A Historical and Cultural Examination of Central Yup’ik, a guest post by Gwendolyn Bogard

Gwendolyn Bogard is member of the Honors College at SOU, where she studies Chemistry in preparation for a career in science communication.

The village of Atmautluak sits in the middle of the Alaskan tundra about four hundred miles West of the city of Anchorage. A flat expanse of packed white snow extends in all directions, and no roads connect it to any neighboring communities. Despite the ostensible isolation, residents of Atmautluak are a part of a larger network of similar villages dotted across Alaska and other arctic countries, including Russia, Canada, and Greenland. The residents of Atmautluak are largely Yup’ik, one of the many indigenous groups in Alaska. The only non-Yup’ik residents are a few teachers at the Joann A. Alexie Memorial School, a K-12 institution that has about one hundred students.

My mother was one of these teachers from 2010-2012, my freshman and sophomore years in high school. She taught in several Alaskan villages during her early years as a teacher, but later in her career, she wanted to return and retire within the Alaskan school system. Unlike her first time in Alaska, she had a family—my father, my middle school-aged sister, and me—so though she stayed up in Atmautluak for both school years, the other three-quarters of our family remained in Oregon to continue school for most of the year, but we traveled to Atmautluak and lived with my mother during the two winters.

As a high school student, being uprooted was difficult, and the village was a tough place to live. Poverty was widespread, as was drug and alcohol abuse, though the Atmautluak was supposedly a “dry” village—alcohol was banned. Only the school building and teacher housing had running water; the rest of the village either got water from a well in town or, more commonly, cut ice from the frozen river.

From the beginning, however, my mother emphasized that we were the visitors and therefore should be the ones listening and learning, not the other way around. Most of the students I met at school spoke both Yup’ik and English, and as I began to make friends, I learned bits and pieces of the language. The Yup’ik language is inextricably tied with the Yup’ik history and culture, and its structure is quite distinct from English. However, it seemed that in this bilingual environment, both languages had influenced the other—similar to Spanglish, my peers spoke Yup’ik-influenced English, or “village English.” In this essay, I will explore the intersection of these disparate languages within a cultural and historical context.

The History of Central Yup’ik

The Yup’ik spoken in Atmautluak is a dialect of a language within a larger umbrella of languages spoken by indigenous groups in Alaska and around the Arctic circle. About 4,000 years ago, the Eskimo and Aleut families of languages diverged; then, Yupik and Inuit (Inupiaq), which fall under the Eskimo language family, split approximately 1,000 years ago. Yupik is a modern family that contains five languages: Sirenik, Naukan, Siberian/St. Lawrence Island, Central (Alaskan) Yup’ik. In Atmautluak, people spoke Central Yup’ik, which is differentiated from other Yupik languages by the apostrophe in its name (Yup’ik). Within Yup’ik, however, there are several dialects: Yukon, Kuskokwim, Nelson Island, Bristol Bay, Nushagak River, Hooper Bay-Chevak, and Nunivak Island (Jacobson, 1984).

Until the 19th century, Yup’ik language was completely oral, and the people relied heavily on storytelling to pass on information. The first missionaries’ arrival changed this—Russian missionaries spreading the Russia Orthodox religion needed a way to communicate with locals. They focused on translating the Bible into Yup’ik using the Cyrillic alphabet, which is the Russian lettering system. There was no cohesive system as the missionaries had spread across Alaska and did not work together to construct one (Jacobson, 1984). Though the Cyrillic lettering system is no longer used, many Russian words have been incorporated into the Yup’ik language (Hensel, et al., 1983). My mother often observed that the Russian word “Cossack,” which referred to a group of people who lived primarily in Russia and Ukraine, sounded like “kassaq,” which means “white person” in Yup’ik. The relation makes sense because Russian missionaries were the first white people to come in contact with the Yup’ik people.

I also saw the Russian influence in Atmautluak through the presence of the Russian Orthodox church traditions. Part of the Christmas traditions was holiday called “Slaviq,” where most of the village followed a Russian Orthodox star on a pole from house to house. People crowded into houses, where they sang hymns, served food, and passed out small gifts. This tradition is common to Southcentral Alaskan communities and is, along with language, one of the most enduring marks of Russian missionary influence on Yup’ik culture.

