Communion Of Dreams

Timely references.

The medic examined the wound, looked up at his patient. “Don’t worry, this’ll just take a few minutes. You’ll feel a stinging, like dissonance in nerve feedback from artificial skin, but that won’t last.”

“Um, like what?”

“Oh, right. Sorry. You wouldn’t know that.” He chuckled. “It’s kinda like a first-degree phaser burn.”

“Er …”

“Oops, did it again,” he laughed. He shook his head as he removed the cap on a small tube and shook some paste into the palm of his hand. It started moving.  “It’s like a bad case of poison ivy, but only for about ten minutes. Then they’ll be done with the reconstruction and I’ll be back on my way.”

“I …”

“Just remember to flush the wound with water when the skin is healed, and it’ll all be fine.”



Happy (re)Birthday to me …

A year ago yesterday, I met my cardiologist for the first time. After looking over the results of my stress echo-cardiogram and discussing what it possibly meant with me, he said that I needed to have a cardiac cath procedure sooner rather than later. Since he’s one of the premier heart surgeons in the mid-west, and always in demand, I expected that this meant I’d get put on a waiting list and have it done sometime in the next month or so when there was an opening in his schedule.

I nodded. “OK, when?”

He looked down at my chart, then back at me.  “What are you doing tomorrow?”

Good thing I don’t panic easily.

* * *

Well, as I recounted a few days later, the procedure went smoothly, though longer than usual, with the end result that I had a couple of stents placed to correct a congenital heart defect. It took a while for all the ramifications of what I had lived with, and what it meant to have it corrected, to really sink in. Part of that was coming to full understanding of just how close to death I had come, because even the slightest amount of atherosclerosis, even the tiniest little blood clot, would have triggered a massive heart attack.

But now it’s been a year. I saw the cardiologist several times over that year, most recently a few weeks ago. And, basically, I’m now past it all. I’m no longer taking any blood thinners, I don’t need to take any real precautions, I only need to check in with the cardiologist once a year or if I notice a problem. If I’m smart, I’ll continue to get regular exercise (I now walk three miles each morning, and get in plenty of additional exercise doing yard work and such) and be a little careful about my diet, but those are things which any man my age should probably do.

So, basically, today’s the first anniversary of my rebirth.

And it feels good.


Jim Downey


A chronicle of the repair of The Book of Chronicles

I’ve had the pleasure to work on a number of very significant items from public and private collections. Here’s the most recent one:


That’s the Liber chronicarum, also known as the Nuremberg Chronicle, one of the most significant books in the history of printing. There’s a good basic description of why the book is important in the Wikipedia article, but suffice it to say that it was one of the first really successful integrations of both illustrations and type, and so a big step in printing technology. Here’s a good idea of what the illustrations look like:


This copy of the Liber chronicarum belongs to the University of Missouri system, and needed a little help, as you can see in these images:


Basically, the current binding, as nice as it is, was breaking along the hinge of the front cover. The rear cover was also showing signs of similar aging. This is a very common problem, particularly in large & heavy books. And my estimate is that the binding was probably 100+ years old, so showing a bit of age is understandable.

Typically, there are two basic repair options for dealing with such a problem. The first is to reinforce the hinge inside and out with Kozo dyed to match the leather. This is minimally invasive to the original binding. It’s a good repair for smaller books, but it doesn’t have a great deal of strength, and if a book is very heavy or is going to get a lot of use, doesn’t hold up as well as you would like. And to do it properly on this binding, it would have covered over a significant amount of the nice gold tooling.

The second common repair strategy is to “reback” the book in new leather. This includes removing the original spine, completely rebuilding the liners & hinges, putting new leather on the spine and then remounting the original spine onto the new structure. It’s a strong repair and  works well, but tends to be much more time consuming and apparent than the Kozo repair, changing the visual character of the book more.

After discussing the matter with the folks at MU Special Collections, we decided that I would attempt to do a Kozo repair, but one which had elements of the how the leather rebacking is normally done. This was something of an experiment, as is often the case in doing conservation work; you almost always have to blend techniques to meet the specific problems and needs of the item being treated.

I selected a very heavy Kozo paper and dyed it to match the leather. Then I carefully lifted up the leather along the spine, just enough to insert about a half inch of Kozo. Here’s how that looked:


Note that the pieces of Kozo are only between the heavy bands — those bands are part of the sewing structure, and I didn’t want to impinge on how it worked mechanically.

