$38,082
pledged of $5,000pledged of $5,000 goal
456
backers
7days to go

All or nothing. This project will only be funded if it reaches its goal by Sat, January 26 2019 4:59 AM UTC +00:00.

Michael DemoBy Michael Demo
First created
Michael DemoBy Michael Demo
First created
$38,082
pledged of $5,000pledged of $5,000 goal
456
backers
7days to go

All or nothing. This project will only be funded if it reaches its goal by Sat, January 26 2019 4:59 AM UTC +00:00.

About

1,500 years

130,000,000 publications

1 medium

. . . leaves a world of possibility

This is the comeback story of a medium that never had a real chance. We have an original scroll design that's as practical as a hardcover. It offers comfort and convenience like we've never had in print, along with eye-opening new perspectives - all in a compact and refreshingly uncomplicated package.

It's a new direction for reading. Books and eBooks never were the only way. We have options - their differences large and small - the opportunity to fit reading more easily into our lives and to share in ways we never have.

Rewards include ten favorite titles in limited editions of 100 - the first book-length scrolls of secular literature in a European language in over 1,000 years. From an intimate reproduction of the handwritten manuscript that Lewis Carroll gave 10 year old Alice Liddell, to a Leaves of Grass that preserves Whitman's original measure but closes up smaller than a similar book, they showcase the medium's unique strengths. All rewards will be printed and handcrafted at our shared studio in Ithaca, NY.

How to reserve your choice of title

Please message or comment after you pledge to let us know your selection. Reservations will be made on a "first message (or comment), first served basis". Sellouts will be announced here and by update, beginning when the edition reaches 75% sold. 

Information the editions and other rewards is further below (ctrl/⌘ + F "Rewards for backers"). First, here's why we fell in love with the scroll.

"People don't read anymore."

Books came down to us and the truth is we use them off-label. They were intended for a different set of needs. Early books were big and heavy. They had their own furniture - bookstands, pews, bars - often connected by chain. The low angles of these supports, along with the binding styles and sheer mass of the books, helped them to stay open and in position for reading.

A typical medieval or early Renaissance library.
A typical medieval or early Renaissance library.

As smaller, lighter sizes and handheld and armchair reading became more common, it brought up a different set of design criteria. The book was a desktop device, and these new trends called for a metaphorical tablet. But printers and binders essentially just scaled down their previous designs, meaning pocket-sized desktops. Hands took over for furniture. 

People read now more than ever - and sit through long stories longer than ever - but book-readership is in decline. It's hard not to suspect the medium and its ergonomics in particular. Awkwardness and discomfort set a mood and discourage use. 

A thing of the past

Our protagonist may date to the stone age, but its fundamentals are a perfect fit for the needs of modern readers. A crucial difference is that the scroll is at rest when open. It can stay that way without any help, no matter the angle. 

Another basic advantage is its lateral rigidity.  A book's binding maintains the vertical dimension, while the reader spreads it and holds the covers and textblock in position. In the scroll's case, it's just the opposite: the shape of each roll holds the page flat across its width, so the full measure is always a given and it opens facing the reader.

This makes the scroll a natural pick for horizontal script. From the moment you open it, you get a full line. And since there's no resistance as you add height, even a lazy grip will do - you can hold it like a letter.

Hands-free reading

The scroll's fundamentals make it so independent that reading while knitting or with cookie fingers is practical and easy. What furniture did for early books and we do for their modern descendants, the new scroll can accomplish all on its own: the cassettes give it a sure footing and even stack in different configurations to hold up and present the page. 

Some configurations can be adjusted so that the page looks upwards at a comfortable reading angle from surfaces like arm-rests and tray-tables, or even for reading flat in bed.  (Scrolls with smaller cassettes can use a prop to stack up high for a tall page. In the image on the right, one of our larger scrolls is raised on its own dust jacket standing vertically.)

This feature opens up new ways of engaging with the content: keep a passage by your desk, read one breakfast at a time, or. . . hide poems around the studio everyday.