In contrast to the methods of Russian missionaries, those from the United States, as well as the U.S. education system run by the Bureau of Indian Affairs (BIA), imposed an English learning requirement. More recently, though, efforts have shifted toward language preservation because the English learning requirement leads to language loss. In the 1960s, linguists at the University of Alaska worked with native Yup’ik speakers to create a cohesive Yup’ik lettering system using the Roman alphabet. The goal was to make the language easily typeable with few diacritic marks and nonstandard symbols but to accurately represent the Yup’ik oral language (Jacobson, 1984).

Language Structure

The Yup’ik alphabet consists of the letters a, c, e, g, i, k, l, m, n, p, q, r, s, t, u, v, w, and y. Voiced consonants include b, d, j, and g; voiceless consonants are p, t, ch, and k. The vowel system is simple, only including a, i, u, and e (Jacobson, 1984). Naturally, not all letters are pronounced the same as in English. The first Yup’ik word I learned was “quyana,” which means “thank you”—an essential component of a beginner’s vocabulary. When I first heard the word, though, I assumed it was spelled “guyana” because “q” is pronounced more like an English “g.”

Additionally, Yup’ik geminates consonants more frequently than English. That means that either double consonants appear in the middle of a word or an apostrophe is used to indicate that the consonant sound is extended, like the word “Yup’ik” itself. The apostrophe also puts the emphasis on the first syllable (Hensel, et al., 1983).

The stark contrast between English and Yup’ik becomes apparent when letters are combined to form words. The Yup’ik system builds words from a stem, the root onto which other grammatical components are added. Stems can be verbs or nouns (Jacobson, 1984), but the line between verb and noun is often hazy. The stem “mer-” means “water” or “to drink,” depending on usage (Hensel, et al., 1983).

Verb endings indicate mood (e.g. statement, question, request), as well as person and number of the subject and object (Jacobson, 1984). However, they are rarely marked for time (present or past), so this is usually inferred from context.

Nouns can stand alone, but they can also be marked for number: singular, dual, and plural. Nouns can also be marked for possession, both by whom and the number of possessors. Unlike in English, gender is not differentiated through pronouns, so it is usually inferred through context. Pronouns are only used to add clarity or emphasis, like demonstrative pronouns, which specify the spatial location of the subject or object. One such pronoun could be “that one approaching the speaker” (Hensel, et al., 1983).

Instead of using separate words for adjectives or preposition, in Yup’ik, parts of speech are added directly to the stem through the use of suffixes called postbases. This frequently results in long words that may convey the same meaning as a complete sentence in English (Jacobson, 1984). Thus, the classic, though incorrect, example of the many Eskimo words for snow has a sort of truth—the postbase system means that snow could have almost infinite variations.

The order of parts of speech within a word is stem, postbase, then ending. Word order is less important in the Yup’ik system because when using a transitive verb, subject and object endings are different. Below is an example from A Brief History of Yup’ik: Construction and Usage of the Language (Jacobson, 1984):

    The dog bit the preacher.

    Qimugtem keggellrua agayulirta.

    Agayulirta keggellrua qimugtem.

    The preacher bit the dog.

    Qimugta keggellrua agayulirtem.

Aside from postbases and verb endings, Yup’ik also modifies words with enclitics. These one-syllable parts of speech “1) define the speaker’s attitude toward what he is saying (e.g. -tuq ‘one hopes); 2) indicate that information is being added (e.g. -llu ‘and, also’); or 3) indicate that what is being said is a yes-no question (e.g. -qaa)” (Hensel, et al., 1983).

Though my 15-year-old self did not pick up on these nuances, I regularly observed the nonverbal aspects of Yup’ik communication. Perhaps the clearest of these was the eyebrow flash, a quick raise of the eyebrows that signals “yes.” It is an efficient way to communicate, so by the end of our time in Atmautluak, my sister and I had incorporated it into our communication between ourselves and our classmates.

