High praise for Pamela became commonplace within the literary marketplace and gave rise to what William B. In hollowing out the book, I removed most of the printed text that makes up the novel and reinserted the handwritten letters in its place, reflecting the medium of Pamela’s actual writing. Quite literally, it responds to the epistolary novel’s definition of a novel containing letters, whereby the hollowed-out book acts as a container for a bundle of letters with written excerpts from the novel itself. This artist’s book explores commodification, privacy, and sexual harassment through multiple representations of Pamela’s material context, both within the novel and its frame. Pamela’s Letterbox is a multi-object artistic staging of the epistolary frame in Samuel Richardson’s 1740 novel Pamela or, Virtue Rewarded. Photo by the author and taken with an iPhone 11. I tied bundle of handwritten letters quill pen two faded written letters two letters with a wax “P” seal one letter with a broken wax “P” seal book-shaped box with ribbon. Crudely hollowed-out hardcover copy of Samuel Richardson’s Pamela, Vol. I would like to detail my framing for the project, Pamela’s Letterbox, as well as a few methodological notes on its creation. I chose to pursue a book arts project I had envisioned for a few years that had recently become even more important to me. Unsurprisingly though, nearly every student in the course forged ahead with a modified “pandemic resources” version of their initial project idea, and the results were absolutely phenomenal across the board. Kirschenbaum gave us an incredible amount of flexibility regarding our remaining assignments and final project, no longer requiring that we make a book. Given the circumstances and our loss of the resources in BookLab, Dr.
Nevertheless, we kept creating electronically. note: You can also see the syllabus for this class on I n the Classroom.) On our last day of class, the same day our university announced its plans for a campus closure, we were all huddled around one of the presses pulling prints of Walt Whitman’s “A Font of Type” on the paper we had made only a few weeks prior. The course focused not only on the theoretical affordances of reading textual materiality, but also on getting our hands dirty with the physical production of material objects: using clay tablets, making paper, playing with a 3-D printed type matrix and punch, collation exercises, bookbinding, letterpress printing.
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Matt Kirschenbaum’s “BookLab: How to Do Things with Books” course. At first, the move from in-person instruction to an online Zoom classroom seemed like it would hit us particularly hard in Dr.
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