From study to subway, always at home

The new scroll has a unique ability to change size and shape. It can be your earbuds or your loudspeaker, transforming instantly. 

We've been able to give the reader options even beyond the standard adjustable height by sculpting the prismatic shapes of the cassettes and their open faces.

Some configurations make it easy to hold the whole scroll in one hand. The two cassettes handle almost as one piece when they're butted up against each other, and their different faces and sides can back up the paper for a book-like page.

These configurations have a casual yet secure feel. The ends of the cassettes fit in against your palm, while the different surfaces and open faces offer many gripping points for your fingers. We call it the "print eReader" mode.

The page is a waterfall.

This project started as a vision for content. On our walks together in the local gorges, I [Tigg] would stare at the falling water and daydream about reading it. It seemed like a match for thought and conversation. They don't always have breaks, they can flow.

It's a visual metaphor, but more than that. Meaning and expression are contextual. You need the right perspective to understand, even at a linguistic level. Sometimes it's easier to work from the whole to the parts than the other way around. And sometimes you need cues to keep it all straight. 

Those things can be hard to come by with books. Michael had recently printed a logical proof as a 6 ft poster just to see it on one page. Books set the default arbitrarily, even if it means breaking up a unit like a proof or poem. And then the resulting spreads can never be put brought together. 

Fundamentally, book and scroll are two solutions to the problem of compressing a print. The scroll has a major advantage: nothing is lost in spiral winding. It can return the original just as it was stored. 

The book's pages are an pre-digital compression artifact that we've come to accept. They limit our engagement with the sorts of works that can be printed as books, and our universal application of this method has kept many potential kinds of publication from ever coming into consideration at all. 

C̶o̶n̶t̶e̶n̶t̶ ̶f̶i̶t̶t̶e̶d̶ ̶t̶o̶ ̶m̶e̶d̶i̶u̶m̶ A medium that fits its content

Because the scroll stores the print as an integral whole, it doesn't bias any particular context or perspective. It makes them all available. And the same transformations that help the scroll fit the reader's situation also let the reader aim the lens. As you move through the text, you control which parts are seen together. 

You can also scale at any point along the way in order to see whole poems and passages without interruption, or to get a bird's eye view - something readers have seldom had. The only limit is the length of one whole side of the scroll (16-60 ft for those offered).  

Scaling is easy and won't break your focus, since the paper retracts automatically just by moving the cassettes back together. (For lengths over about 1 m, it’s best to help by turning a knob.)

The scroll's frame rate: ∞

The waterfall page not only opens new perspectives but also brings the reader through a continuity of them in the normal course of reading. Getting to see those relations is what makes the experience so similar to our original use of language - voices internal and external passing more or less continuously in time. It changes what you notice and pay attention to, and it feels natural.  

The importance of a bright, flat page

The book is distinctive as a medium - beautiful and even better than crystal clear in some ways, but also worse in others. In the photo above, the drape of the open textblock (1) creates undulations and shadow gradients; the gutter or "spinepit" (2) is unsightly and catches the eye at the beginning or end of each line; and the two-page spread (3) is more than you need and loiters an entire page in the left or right margin. 

The scroll can show undulations and shading, but in practice it's easy to light and position for comfortable reading. Its presentation is fundamentally less complicated than the book's.

Scrolls are still in use as scroll paintings, banners, etc. It's only storage medium that's an exhibition treatment. We designed our scrolls to put this unique ability to work in a range of different reading configurations. Whether the cassette sides are towards you, or their open faces, their shapes and the choice of fabric and papers direct your attention to the print inside. 

The page takes on a dignified look when it's framed in the darker fabric, and the contrast in texture brings out the softness of the paper and the sharpness of the printing. It almost seems to glow.

How does it feel to read a scroll?

(If you're dying by now for design info or to learn more about the rewards, it's just below.) 

An experience from a book as laptop from silver-screen, or headphones from loudspeaker. We each chose some adjectives for changes we've noticed.

