1	"The Idaho Center for the..." The Idaho Center for the Book presents BOOKER’S DOZEN (2006) Fourteen bookworks by fourteen Idaho bookmakers selected by six jurors to visit twelve Gem State venues throughout 2006! Copyright © 2005 Idaho Center for the Book
2	"TABLE OF CONTENTS" TABLE OF CONTENTS Carrie Applegate, The Altered States Abby Bernards, Fences Emily Berriochoa, How to Find Love in Prison Brooke Burton, Hacked, Vol. 1 Lori Dagley, The Vision of St. Hubert Vanesssa Franklin, Greater Vedauvoo Kenji Hyde, Unforgotten Memories Amy Nack, Agent Orange: The Lingering Kiss, 2004 Diane Neu, The Lucky Dragon
3	"TABLE OF CONTENTS" TABLE OF CONTENTS Adrian Pauw, Whirling Fish Scott Samuelson, Stone Flight Trish Thorpe, For Rent Elizabeth Wheeler, Disposaphobia Tara Williams, Addiction Jurors for Booker’s Dozen (2006) Idaho Center for the Book Advisory Board Acknowledgments ICB Contact Information
4	"The Altered States" The Altered States 18 x 6” [unfolded] 4 accordion fold panels attached to folder “The Altered States is a souvenir folder featuring four scenic postcards depicting scenes from Narcissism, Paranoia, Delusions of Grandeur, and Anxiety. Inspired by ‘Big Letter’ souvenir travel postcards of the 1930's and 1940's, Altered States features some of the finest sights the Altered States have to offer. “The book was designed in Adobe Illustrator using royalty free illustrations. The original folder and inside postcards were printed on a color LaserJet printer. Additional copies were copied on a color copier and hand assembled. Velcro tabs were used to keep the folder closed. The original print run was 21 color folders, 10 with color postcards, and 11 with black and white postcards.” Carrie Applegate
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8	"Fences" Fences 5 ¾ x 14” [opened] 4 staggered accordion fold panels with pop-ups “Walking through the alleys in Boise, I was intrigued by the wooden fences, more specifically, the holes in them. It is amazing how many holes are in even the newest of fences. More interesting is what lies behind these fences—as well as the way the images are framed by the holes. “This book was inspired by and photographed during those walks through the alleys. The images were produced using a vintage photographic process called the Van Dyke process. It was in use during the late 1800's and very early 1900's before the development of the black and white silver prints of modern photography.” Abby Bernards
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12	"How to Find Love in..." How to Find Love in Prison 4 ¾ x 8” 70 p. “Every romance is unique. I like to tell people I met my husband in prison and see the reaction. This book was written as a tribute to the extremely brief courtship and elopement of my husband and me in June of 2000. “Construction is simple and cheap: inkjet printed how-to list on prison-grey computer paper, stick-bound using Vegas-esque ‘wedding flowers’ and hemp cord. Photos on the boards take the reader from prison to Reno in thirty-five easy steps.” Cover photo: Old Idaho Penitentiary. Back Photo: Flamingo Reno Hotel. Emily Berriochoa
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16	"Hacked" Hacked, Vol. 1 7 ½ x 5 ¾” 10 p., altered book with transparent windows containing Styrofoam “organisms” “This book is a funny, ironic take on environmentalism, waste, and man-made materials in which the esteemed International Wildlife Encyclopedia suffers a hostile takeover and Styrofoam masquerades as an obscure organism. “In Hacked Vol. 1, science is turned on end, cut down to size, and the facts are hacked to accommodate an absurd theory about the birth, life, and death of Styrofoam Peanuts.” Brooke Burton
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20	"The Vision of St" The Vision of St. Hubert 17 ¾ x 11 ¾” 30 p. “An old symbol for hunters, the white stag with cruciform antlers that spoke to St. Hubert in the forest is also a memory of mine leftover from early childhood. Turning the pages of German fairy tale books, I couldn’t read the gothic calligraphy. Instead I would pour over the highly detailed engravings depicting shaggy forests and the animals they harbored. This particular memory of the stag fills me with wonder: I wanted to fill an album of my own with imagery relevant to my experiences living in Idaho.
