Ten Books For English Teachers

“In my whole life, I have known no wise people who didn’t read all the time – none, zero.”

Charlie Munger

Ten Books To Give An English Teacher For Christmas.

 

 

booktree11This was first written as a guest blogpost for the lovely people at the Scottish Book Trust. Visit their website for some wonderful resources and ideas on how to inspire reading and writing in the classroom.

There is no shortage of books for teachers. In fact a huge industry has been created to produce them, and largely they are books whose aim is to tell teachers how to ‘do it’, to give them the magic ingredients which will turn their classrooms into beacons of organisation and efficiency, while all the time improving their students’ grades, with titles like ‘How To Teach Like a Demon’, ‘How To Prepare The Perfect Lesson To The Nth Degree’ or ‘How To Please an Inspector’. I have no doubt that many of them are informative, some of them are useful, and a few of them may even contain wisdom. I believe however, that all good teachers have one thing in common, and that is that they are readers (and by definition learners) first and foremost. So this is a short selection of some of the books I think all English teachers should read, not because they are about teaching, but because they are about books, and about the importance of reading and storytelling.

The Seven Basic Plots (Why We Tell Stories) by Christopher Booker

Stories lie at the heart of learning, whether we are trying to make sense of the stories which have existed in the world since the dawn of communication, or whether it is our own attempts to create, control and update our life stories. In this fascinating study, Booker explores the notion that there are only seven basic story ‘types’ and that all successful stories fit into one of the seven categories. Whether you agree entirely with his thesis is neither here nor there, but it certainly opens up for you and your students a whole new understanding of the concept of ‘genre’. As for the reason we tell stories, it is summed up best by the author in these lines: ‘One of the deepest human needs met by the faculty for imagining stories, is our desire for an explanatory and descriptive picture of how the world began, and how we came to be in it.’

The Book Whisperer by Donalyn Miller                                                                

Donalyn Miller says she has yet to meet a child she couldn’t turn into a reader. No matter how far behind her students might be when they reach her 6th grade classroom, they end up reading an average of between forty and fifty books a year. Miller’s classroom is filled with books, all of which she has read herself, and her unconventional approach dispenses with worksheets and assignments that make reading a chore. Instead, she helps students navigate the world of literature, nudges them gently towards their next discovery and gives them time to read books they pick out for themselves. Her love of books and teaching is both infectious and inspiring. The book includes a list of recommended young adult literature that helps parents and teachers find the books that students really like to read. It’s an American-centric choice but useful nevertheless.

How To Read Literature Like a Professor by Thomas C Foster                              

One of the methods employed by sophisticated readers in the search for understanding is the recognition of pattern, memory or symbol (where have I seen this before?) and therein lies the curse of the professor of English, according to this lively and entertaining study by Thomas Foster, in which he gives us an insight into the crucial skills of ‘deep reading’. What does it mean when a fictional hero takes a journey? Shares a meal? Gets soaked in a rain shower? Good mechanics, he argues, the kind who used to fix cars before computerised diagnostics, used pattern recognition to diagnose engine troubles. Literature is full of patterns, and your reading experience will be much more rewarding when you can step back from the work, even while you are reading it, and look for those patterns. Comes with a very useful reading list as an appendix.

99 Ways To Tell a Story by Matt Madden                                                                              

In 1947 the French poet, novelist and mathematician Raymond Queneau wrote a collection of short narratives in which the author retells an apparently unremarkable story in 99 different ways. Using a variety of styles ranging from the sonnet form, through Cockney rhyming slang to mathematical formulae, Queneau’s work is both comical and experimental, a tour of literary forms and a demonstration of playful invention. The text became a cult classic and was the inspiration behind a similar experiment more than half a century later, when the graphic novelist and comic illustrator Matt Madden, in homage to Queneau, set out to explore the same idea using visual narratives. In a fascinating series of drawings which questions the very definition of narrative, Madden stretches the limits of the comics genre by telling the same story from different narrative perspectives and in a range of styles including maps, graphs, ‘public service announcement’ and even ‘paranoid religious tract’.

How Fiction Works by James Wood                                                                                  

James Wood is an English-American literary critic, essayist and novelist. Here he provides an ‘alternative’ history of the novel, by taking apart the mechanics of storytelling and looking closely at the main elements of fiction, such as narrative and characterisation. This is a slim volume, but using examples ranging from Homer (not that one), to beatrix Potter, the Bible and John Le Carré, Wood encourages us to look again at some of our favourite books with new insight, and to question our assumptions about the essential elements of one of the oldest forms of storytelling. Is realism real? How do we define a successful metaphor? What is point of view, and how does it work? Why does fiction move us? What is imaginative sympathy? Both playful and profound.