Light, approachable

Reading a book takes work - holding it open and in position. And you make a commitment in opening it up to get started, more than what's required to glance at your phone. That's nothing to complain about, except that it dampens the mood. At the same time, the basic design proclaims authority. The visible drape and fan of the pages, for example, feel like a window treatment. It's a double edged sword.

Scrolls are hardly informal, but they don't wear suits. They're breezy. They're ready to go and seem to hold out the paper to be read. There's a sense that you're on the same team. -Michael

Intimate

Personal correspondence from the author - that's often how a scroll reads. It’s not so much the resemblance to a letter as that both work the same: they sit directly in your hands and just speak. The scroll is a photo album but also just a locket.

The frame of the cassettes plays a role, drawing you in to the warm, soft paper. At the same time there’s nothing to push you back. The sight of a book’s gutter and the act of turning the page are subtle reminders that you’re in the mass audience. The simplicity and continuity of the scroll take away that reference point. And so the same thing happens as when the popstar gets on your headphones: triple platinum but singing to you. -Tigg

Engaging

Reading a scroll is more like a walk than a train ride. You set the pace and you get to look all around. You control how much of the print shows and how the whole thing is configured.

That's nothing next to the control you have when reading aloud or typesetting. And just like walking, I manage almost without noticing. But the power goes straight to the head. Reading is active and surprisingly it carries a sense of involvement. You were in the audience; now you play the triangle. -Michael

Like the real thing

In a letter or a chapbook from a friend, the medium and the work aren’t quite separate. It’s nothing more or less than what’s in your hand. That can make it feel live, even precious. I’ve been seeing that halo on classic titles we’ve done, as if the work itself were making a visit.

I think the uncut nature of the print is behind this, along with the ease of access. Also, the way the ends fit in against your palm, and the gathered-up look when it shrinks down small. Seeing it in your hands works like a picture of the earth from space. “Oh, there it is. Hi.” -Tigg

The new design

The new scroll's dual cassette structure is what makes it so practical. One day we got tired of a certain scroll unraveling and making a mess, so we brown-bagged it like a bottle. Each roll got its own bag with holes for the rods, and the paper ran between - homely, but a big surprise. if the bags were boxes instead, we could address the main issues holding scrolls back. 

The cassettes contain the rolls so they're easy to handle and protected from stains and soiling. They also sit flat to give the scroll a firm footing and stack and fit against each other.

They close up instantly without the need for an external case thanks to heavy-duty tongues (inset) that run from the lower to the upper cassette.

Under the hood, the cassettes are an application of traditional box-making. The walls are made from binder's board under multiple lamination for strength and stiffness. They give a hollow sound like wood when tapped.

From top: linen cloth, wooden axles, lining paper, exterior paper, binder's board.
From top: linen cloth, wooden axles, lining paper, exterior paper, binder's board.

The new scroll is a precision engineered reading machine. Mounting the scroll's rods simplifies control and navigation. Our design uses solid wooden axles in custom fabricated Teflon (PTEE) bearings. PTEE is one party to all major rotational contact within the scroll.

This system is fast and responsive. The paper flies about as quickly as a scroll wheel can move a web page. 1 foot per second is an easy walking pace, though our record for a 40 ft, book-length scroll is 14 seconds. 

We used to favor thicker knobs, but scrolling is so easy with this system that a slender profile is more comfortable: rather than turning with your hand/wrist like a doorknob, you can roll the knob quickly between your fingers. There's so little resistance that often you can make the knob spin rather than turning it. 

We expect these PTEE bearings to have a very long service life, since they aren't significantly worn by the materials they come in contact with, they're unlikely to deform, and the material is chemically one of the most stable of all known molecules at book temperatures. 

Rewards for backers

Heart-shaped prints

These archival prints feature a scarlet red heart - an original composition by Antigone of historical ornamental type that we captured from an 18th century source. Made from over 150 pieces, and printed at an output resolution of 2400 dpi, these prints are astonishingly detailed and sharp. The eye-catching design shows three iris-like flowers in symmetrical structures that seem to radiate. . . just like love.