Then I lifted up the leather along the edge of the front cover, pasted out the length of the exposed interior, and brought the two together, inserting the Kozo tabs under the leather. Once that was all positioned, I wrapped it in wide elastic bands and added weight all along the joint:


Then I left it alone overnight to allow the adhesive to set properly. Leaving it alone is always the hardest part of this process, but you have to trust that you did it right, because if you try and look before the adhesive sets, it’s probable that you’ll cause the joint to be out of position.

Here’s what I found the next day:


That’s a nearly perfect joint. I was very pleased.

But I wasn’t finished yet. Now that the cover was properly aligned and partially attached, I needed to strengthen the joint from the inside of the cover.

I opened the book and removed the detached marbled endpaper:


Previously I had carefully used lifting knives to get under the cloth joint cover and lift up the marbled paste-down:


Now I peeled further back the marbled paste-down on the front cover, and applied a wide band of heavy undyed Kozo to function as an internal hinge:


Then I put fresh adhesive on the exposed paste-down marbled paper and put it back into position, thereby securing the joint:


Then I remounted the marbled endpaper with a narrow strip of Kozo on the back:


Lastly, I put down a narrow strip of dyed Kozo on the outside of the cover to mask the broken joint and protect it. This was largely cosmetic, but helped to give the book a finished appearance. After an application of leather preservative and a bit of buffing, the book was finished:


It’s a good repair. Eventually, the book will need to be rebacked in leather properly, but for now we’ve been able to stabilize the book and again make it available for classes and researchers at the University of Missouri.

What a fun project. I really do love doing what I do for a living, and I realize just how lucky I am to be able to say that.

Jim Downey

No escape from reality.*

For fun, and to make someone’s year a little better, I recently rebound a friend’s SF novel, converting the paperback edition into a hardcover binding.

With my bookbinding skills it’s a fairly simple and straightforward process, but not a cost-effective one (so don’t ask me to rebind your favorite paperbacks). The result is usually very satisfactory and striking, and makes for a nice little present when I am in the mood to do something different from my usual conservation work.

Anyway, I made this book and mailed it to my friend where she works. She opened it and shared it with her co-workers, who thought it was “pretty darn cool.”

Which, you know, is cool and all. But consider: making that book, that physical object, took me maybe an hour and a half actual labor time. But I’m sure that it took my friend hundreds, if not thousands, of hours of labor to write that book. To conceptualize it. To make notes. To research. To stare at the blank computer screen in abject terror. To write the first draft. To edit.  To stare at the words there in horror and disgust at how horrible her writing was (I assume this happened anyway, since almost every serious writer I’ve known goes through this multiple times with any book). To write the second draft. And then the third, after getting feedback from friends and editors. Et cetera, et cetera.

But what her co-workers thought was “pretty darn cool” was a simple physical object.

Now, I’m sure that if you asked them, her co-workers would say that her book — the written words — was also pretty darn cool. And maybe some of them have even read it.** Still, the fact remains that for most people written work is mostly an abstraction, one which takes real effort and time to understand and enjoy. Whereas a tangible artifact like an artisanal hardcover book can be handled and appreciated as reality.

People are funny, aren’t we?


Jim Downey


**A confession: I haven’t yet myself, since I am still in the middle of doing battle with St Cybi’s Well, and I just can’t read long fiction when I am trying to write it, since it just messes up my own writing. But you can bet I will when I finally finish this book.

My ambivalent year.*

2016 was odd. Just plain odd.

On the one hand, I had the same dumpster-fire of a year that everyone had, in terms of notable deaths, bizarre & unexpected election results here and abroad, and surreal news & social trends.

On the other hand, I’m alive. Which is something of a small (technological) miracle.

I now understand better (thanks to more discussion with my doctors, research, and experience) what happened with my heart, and what it really meant. Turns out that I didn’t have any plaque build-up even in the convoluted artery in question, as I initially thought. No, it was just that badly kinked, and probably had been all my life. I had started to notice it just because of normal aging, meaning that the normal parts of my heart were slowly getting weaker.

In the last six months or so I have finally been able to strengthen the 1/3 of my heart which had never had proper blood supply. Meaning that now I am actually in better cardiac health than I have ever been before. I walk three miles most mornings (5-6 days a week, usually), and don’t feel the slightest bit fatigued from it. The other parts of my 58-year-old body may limit me, but my cardiac condition isn’t a problem at all. Part of me wonders what it would have been like to have had this kind of stamina when I was young and athletic. Another part of me realizes that those limitations helped me develop awareness and self-discipline which I may have missed, otherwise.

