Spiralbet(1998) Amy Lapidow Tunnel book. Cloth bound and lined archival box. Closed:H165 x W185 x D5 mm. Open: D220 Acquired from the artist, 9 September 2022. Photo: James Prinz
This work was first spotted in the online catalogue for Abecedarium: An Exhibition of Alphabet Books (1998) from the Guild of Bookworkers. Being a small thumbnail on the second screen or page and accessed only by clicking on the artist’s name, its discovery was serendipitous. Its still being available was pure luck.
Photo: Books On Books Collection.
Photo: Amy Lapidow.
The structure and binding are the work of Amy Lapidow, who has taught bookbinding at the North Bennett Street School in Boston, MA. The airbrush coloring was executed by student Nancy Ames.
Photo: Books On Books Collection.
Other tunnel books with which compare and enjoy Lapidow’s are Borje Svensson & James Diaz’s Letters and Animals (1982), Karen Hanmer’s The Spectrum A-Z (2003) and Helen Malone & Jack Oudyn’s The Future of an Illusion (2017).
Along with Lapidow’s and Hanmer’s explorations of color and the alphabet, Jean Holabird’s Vladimir Nabokov: AlphaBet in Color (2005), Carol DuBosch’s Rainbow Alphabet Snowflake (2013) and Rebecca Bingham’s Defining the Rainbow (2018) offer a range of variations to compare and contrast. Andrew Morrison’s Chroma Numerica (2019) offers a similar exploration of colors but with numbers.
Alphabeasties and Other Amazing Types (2009) Sharon Werner & Sharon Forss Hardcover. H300 xW mm, 56 pages. Acquired from Golden Waves of Books, 7 August 2021. Photos: Books On Books Collection.
Unlike Roberto de Vicq de Cumptich’s Bembo’s Zoo (2000), this book relies on numerous type faces with which to create its alphabeasties, posed above the book’s illustratively shaped chiron that also provides the running information about “other amazing types”. Information is also conveyed from under flaps, through cutouts, across foldouts and by background images constructed of words.
Dancing Alphabet (1991) Toshifumi Kawahara Hardback, casebound sewn. H307 x W236 mm, 96 pages. Acquired from Paper Cavalier, 27 July 2021. Photos: Books On Books Collection.
The tradition of the dancing alphabet goes back to the Greeks. In one of his plays, Kallias the 5th century Greek playwright had his characters each dance a letter of the Ionian alphabet. This may also be an early instance of product placement. At the time, there were a variety of Greek alphabets, and it was the Ionian that won out. The tradition (without the product placement) continued and, in this collection, is represented by Vítězslav Nezval’s Abeceda (1926), Marie Lancelin’s Gestes Alphabétiques (2014) as well as Toshifumi Kawahara’s Dancing Alphabet. Kawahara’s CG animation work contributed significantly to Polygon Pictures, which created the Emmy Award-winning animated series Transformers Prime and Star Wars: The Clone Wars. But this book’s presentation of Kawahara and team’s work on the “In Search of New Axis” series adds a colorful flavor to the dancing alphabet tradition.
Dancing Alphabet is not an artist’s book, but the notes and moves it adds to the collection may serve as a spark to the next artist looking to the alphabet and book art for inspiration — or the next scholar intrigued by the connections between the alphabet, music and dance.
“Karl Kempton“. 29 October 2022. Books On Books Collection.
Firmage, Richard A. 2001. The alphabet. London: Bloomsbury.
Gagné, Renaud. 2013. “Dancing Letters: The Alphabetic Tragedy of Kallias”. In Choral Mediations in Greek Tragedy, ed. R. Gagné and M. Hopman, Cambridge University Press 282-307.
Lawler, Lillian. April 1941. “The Dance of the Alphabet”. The Classical Outlook, 18: 7, pp. 69-71.
The Bird Book (2013) Brian D. Cohen & Holiday Eames Case bound hardback, paper over boards with doublures. H260 x W210 mm. 56 unnumbered pages. Acquired from The Saint Bookstore, 17 September 2022. Photos: Books On Books Collection. Displayed with the artist’s permission.