Below the heart, at the bottom of the sheet, each print is signed by both of us. Each one is special and unique, showing the total number of project backers at the time the order was placed. In reference to Ithaca's famous waterfalls - the original inspiration for this project - it reads "[XX} readers love gorges. Thanks for helping us bring back the scroll."

Prints are in archival ink on pH-neutral, buffered fine art paper.

We have two sizes available: 4x6" and 12x18". The 4x6" size can also be ordered in multiples as an uncut print - a unique repeating design. Please note in your order comments if that's what you'd like, along with any shape preferences. In such a case, the prints within one order will be numbered successively.

Emergency pocket scrolls

This design runs with one of the scroll's best tricks: rolling up its height. Our pocket scrolls start out about the size of a ballpoint pen (and just as hard), so they're easy to take along in a pocket or purse. Pull the sting and they open up to a large, book-like presentation. Moments stuck in an elevator or waiting for an appointment are transformed into special occasions for quality reading. 

The reward includes six emergency pocket scrolls in a printed paper wrapping (think old-timey cigarette pack, with an old engraving of Taughannock falls), as well as one bonus mini-scroll. Five of the sticks and the bonus are short stories, while the last is poetry. 

Scroll editions

We went all out for the scroll's return, creating ten editions inside and out: five book-length works in cloth and five shorter works in paper. 

Here's some general information. Scroll down to see all ten editions. 

 A note on shipping for combined orders of cloth or paper scrolls: if you pledge for multiple rewards, still you only pay once for shipping. Add the fee for the heavier item only and we'll ship them all together. 

**There are a couple exceptions to this for large orders. We've been surprised at the volume of large orders we've received, and we need to introduce this confusing table to cover the postage we've been quoted by weight:

  • 2-5 scrolls only paper: 5- US, 25- international (same as 1 cloth scroll)
  • 1-3 cloth or mix: 5- US, 25- (same as 1 cloth scroll)
  • 4-5 scrolls with at least one cloth: 6- US, 30- international
  • 6-7 scrolls, any kind: 6- US, 37- international
  • 8 or more scrolls, any kind: 10- US, 75- international

Please message us or comment if you have any questions. As you can see, we're facing a few classes internationally (16-/25-/30-/37-/75-), and for everyone's sake we didn't want to tuck it all into the reward level. The pocket scrolls do not count toward these numbers. 

These are the fees going into effect on 12/27. If shipping was less than this for your order (like some of our first backers), that's definitely already final. But if it was more, we'll reduce it to this. (I don't think there are any such cases, but if there are they'll come out in order review.)

Papers

All ten scrolls use mould-made papers on the exterior and for their dust jackets. These are produced by a slow, traditional process that results in a less directional grain structure than that of most modern papers. This makes the sheet especially tough and resistant to surface damage. The papers we use meet the highest archival standards and are colored with UV-resistant dyes. They're made at Hahnemühle's historic mill in Dassel, Germany.

All ten scrolls also use the same text paper: Mohawk Superfine, a celebrated printing paper from a nearby mill in upstate NY. We use a variant that's wonderfully smooth to the touch and has a warm, ivory-white color. It's a comfortable paper for reading and supports extremely sharp, detailed printing. The cassette linings are made from another variant of this paper in the same color, which prevents distraction. 

The dust jackets are a lamination of mould-made paper over an archival press-board for structure.

The text paper of our scrolls may look different in different photos due to lighting conditions and other factors. Here's a color comparison under standard D50 light. Clockwise from left: one of our scrolls, a slightly darker ivory-white text paper, a true ivory stationary paper, and a brilliant white bond (like copy paper). The first two are both typical of modern hardcovers.
The text paper of our scrolls may look different in different photos due to lighting conditions and other factors. Here's a color comparison under standard D50 light. Clockwise from left: one of our scrolls, a slightly darker ivory-white text paper, a true ivory stationary paper, and a brilliant white bond (like copy paper). The first two are both typical of modern hardcovers.

