shaded render shows only the three-dimensional surface of the page.  Through this new image, the drypoint inscription has been recorded successfully for the first time.

 Top to bottom: An unedited render of the 3D surface of the bottom of page 18 with the inscription now visible.  An enhanced version made through tonal remapping.  A digitally annotated version.  The digital annotation with the render removed.

Top to bottom: An unedited render of the 3D surface of the bottom of page 18 with the inscription now visible.  An enhanced version made through tonal remapping.  A digitally annotated version.  The digital annotation with the render removed.

Subsequent analysis and processing, overseen by Jorge Cano, designer of the Selene, led to a new set of renders which enhance the markings further. These new images were created by compiling renders, re-lit virtually from multiple directions, and using a process called principal component analysis, or PCA.

The clearest recording of the drypoint inscription to-date. The inscription has been enhanced using techniques including virtual relighting, image stacking and principal component analysis.
The clearest recording of the drypoint inscription to date. The inscription has been enhanced using techniques including virtual relighting, image stacking and principal component analysis.

The lines which form this inscription are incredibly shallow. Even the most prominent are only 15-20 microns in depth, perhaps equivalent to less than a fifth of the width of a human hair. It is, therefore, unsurprising that the inscription is simply absent from a conventionally-lit colour image of this page.

Top: The drypoint inscription is absent from this capture recorded using conventional lighting.  Bottom: The digital annotation is applied at the exact position where it was recorded using photometric stereo technology.
Top: The drypoint inscription is absent from this capture recorded using conventional lighting.  Bottom: The digital annotation is applied at the exact position where it was recorded using photometric stereo technology.

Processing the data using computational methods has revealed an astonishing amount but analogue (i.e., human) intervention has still been required to digitally annotate the image to clarify the reading. Despite attempts to filter specifically for the inscription, shading from the texture of the parchment and its many tiny creases have proved almost impossible to remove. This makes it difficult in some areas, to rule-in or rule-out the presence of lines. An objective and cautious approach has been taken with the digital annotation. This has involved multiple imaging colleagues working independently to contribute to a set of annotations which could then be compared. Finally, the renders and digitally annotated images were shared with the researchers, allowing them to make their own observations and annotations with the benefit of context.

Subsequent recordings made for ARCHiOx have revealed that Eadburg’s name is spelled out in full five times on five different pages of MS. Selden Supra 30 (pp. 1, 2, 3, 12, and 18). On some of these pages, and elsewhere in the book, other abbreviated forms of this name, including E, EAD, or EADB, are also present.

Reading the inscriptions

The discovery of Eadburg’s full name etched several times into the manuscript’s margins definitively confirms Lowe’s theory that the letters previously identified on p. 47 are, indeed, abbreviations of the same name.

Eadburg’s name was copied out using letterforms common to all the newly identified inscriptions. The form of the A (an oblique line with an oval bow on the left) and the angular U and G are distinctive. This suggests that the same scribe may have made all of these additions. If so, it is at least possible that the scribe was Eadburg herself.

Readers and owners of early medieval manuscripts, both men and women, sometimes added their names to books, usually in ink, but occasionally, as here, in drypoint. Another early eighth-century example is the ink inscription that records, in Old English, that Abbess Cuthswitha owned a copy of Jerome’s commentary on the Old Testament Book of Ecclesiastes (now Würzburg, Universitätsbibliothek, M. p. th. q. 2, fol. 1r).

Eadburg’s name could also be a mark of ownership or evidence of reading. Although small in scale, and faint, someone, perhaps Eadburg herself, was evidently keen to preserve her name in the pages of this book to be seen by subsequent readers. What is unusual about Eadburg’s name, however, is that it appears here, in full or in abbreviated forms, 15 times.

Eadburg’s name is written on the opening page of the manuscript (p. 1). It overlaps part of the top of the enlarged decorated initial P which begins the text. Here, her name is preceded by a cross (+).