Brian Cohen’s inclusion of the following statement makes examining The Bird Book again and again a rewarding effort:
The printmaking technique … used for this book was originally developed by William Blake in 1788. The printing plates for the book were created with acids and engraving on metal (zinc) plates as in traditional etching techniques. The plates were then printed by carefully rolling a thin layer of ink over the surface of the plate, exactly the way a woodblock (relief print) is made. Because the technique combines both etching to create the plates and relief printing, it is termed relief etching. After printing, each individual sheet was hand-colored by brush with watercolor by the artist.
The artist has also encouraged close viewing of each relief etching by hiding its letter in the background, middle ground or foreground — or even the body of the bird.
ABC of Birds (2020) Carol Schwartzott Cabinet of curiosity housing a miniature book in paste paper slipcase; double-sided leporello of transparent vellum pockets holding collaged cards. Book measures 2 x 3 x 1.5 inches. 28 pocket pages (collages, title page and colophon). Book in edition of 25, of which this is #13. “Cabinet of Curiosity” is one of five. Acquired from Vamp & Tramp, 4 January 2022. Photos: Books On Books Collection. Displayed with artist’s permission.
The cabinet of curosity recalls Joseph Cornell’s box constructions, and while the cards’ collages may extend that influence, they differ from it sufficiently in intensity of color (having been scanned for printing and “touched up” with pencils or over colored), incorporation of an abecedary and use of an unusual variant on the leporello to distinguish the work as Schwartzott’s. She writes:
The collages themselves were done as original art, each 4 x 6″ centered on a larger sheet of Rives BFK. There are 26 of these. All are reduced to miniature format, and a graphic letter in an interesting font completes the image. Each of these little cards can be removed from the book.
The trimmed edges of the cards give them the appearance of oversized postage stamps, appropriate for the album-style binding and their removability for philatelic-like examination.
Alphabet Bird Collection (2009) Shelli Ogilvy Dustjacket, casebound paper over board, sewn, single-color doublures. H215 x W215 mm. 56 unnumbered pages. Acquired from Hay-on-Wye Booksellers, 16 December 2022. Photos: Books on Books Collection. Displayed with permission of the artist.
In Alphabet Bird Collection, each double-page spread features the letter of the alphabet, a bird representing it, a couplet followed by prose to describe the bird’s distinctive behavior and habitat, and, beneath, a musical staff with an attempt to represent a sample of each bird’s song or call. Unifying each double-page spread is its own full-bleed background color. The primary distinguishing feature of this abecedary, however, is Shelli Ogilvy’s artwork — original paintings of each bird. Ogilvy works primarily with acrylic on canvas or paper, sometimes combining mediums of chalk, ink, and spray paint into her work.
Instead of concluding with XYZ as with other abecedaries, this entry concludes with a favorite bird.
For another instance of magpie obsession, see Nick Wonham’s The Charm of Magpies (2018).
L’Alphabet Zinzin (2011) Zazie Sazonoff Casebound, paper over board. H370 x W280 mm. 52 unnumbered pages. Acquired from Amazon, 31 January 2022. Photos: Books On Books Collection. Displayed with permission of Nathalie Sazonoff.
Zazie Sazonoff describes herself as a metteur en scène d’objets. Like mise en scène, it is an expression that is difficult to translate. It is easier to point at her works and say, “There, that’s what a metteur en scène d’objets does”. With its arrangement of toys from the 1960s, ’70s and ’80s on the verso page, L’Alphabet Zinzin presents uppercase, lowercase and lowercase cursive letters on the recto pages and a variety of words beginning with the relevant letter. Zinzin means crazy or zany. As part of France’s National Education’s literature reference list for cycle 1, L’Alphabet Zinzin‘s zaniness must engage the imaginations of its young audience.
“Zany” was a frequent fallback for the letter Z in English abecedaries of the 18th and 19th centuries, but this is a whole zany alphabet that should engage the imaginations of an older audience, too. There seems to be something more going on: Flick the pages back and forth quickly and you might think you are catching the objects moving into place. Are there activities or untold stories behind the scenes?
On Sazonoff’s website, you can find under Projets two works that suggest influences from Man Ray, Luis Buñuel and film noir: Rêve: livre animé and Têtes à queue: roman graphique, but the titles and recurrence of paper pop-ups show the continued grounding of her art in the book form. Petites Curiosités, under the section Art, suggest the influence of Joseph Cornell, perhaps the founding genius of the mise-en-scène in assemblage of found objects. With these works as context, L’Alphabet Zinzin teeters on the cusp of becoming an artist’s book. It certainly compares favorably with Peter Blake’s ABC (2009) and Leslie Haines’ Animal Abecedary(2018).