Cloth

Our cloth scrolls use 100% linen bookcloth, which we manufacture ourselves in an adaptation of the 19th century technique of starch backfilling. Linen bookcloth is a rarity today (most books use Rayon or poly blends) but it was the fiber of choice historically, and it's still unmatched for its exceptional resistance to abrasion, staining, and soiling, as well as its silky hand and chunky aesthetic. 

Making our own bookcloth allows us to use the finest yarn-dyed linens available from Euorpean fibers and mills and to meet the special demands of this new application. By foregoing the paper backing of most artisan bookcloths, we're able to use a heavier, thicker cloth without compromising the tight corners and edges of the cassettes. And starting with cloth means we have a broader choice of colors and patterns, which is important because while plain colors work best for broad book covers, the cassette shapes thrive with a subtle pattern, and with black elements to bring out the body text. We've selected three melange linens from colored and black yarns. 

Ornamental type

Each scroll has its own motif of historical ornamental type. The compositions are original, but the elements we captured from an 18th century source (the Claude Lamesle specimen of 1742). Many of the designs are traditionally attributed to Robert Granjon, the master of fleurons, who also cut the italic case of the body font we use. 

To match these motifs, the external lettering uses old-style type from the legendary Oxford Fell collection, which dates to the same period in type history. Igino Marini has created these fonts as digital reproductions for pressings and other source material, wonderfully preserving the many details and imperfections responsible for their warm aesthetic. 

Typesetting inside

The typesetting for these scrolls follows centuries old traditions - our aim was to achieve a familiar and inviting "favorite book" appearance. 

For the body type we've selected EB Garamond. Garamonds are a common and highly readable choice for books. This is a new interpretation that's especially faithful to Garamont's work, particularly the 1549 Eberhard Bernhoff specimen. It preserves the play and elegance of his original designs, with greater contrast between strokes and a brighter, more welcoming page color than standards like Adobe Garamond. At the same time words and letters alike are easier to distinguish, thanks in part of a higher x-height and the level of detail in each stroke. 

Page construction or design is a main focus In typesetting, and the challenges change entirely when you no longer have a two page spread or even a set page height. These scrolls are the product of 1.6 miles of scroll prints - trials as we worked back and forth between reading and the traditional proportions and scales we would normally apply in page construction. 

Line by line, the biggest change to emerge is our preference for a slightly narrower measure: about 60 characters, while books average about 70 - the difference of word. We love the pages we've reached because of how familiar they are - a favorite book feel for us.  

Cloth scrolls (book-length scrolls)

Scroll-level backers, please note: If you would like a specific title, send us a message after the transaction so we can reserve your choice. With such small editions, availability is subject to change.(Also, please excuse our rewards write-ups to the right - now frozen on a confusing reference to "order comments".)

A Study in Scarlet by Sir Arthur Conan Doyle (1887)

This is one of the best loved Sherlock Holmes stories and also the very first, published in the 1887 edition of Beeton's Christmas Annual.

Dubliners by James Joyce (1914)

This scroll is slightly wider and deeper than the others (ca. 0.25 and 0.2", respectively) in order to accommodate a 40% longer paper tape.

Leaves of Grass (1855 edition) by Walt Whitman

We've put the scroll's special abilities to work for what must have been Whitman's dream. A pocket-sized edition of Leaves was a perennial ambition for him, even before the first publication. He enjoins the reader: carry "me. . . beneath your clothing". But by press time the first edition had become a quarto-sized volume - a small textbook. 

He needed the size to accommodate an unusually wide measure in order to avoid breaking the long lines of his poetry. In some cases, the reader meet well over 100 characters and spaces in a single trip across the page (compared to the 60-75 of a typical novel). The pages were so wide that his preface (in prose) had to be set in two columns for legibility. But that was how Whitman wanted the poem printed: he published this first edition himself and helped with the layouts, even some of the typesetting. 

A scroll can deliver the same measure in a package that closes up much smaller than a book, since the height rolls up. Our Leaves is compact and fits easily in boy pockets (a bulky payload!), even though this scroll is just over 1.25" longer than the others (flat end to knob tip) to accommodate a wider paper tape within. On the inside, we've kept our formatting as close to the original as possible, matching most lines precisely, as well as his titling styles and ornaments. 