Reality Hunger by David Shields                                                                                           

“I think of fiction, non-fiction, poetry, drama, and all forms of storytelling as existing on a rather wide continuum, at one end fantasy (J.R.R. Tolkien and the like) and at the other end an extremely literal-minded register of a life, such as a guy in eastern Washington – named, as fate would have it, Shields, – who (until his recent death) had kept the longest or longest-running diary, endless accounts of everything he did all day. And in between at various tiny increments are greater and lesser imaginative projects. An awful lot of fiction is immensely biographical, and a lot of nonfiction is highly imagined. We dream ourselves awake every minute of the day. ‘Fiction’/’nonfiction’ is an utterly useless distinction.” A weird and wonderful cut-and-paste of a book that questions the meaning of everything.

The Interrogative Mood by Padgett Powell                                                                        

An extraordinary writing experiment as well as a challenging reading experience, this short ‘novel’ consists entirely of questions, a structure which should have you throwing it away in frustration after just a couple of pages, but which amazingly….er…..works. The book is clearly not a novel in the conventional sense, but manages to achieve what many novels set out to do but fail to achieve i.e. to create a character who is able to engage and move us in ways that have us examining our own lives more closely. While not strictly a book ABOUT reading, Powell will have you questioning what else might be possible when it comes to creating works of fiction. One of the quirkier choices on the list, you will either love it or hate it. Either way, it will make your brain jump.

The Art of Fiction by David Lodge                                                                                  

When one of England’s foremost writers and critics was asked to write a weekly column in the Independent on Sunday on ‘The Art of Fiction’, this was the result. Collected here into 50 ‘chapters’, each essay focuses on an aspect of prose fiction (The Intrusive Author, The Sense of Place, Magic Realism, Allegory, Coincidence, The Title………) with one or two extracts from modern or classic texts by way of illustration. Although the book is intended for the general reader, and can be consumed in bite-size morsels, the author has used technical terms where necessary, and without apology. Lodge argues, in the course of his ‘Preface’, that he always regarded fiction as essentially a rhetorical art, that is to say, the novelist or short-story writer persuades us to share a certain world-view for the duration of the reading experience. A good read for for experienced teachers and beginners alike.

The Storytelling Animal (How Stories Make Us Human) by Jonathan Gottschall     

In The Storytelling Animal, Gottschall, of Washington and Jefferson College in the USA, explains how stories shape and define us as human beings, arguing that stories help us navigate life’s complex social problems, just as flight simulators prepare pilots for difficult situations.This is a fascinating exploration of just how central the concept of ‘story’ is to the human animal, how much the idea of creating a narrative form is to our existence. Humans have been telling stories as long as we have been recognisably human: early cave paintings are telling a story of hunting and conflict, and Gottschall argues that the act of storytelling allows us to ‘act out’ or experience things without the inherent perils involved. At its heart, he argues, all story is about conflict, about overcoming obstacles, about triumphing over disaster or evil.

Proust and the Squid by Maryanne Wolf                                                                   

 ‘We were never born to read’, begins this story of the development of the reading brain in humans. Wolf describes the origins of reading and writing from early Egyptian and Sumerian scripts and fascinatingly likens concerns over the current shift from a written culture to one that is increasingly driven by visual images, to the concerns of Socrates in ancient Greece that the transition from an oral tradition to a literate one would lead to a lack of virtue and discipline in young learners. Professor Wolf contends that this is akin to the concerns of many modern-day teachers and parents who watch their children spend endless hours in front of the computer, absorbing but not necessarily understanding huge amounts of information. One of the more intriguing aspects of the book is her theory that dyslexia may be linked to ‘unparalleled creativity’.

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You WILL Survive. Popularising Shakespeare.

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David Tennant in the stunning 2009 Royal Shakespeare Company’s production of Hamlet

As it happens, I am one of those boring old traditionalists who believe that no school education is complete without some experience of the genius that was William Shakespeare. After all, if the purpose of formal education includes preparing young people for a rich and fulfilling life, helping them understand their place in the world, showing them that they are not the first person ever to agonise over the complexities of human relationships, then who better to turn to for guidance?

