Book of the week — Janus Press, Greed


, , , , , , , , , , , , , , ,


Vermont: Janus Press, 2013
N7433.4 V37 G74 2013

Printed on eight leaves connected laterally and folded accordion style to form a continuous strip which is affixed to the cover. Four of the leaves are illustrated with Claire Van Vliet’s black and white lithographs of distorted faces: a propagandist, a lobbyist, a banker and Joe Public. The four folded leaves feature text in various types and color. Handset and letterpress printed by Eystein Hanche-Olsen at SKHS in Oslo on Zerkall Butten paper. Bound and slipcased in Gold Elephant Hide paper. Edition of one hundred and fifty copies, according to the colophon. An accompanying note indicated an edition of one hundred and twenty copies. University of Utah copy is inscribed “for the Marriott Library, Claire Van Vliet.”

Rare Books goes to Argentina!


, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

“Rare Books helped me develop a different perspective on literary analysis.” – Lyuba Basin (Class of 2015 and graduate student in Comparative Literature/Cultural Studies, The University of Utah)

Lyuba Basin, former Rare Books Curator, writes from Argentina, where she is spending eight months on a Fulbright Scholarship.

“Today marks 12 weeks in Argentina. When I look back at it now, it seems like nothing. Yet, I can clearly remember the daily struggle of trying to adapt to this new culture, to adjust my ears and tongue to this new language, and to push aside the loneliness that often attached itself to my mind when I felt so far away from home. Despite the struggles and the cultural differences, I have relished my position as a teaching assistant at the Universidad Nacional de La Pampa. Unlike the large campus back home, UNLPam is a small and simple building located in the very center of the small and simple city. Standing only five stories tall, it blends in with the other shops and apartments located around the plaza; but what makes it distinct is the colorful murals that decorate the entrance and the classrooms inside. On top of that, the students and teachers, with their weekly strikes, create a sense of theatrics, a performance we call La Lucha, the fight.


I have come to realize that this fight, while manifesting in a variety of ways, is universal. The fight to grow up, to succeed, to get ahead, to make ends meet. I see the same look of desperation in the eyes of my students that I had just one year ago. It is the same look of fear as they sit and wonder “What I am going to do with my life?” I look back in silence, because I’m afraid to tell them that after graduation, you probably still won’t know. I look back with the same question in my mind. However, of all the things I don’t know, I do know this: there will always be a constant in my life, regardless of where I travel or how far.

My love of literature.

As an English language teaching assistant at UNLPam I have transformed into a self-proclaimed literary expert. Of course, expertise is relative when you are one of two native English speakers in a university of thousands. Nonetheless, I am proud of the insight I have been able to provide and glad to see my bookworm tendencies finally come to fruition. I have been lucky enough to teach my students short stories by some great classics, such as Faulkner, Hemingway and Wolfe.

But what makes the experience all the more fulfilling is being able to introduce new, contemporary literature into the classroom, with works by Lydia Davis and Jonathan Safran Foer, demonstrating to the students the diverse ways we can use and play with language.

As my lesson plans evolved I realized that the students did not have the same exposure to literature as I was fortunate to have back home. With only three small bookstores, two libraries, and no access to online orders, contact with literature outside of Latin America is quite difficult.


In order to expand my students’ horizons I had to think creatively. Luckily, I still had an amazing team back home to help me out. The Rare Books Department at the J. Willard Marriott Library, University of Utah, was where I learned how to truly appreciate literature, and now I hope to share that with my students, and hopefully with the University of La Pampa as a whole.

In my most recent lecture, I decided to focus on my time as a Rare Books employee and remembered the presentations Luise Poulton gives on the ‘Materiality of the Book’. So I reached out and desperately asked Luise for help. I wanted to introduce the topic of Artists’ Books and explain why materiality could be as important to consider in the process of creative writing as characterization or setting. Using my own book arts project as an example and Luise’s notes from the Rare Books Classroom whiteboard, I was able to illustrate the magical thing that occurs when text becomes material. I was ecstatic to find the students wide-eyed with amazement, none of them having seen or even heard of such things before. Students excitedly came to me after class to discuss ideas, and even the professor encouraged them to develop their own creative interpretations for the short story assignment ahead.