26 Voices / January Interlude (2020) Karl Kempton Sewn booklet. H190 x W177 mm. 28 pages. Edition of 60 unnumbered. Acquired from Derek Beaulieu, 4 January 2021. Photos of the work: Books On Books Collection. Displayed with permission of the artist.
Derek Beaulieu deserves a vote of thanks for bringing this work back into print, even if for a limited edition. 26 Voices / January Interlude first appeared under the title Rune 2: 26 voices/ january interlude as number 10 in Robert Caldwell’s Typewriter series, published by Bird in the Bush Press (1980). In the Acknowledgements, Kempton writes that the series “was composed in January, 1978 in 28 days. After the letter K the flow stopped until a dream of L’s form arrived unblocking the flow”.
The series of patterns, each made from an upper case letter of the alphabet typed over and over, range in appearance — some like Amish quilts, some like Byzantine rugs, some like Celtic knots, but like snowflakes, no two alike. Given how some pairs of letters are mirror images of each other (bd, pq) or inverse (bp, dq), you would expect some close affinity in their two patterns, but no. No pairs of those patterns look at all alike. You would also be mistaken to expect a pattern to reflect the letter that constitutes it. Instead, you find one pattern resembling the letter X, but it is made of letter U’s. There are naturally some similarities between patterns at the broadest level — E and N, L and M or R and S — but these have little to do with the letters themselves, and the similarity recedes as details come to the fore or falls into the background with illusory three dimensionality. The shapes are not rune like, but individually and sequentially, they have the associative dream-like qualities of runes.
A close up
Double-page spread B&C
B close up
C close up
Center double-page spread N&O
Double-page spread X&Y
X close up
Y close up
Z close up
Actual runes appear in the following work, similarly in black and white and with similarly illusory three dimensionality. Not technically in the Books On Books Collection, playground (2013-14) can be found online. Surprisingly, it has not been in print.
playground (2013-14)
playground (2013-14) karl kempton Online, 78 pages (screens). Accessed 7 August 2022. Screenshots reproduced with permission.
What an opportunity for collaborators to join with Kempton to produce playground in different editions varying in color (black and white, red and white, green and white, blue and white, etc.), in paper (handmade, watercolor, washi, high gloss, matte, etc.) and in binding (accordion, stab binding, case bound, scroll, etc.). Perhaps such an extravaganza is not in keeping with Kempton’s style and approach over the years, but this playground is such an invitation to play.
Games and sports are depicted together with letters and punctuation marks on platforms made of the musical staff or stave, all of which offer Kempton multiple means of metaphor. FIrst, inked martial arts figures break a K of karate boards. Then, a baseball player bats the dot of a lowercase i into the air. A basketball player jumps and aims at a basket formed of a half note. A golfer chips toward a half-note hole flagged with a pennant bearing the treble clef G. A boxer punches the bowl of a large P.
The images become more worked as the book proceeds. A weightlifter atop a lowercase e lifts a set of weights composed of the umlaut above the e, and the shadow of the image is cast across the stave lines behind the letter. Shadows of gymnasts appear behind an uppercase G, lowercase o and lowercase i.
Animation sequences occur, such as the platform diver leaping from the body of a lowercase i and creating an exclamation-point splash in a pool formed by a circle that widens across the stave as the diver submerges.
Around the same time of playground‘s inception, this combination of letters and musical notation found expression among other artists: for example, Jim Avignon & Anja Lutz in Neoangin: Das musikalische ABC (2014) and Bernard Heidsieck in Abécédaire n° 6 clef de sol : été 2007 (2015). Metaphorically linking textual expression, if not individual letters of the alphabet, with musical scores goes back at least as far as Stéphane Mallarmé’s Un Coup de Dés Jamais N’Abolira le Hasard (1897) and carries forward into explicit linkage by Michalis Pichler (2009) and Rainier Lericolais (2009) in their works of homage to Un Coup de Dés.