 Notes from Underground by Fyodor Dostoevsky (1864) Translation by Constance Garnett

Poems: Series I by Emily Dickinson (1890)
 

Many of Dickinson's poems were published for the first time posthumously in a series of volumes edited by Mabel Loomis Todd and T.W. Higginson (the latter had been her correspondent and literary mentor). This scroll reproduces the first of the series, published in 1890. Like the original publication, it's a standalone volume; but our aim is to publish the second and third in the future. 

The ornamental type motif shows swirling iris flowers and leaves. It reminded us of her grave in Amherst, which is surrounded by a short iron fence and is covered all summer in wild flower offerings. 

Please note that the pink paper used for this volume is darker than that used for Alice's Adventures. It also has visible, swirling fibers in violet. 

Enchiridia (shorter titles in paper)

These scrolls take their name from Aldus Manutius' famous octavo volumes. Quarto (coffee table book sized) volumes were the norm until his press popularized the handheld formats we know today. These scrolls close up compact so they're easy to take with - the smallest of them (Alice) can even fit in a pocket.  

Scroll-level backers, please note: If you would like a specific title, send us a message after the transaction so we can reserve your choice. With such small editions, availability is subject to change.(Also, please excuse our rewards write-ups to the right - now frozen on a confusing reference to "order comments".)

Alice's Adventures Underground by Lewis Carroll (Original manuscript reproduction)

This is a very special Alice in Wonderland. Before Carroll published his famous work, he give this manuscript to 10 year old Alice Liddell - a Christmas gift based on a story he had improvised for her and her sisters. We've arranged the 90 handwritten pages into one continuous scroll, preserving every nuance of Carroll's pen, including his colored ink and applied watercolor - the most detailed reproduction we've seen. It reads like a personal letter from the author. 

This scroll measures 5.3125" from the flat end of the cassette to the tip of the knob, which is about 0.5" shorter than the other enchiridia (for scale, the black knobs are just over 0.75"). We've used a narrower page to match the manuscript columns, with some extra length to make up for area. The result is a "hardcover" scroll you can carry in a large pocket - an endearing look that's a perfect match for the title. 

Available in light pink or light blue. Please let us know when you message us with your choice of title.

*****In light of a big response to this edition from friends and family, and with the two color variants available, we have decided to extend it to 200 volumes. The was the most complex scroll of the bunch to put together and to print, so we're happy with the thought of a few more readers enjoying it. When they're gone, they'll be gone for good. (I [Tigg] want to add there will be no further changes to any of the edition numbers - the other nine being set at 100, and the total reflecting our capacity.)

Une saison en enfer (A Season in Hell) by Arthur Rimbaud (1873)

This is a French language edition - the original text without translation. Formatting follows the first published edition. 

The Rime of the Ancient Mariner by Samuel Taylor Coleridge (1834)

The Waste Land by T.S. Eliot (1922)

Some of the innovation of this poem lies in Eliot's use of spacing and enjambment. We've been careful to preserve the details of the Hogarth Press edition, which was set in type by Virginia Woolf.

The Raven by Edgar Allan Poe (1845) with 27 illustrations by Gustav Doré

Doré was a celebrated contemporary illustrator known especially for his work with poetry. 

***If you're reading this, the Poe edition has just sold out. Tigg will be sending out an update on this shortly. If you'd like that title or one of the now unavailable Complete Sets or Poetry Lover's Sets, please let me know so I can add you to the wait list. - Michael

Risks and challenges

All rewards will be made at our studio, which will take several months of work. The scrolls will take by far the most time. But this is the sort of work we know best, and having made over 400 scrolls already, we also have an accurate sense of the labor and time required. We've planned the reward limits very conservatively.