English and Yup’ik

Just as Russian words were incorporated into Yup’ik due to the missionary’s presence in the villages, Yup’ik has about sixty words borrowed from English. For example, “ingek,” is derived from “ink.” Not all new words are borrowed from English, however. “Airplane” is translated as “tengsunn,” which means “device for flying.” The opposite occurs, as well. English has also borrowed words from Yup’ik, like “kayak” from “qayak” (Jacobson, 1984). As I spent more time in Atmautluak, I also noticed some features that seemed to be common in all of my classmates’ English speech patterns beyond simply borrowed words.

This was what most people in Atmautluak referred to as “village English”—patterning English speech off of Yup’ik conventions. I remember frequently hearing phrases like “He wants to go college” instead of “He wants to attend college.” In this example, “go” is used as an auxiliary word to turn the noun “college” into the act of attending college. This sounds odd to an Oregonian ear, but the structure is derived from the Yup’ik convention discussed above—one stem will often function as both a noun and a verb (Jacobson, 1984).

Another common pattern is replacing “make” and “have” with the word “let,” as in, “My mom let me clean my room.” Because the Yup’ik postbase “vkar” expresses the action of compelling (make and have) and allowing (let), the two functions are often combined when translated to English (Jacobson, 1984).

I also remember slight confusion when friends complained “I have never eat yet” until I realized this meant “I haven’t eaten yet,” where “never” is substituted for “not.” Another frequently substituted word is “always.” In English, the simple present, like “they use them” implies habitual action, whereas the present progressive implies ongoing action. However, the Yup’ik postbase “-lar” indicates habitual action, but no postbase exists to describe ongoing action. Thus, Yup’ik-influenced English uses “always” to denote habitual action (Jacobson, 1984).

Despite its ubiquity in Alaskan villages, the school system has historically tried decrease its use in an attempt to teach students “correct” English. Howevever, currently, bidialectism, is taught (Jacobson, 1984). Bidialectism is essentially codeswitching, which means that students switch back and forth between dialects and languages depending on the situation. This can prove useful in settings when students encounter people who may not consider their way of speaking professional—village English can pose an obstacle during job applications or college essays. Bidialectism also acknowledges the validity of village English, allowing students to speak the way in which they feel comfortable.

The shift toward increased respect of indigenous language and culture in the Alaskan school system took place fairly recently. Only in 1969 was bilingual education implemented in village schools across Alaska (Tennant & Bitar, 2000). By the time I arrived in Atmautluak, primary grades (K-3) were completely taught in Yup’ik, and then older students transitioned to learning primarily in English. Thus, most of my peers were bilingual.

The purpose of bilingual programs in village schools is to preserve language, which is a major concern for indigenous populations around the word. Though the Yup’ik language is relatively widely spoken compared to other indigenous Alaskan languages, the system still faces hurdles, which the Alaskan education system is currently attempting to address. For example, barriers in teacher certification have contributed to a lack of native Yup’ik teachers in the school system. This presents an issue because native speakers are crucial in bilingual schooling programs. One feasible proposed solution involves online certification routes—this would literally close the gap by removing the physical obstacle of the remote location of many villages and their residents (Berg, et al., 2018). Other initiatives have involved village elders in recording stories that teachers can incorporate into lessons to teach both the language and the oral traditions of the Yup’ik people (Lincoln, 2016).

During my time in Atmautluak, I saw how important Yup’ik heritage was to my classmates and their families. The Yup’ik language is inextricably tied to the culture of the same name, and it bears the markings of a history spent surviving both the harsh arctic tundra and outside groups infringing on an established way of life. This language merits preservation not only due to its intriguing lexical and syntactic complexity but because the language currently spoken in these villages carries with it a historical record of the Yup’ik people. It is unrealistic, however, to expect any language to remain static, and as I experienced in Atmautluak, village English is a prime example of how languages interface and influence each other. Facilitating the acceptance Yup’ik and English dialects is much more respectful, and pragmatic, approach to language and cultural preservation.

Works Cited

Berg, P., et al. (2018). Disrupting Higher Education in Alaska: Introducing the Native Teacher Certification Pathway. In A. Altman (Ed.), The Disruptive Power of Online Education (pp. 147-166). Emerald Publishing.

Hensel, C., et al. (1983). Qaneryaurci yup’igtun: An Introductory Course in Yup’ik Eskimo for Non-speakers. Bethel, AK: Kuskokwim Community College.