To return to Kempton’s playground, an interlude occurs to associate the alphabet with magnetism, then breaks off to return to the games motif, this time in the form of winter sports. The musical notation motif is still there, but Kempton modifies it with a piano keyboard at both ends of the stave and with manicules fingering the keyboards at both ends while articulating a variation on sign language. Musically and metaphorically, matters become more complex with the introduction of two pairs of staves, pyramids of squares and circles and one manicule using the lowercase i to bring back the magnetism interlude.
From here on, additional motifs are developed, and words and phrases appear: a physics experiment punningly labeled “period piece”, a night game lit by inverted question and exclamation marks, and juxtaposed opposites (“covered/uncovered” and “sunrise/sunset”).
All these motifs, textual and visual puns, and images seem concerned with the development of symbols for interpreting the world and communicating that interpretation. With the appearance on black background of an exclamation mark with an open book inside its point, then a pair of rectangles each suspended by the sentence “volumes lines speak / lines speak volumes”, an animated sequence begins an extended narrative drawing everything together.
After the descending hand squeezes out the yin yang symbol onto the stave from the image of an open book, Kempton joins this theme of interconnected opposite forces with the development of language, which is where the runes come in, held in an unclosed fist. Eventually the book concludes with an open pair of hands, centered on reversed-out stave/keyboards and holding a point of light radiant against the blackness.
The Charm of Magpies (2018) Nick Wonham Casebound, cloth spine and paper over boards with specially printed flyleaves from Roger Grech at his Papercut Bindery. H370 x W260 mm. 27 pages unnumbered. Edition of 160 copies, of which this is #98. Acquired from Incline Press, 1 August 2022. Photos: Books On Books Collection.
A long admiration for magpies has always threatened to crowd the Books On Books Collection beyond this beautiful work from Nick Wonham and Incline Press and the relief sculpture in paper by Calvin Nichols below. But one pair of works will have to be enough for joy.
Iridescence(2016) Calvin Nicholls Acquired from the artist, 1 September 2016. Photo: Courtesy of the artist.
On the Incline Press website, Graham Moss and his team write:
Collective nouns … A parliament of magpies has to be a favourite, especially if you’ve heard a group of them cackling together in the Springtime. But we prefer the alternative, a charm of magpies, which certainly suits this poem better. It is one version of a folk rhyme which has many local variants, all superstitiously foretelling the future through random occurrence.…
Magpies are often known a thugs in the garden, stealing eggs and chasing off their more delicate rivals. As printers, though, we have a fondness for them because of their “ink on paper” plumage and their latin name pica pica, which recalls the printshop unit of measure.
Left to right: Joseph Crawhall (1884), William Nicholson (1898), C.B. Falls (1930) and Christopher Wormell (1995).
As Moss and team point out on their site, the Oxford Dictionary of Nursery Rhymes does not include the magpies among the counting rhymes, which is odd with so many versions to be had. Birdspot, formerly British Bird Lovers, favors Nick Wonham’s chosen version. For magpies interested in shiny trivia, the site also provides a link to a BBC television program whose theme song was based on the magpie rhyme. It was “composed and played by the Spencer Davis Group under the alias The Murgatroyd Band, just after Steve Winwood had left to join the supergroup Blind Faith with Eric Clapton, Ginger Baker, and Ric Grech”.
And to note just one touch of Nick Wonham’s subtlety, here is the page before the colophon. In all the other images, the magpies are roosting. This one in flight is also the only one in black and white. A brilliant “The End”.
Postscript: In correspondence, the artist has provided further insight on influences and his handling of color:
A note on the colour – the biggest influence on this was Rigby Graham, whose work Graham Moss introduced me to through the Old Stile Press book Kippers and Sawdust. Graham had just printed my first book, which had black and white linocuts, and was trying to inspire me to try colour. It worked; I was blown away by the majestic woodcuts and aspired to create books in a similar vein. Rigby liked an unusually coloured sky, he also liked to position his illustrations through the book so that the colours of prints on adjacent pages contrasted with each other to create dynamism and visual interest, something I have attempted in my book. Correspondence with Books On Books Collection, 9 September 2022.
Wonham also adopts and owns a compositional feature from Rigby Graham’s Kippers and Sawdust: the juxtaposition of the mechanical and the natural. His ownership is particularly apparent in his setting for the rhyme’s seventh verse.