However, Shakespeare is a bit like maths at school. Badly taught, it can have a more profound effect than when it is taught well. ‘I hated Shakespeare at school’ is almost as common a refrain as ‘I was never any good at maths…….’.

Imagine the scene. As an English teacher you find yourself in the position of trying to convince a group of young people, many of whom wouldn’t know the difference between a sonetto and a cornetto – even if they did know that the latter was not originally an ice-cream cone –  of the beauty and relevance of Shakespeare’s sonnets. You will teach them, of course, about the Italian origins of the sonnet, its traditional structure of two quatrains and a sestet (14 lines in all), the regular musical rhythm that they will come to know and understand as ‘iambic pentameter’, and you will demonstrate along the way how Shakespeare was dealing with the grand themes of love and loss, of jealousy and revenge, of lust, hatred, fear and hurt. You may give them some very useful notes, or you may even ask them to make their own. God job done.

Well, sometimes, and for some kids, yes. But, consider the potential difference it could make if you were to ask them to ‘be Shakespeare’ for a while. Write a sonnet as if your life depended on it, which his almost certainly did.

‘Too hard!’ they cry.

Well, OK. The language is challenging, 400 years down the line, the themes a bit adult. But how about if you started by actually giving them the content, and asking them to ‘translate it’ into a sonnet? Which is exactly what Erik Didriksen has done in ‘Pop Sonnets: Shakespearean Spins on Your Favourite Songs’ from publishers Fourth Estate.  Starting with songs from modern-day pop artists like Beyonce´and Taylor Swift, Didreksen has re-written them as Shakespeare might have done. And here’s the real payback, one of the things we struggle to impress upon modern-day students of the great man – the themes don’t really change!

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Gloria Gaynor is given a Shakespearean make-over in Erik Didriksen’s ‘Pop Sonnets’

This technique, which is sometimes referred to in film education as ‘generic translation’ (see previous post here), can be a very useful strategy when trying to develop a better understanding of any text, as it allows the reader to think about what it would look like from the inside, in a different context and for a different audience, while demanding that they look more closely at the conventions of the genre.

Footnote:- While writing this blogpost I just happened to discover this excellent collection of resources from TES for teaching Shakespeare in the classroom.

See also Shakespeare’s Words

 

 

 

 

Gone To Girona

viatgeresdetall_expoNext time I complain about the lack of space or the – inevitably futile – attempts of the crew to persuade me to buy lottery tickets on my cheap Ryanair flight to Europe, I may reflect on the fact that comfort is a relative term when it comes to travel, and I should be extremely grateful that from Scotland, for less than the price of a return train ticket to London, I can be almost anywhere in Europe within a couple of hours without leaving that (relative) comfort of my own well-padded seat.

Travel also happens to be the subject of a beautiful exhibition right now at the Museu D’Historia here in the heart of Catalonia. ‘Girona Through the Eyes of Women Writers (19th and 20th Centuries)’ is the brainchild of Cristina Ribot, whose study of the same name won her a scholarship from Girona City Council in 2013, and it provides a fascinating insight into the developing image of what is now a popular tourist destination. What makes it unique is that the picture is built up through the literary testimonies of 25 women writers of various nationalities, providing us with a snapshot of their own personal experiences and difficulties in an era when travel was a pastime almost exclusively reserved for men.

typewriterThere were few women writers in the 18th and early 19th centuries, education and writing being largely male privileges which required both support and money. The elite tended to view women’s writing as worthless, and consequently publishers were reluctant to take the risk of publishing them, thus setting up the classic vicious circle which women found hard to break. One exception to this was in the genre of travel writing, though even here books were often published anonymously or under a male pseudonym.The expansion of the railways at the end of the 19th Century had led to a sharp increase in the number of travellers around the world, but it would not be until the 1950s when the concept and the term ‘tourist’ came into the collective consciousness. Up until then it was the preserve of the rich, and the early explorers featuring in the exhibition were no exception. Many titled ladies, particularly French and English, travelled to the Iberian peninsula, usually with massive amounts of luggage and accompanied by several maids. Being aristocrats, leisure was their raison d’etre, and they would travel for months at a time, most often by donkey, mule or horseback.

However, in an era when ‘female modesty’ was also a requirement, the journeys were not without hardship, as some of the voluminous dresses and headgear in the exhibition bear witness. Often the women had to disguise themselves as men, and carried umbrellas, not only to protect themselves from the sun but from unwanted advances and potential robbers. As an extra precaution, many carried pistols in their hand luggage.