A series of ARCHiOx recordings of p. 1 of MS. Selden Supra 30:

Capture using conventional lighting (Bodleian MS. Selden Supra 30, p.1)
Capture using conventional lighting (Bodleian MS. Selden Supra 30, p.1)
Detail of the unedited 3D render of the inscription (MS. Selden Supra 30, p.1)
Detail of the unedited 3D render of the inscription (Bodleian MS. Selden Supra 30, p.1)
Digital annotation of the inscription (MS. Selden Supra 30, p.1)
Digital annotation of the inscription (Bodleian MS. Selden Supra 30, p.1)
Image showing the digital annotation applied at the exact position where it was recorded using photometric stereo technology (Bodleian MS. Selden Supra 30, p.1)
Image showing the digital annotation applied at the exact position where it was recorded using photometric stereo technology (Bodleian MS. Selden Supra 30, p.1)

The decision to etch the name over the top of the first letter of the text must have been deliberate. It establishes Eadburg’s presence in the book from the outset and connects her name intimately with the biblical text it contains.

On p. 2, her name is framed by a cartouche.

Detail of the recording of the lower margin of p. 2 showing the name Eadburg surrounded by a rectangular border.
Detail of the recording of the lower margin of p. 2 showing the name Eadburg surrounded by a rectangular border. (Bodleian MS. Selden Supra 30, p.2)

On p. 18, Eadburg’s name forms part of a multi-word inscription added to the lower margin. Here also, her name is preceded by a cross. Some of the following letters are easy to see, whilst others, especially those towards the end of the inscription, are difficult to make out, even with the benefit of the new visualisation techniques.

The most recent and clearest recording taken of the inscription, enhanced through virtual relighting, image stacking, and principal component analysis, appears to show, however, that, among the visible letters, there is a wynn (Ƿ), the Old English letter for W. This letter can be distinguished from the Rs in the inscription, including in the name Eadburg, by the form of the bow which is pointed and extends further down the vertical line of the letter than on R. The presence of a wynn shows that the inscription was written, not in Latin, but in the Old English vernacular language.

This inscription probably comprises three words. The name Eadburg is the subject of the statement, so we might reasonably expect the other letters to include a verb followed by the object.

A preliminary reading of the inscription is:

+ EaDBURG BIREð CǷ….N

+ Eadburg bears [cw….n]

Most of the letters in what appears to be the third and final word are unclear, with only CW– at the beginning and -N at the end remaining legible.

One Old English noun that could fill this position is cwærtern, meaning ‘prison’. Interestingly, the inscription is positioned beneath the beginning of the text of Acts 5:18 which describes the imprisonment of the Apostles by the high priest of the Temple and his followers because they had continued to preach the Gospel (…et injecerunt manus in Apostolos et posuerunt eos in custodia publica). If cwærtern is the third word in the inscription on p. 18, perhaps Eadburg sought to mirror the text, associating herself with the Apostles in their imprisonment.

Deciphering the drawings

Alongside Eadburg’s name, several intriguing drypoint drawings have also been discovered. Some are clearly human figures, though further investigation is needed to establish exactly who or what they depict. All the figures are very small. Several seem to have been made by incising a line around a thumb or finger to form the outline of the figure.

ARCHiOx recording of the lower margin of p. 9. Digital annotation applied in lower image showing two figures. The figure in the background has outstretched arms, and is reaching towards the figure at the front who appears to be holding up a hand to signal them to stop.
ARCHiOx recording of the lower margin of Bodleian MS. Selden Supra 30, p. 9. Digital annotation applied in lower image showing two figures. The figure in the background has outstretched arms, and is reaching towards the figure at the front who appears to be holding up a hand to signal them to stop.

The scene added to the lower margin of p. 11, which features at least three figures, may also include two E‘s. There appears to be an E, preceded by a cross, to the left of the first figure, and a second E, followed by a wynn (Ƿ) between the second and third figures. Could Eadburg have drawn this scene in drypoint and signed her work with her initial, as found elsewhere in the manuscript?

Recording of the dry-point addition in the lower margin of Bodleian MS. Selden Supra 30, p. 11.
Recording of the dry-point addition in the lower margin of Bodleian MS. Selden Supra 30, p. 11.

Identifying Eadburg?

Eadburg’s name or initials are etched into several pages, sometimes next to contemporaneous dry-point drawings. But who was she? More work on the newly discovered additions may bring us closer to answering this question.