UN COUP DE DÉS JAMAIS N’ABOLIRA LE HASARD — ESPACE (2012)
UN COUP DE DÉS JAMAIS N’ABOLIRA LE HASARD — ESPACE (2012) Richard Nash Hand-cut concertina with inkjet printed turn-in cover. Closed: H286 x W204 mm; Open: W 11.2m. Unique. Acquired from the artist for donation to the Bodleian Library, 2 April 2022. Photos: Courtesy of Richard Nash; Books On Books Collection. Permission to display from the artist.
Credit goes to Rafaella della Olga’s Constellation (2009) for being the first homage to Un Coup de Dés to remind us that constellations appear against the blackness of space, not the whiteness of paper. But the first to apply this reminder in 180gsm Jet Black Canford paper to a double homage to Mallarmé’s poem and Marcel Broodthaers‘ version is Richard Nash’s Un Coup de Dés Jamais N’Abolira le Hasard — Espace(2012).
The preface
The opening pages
COMME SI … COMME SI spread
Additional photos courtesy of Richard Nash.
On the flyleaf, Nash has added his own verse entitled “Espace”, which set in Didot Regular is equally a typographic and poetic . Espace has a monumentality to it that encourages imagining it at a larger scale in different material; for example, a sculpture of cut steel painted black, installed along a seaside strand and backlit at night. In that evocative physical characteristic, Nash’s homage evokes the oracular and vatic tone of
RIEN / N’AURA EU LIEU / QUE LE LIEU / EXCEPTÉ / PEUT-ÊTRE / UNE CONSTELLATION (“Nothing will have taken place but the place except perhaps a constellation”)
and
Toute pensée émet un Coup de Dés (“All thought emits a throw of the dice”).
On Innards (2015)
On Innards (2015) Amanda Couch, Mindy Lee, Andrew Hladky and Richard Nash Limited edition publication individually stamped and numbered, digitally printed and cut, folded, bound and finished by hand. H260 x W205 mm, 200 pages of various intersecting formats and custom binding. Limited edition of 200, of which this is #74. Acquired from Richard Nash, 2 April 2022. Photos: Courtesy of Richard Nash; Books On Books Collection. Permission to display from Richard Nash.
On Innards began as a multidisciplinary project to explore how the way we think of guts and digestion has changed, how that might drive the creative process, and how it affects our sense of self. Book art and the human body (interior and exterior) are no strangers. Carolee Schneemann’s Parts of a Body House Book (1972/2020), Ron King’s Turn Over Darling (1994) and Matisse’s Model (1996), Joyce Cutler Shaw’s The Anatomy Lesson: Unveiling the Fasciculus Medicinae (2004) and Casey Gardner’s Body of Inquiry: A Triptych Opening to a Corporeal Codex (2011) among others come to mind. On Innards introduces a very different level of intimacy though — one not for the squeamish or scatologically averse.
Artists Amanda Couch, Mindy Lee and Andrew Hladky initiated the the project and presented initial results in a panel held at the interdisciplinary conference “Body Horror” in Athens, in 2013. Subsequently, Richard Nash joined the project to curate an exhibition and event in 2014, which included text by Carlo Comanducci, Giskin Day, Dr. Simon Gabe, Nathaniel Storey, and Jamie Sutcliffe; performance by Kerry Gallagher; and illustration by Jenny Pengilly. Drawing together the output and record of the project, Nash created this hybrid research journal and artists’ book, launched at the Whitechapel London Art Book Fair in 2015.
Like Espace, this work displays Nash’s sculptural approach to text, graphics, ideas and the book as raw material for an artistic creation. The bookwork interweaves, concertinas, folds out, pops up, gate-folds, roll-folds and unwinds. Used to reveal reflections on the project, recalled events, artefacts, images, and stories from the conference, these various “book innards” become an embodiment of digestion. It also somewhat resembles an expandable file folder, its contents secured by a long looping slip-knotted red thread sewn through a heavy card spine pasted to red endpapers that are pasted to brown cover papers. Despite the resemblance to a landscape portfolio, the contents proceed in portrait codex fashion with the tabbed half-title “page” below. The half-title, however, is the first panel of a double-sided accordion that extends from that tabbed half-title page all the way to the last (also tabbed) page of the book (also below). When the half-title turns, it reveals a description of the contents (also below) printed on the double-sided accordion.
Landscape view of the spine and external thread binding.
Portfolio view of endpaper and half-title page. Note the glimpse in the center of the spine’s interior.