It takes less time for us to make a scroll than a book of the same title. Sewing up the signatures of a book and then the binding and adding the flexible "case" is a time-consuming process that can only be sped up so much without abandoning hand bookbinding altogether. With scrolls, the only operations besides printing and fabric preparation are cutting and gluing and pasting. By planning every detail of the process and applying all traditional tools of bookbinding and box-making, we've been able to reduce the time required for these operations. It helps that these scrolls use mostly the same parts, and that they can be created using absolute rather than relative measurements.

The cutting is handled quickly using large guillotine and rotary cutters with adjustable stops, and many of the gluing and pasting operations are simplified and accelerated through the use of jigs and small clamps and presses. Since the bookcloth, for its part, is made in large quantities using brayers and sheets of glass, and since our large printer is very fast and easy to work with, were able to deliver high quality, hand-crafted products on the schedule this project requires.

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    Immortality (for a while)

    Help us write this comeback story and we'll say our thanks by including your name or alias in a note to supporters printed in the back matter of all ten editions. What better way to tell the history when your grandkids ask, "What's a book?" ;)

    Your contribution will help even beyond the current editions. We have a full catalog of designs still waiting in the wings - applications from calendars to coloring.

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    <3 print

    This one includes the first reward, plus we'll send you a 4x6" archival print of a scarlet red heart that Tigg created from ornamental type.

    Each print is special and unique: below the heart there's a thank you note it records the total number of backers at the time of purchase: "XX readers love gorges." - a reference to inspiration for this project: Ithaca's famous waterfalls. Each print is signed by the two of us beside our imprint.

    We'll be pulling the prints ourselves, using heavy archival stock. Fine art printing at 2400 dpi output resolution brings the design to life - over 150 type elements in shimmering patterns.

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    Set of emergency pocket scrolls

    ...for emergencies of the literary variety. These scrolls are easy to take with and designed to turn any spare moment or unexpected break into a memorable reading experience. They arrive as small, hard sticks about the size of a pen. Pull the string and poof by the magic of spiral compression they open to a book-like page of literature - a special screen alternative.

    This reward includes the first two (the heart print and printed thank you). In addition you get six emergency pocket scrolls in a printed paper wrapping (think old-timey cigarette pack, with an old engraving of Taughannock falls), as well as one bonus mini-scroll. Five of the sticks and the bonus are short stories, while the last is poetry.

    Each set is printed and handcrafted in studio and signed by both of us on the label of the pack.

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    Scrolls in paper (Enchiridia)

    Let us know which title(s) you'd like by sending us a message after you pledge:

    A Season in Hell (Une Saison en Enfer) by Arthur Rimbaud (French language edition)
    The Rime of the Ancient Mariner by Samuel Taylor Coleridge
    The Waste Land by T.S. Eliot

    These editions are limited to 100 copies each. We'll reserve them on a "first message, first served" basis. We number and sign each one at the dedication. All scrolls come with a matching dust jacket.

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    Scrolls in cloth

    As above, let us know which title(s) you'd like by sending us a message after you pledge:

    Dubliners by James Joyce
    Notes from Underground by Fyodor Dostoevsky (translation by Constance Garnett)
    Leaves of Grass (1855 edition) by Walt Whitman
    Poems: Series I by Emily Dickinson

    These editions are limited to 100 copies each and are numbered and signed by both of us at the dedication. Each scroll comes with a matching dust jacket. We'll reserve them on a "first message, first served" basis.

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    Four Poems Set

    This set includes your choice of any four of the available poetry titles (Leaves, Poems, Rime, Saison, and Waste Land), as well as a thank-you card, the heart-shaped print, and a special pack of three poetry pocket scrolls.

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    Seven scrolls

    One copy each of Dubliners, Notes, Leaves, Poems, Rime, Saison, and Waste Land, as well as a large thank-you card, the heart-shaped print, and one pack of pocket scrolls.