We know of nine women called Eadburg living in England at some point between the seventh and tenth centuries (for details see the online Prosopography of Anglo-Saxon England). Other sources provide some tantalising clues that might help identify the Eadburg of MS. Selden Supra 30.

Charter evidence suggests that a woman called Eadburg was abbess of a female religious community at Minster-in-Thanet, in Kent from at least 733 until her death sometime between 748 and 761. As Lowe suggested in 1935, her dates and location correspond with the palaeographic assessment of the script of MS Selden Supra 30.

Abbess Eadburg of Minster-in-Thanet may also be the woman of the same name who corresponded with Boniface, the West Saxon missionary bishop and Church reformer. He became archbishop of Mainz in 732 and was martyred by pagans in Frisia in 754. Surviving letters show that Boniface held Eadburg in high esteem and that she sent books to him in Francia. He commissioned from her a deluxe copy of St Peter’s Epistles to be written in gold.

Boniface’s friend clearly had access to manuscripts and the means to make them. As such she is an especially strong candidate for the woman whose name was etched into the margins of MS. Selden Supra 30.

John Barrett is Bodleian Library’s Senior Photographer and ARCHiOx Technical Lead for the Bodleian.

Jessica Hodgkinson is a PhD candidate at the University of Leicester funded by the Midlands4Cities doctoral training partnership. Her research explores the participation of women in early medieval book culture in Western Europe through the analysis of surviving manuscripts commissioned, copied, owned and/or used by them.

 With special thanks to Jorge Cano, designer and engineer for Factum Arte and the Factum Foundation, for his work on enhancing the recording of p. 18, to Dr Philip A. Shaw, Teaching Fellow in the Department of English Studies at Durham University, for helping to decipher the Old English of this inscription, and to Professor Jo Story and Dr Erin T Dailey at the University of Leicester for their guidance and suggestions.

Logo of the Helen Hamlyn Trust Logo of the AHRC Logo of Midlands4Cities Doctoral Training Partnership

BOOKNESS speaks to Yiota Demetriou

In this week’s episode, BOOKNESS talks to multi-media artist Yiota Demetriou, about her work  To You, a book printed in thermochromic ink.

Listen to the episode here.

A woman sits behind a table with her right hand placed on an open book. The book has black pages, but close to her hand white patches can be seen, with small black text. In her other hand she holds a mug with a hot drink. In the foreground is an open brown box.
Artist Laura Kriefman experiencing ‘To You’ (Image by George Margelis, 2019)

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 …

‘To You’ (Rec. d.625) on show in the Sensational Books exhibition at the Weston Library.

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.

A white hand with a green sleeve pressed against a black piece of paper stuck to a grey wall.
A single leaf of ‘To You’ that visitors to the Sensational Books exhibition can interact with.

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 …

The interactive materials wall in the Sensational Books exhibition showing a leaf of thermochromic paper that has been activated by the heat of a hand, and shows signs of the many interactions that have happened already over the course of the exhibition.

Useful links and glossary checks in this episode:

  • Find out more about Yiota’s work here.
  • Listen again to episode 1 of BOOKNESS to recap on what artists’ books are and the collection here at the Bodleian.
  • Watch a video of To You in action.
  • Visit the Sensational Books exhibition at the Bodleian’s Weston Library in Oxford until 4th December 2022, and experience Yiota’s work for yourself!

BOOKNESS speaks to Ben Denzer

For our first artist interview in this series, BOOKNESS talks to book designer and artist Ben Denzer, about his work 20 Slices, a book created from Kraft American cheese.

Listen to the episode here.

’20 Slices’ by Ben Denzer (Photo courtesy of  Catalog Press)

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.

’20 Slices’ by Ben Denzer (Cons.Res. 41)

I think of it as a book. But I also have a very broad definition of a book

20 Slices is on display as part of the Sensational Books exhibition at the Weston Library in Oxford until 4th December 2022.

Photos courtesy of Ian Wallman.

Introducing BOOKNESS, a podcast about artists’ books

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.

Listen to episode 1 here.

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.