Left: The verso page or panel gives a description of the contents of the double-sided accordion. Right: last panel of the double-sided accordion.
The valleys of the double-sided accordion hold the various other parts of the book, some of which are secured in their valleys by the red thread’s looping over and down their centers, and some of which are secured by being folded around or over the thread-secured parts. The dimensions of those parts vary, and other parts lie loose. This can lead to the guts of the book spilling out, surely not an accident! Nor is it necessarily a bad thing, for reading the other side of the accordion requires removing all of the contents from the binding.
The first interleaved artefacts and images come from Amanda Couch and Mindy Lee. Couch’s first item is a passe-partout construction displaying at the start “Organ-Offal Caecum Andouillette” (2015) and at the end “Organ-Offal Stomach-Tripe” (2015). The passe-partouts combine black-and-white photos of anatomical engravings with color photos of the gut (see above), and between them is a photo of an annotated recipe for beginner’s tripe or chitterlings. Her second item (see below) is a pamphlet entitled “Reflection on Digestion: The Mouth” (2013), recounting and illustrating a presentation/performance/tasting of a serving of tongue that Couch gave during the “Body Horror” conference.
Lee’s contributions appear (also below) on the larger pages embraced by and interleaved with Couch’s two items. The images display photographs of works entitled Better Out than In: Venus VI, IV & X (2012) and Splatter Platter (2009). In Better Out, Lee’s “canvasses” are paper plates, but the perspective from which Venus is perceived suggests the underside of a closed, soiled toilet seat.
Couch’s “Reflection on Digestion” pamphlet interleaved with photos of Lee’s Better Out than In series.
Detail from photo of Lee’s Splatter-Platter; enclosing page from Couch’s annotated and illustrated recipe for tripe.
Andrew Hladky’s contributions are prints of three-dimensional works made of oil and bamboo sticks on wood panels ranging from 3 inches to 10 inches in depth. To capture this, On Innards delivers the print of It ain’t us yet its in us. Its looking out thru our eye hoals (2015) as a pop-up box (see below), and the prints of Well, This is Goodbye (2007-15) and The Clearing (2011-14) are cut and folded such that they spill out well beyond the trim size of the portfolio (also below).
Hladky’s It ain’t us yet its in us. Its looking out thru our eye hoals (original work 12 x 18 x 10 inches). The other side of this box also bears a print of a detail view of the work.
Haldky’s Well, This is Goodbye (original work 8.5 x 10.5 x 3 inches)
Hladky’s The Clearing unfolded (original work 61.5 x 43.5 x 6.5 inches), with Giskin Day’s “End Notes” interleaved.
As mentioned, some works are loose inserts, but some of the loose inserts are folded over a panel of the core double-sided accordion. Nash uses that structural feature to emphasize one of the hallmarks of book art: self-reflexivity. Below, straddling a mountain fold in the core double-sided accordion is another double-sided accordion. On one side, there is a photo of Couch’s Entrail Troyen (2014), a three-dimensional tube knitted from leftover cured saucisson sec shredded into ribbon-like thread. The title is derived from the French sausage Andouillette de Troyes, which harks back to the pamphlet “Reflection on Digestion: The Mouth” (2013) and its andouillette and chitterlings.
In case the reader misses the connection to the earlier item, the other side of this double-sided accordion presents a condensed photo of Couch’s nine-meter long accordion book entitled Reflection on Digestion (2012), a continuous line of handwriting looping back and coiling like the villi of intestines (see the cover of On Innards), relief printed from photo polymer plates on 410 gsm white Somerset satin paper. Couch uses this work in her reading performances of the same name. (Did I mention self-reflexivity?)
Loose double-sided accordion fold item displaying Couch’s Entrail Troyen on one side and Reflection on Digestion on the other.
Continued commentary on and illustration of this addition to the Books On Books Collection would be to regurgitate the whole work, which is certainly the opposite direction the work takes and which would be unfair to the work’s artists and contributors. After all, On Innards is a limited edition, and as many copies as possible should be ingested by as many institutions possible that are intent on improving their clientele’s digestion of book art.
Signature page concluding the “bibliographical” brochure summarizing the project, sponsors, conference, Blyth Gallery event and the artists’ book in hand, providing its colophon and listing sources and works displayed; penultimate page of the core double-sided accordion.
Books On Books 