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"The playful structure of ANCHORED, an origami petal fold, reveals variations on the "row, row, row your boat" nursery rhyme. It was inspired by visits to see my father as he was ravaged by Alzheimer's disease. Despite losing most of his memories, the very earliest sometimes remained - like the refrain of familiar songs. Challenging pain or anxiety could be directed by a rousing round of "row, row". Dad always joined in with gusto, finding profound relief in knowing the words and being - as he always was - an essential part of the fun. The last round ends the song: "just come home to me." The edition of 40 books was letterpress printed with handset type and ornaments in one large circular form on vintage maritime maps and Usuzumi paper, then cut into pages before binding."--Colophon

"The Movable Book Society's 25th anniversary folio collection highlights the unique aspect of 'toy and movable books' and places a spotlight on the often overlooked paper engineer as opposed to the traditional author and illustrator"--Booklet, unnumbered page 2.

The Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.

"True to Life was written, illustrated, and designed by Julie Chen. It was letterpress printed using a combination of pressure plates, woodblocks, & photopolymer plates. It was assembled and bound at Flying Fish Press with expert assistance from Macy Chadwick. The image that appears on each page is one section of a long, continuous visual timeline that can never be viewed all at once. In an edition of 100 copies, this is number ..."--Colophon. "This latest bookwork from Julie Chen is about the subtle yet powerful influence that memory has on daily life. Personal history, while seemingly rooted in fact, may contain more meaning as narrative than it does as documentation of truth. In the form of a tablet with sliding pages, True to Life offers an innovative physical structure which corresponds to the shifting nature of memory, allowing the reader to create different combinations of text and image and thus alter the content of the piece, deliberately or by chance, with each reading"--Publisher's website.

Part memoir, part treatise, part collage and experiment, Krista Franklin's Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist's selves. Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.