Curator Emma Smith in the Sensational Books exhibition. Photo credit: Ian Wallman

… 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…

The three ‘pages’ are difficult to handle… and witty! ‘Endless Sleep’ by Stephen Emmerson (Cons.Res. 44)
The uncut pages are gently provocative, does a library understand that? ‘A little book of birds’ by Gaylord Schanilec (Erm. e.129)
It’s a very heavy and profound subject, which is contrasted by the physical format of the book, which is printed on kitchen paper. ‘It is bitter to leave your home : a true story depicted in typographic images’ by Romano Hänni (Rec. d.629)

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.

Colin Franklin Prize

Download entry form (Word)

The Bodleian Centre for the Study of the Book offers a prize to an undergraduate or postgraduate student of the University of Oxford for a collection of books or other printed materials.

Age, size and monetary value of the collection will not be relevant criteria; the aim is to champion collecting that reflects a passionate interest in the material. See posts by previous entrants and winners of the Prize.

The prize will be of two parts: a payment of £600 to the winner, and an allowance of £300 for a book to be purchased for the Bodleian Library’s collections, selected by the winner in co-operation with the Bodleian’s Curator of Rare Books.

See further details here: https://www.bodleian.ox.ac.uk/csb/prizes

Students are welcome to join the Oxford Bibliographical Society which presents talks and library visits, in person and online and the Oxford University Society of Bibliophiles.

Beyond the Pale

 

Lucy Bayley, Academic Engagement with Special Collections

The simplest forms can carry the most profound and difficult messages. Beyond the Pale is a new display of prints in the Proscholium (entrance hall of the Old Bodleian Library, Oxford) responding to the ‘black square’.

Linda Parr, Black Album, monotype 1/1, Hawthorn dense black ink on Somerset smooth paper, 2022. (Prize winner)

Beyond the Pale consists of responses invited by the Bodleian Bibliographical Press in parallel to a historical display taking place in the Weston Library – Foreshadowed – curated by Andrew Spira, exploring precursors to Kasimir Malevich’s Black Square (1915), a painting created to bring art history to an end. In Foreshadowed, items drawn from Bodleian Special Collections range from Robert Fludd’s 17th-century representation of the universe as a black square, to the black pages used in mourning the death of a monarch, to use of black pages in 19th-century magazines as an absurdity, a negation of meaning.

As a contemporary equivalent, the prints in Beyond the Pale connect to a range of themes. There are expressions of mourning, of personal loss, of grief for the environment, or anger at political conflict and repression, or playful encouragements to recalibrate our vision of ‘black’. These simple shapes are far from static or lifeless. Several embody references to arts and performance-music, ceramics, drawing, reading, and printing itself. Others, with an inviting tactile surface, tempt the viewer to transgress the square.

 

Bridget Bowie, Unfaded, collograph, 2022.
Emily Lucas, Motion on Curved Paths, Monoprint, ink, collage and stitch on printed encyclopaedia paper, 2022. Emily Lucas Art.

Historically, the black square appeared in publications as an expression of mourning. In the prints displayed in Beyond the Pale, there is likewise a theme of melancholy prompted by the black square as a space for reflection. Bridget Bowie’s collograph Unfolded, printed onto the pages of an old book with personal significance, for example, shows the black square as a space to reflect on the loss of a close friend. “I am interested in how we process our emotional responses to loss, places, objects of significance, and the passage of time. I don’t attempt to replace things, but explore how we can find the positive in what remains.”

The pages of a book have also become the basis for the  monoprint Motion on Curved Paths by Emily Lucas. Printed on encyclopaedia paper with elements of stitching, at the top you can make out the line, ‘there is a terrible tendency to talk about it.’ For John McDowell, the use of a text as well as a connection to melancholy is made through the pooling of ink from  17th-century printed text of Robert Burton’s The Anatomy of Melancholy. In this case the black square has been transformed into a single solid black circle, laid sequentially in the book.