21	"“" “I sought imperfection in my prints: unstylized compositions, ragged forms, and undifferentiated shadows. Nature’s imperfections are also her mysteries. The album construction is a salvage yard find. The title image by Cristie Henry was polyplate-printed to the cover. The album’s photographic pages are archival inkjet prints. The dense combined effect of shadows, ink, and book block are an offering for what St. Hubert stood in awe of in the moment of his vision.” Lori Dagley
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25	"Greater Vedauvoo" Greater Vedauvoo 8 ¾ x 4” 16 accordion fold panels, end panels affixed to covers “The idea for Greater Vedauvoo came to me late one night and kept me up until the wee hours of the morning hashing out the rough form. It is a non-fiction piece describing the places life has taken me over the last four years and the personal spiritual understanding I found along the way. “I considered using a map layout but chose a guidebook form instead because I intended for the essay to suggest a familiar pattern of personal struggle but I did not wish to dictate a particular 'right' way of getting through it. The endless accordion shape reflects the cyclic journey detailed in the essay. The title is a place in Wyoming as well as an assertion that this story is about more than just the physical setting. “The piece was formatted, printed, and edited at home using MSWord and Paint programs. The text block, photos, and cover were then photocopied, cut out and put together by hand using acid free tape.” Vanesssa Franklin
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29	"Unforgotten Memories" Unforgotten Memories 4 x 2 ½” 6 p. + 4 “Hidden Room” panels “All of us retain memories that we wish would cease to be part of our thoughts. It seems that the more we try to forget the more our minds our plagued with these recollections. This hidden room book is a representation of how some memories will follow us to the grave. It was printed on dissolvable paper which, when placed in water, will dissolve, gone, forever. The memories within the hidden room don’t cease to exist unless the young man on the other side of the paper also ceases to be.” Kenji Hyde
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34	"Agent Orange" Agent Orange: The Lingering Kiss, 2004 3” [lipstick tube container] 15 x 1 ½” scroll “This book took the form of a small scroll printed on offset paper. The front of the scroll was printed on a desktop color photocopier using a light orange text listing the side effects, physical complications and diseases directly related to the use of Agent Orange during the Vietnam War. Printed directly over the orange text is a chronology of events and descriptions of the use of the chemical. Between the events is a hand printed orange kiss printed with a hand cut stamp of linocut material. The back of the scroll was printed with a flood coat of orange relief ink with a brayer. The hand cut kiss stamp was applied again using a clear varnish.
35	"Also applied are 2 printed..." Also applied are 2 printed transparent labels providing the status of a class action suit by the Vietnamese victims against the major chemical companies who manufactured Agent Orange along with statement made at a 2002 Yale University conference which proclaimed the use of Agent Orange as the largest chemical warfare campaign in history. “The scroll is wrapped around a small wooden dowel and placed inside the operating mechanism of a silver lipstick tube to resemble the 55-gallon drums that contained the chemical. At the bottom of the tube is the ubiquitously descriptive and potent name for the lipstick color. This one of course is named Agent Orange.”
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38	"The Lucky Dragon" The Lucky Dragon 8 x 5 ½” 6 p. “The inspiration for The Lucky Dragon came from my own experiences in working at my mother's Chinese restaurant in Bonner’s Ferry. The adage that ‘the customer is always right’ is deeply ingrained in our consumer culture, and I wanted to play around with that idea. What would it be like if the customer was not always right, if the customer had to work for services? I wanted the text in my book to answer those questions, and I wanted to do so in a humorous and light-hearted manner. I chose red as my main color scheme as it is the lucky color in Chinese culture, and the decision to bind my book with chopsticks (that I pilfered from my mom's restaurant) seemed logical and appropriate considering the subject matter.
39	"I found the two fonts..." I found the two fonts that I used free on the internet and chose them because of their wispy, brushstroke look. The dragon graphic on the title page was also borrowed from a free clip-art Website. I wanted the dragon to have a very grainy, cheap look to it since most small restaurants don't spend a lot of money on printing menus; I also changed the color to a light gray since I wanted it to look sort of mystical and ominous, and I wanted only a very faint outline to show through the vellum overlay. “The text blocks were all formatted on Microsoft Word and printed out on a home printer using standard office paper and then put together by hand using a regular Elmer's glue stick.” Diane Neu
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43	"Whirling Fish" Whirling Fish 10 x 12” 3 p. [with volvelle] “The idea for this book originated with a production of Giselle that I saw as an undergraduate majoring in Biology. The frenetic dance of the dying men reminded me of the symptoms of trout afflicted with Whirling Fish Disease. I attempted to convey the parallels between the plot of the ballet and the life cycle of the disease using a volvelle. I wanted to encase the both stories in a book that had elements of the scientific and the romantic. The pink ribbon stab binding is reminiscent of a laced-up pointe shoe, while the light green graph paper evokes scientific authority. The original linocuts were carved by my husband, Sean Ahern, and printed by hand with oil-based ink. The fonts used were Edwardian Script ITC and Fucked Olympia J.” Adrian Pauw
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46	"Stone Flight" Stone Flight 15 ¼ x 11 ½” 30 p. “In World War II my father flew sixty combat missions as the pilot of a B-26 Martin Marauder. He was stationed on England’s Salisbury plain, not far from Stonehenge, later in Belgium and finally in Beauvais, France, site of the famous fallen medieval cathedral. “The book is sewn onto cords and covered with military blue kangaroo leather with a Stonehenge sunset emboss. “In watercolor and letterpress this book commemorates my father’s war.” Scott Samuelson
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52	"For Rent" For Rent 24 ½ [extended] x 3” 7 accordion fold panels extend from two “walls” created by a folder “For Rent was produced through anger I had felt last spring when I found out my Ex had foreclosed on our house, after telling me months prior it had sold. Trust, anger, bitterness, bad memories, exhaustion, my old life, what I lost, what I endured, what I remember and what I was feeling provided me the fuel for my poem, For Rent. I walked away from my blue house on a cold January day and from the person that I could no longer be around. I intended the poem to be read fairly fast through the use of an accordion fold, falling to the ground, similar to how I felt at the time it was written. I wanted it to be read more than once, as many times as needed so that the reader could understand me, or that Ex could understand me. The drawing of the house is how I remember it and the poem is illustrated with childlike drawings which are colorized as if it were a happy event. This still puzzles me today. I utilized Adobe Photoshop, an Epson inkjet printer, Prisma Color markers, archival glue, and Velcro to form the structure of my book.” Trish Thorpe
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55	"Disposaphobia" Disposaphobia 5 ¾ x 17” [French Doors with covers lifted, opened] 10 p. [with flaps on spiral bound door panels] “The initial idea for this book came to me by living with someone who had a problem with collecting and disposing of useless items and junk. When I was doing a little research into the subject I found that there were a percentage of people who had the same affliction, but that it was being researched as an obsessive-compulsive disorder rather than a simple flaw of human nature. This intrigued me and, after research and personal experience, I created Disposaphobia, a brief explanation of the disorder and the excuses people give as to why they hoard specific items. “At first glance Disposaphobia looks like an envelope. The envelope is sealed by two pieces of Velcro and, when opened, reveals what is suppose to resemble a house. By opening the doors, one is transported into the world of a hoarder.