Working in Rare Books taught me that there is not just one way to tell a story; that creativity does not have to be stifled by what we learn in tedious textbooks. I was able to share what I have learned and bring it all the way to Argentina, changing the perspectives of fifteen students and one professor. While it seems like a small number now, I know that the experience I have passed down will continue to flow, from student to student, year to year, until the Universidad Nacional de La Pampa has a Rare Books department of its own.”

Book of the week — Janus Press, Night Street


, , , , , , , , , , , , ,


“Nothing doing.”

Barbara Luck
West Burke, VT: Janus Press, 1993
N7433.4 L83 N5 1993

Ten poems concerning the dilemma of a young woman in the city faced with retaining her humanity without being victimized. On colored sheets of paper collaged on black silkscreened pages opposite highly colored offset lithographs by Lois Johnson. The binding is a non-adhesive concertina. Both the cover and the pages are shaped to resemble cityscapes and made of gold elephant hide paper. Slipcase is non-adhesive of blue moire plastic. Entire structure designed and executed by Claire Van Vliet. Edition of ninety copies signed by author and artist.

Book of the week — Reports du Tres Erudite Edmund Saunders


, , , , , , , , , , , , , , ,

“…my small stock of professional knowledge…”

Edmund Saunders (d. 1683)
London: W. Rawlins, S. Roycroft, and M. Flesher, 1686
First edition

Edmund Saunders grew up in poverty. He taught himself to read and write and eventually became Lord Chief Justice during the reign of Charles II. Thomas Roscoe in Westminster Hall, (1825) wrote that Saunders, “…by books that were lent to him, became an exquisite entering clerk; and, by the same course of improvements of himself, an able counsel…” His classic Reports was read by John Quincy Adams (1767-1848).

In a letter to his father, John Adams (1735-1826), written from Newburyport, Massachusetts in 1789, the younger Adams lists this book, along with Blackstone, as one of those that “contributed to my small stock of professional knowledge” while he apprenticed as an attorney. University of Utah copy has minimal marginalia in contemporary hand throughout. University of Utah copy gift of Tony and Catherine Weller, Weller Book Works.

We recommend — Book Arts Program workshop, “Letterpress Printing: Text + Image”


, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Letterpress Printing: Text + Image
Crane Giamo, Instructor

June 14—August 2
Tuesdays, 5:00—8:00
Book Arts Studio, J. Willard Marriott Library, Level 4
$340, register here.

Get a handle on what it takes to crank out an edition of gorgeous letterpress prints. This active, eight-week class introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Guided by Crane Giamo, participants design and produce several individual projects using a variety of relief techniques and tools including metal and wood type, zinc cuts, linoleum blocks, pressure prints, photopolymer plates, and collagraphs.
– – – – –
Crane Giamo is the studio manager and faculty instructor in the Book Arts Program at the University of Utah, and the lead printer for Red Butte Press. He is the co-founder of Delete Press, a poetry publishing outfit for which he works as letterpress printer, bookbinder, and papermaker. Crane’s own artists’ books can be located under the imprint Pocalypstic Editions. He holds an MFA in Book Arts from the University of Alabama, an MFA in Creative Writing from Colorado State University, and an MA in Poetics from the University at Buffalo.


Psalm 13-20
Crane Giamo
Tuscaloosa, AL: Pocalypstic Editions, 2014
N7433.4 G474 P73 2014

Text printed from photopolymer plates on a Vandercook #4 letterpress. Red paint slashing across the book is hand-painted using iron oxide pigment mixed with acrylic medium. Handbound in Japanese stab-stitch structure. Edition of twenty-five. University of Utah copy is no. 8.