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    Enchiridia (shorter titles in paper)

    Let us know which title(s) you'd like in your order comments:
    Alice's Adventures Underground by Lewis Carroll (Please specify the color you'd like: pink or blue.)
    A Season in Hell (Une Saison en Enfer) by Arthur Rimbaud (French language edition)
    The Raven by Edgar Allen Poe with 27 illustrations by Gustav Doré
    The Rime of the Ancient Mariner by Samuel Taylor Coleridge
    The Waste Land by T.S. Eliot

    Editions are limited to 100 copies, except Alice's Adventures, which will run for 200. We number and sign each one at the dedication. All scrolls come with a matching dust jacket.

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    Scrolls in paper (Enchiridia)

    Let us know which title(s) you'd like by sending us a message after you pledge:

    Alice's Adventures Underground by Lewis Carroll (Please specify the color you'd like: pink or blue.)
    A Season in Hell (Une Saison en Enfer) by Arthur Rimbaud (French language edition)
    The Raven by Edgar Allen Poe with 27 illustrations by Gustav Doré
    The Rime of the Ancient Mariner by Samuel Taylor Coleridge
    The Waste Land by T.S. Eliot

    Editions are limited to 100 copies, except Alice's Adventures, which will run for 200. We'll reserve them on a "first message, first served" basis. We number and sign each one at the dedication. All scrolls come with a matching dust jacket.

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    Cloth editions

    As above, let us know your pick in the order comments:
    A Study in Scarlet by Sir Arthur Conan Doyle
    Dubliners by James Joyce
    Notes from Underground by Fyodor Dostoevsky (translation by Constance Garnett)
    Leaves of Grass (1855 edition) by Walt Whitman
    Poems: Series I by Emily Dickinson
    These editions are limited to 100 copies each and are numbered and signed by both of us at the dedication. Each scroll comes with a matching dust jacket.

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    Pledge $45 or more About $45

    Scrolls in cloth

    As above, let us know which title(s) you'd like by sending us a message after you pledge:

    A Study in Scarlet by Sir Arthur Conan Doyle
    Dubliners by James Joyce
    Notes from Underground by Fyodor Dostoevsky (translation by Constance Garnett)
    Leaves of Grass (1855 edition) by Walt Whitman
    Poems: Series I by Emily Dickinson

    These editions are limited to 100 copies each and are numbered and signed by both of us at the dedication. Each scroll comes with a matching dust jacket. We'll reserve them on a "first message, first served" basis.

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    Ships to Anywhere in the world
    Reward no longer available 138 backers
    $
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    Pledge $165 or more About $165

    Fiction lover's set

    One copy of each of the fiction editions (Alice, Dubliners, Notes, and Study), as well as a thank-you card, the heart-shaped print, and a special pack of three short-story pocket scrolls. (Please message us to specify the pink or blue Alice.)

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    Pledge US$ 210 or more About US$ 210

    Poetry lover's set

    One copy of each of the poetry editions (Leaves, Poems, Raven, Rime, Saison, and Waste Land), as well as a thank-you card, the heart-shaped print, and a special pack of three poetry pocket scrolls. (If you don't read French, we'll be happy to substitute a copy of Alice upon request, as long as availability still permits. Please message us to request this.)

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    Pledge $375 or more About $375

    Complete set

    One copy each of all ten editions, as well as a large thank-you card, the heart-shaped print, and a special version of the pocket scrolls pack featuring exclusive titles and an engraving of Buttermilk Falls.
    (Please message us to specify the blue or pink Alice.)

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    The pink and blue set

    This set includes two copies of Alice (one pink, one blue) and one copy each of these eight editions:

    A Season in Hell (Une Saison en Enfer) by Arthur Rimbaud (French language edition)
    A Study in Scarlet by Sir Arthur Conan Doyle
    Dubliners by James Joyce
    Notes from Underground by Fyodor Dostoevsky (translation by Constance Garnett)
    Leaves of Grass (1855 edition) by Walt Whitman
    Poems: Series I by Emily Dickinson
    The Rime of the Ancient Mariner by Samuel Taylor Coleridge
    The Waste Land by T.S. Eliot

    It also comes with an exclusive pack of pocket scrolls printed on pink and blue papers, as well as a large thank-you card, and the heart-shaped print.

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