While I do keep discovering & referring back to information found inside many of the books crammed into shelves around the home office, I'm most familiar with their spines. The sight of each spine tunes in a stream of musty awareness, acting as a luxurious crutch bearing to mind past and future attempts to mitigate my ignorance.
The books on this shelf represent a thin slice of the combined stockpile amassed by myself and provocateur-in-residence Adriane Herman who suggested this particular shelf the moment after she had broken into a short dance. No changes were made except for a slightly pivoted spine of The Visual Miscellaneum (an unoccasioned gift) to reduce glare. The arrangement is reminiscent of geological subduction - an appropriate form to represent the sustained collision of two tectonic fates. One gets to go deeper while the other commands an elevated position.
Only one work of fiction can be seen in the photo, which, while it's in no way an accurate proportional representation our combined hoards, it does attest to my own overriding preference for works of stranger-than-fiction. The first, most haunting one that comes to mind is A Guide to Field Identification Seashells of North America depicting 850 surprisingly alien Earthlings as filtered through the eye/hand of George F. Sandstrom.
All three books from the broader library that have direct associations to my grandparents somehow dominate center stage. One is a busted-up-inside copy of Carl Sagan's Cosmos accessioned on a mission back in the 70's with my grandparents who had set out with me that day to bookstores (one Adult) determined to help me find a book on astronomy, my primary focus as a researcher while attending middle school. Directly adjacent is a Reader's Digest book accessioned from that same grandmother's commode collection after she and grandfather shed their coils. Entitled Bizarre Phenomena, it's all about so-called "super-natural" occurrences such as books rearranging themselves into prominent meaning-eliciting positions in the years and months prior to impromptu photo shoots. The Holy Bible above both of those books, about which I'd heard not one word from either of them, came from a collection down the hall on that same sad occasion.
bio: Born in Cedar Rapids, IA in the late 1960's, Reeves traveled to both Disney themeparks in the 1970's, founded Johnny's Psycho Center in the early 1980's, and, most momentously went on to hitch up with Ms. Adriane Herman in the early 1990's. In that decade she and he co-founded Slop Brand Art, an expression distribution company now based in Portland, ME. There he also professes his convictions and misgivings at Maine College of Art. His essay On Manufacturing Long-Lasting Industrial-Strength Appeal: Undermining Forgettability Factors by Finding a Happy Medium elucidating his theory of the "Axis of Cute" was published in the Spring 2007 issue of the College Art Association's Art Journal.
A certified Master of the printmakerly arts trained at the University of Wisconsin - Madison, his illustrations have been seen in publications including The Progressive Magazine, Isthmus (both in Madison, WI), Review Magazine (Kansas City), The North American Review (Cedar Falls, IA), and We Are Change dot org. His solo and collaborative work has been exhibited in venues in a majority of the known continents including Space Gallery, Portland, ME, the Whitney Museum of American Art, and at the White House fence mounted on the back of Code Pink's Lisa Savage while she and others protested the latest remote-control Murderer-in-Chief.