Journal of the week — Slovo


, , , , , , , , , , , , , , , , , , , , , , , ,


Paris: publisher not identified, 1967
NX456.5 L4 S5

This is the only issue of the Lettrist literary serial published under the direction of Antoine Perich. “Slovo” means “letter” in Serbian.

Perich, born in Dubrovnik, lived in Paris from 1965 to 1970. He became close to the Lettrist artists and poets there, as well as a group of underground filmmakers. He presented programs of avant-garde films at the American Film Center every week. In 1970 he moved to New York, where he became friends with Andy Warhol and was a contributing photographer to Interview. In 1977, he designed and built an electric painting machine, a prototype for the inkjet printer, making Perich a pioneer of digital art.

Lettrism was a multi-disciplinary creative movement formed in Paris in 1946 by Romanian ex-patriot, Isidore Isou. The idea was to incorporate all fields of knowledge, social and natural sciences, into artistic endeavors. Contributions in this journal came from Joel Fremiot, Jean-Pierre Gillard, Francois Poyet, and Michel Jaffrennou.

One sheet, printed recto and verso, folded into eight sections. Illustrated with stylized human figures suggesting letter-forms as well as concrete poetry.

Memorial Day 2016


, , , , , , , , , , , , , , , , , ,

“Stones stand at stiff attention as sun nears”


Here stationed without trumpet, without tears
Are the unwilling dead. Days walk the rounds
Of sentry duty past the ordered mounds.
Stones stand at stiff attention as sun nears,
Inspects them and departs. On earthen ears
The volley from the silent rifle sounds
And the slow winds police the sterile grounds
Where seconds march of equal rank with years.
Look long and with your heart until you see
In place of stone the man he planned to be,
Uproot the useless grass and find in place
The sons he might have fathered, or erase
The bare, official words and read instead:
He laughed at dying, so he is not dead.

– Luise Putcamp jr., Sonnets for the Survivors, Kaleidograph Press, 1952
“Military Cemetery” published here with permission of the author


“In that vicinity, — upon ground traversed in part by every visitor to the Cemetery, and lying immediately below and around it, — occurred the first serious conflict between the British and American troops, on the memorable 26th of August, 1776.”

Green-wood Illustrated
Nehemiah Cleaveland (1796-1877)
New York: R. Martin, 1847
First edition
F129 B7 G756 1847

Illustrated with engravings from drawings taken on the spot by James Smillie.


“These men came here from the east and from the west, stood side by side, and fought and fell in one common cause and for one common country…and their dust is now in common…”

Revised Report of the Select Committee Relative to the Soldiers’ National Cemetery
Pennyslvania. General Assembly. House of Representatives.
Harrisburg: Singerly & Myers, state printers, 1865
E475 .55 P41

Journal of the week — Vojvodjanski zbornik


, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

PG1400.15-V64-knj.1-buildingimage PG1400.15-V64-knij.1-wagon

Vojvodjanski zbornik: almanah. vols. 1 (1938) and 2 (1939)
Novi Sad: S.n., 1938-1939
PG1400 I5 V64

This journal of art and culture was produced in Vojvojdina, an autonomous province of Serbia, on the eve of the second World War. The journal, published in these two issues only, assembled the work of modernist artists and writers of the region, including many contributors whose work is otherwise unpublished or unrecorded. Many of the artists and writers did not survive the war.

The journals include prose, poetry and, in the first volume, illustrations – including original graphic works (woodcuts and linocuts) by Bogdan Teodorovic, Stefan Bodnarov, Milan Konjovic (1898-1993), Milenko Servan, Bogdan Suput (1914-1942), Ivan Tabakovic (1898-1977), Nava Sudarska, Petar Dobrovic (1890-1942) and others.

The journal was edited by Bogdan Ciplic and writer and critic Sima Cucic (1905-1988). Today in Serbia, annual awards for achievements in the field of children’s literature are given in the name of Sima Cucic.