The exhibition notes inform us that the women were “easily recognised for their airs of superiority” and that “they arrived in Girona with preconceived ideas about the country….As well as the information these adventurers provide about the monumental city of Girona, their stories also speak of what surprised and shocked them while in the city. They write of vivid memories, intense sensations and powerful emotions; they record ecstatic or unpleasant moments, great friendships or ill-fated loves. The individual experiences may differ, but taken together they for a nostalgic image of the city as it was, while reminding us of the role of these pioneers, who broke the social norms of their times in pursuit of their most personal goals.”

One of these early explorers was a Scottish lady of means, about whom little is recorded, other than that she was a writer and an artist of some note. Lady Sophia Dunbar’s ‘A Family Tour Round the Coasts of Spain and Portugal’  published by William Blackwood in 1862, contains only a passing mention of the city of Girona (its remarkable early-17th Century cathedral), but is much more expansive on the tribulations of the journey from Girona to Barcelona:

“The roads now became execrable, full of holes, heavy clay and mud, through which our mules struggled and plunged. Our diligence (public stagecoach) lurched like a ship at sea and it became darker and darker. We felt very anxious as to our long lone road leading through rivers, mire and mud; at one time we came to a dead stop, caused by eight mules being all down at once. After much confusion and noise, they were got up, and constrained by thrashing and abuse to renew the struggle; for some miles we continued to go on in the same manner, making some tremendous lurches, from which we miraculously recovered our balance; at last fortune deserted us, we lurched, quivered in the air for a second or two, and went over.”

Fortunately, no serious injuries are sustained in the incident, except presumably to the poor abused mules, and Barcelona is eventually reached:

tour“The streets of Barcelona being extremely dirty, we looped up our dresses; this caused the old women to rush out of their houses or shops at us, and pull vigorously at our skirts; it was difficult to appease them, or make them understand that our dresses were purposely worn so. The woollen mantas of Catalonia are very handsome. The men wear these over their shoulder, much as Highlanders do a plaid. They are striped, the colours rich and brilliant, scarlet predominating.”

In the middle of the 19th Century bull-fighting is prevalent across Spain and Portugal and, as you might expect, our traveller has some observations to make on a subject which provokes an emotional response to this day:

“The picadors, or horsemen, the chulos or men on foot, with gay-coloured cloaks, and the matadors or killers, are dressed in gorgeous antique costume, and certainly have an imposing effect; but the poor bull, lately taken from his native pastures, in the prime of his youth and strength, being a four-year-old, is roused, and made to rush into the middle of the arena; here he halts, and stares with bewilderment and surprise at the assembled thousands, who greet his arrival with clapping of hands. From the middle of the arena, the bull was soon provoked to make desperate charges, right and left, at chulos and picadors, the former showing the greatest activity in vaulting over the palisades, or escaping into the narrow side-niches, where the bull cannot follow. The picadors receive the charge of the bull by meeting him with the point of their lance, which is a short knife on the point of a pole about eight-feet long. With this they meet or catch him on the shoulder, which always mitigates, and often completely checks, his charge. The bull sometimes avoids the lance, and it is then he gores the horse, or sends him and his rider sprawling in the dust. Cut and goaded with the lances of the picadors, and exhausted by fruitless charges at the gay cloaks of the chulos, he at last yields to the lords of the creation, and looks out for the entrance through which he had been admitted…”

A Family Tour.…’, one of the 25 works curated for the exhibition, was re-published in 2009. It can also be downloaded free from the Internet Archive by clicking on this link.

If you have the good fortune to be passing through Girona between now and the 27th of September, make sure you visit the exhibition at the Museu D’Historia De Girona, Placeta de l’Institut Vell, 1
17004 GIRONA.

Footnote: In 2010, the Catalan Parliament agreed, by an absolute majority, to ban bullfights involving the death of animals and the use of goads: banderillas, picas, and estoques. The law was passed thanks to a citizen’s legislative initiative (ILP) promoted by the civic associations that obtained hundreds of thousands of signatures in favour of animal rights. However, the approval of the law was strongly criticised in centralist media and political spheres, who considered the ban to be the result of anti-Spanish feeling.

Read A Banned Book Today

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Today is World Book Day.

