by Will Self
Bound by Derek Hood
The book was sewn on three hemp chords, which were laced
into the boards. Endpapers are leather jointed with over-exposed, proof
printed doublures. The book was then covered in multiple inlays & onlays
of various leather and suede. An area of underlayed calf with acrylic ink
handwriting sits below the covering leather. The male terracotta face was
then onlayed and moulded on top, with a small black umbrella opening as
The faces of Audrey Death and Zachary Busner can be seen merging on the
front cover - her flowing red hair morphing into his spectacled mask. Busner
is looking reflectively backwards as Death looks forwards into a small
tunnel of light. The tunnel symbolises both the passing of time and her
fleeting and intense periods of awakening. The surrounding hand written
text is taken from female patients’ notes
upon admittance to Colney Hatch Asylum, circa 1896. The handwriting is
there to emulate the erratic ticcing and jerking displayed by Audrey in
her hypertonic state.
Palladium lines are tooled on the front to symbolise an artillery shell
and the profound effects Audrey’s employment as a munitions worker
at the Woolwich Arsenal has upon her physical self.
The back cover has a non-figurative depiction of Flanders fields and the
Somme, which reflects
the emerging modern art movements of 1917.
The hand gilt palladium edges and tooled lines echo the period of industrial
modernity, which was prevalent post WW1.
Inside there are endpapers printed from a photograph of the six mile corridor
in Friern Barnet
Asylum, taken in the 1970’s, reflecting Zachary Busners
relentless and retrospective journey
through the hospital, and throughout