Milan Konjovic (1898-1993) became a prominent Serbian painter. He went to school in Prague, lived in Paris between 1924 and 1932 and traveled throughout Europe before returning to Vojvodjansk. He survived a German prisoner-of-war camp.

Bogdan Suput, considered one of the great Serbian painters of the first half of the twentieth century, was born in 1914. He also spent time in Paris. In 1939 he returned to Belgrade where he became a member of the art group, “Ten.” That April, the Germans invaded Yugoslavia. Suput survived German captivity, but was shot by Hungarian fascists in Novi Sad in 1942. An art school in Novi Sad, begun sixty years ago, is named after him.

Ivan Tabakovic was born in Arad, Hungary (now Romania). He studied art in Budapest and Zagreb. He traveled briefly in Munich. In 1930 he moved to Novi Sad and began teaching in Belgrade in 1938.

Petar Dobrovic, a proponent, along with Milan Konjovic, of Serbian colorism, was known for his portraits and landscapes. He experimented with impressionism and cubism. He was President of the short-lived, small Serbo-Hungarian Baranya-Baja Republic in 1921. He died in Belgrade during the German occupation.

Looking Forward to Book Arts Program Workshop, “Up-cycled Stories: Books as Process”


, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Rare Books is proud to support the Book Arts Program with its collections. For more information about the Book Arts Program and future workshops, visit their website or like them on Facebook.

Up-cycled Stories: Books as Process
Julianna Christie, Marnie Powers-Torrey & Emily Tipps

May 28 
Saturday, 10:00–6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Free spots are limited; please apply here. The application deadline is April 14.
Additional spots: $110, register here.
Registration is closed!

Bring a personally challenging story to retell in a new light or a daily routine to reconsider and reframe. With a focus on finding joy and beauty in the everyday, participants stamp out insecurities, recontextualize shortcomings, and re-imagine the self in book form. In this workshop, employ ink, brushes, stamps, mark-making tools, text, and re-collected common objects to produce process pages. Through a reimagining of the past, reinvent present perspective with an open heart, mind, and eyes toward gratitude and compassion. Instructors demonstrate a binding to be completed post-workshop from produced sheets. Come with a willingness to play with color, shape, narrative, and texture.
– – – – –

Julianna Christie graduated from Wellesley College and holds a BA in English Literature and Studio Art, with an emphasis in bookmaking. Upon graduating, she worked at the Center for Book Arts and Granary Books in New York City. She has been making books for over 20 years, with books held in Special Collections libraries at Wellesley College and Harvard. She incorporates collage, photography, sewing and love into her books. Julianna is also a life coach, specializing in personal growth and transformation. In her coaching, she invites clients to explore the art of storytelling, using words and imagery to examine and ultimately re-conceive a happy life.

Marnie Powers-Torrey holds an MFA in photography from the University of Utah and a BA in English and Philosophy from Boston College’s Honors Program. She is the Managing Director of the Book Arts Program and Red Butte Press, an Associate Librarian (Lecturer), and academic advisor for minor and certificate students in Book Arts. Marnie teaches letterpress printing, artists’ books, and other courses for the Book Arts Program and elsewhere. She is master printer for the Red Butte Press, harnessing the mighty printing power of a full staff of excellent printers. A founding member of the College Book Arts Association, she served as Awards Chair for three years and currently serves on the board of directors. Her work is exhibited and held in collections nationally.


Marnie Powers-Torrey
Salt Lake City, UT: M. Powers-Torrey, 2000
N7433.4 P69 E8 2000

Edition of ten copies. University of Utah copy is no. 4, signed by the author.

Emily Tipps is the Binding Instructor, Program Manager, and an Assistant Librarian (Lecturer) at the Book Arts Program at the University of Utah, as well as the proprietor of High5 Press, which publishes innovative writing in the form of handmade artists’ books. She holds a BA in English from Wesleyan University, an MA in Creative Writing from the University of Colorado, and an MFA in Book Arts from the University of Alabama. Emily’s work is exhibited and held in collections nationally.