Away back in the dark ages of the late 1980s, when I was a young and idealistic Head of English in a secondary school, I was taken aback when a story reached me of an act of censorship for which I was not prepared. Our headteacher, with whom I had a good relationship, had been driving across the country the previous weekend when he chanced upon a radio discussion about ‘Forever’, Judy Blume’s novel for young teens. The book was reportedly sexually explicit (it isn’t really) and was causing quite a stir. The following day he happened to walk into a class where one of the girls was reading the book, demanded that she hand it over, and returned it to the library with the instruction that it should be removed from the shelves. Word quickly got round, and within a few weeks there was hardly a girl, and very few boys, who hadn’t read it.

The banning of books is not new of course, particularly in those parts of the world where religious puritanism still has a strong grip. Perhaps the Headteacher who decided to ban the award-winning play Black Watch in her school (full story here) has friends in Kansas, where last week the State Senate approved a bill which would allow prosecutors to bring charges to teachers and school administrators for assigning or distributing materials judged harmful to students (read the story here). The bill was introduced by the Republican state senator Mary Pilcher-Cook, who says it is necessary to prevent the distribution of pornography in schools, a situation which ‘has not previously arisen’, while fellow Republican, senator Joseph Scapa, cited as an example of pornography a novel by Nobel Literature winner Toni Morrison, proving apparently that he is well-read and not-very-well-read at the same time.

Read the full text of this blogpost which first appeared on Bella Caledonia.

Many of the modern texts which have come to define America and American literature have been banned at one time or another. Here is a selection of them. A more complete list can be found on the Banned Books Week website under Banned Books That Shaped America.

The Adventures of Huckleberry Finn, Mark Twain, 1884

The first ban on Mark Twain’s American classic in Concord, MA in 1885, called it “trash and suitable only for the slums.” Objections to the book have evolved, but only marginally. Twain’s book is one of the most-challenged of all time and is frequently challenged even today because of its frequent use of the word “nigger.” Otherwise it is alleged the book is “racially insensitive,” “oppressive,” and “perpetuates racism.”

The Autobiography of Malcolm X, Malcolm X and Alex Haley, 1965 (Grove Press)

Objectors have called this seminal work a “how-to-manual” for crime and decried it for its “anti-white statements”. The book presents the life story of Malcolm Little, also known as Malcolm X, who was a human rights activist and who has been called one of the most influential Americans in recent history.

Beloved, Toni Morrison, 1987

Again and again, this Pulitzer-prize winning novel, by perhaps the most influential African-American writer of all time is assigned to high school English students. And again and again, parental complaints are lodged against the book because of its violence, sexual content and discussion of bestiality.

Bury My Heart at Wounded Knee, Dee Brown, 1970

Subtitled “An Indian History of the American West,” this book tells the story of the USA’s growth and expansion into the West from the point of view of Native Americans. It was banned by a school district official in Wisconsin in 1974 because the book might be polemical and they wanted to avoid controversy at all costs. “If there’s a possibility that something might be controversial, then why not eliminate it,” the official is quoted as saying at the time.

The Call of the Wild, Jack London, 1903

Generally hailed as Jack London’s best work, The Call of the Wild is commonly challenged for its dark tone and bloody violence. Because it is seen as a man-and-his-dog story, it is sometimes read by adolescents and subsequently challenged for age-inappropriateness. Not only have objections been raised in the US, but the book was banned in Italy, in former Yugoslavia, and burned in bonfires in Nazi Germany in the late 1920s and early 30s because it was considered “too radical.”

Catch-22, Joseph Heller, 1961

A school board in Strongsville, Ohio, refused to allow the book to be taught in high school English classrooms in 1972. It also refused to consider Cat’s Cradle as a substitute text and removed both books from the school library. The issue eventually led to a 1976 District Court ruling overturning the ban in Minarcini v. Strongsville.

The Catcher in the Rye, J.D. Salinger, 1951

Young Holden, favourite child of the censor. Frequently removed from classrooms and school libraries because it is “unacceptable,” “obscene,” “blasphemous,” “negative,” “foul,” “filthy,” and “undermines morality.” And to think Holden always believed that “people never notice anything.”

Fahrenheit 451, Ray Bradbury, 1953

Rather than ban the book about book-banning outright, Venado Middle school in Irvine, CA used an expurgated version of the text in which all the “hells” and “damns” were blacked out. Other complaints have said the book went against objectors’ religious beliefs.

For Whom the Bell Tolls, Ernest Hemingway, 1940

Shortly after its publication the U.S. Post Office, declared the book ‘non-mailable’. In the 1970s, eight Turkish booksellers were tried for “spreading propaganda unfavorable to the state” because they had published and distributed the text. This wasn’t Hemingway’s only banned book – A Farewell to Arms and Across the River and Into the Trees were also censored domestically and in Ireland, South Africa, Germany and Italy.

