A book demands an incredible balance of order and chaos, more than any other art form. To physically make a book requires math and measurement; patience and exactitude. It requires all the most beautifully frustrating parts of sculpture and mechanics: count the pages, set the type, measure the spine, adhere, bind, sew, mold. But to decide what to put inside a book requires uniqueness, brilliance, and a little bit of insanity. You must know what makes a poem beautiful; what makes a story deserving; what makes an essay move like a tree. You must understand the divine, disorganized order of language. A book can also contain paintings, or prints, or drawings, or photographs. It can hold any visual image that can be made flat. When you are deciding what to put inside a book, you are a genius of arrangement: you must have a firm grasp of what should go next to what, and what should come before what, and what should follow. A book engages every human sense: it is meant to be held, interacted with, manipulated. Books necessarily relate to human beings the way lovers do: no one has the same experience with a book as anyone else. To make a good book is to have mastered the art of collecting: to know just how to place every letter into every word into every sentence alongside every image onto every page into every signature into a beautiful, handheld, wholly singular edition, and it is the most amazing thing Man has ever learned how to do. Also, books smell great.
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