威博体育形式与功能
22岁的莉迪亚·米德（Lydia Mead）和芭芭拉·特滕鲍姆（芭芭拉Tetenbaum）教授是如何从一首“散文长诗”中创作出一本书的。
“Show your work,” instructors of all stripes have appealed to students of math since the advent of the pencil. This is certainly what Lydia Mead ’22 and Professor 芭芭拉Tetenbaum [studio art] did with their approach to bookmaking.
In their postgraduation collaboration, Lydia (a creative writing major) and Tetenbaum (a letterpress/printmaking instructor) combined talents to turn Lydia’s thesis, [一些我曾经写过的句子和短语], into a delicate work of book art that gladly reveals its underpinnings.
Professor 彼得岩石 [creative writing] who advised the thesis says, “I keep this little book on my writing desk to pick up and read a sentence when I’m feeling discouraged.”
“This project moves beyond a mere housing of words to something that honors the experience of the reader: how they first encounter the book, the weight of it in their hands, the layout and design of the text and the shift in materials at key moments in the text,” Tetenbaum says.
莉迪亚和罗克一起写了一本散文诗集，内容涉及海滩的梦想、与爱人的对话以及对另一个人的回忆。 Over a summer spent working on a farm, the narrative swirls with introspective thoughts on the act of self-expression—writing as well as speaking.
“To my mind, writing can even out the reality or intensity between waking experiences and dreams,” Lydia says. As a writer, she seeks to create dreams that feel “just as ‘real,’ or just as expressive, or just as affecting, as waking experiences within the world of the writing.”
In the midst of her collaboration with Rock, Lydia began to understand that this thesis was a “long poem in prose,” conceiving of the sentence or phrase as a unit, and the page break as a line break—which informed how the physical book was designed, printed, and hand bound by Tetenbaum.
Tetenbaum hand stitched the six sections onto cloth-textured paper “tapes” and wove the tape ends into the book’s white wrapper, a pebbly cover that contrasts with the slick sheen of divider pages. The dove-gray tapes suggest the lacings of a corset, or, thinking of the book’s content, an echo of Lydia’s writing that likens dreams to “strips of silk.”
“The final format came from a completely personal, unscientific response to what felt good in the hand,” Tetenbaum says. “I decided to let Lydia be a part of these decisions as it is her voice that needs to be heard the most clearly through these essential elements.”
没有坚硬的书脊，书就会轻轻打开，吸引读者进入书脊。 A hidden invocation of “for you” appears on the underside of the introductory tag. It is an invitation to enter an emotional landscape that fulfills Lydia’s belief that “waking experiences and dreams contextualize and reciprocally accumulate meaning [and] interact meaningfully with each other.”