Gone With the Wind, Margaret Mitchell, 1936

The Pulitzer-prize winning novel (which three years after its publication became an Academy-Award Winning film) follows the life of the spoiled daughter of a southern plantation owner from before and the fall of the Confederacy to the decline of the South in the aftermath of the Civil War. Critically praised for its thought-provoking and realistic depiction of ante- and postbellum life in the South, it has also been banned for more or less the same reasons. Its realism has come under fire, specifically its portrayal of slavery and use of the words “nigger” and “darkies.”

The Grapes of Wrath, John Steinbeck, 1939

Kern County, California has the great honor both of being the setting of Steinbeck’s novel and being the first place where it was banned (1939). Objections to profanity, especially ‘goddamn’ and the like, as well as sexual references, continued from then into the 1990s. It is a work with international banning appeal: the book was also banned in Ireland in the 50s and a group of booksellers in Turkey were taken to court for “spreading propaganda” in 1973.

The Great Gatsby, F. Scott Fitzgerald, 1925

Perhaps the first great American novel that comes to the mind of the average person, this book chronicles the booze-infused and decadent lives of East Hampton socialites. It was challenged at the Baptist College in South Carolina because of the book’s language and mere references to sex.

Invisible Man, Ralph Ellison, 1952

Ellison’s book won the 1953 National Book Award for Fiction because it expertly dealt with issues of black nationalism, Marxism and identity in the twentieth century. Considered to be too expert in its ruminations for some high schools, the book was banned from high school reading lists and schools in Pennsylvania, Wisconsin and Washington state.

Leaves of Grass, Walt Whitman, 1855

If they don’t understand you, sometimes they ban you. This was the case when the great American poem Leaves of Grass was first published and the New York Society for the Suppression of Vice found the sensuality of the text disturbing. Caving to pressure, booksellers in New York, Massachusetts and Pennsylvania conceded to advising their patrons not to buy the “filthy” book.

Moby-Dick or The Whale, Herman Melville,1851

In a real head-scratcher of a case, a Texas school district banned the book from its Advanced English class lists because it “conflicted with their community values” in 1996. Community values are frequently cited in discussions over challenged books by those who wish to censor them.

The Red Badge of Courage, Stephen Crane, 1895

Restricting access and refusing to allow teachers to teach books is still a form of censorship in many cases. Crane’s book was among many on a list compiled by the Bay District School board in 1986 after parents began lodging informal complaints about books in an English classroom library.

A Streetcar Named Desire, Tennessee Williams, 1947

The sexual content of this play, which later became a popular and critically acclaimed film, raised eyebrows and led to self-censorship when the film was being made. The director left a number of scenes on the cutting room floor to get an adequate rating and protect against complaints of the play’s immorality.

To Kill a Mockingbird, Harper Lee, 1960

Harper Lee’s great American tome stands as proof positive that the censorious impulse is alive and well in our country, even today. For some educators, the Pulitzer-prize winning book is one of the greatest texts teens can study in an American literature class. Others have called it a degrading, profane and racist work that “promotes white supremacy.”

Where the Wild Things Are, Maurice Sendak, 1963

Sendak’s work is beloved by children in the generations since its publication and has captured the collective imagination. Many parents and librarians, however, did much hand-wringing over the dark and disturbing nature of the story. They also wrung their hands over the baby’s penis drawn in In the Night Kitchen.

Art For Art’s Sake

There’s hardly a day goes by these days but I am engaged in a conversation with someone about ‘the future of the book’. The future of reading, not so much, which I think just goes to demonstrate how ‘reading’ and ‘books’ have become synonymous, despite the fact that most of the reading we do now is demonstrably NOT linked to a book. Personally, I find myself reading novels almost exclusively on my eReader, while I buy physical books for their physical qualities i.e. the look and feel of the book. You could say that I am increasingly looking at books as artefacts, or indeed ‘works of art’, but here’s someone who is taking that to a whole new level. Brian Dettmer is an artist who creates beautiful sculptures from old books, one form of recycling which definitely makes you sit up and take notice.

Alice Is Coming Home

Good news for fans of the wonderful Inanimate Alice series. The long-awaited Episode 5 will be released on 1st December along with a newly re-vamped website, access to designer’s journals and a gallery of student-created content. If you haven’t met Alice before, now is the time to catch up!

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