Emily Tipps
Tuscaloosa, AL: High5 Press, 2007
N7433.4 T574 O73 2007

Letterpress printed from photopolymer plates on a Vandercook SP-15. Paper is Arches Text Wove and Stonehenge. Text type is Big Caslon. Pochoir illustrations. Endsheets are gray Bugra paper. Handsewn binding in black Stone Henge paper covers. Front cover blind-embossed. Edition of sixty copies. University of Utah copy is no. 42.



We recommend — Weller Book Works Presents FEATHERS, PAWS, FINS and CLAWS


, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

“It was all as grand as grand could be.”


Feathers, Paws, Fins and Claws
Presentation and Reception
Christine A. Jones and Jennifer Schacker
Weller Book Works
Trolley Square
Thursday, May 26, 6:30PM

This event is free and open to the public

A wide variety of creatures walk, fly, leap, slither, and swim through fairy tale history. Marvelous animals are deeply inscribed in current popular culture — the beast redeemed by beauty, the frog prince released from enchantment by a young princess, wolves in pursuit of little girls and little pigs. Feathers, Paws, Fins, and Claws: Fairy-Tale Beasts presents lesser-known tales featuring animals, wild and gentle, who appear in imaginative landscapes and exhibit a host of surprising talents. The offbeat, haunting stories in this collection, illustrated by Lina Kusaite, are rich and relevant, and provoke the imaginations of readers of all ages.

Editors Christine Jones, University of Utah Associate Professor, and Jennifer Schacker, University of Guelph Associate Professor, chose ten stories that represent several centuries and cultural perspectives on fairy tale animals — rats as seductive as Little Red Riding Hood’s wolf, snakes who find human mates, dancing sheep and well-mannered bears. These beasts move between animal behavior and acts that seem more human than beastly. Each tale is presented as closely as possible to their original print versions, reflecting the use of historical spelling and punctuation.

Join Weller Book Works for a presentation by Jones and Schacker, and an interview by University of Utah Associate Professor Anne Jamison.

Read the tales, feast on treats from Fillings & Emulsions and Passion Flour, and have your very own copy of Feathers, Paws, Fins and Claws signed by the editors.


Rare Books celebrates this publication with its own collection of fairy tales, including:


Le XIII piaceuoli notti del S. Gio. Francesco Straparola di Carauaggion diuise in due libri…
Giovanni Francesco Straparola (ca. 1480- ca. 1557)
In Venetia: 1580
PQ4634 S7 P5 1580

The Pleasant Nights, a collection of seventy-five stories, was first published in 1550 with twenty-five stories. Giovanni Straparola added stories to the next two editions, including what are considered to be the first “fairy tales” printed in a European vernacular. The collection of stories was reprinted in at least twenty-three editions between 1550 and 1620 and translated into German, Spanish, and French within only a few years after the first printing. The book was placed on the Index of Prohibited Books in 1624, for its descriptions and seeming justification of magic.

Several of these tales, such as “Beauty and the Beast” and “Puss-in-Boots,” were retold and made famous by Charles Perrault and the Grimm Brothers.


East of the Sun and West of the Moon: Old Tales from the North
Peter Christen Asbjørnsen (1812-1885)
London: Hodder & Stoughton, 1924
PT8802 N813 1924

First published in 1914 as a luxury gift book, East of the Sun and West of the Moon is a collection of fifteen fairy tales gathered by Norwegian folklorists Peter Christen Asbjørnsen and Jørgen Engebretsen Moe in the mid-nineteenth century. The two spent years traveling across Norway transcribing local lore made up of trolls, ogres, and witches from the ancient pagan mythology of Scandinavia.

London publisher Holder and Stoughton chose Danish artist Kay Nielsen (1886-1957) to illustrate their publication of the tales. The book has since become one of the most well-known and well-beloved of children’s books.