Related to that, as mentioned in this post, early last year our financial situation stabilized for the good. We still need to be reasonably prudent about how we go through life, but I no longer feel as if I am hanging on by my fingernails sometimes. Without that change, I may not have felt secure enough to have my heart checked out when I did — meaning that I was very much at risk for the slightest little blood clot to trigger a massive heart attack.

Unrelated to any of that, the election lead-up and results also proved to be both a blessing and a curse for me. I was astonished at the results of both the Brexit and US presidential elections (and no, I’m not going to argue the point in comments — so just refrain from making any on this topic), yet it solved a problem for me with writing St Cybi’s Well. See, in the alternate time-line of Communion of Dreams, prior to the onset of the fire-flu, the US had become an authoritarian, semi-theocratic state. But I was having a really hard time explaining how we had gotten to such a point when actually writing SCW; everything I came up with just seemed too outlandish for the willing suspension of disbelief on the part of the reader.

Well, that’s not a problem any longer. No, I’m not saying that I think that the US is headed for an authoritarian, semi-theocratic state … but because of the rhetoric and rise in power of some groups both in the US and the UK, that is no longer an unimaginable future. As a result, I have been revising the finished chapters of SCW to reflect these new insights, and I think that the book will be *much* stronger for it.

So yeah, I have really mixed feelings about 2016.

Oh well, I suppose that at least I’m around to have them. And that’s a good thing.

Happy New Year. Remember, today (and the first of every month until I say otherwise), both Communion of Dreams and Her Final Year are available for free download.


Jim Downey

*You should watch this sometime. Fun movie.


This is not a drill:

An international team of scientists from the Search for Extraterrestrial Intelligence (SETI) is investigating mysterious signal spikes emitting from a 6.3-billion-year-old star in the constellation Hercules—95 light years away from Earth. The implications are extraordinary and point to the possibility of a civilization far more advanced than our own.

The unusual signal was originally detected on May 15, 2015, by the Russian Academy of Science-operated RATAN-600 radio telescope in Zelenchukskaya, Russia, but was kept secret from the international community. Interstellar space reporter Paul Gilster broke the story after the researchers quietly circulated a paper announcing the detection of “a strong signal in the direction of HD164595.”


Even if it is a signal directly beamed at us, it would require a Kardashev Type I civilization (about 200 years beyond where Earth is currently). If it is just beaming off in all directions, it’s another whole magnitude of power — about a Kardashev Type II.


Yeah, I’d say it warrants paying attention to.


Jim Downey

Making an impression.

My, how time flies …

I’m a little startled to discover that it’s been three years since I last posted about doing the leather bindings for the custom edition of Communion of Dreams. No, I know it’s been a while — but I have been giving this binding a lot of thought, so it seems like it was still a recent ‘pending’ project. I liked the idea of using the sewing structure to incorporate classic raised leather cords on the spine of the book, but I just didn’t like the sparseness of the rest of the cover design. The initial tests were OK, but the more I thought about them, the less satisfied I was with what the final product would be. The problem was that while the cords under leather gave a nice tactile effect, there wasn’t enough detail possible.

So I kept trying to figure out how to keep the relief I liked but to get more definition. I won’t go through all the different iterations of ideas I considered, but there were a lot, mostly along the lines of trying different ways of mounting different weights of cord/string or molding/engraving the board under the leather. But each approach failed to give me the definition I wanted. Worse, each one felt further and further removed from the image of the “Williamson Oak” by Peter Haigh I had used for the paperback/printed hardcover/website.

Then recently another bookbinding project got me to thinking about using something like a woodcut as a way to make an impression on a leather cover, and I realized that I had gotten so set on the idea of using the raised cords of the sewing structure as the basis for the rest of the cover texture I hadn’t considered the possibility of impressing the leather rather than trying to raise it. What would be required would be to make a plate which would press down most of the leather, leaving the design I wanted alone so that it would stand up (and out).

So that what I tried today. Here’s how I did a quick test:


That’s my high-tech, fancy “polymer plate” … also known as a plastic cutting board. I did a quick sketch on it with a marker, then carved into it using a couple of different cutting heads on a Dremel tool.

Then I mounted a piece of goatskin and a piece of calfskin onto some bookboard, got it good and damp, and then pressed it quickly in one of my book presses. Here are the results:

20160529_160343 20160529_160355

This was just a trial to see if my press would generate sufficient pressure, and if the plate would hold up to it. I am very happy with how well they turned out, and I learned what I need to change for the final version (such as smoothing out the surface of the plate, adding more detail and title, and — oh, yeah — reversing the image).

So, progress! Hey, it only took three years for me to get past my perceptual bias … 😉


Jim Downey