For others, the black square becomes a reflection on political conflict and censorship. Elizabeth Fraser has responded to the Russian invasion of Ukraine in February 2022.  Bomb-like ornaments are nestled in the gaps of a wall of black rectangles created from the backs of woodtype. Another sea of black forms is evoked in a linoblock print by Anouska Brooks. In Corrine Welch’s printed and embroidered scroll, the black square or rectangle stands for redaction in public documents. Welch has created a reverse redaction of Priti Patel’s UK and Rwanda Migration and Economic Development Partnership, in Kigali on 14 April 2022. Welch writes:

‘The speech is digitally printed onto fabric and made into a scroll to illustrate the performative nature of the announcement of this conspicuously ‘tough approach’ to immigration. The reverse redaction is created by hand-embroidered tally marks revealing the hidden reality of the message. The tallies represent the thousands of individuals whose lives will be impacted by this unworkable and unethical policy.’

Elizabeth Fraser, NO TO WAR, letterpress, black ink on 400gsm white Somerset Velvet paper, 2022. Frauhaus Press.
Anouska Brooks, Untitled, lino block print, 2022.
Corinne Welch, The Hand of Friendship, fabric scroll – digital print and hand embroidery, 2022. (Prize winner)
Corinne Welch, The Hand of Friendship, fabric scroll – digital print and hand embroidery, 2022. (Prize winner)

Many of the printmakers – William Alderson, Marina Debattista, John Christopher and Jemima Valentine and Harrison Taylor, included – have taken direct inspiration from Kasimir Malevich. Harrison Taylor’s block print recalls the cracking paint on the surface Malevich’s ‘Black Square’. Bringing ideas of wounding and healing, the page has been torn and stitched back up. There is a purposeful imperfection in the black revealing the texture of the print and giving it an elusive quality. For John Christopher and Jemima Valentine-Lake the reference to Malevich is a playful one, reimagining the artist not as a modernist but as someone who ‘secretly loved ornaments’.

John McDowall, Atramentum, digital print, perfect bound book, 144 pages, Popset oyster 120gsm. Cover, Colorplan pale grey 270gsm, 2022.

Isobel Lewis, Black, book with letterpress type, 2022. The Kelpie Press. The cut pages of this flag book intersect to look like a fan.

Each page is printed with a word evoking black: NIGHT, EBONY, INK
Isobel Lewis, Black, book with letterpress type, 2022. The Kelpie Press. Each page is printed with a word evoking black: NIGHT, EBONY, INK
Paul Hatcher, Evolutions, letterpress and relief printing on hand-made paper, 2022. Allamanda Press. Small hand-printed book showing a black circle evolving to a small black square.
Paul Hatcher, Evolutions, letterpress and relief printing on hand-made paper, 2022. Allamanda Press.

For some the black square is a playful encouragement for both maker and reader. Isobel Lewis’s flag book, picutred above, is made to be handled. Created in letterpress, it’s filled with different words for black. Read it through or fan it out into different forms. Turn the pages of Paul Hatcher’s booklet  Evolutions and see changes in the medlar block as he carved into, and printed with it. Patrick Goossens visualises the printing of the black square on a hand-press, portraying the press itself. Using etching, Claire Bayley imagines one black square seeping ink into a white square.

This sense of action is interpreted through references to performance by other artists.  In The Mile Long Lane As Measured By My Body, by Alice Hackney the artist’s body becomes an imprint into a black square. Each layer of black is created by the view every quarter of a mile on the walk very familiar to the artist. For Sarah Bodman, it was a performance event during the pandemic in 2020 that led to Inside Stories, one page from her experimental book project Read With Me.

Alice Hackney, The Mile-Long Lane As Measured By My Body, aquatint and red crayon on fabriano 2022. Recent graduate of Ruskin School of Art.

There are connections to ceramics (Graeme Hughes takes inspiration from a 3rd BC greenware bowl from the Ashmolean Collection), to film (Sophia Missaghian-Schirazi’s print is a proposal for a fictional movie poster called Sprig Thief), and to music. Linda Parr reimagines an alternative Black Album, referencing artist Richard Hamilton’s famous cover for the Beatles’ White Album. In a more whimsical way, Heidi Mozingo takes the black square to be the rests in music composition, as well as the rectangle form of the music stand, referring to Mozart’s statement that ‘the music is not in the notes but in the silence in between.’

Print with quotation from Mozart: 'The music is not in the notes, but in the silence in between.'
Heidi Mozingo, Untitled, letterpress, 2022. Carmel Cottage Press.