56	"“The rough draft pictures..." “The rough draft pictures were produced utilizing Microsoft Picture It Publishing. To get the words in the exact spot, the boxes in the picture were cut and then a full page of bright orange paper was taped to the back of the picture. After measuring and printing, the word boxes were pasted in picture space I had cut out onto the orange paper behind it. Once finished, the orange paper was detached from the rough draft pictures and both paper and pictures were color photocopied. The process was finally completed by cutting the pictures in halves, and the word box pages into quarters. I used an X-Acto knife to cut the boxes, and an Elmer’s clear gel stick to paste on the word box pages to the back of the pictures. The cover of the book was initially an 8 x 11” piece of white cardboard, with title, author, and "Do not discard" stenciled, printed, and glued to it, and then photocopied. After measuring, I cut the top half into a peak, and then photocopied it again leaving distinct lines, establishing a cutting point for subsequent books. I then folded and creased this with a bone folder. I cut more cardboard into quarters creating the entrance of the book and bound it on the left and right of the text block and the back of the cover using black combs. I folded the already creased peak over the top of the book and applied the Velcro to seal it shut.” Elizabeth Wheeler
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60	"Addiction" Addiction 7 x 3 ¾” 8 p. [with pop-ups] “The Addiction is a pop up book inspired by my real love for shopping and of course for my love of purses and vintage wear. I have always enjoyed reading pop up books and bought a ‘how to’ pop up book and used some of the ideas and templates to create my own pop ups. After much trial and error, I finally found four different enough pop-ups to use, and created my ‘Addiction’ story with them. I illustrated the pages and pop up pieces using water color, which I then scanned into my computer, added the text and printed out two dozen times. I hand cut every pop out piece and hand cut and folded each page gluing the pieces and pages together. After the interior book was made I created the outside in the form of a handbag using special decorative paper and gluing the strap and clasp on separately.” Tara Williams
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64	"Jurors" Jurors Booker’s Dozen (2006) Cort Conley, author; proprietor, Backeddy Books; Literature Director. Idaho Commission on the Arts. Stephanie Bacon, artist; Associate Professor, Graphic Design, Boise State University; previous Booker’s Dozen selectee. Jann Marson, Jr., proprietor, Authentic Printing Company; previous Booker’s Dozen selectee. Troy Passey, artist; Adjunct Professor of English, Boise State University; previous Booker’s Dozen selectee. Katherine Robinson, Graphics Design Supervisor, Printing & Graphics, Boise State University. Cheryl K. Shurtleff, artist; Professor, Drawing/Painting, Seminar Graduate Program Director, Boise State University. Tom Trusky, Director, Idaho Center for the Book.
65	"Advisory Board" Advisory Board Idaho Center for the Book Ruth Barnes, Idaho Falls Mary Blew, Moscow Cort Conley, Cambridge Mary Beth Crane, Twin Falls Vince Hannity, Boise Daryl Jones, Boise Ann Joslin, Boise Diane Josephy-Peavey, Carey Karen Kearns, Pocatello Peggy McClendon, Boise Mark Sanders, Lewiston Tom Trusky, Boise Alan Virta, Boise Laurel Wagers, Sandpoint
66	"Acknowledgments" Acknowledgments Photographs by Carrie Quinney, Photographic Services, Academic Technologies; PowerPoint presentation on disk and web by Brian Warthen, Academic Technologies —Boise State University—
67	"The Idaho Center for the..." The Idaho Center for the Book --an affiliate of the Library of Congress Center for the Book Boise State University 1910 University Drive Boise, Idaho 83725-1525 U.S.A. Tel. (208) 426-1999 Fax (208) 426-4373 www.lili.org/icb