Jacobson, S.A. (1984). Central Yup’ik and the Schools: A Handbook for Teachers. Juneau, AK: Alaska Department of Education.

Lincoln, R. (2016). Elitnauryarait Qaneryaramta Quliratgun; Teachings of Our Language Through Storytelling. University of Alaska Fairbanks, Master’s thesis.

Tennant, E.A., & Bitar, J.N. (Eds). (2000). Yupik Lore: Oral Traditions of an Eskimo People. Bethel, AK: Lower Kuskokwim School District.

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An Interview with Phil Busse, author of Southern Oregon Beer

Phil Busse is an Oregon writer and publisher. Raised in Wisconsin, he graduated from Middlebury College in Vermont, and began as career as a journalist with the San Francisco Weekly. He has written for the Eugene Weekly and helped start the Portland Mercury, where he was managing editor. Busse is the executive director for the Media Institute for Social Change and is the publisher and editor for the Rogue Valley Messenger, which provides news, entertainment and reviews to southern Oregon.

Southern Oregon Beer: A Pioneering History, his first book, was published in 2019 by the HISTORY Press as part of its American Palate Series.

Ed Battistella: How did you come to write a book on the history of Southern Oregon beer?

Phil Busse: I helped start the Rogue Valley Messenger six years ago—and have been the Publisher for the paper. Part of that job is writing beer reviews now and again. Last summer, I received an email from a publishing house asking me to write a book about the history of southern Oregon breweries. It was completely out of the blue.

I took a day to do some quick research to see whether there was even a story there—and quickly found some fascinating stories and characters, and wrote back to the publisher saying, “heck yeah!”

It was such a fun project to research – to learn about the dusty gold rush days of Jacksonville, to learn about how the railroads impacted local economies, to find out how big the hops industry was in the 1920s, not completely unlike the weed industry is today! It was just a great vantage point on history. I had so much fun researching this topic.

EB: The origins of brewing in the region seem to be in Jacksonville. Why there?

PB: Starting in 1851, Jacksonville was a gold rush town—a gold rush that coincided with a massive immigration of Germans; more than 1 million Germans arrived in America in the 1850s, with many finding boom towns like Jacksonville where they could make an impact and with a decent number of those Germans with beer brewing talents (Miller, Busch, Coors, Weinhart; these were all German immigrants arriving in America in those years). In the 1850s, southern Oregon was fairly desolate, but these settlers came with ideas about striking it rich—and a couple decided that starting up breweries for the their miners would be their ticket.

It was extremely isolated, though, so it is amazing that breweries started. Consider not only how tough it was to get the basics like wheat and hops, but to drag cooper tanks across the mountain passes!

EB: Some of the earliest breweries were run by women. Tell us about Fredericka Wetterer and Marie Kienlen, who you profile in the book.

PB: Yes, it is amazing that half of the breweries in southern Oregon in the 1880s/90s were owned and run by women. Beer brewing has been – and continues to be – a male-dominated profession, but in the late 19th century, it was a different story in southern Oregon.

Fredericka Wetterer was a German woman in Jacksonville. She came from a family of brewers, and outlived her husband who had started one of the first breweries in Jacksonville. She was interesting in the records she kept. Hundreds of receipts that helped tell the day-to-day story about running a brewery back then—about buying bales of hops from the Willamette Valley, about doing business with Henry Weinhart.

Marie Kienlen was a bit more zany. She was a French woman who landed in Grants Pass, and walked around town with parrots on her shoulders. With her husband, she bought a brewery – which, in turn, burned down. They rebuilt on the same spot, a brick building that today is Climate City Brewery. Unlike Fredericka though, there weren’t many records kept by or about Marie. Even basic information – like her birthdate – was impossible to pin down.

Even so, these two women give a lot of insights into what it was like to run a business in southern Oregon at the turn-of-the-century.

EB: There are some interesting historical and contemporary photos and lots of observations from the newspapers of the early years. What was the research like for you?

PB: Researching this book was both fun and like trying to solve a mystery. I was trying to piece together information to build a picture about what life was like. I found a number of great resources. Southern Oregon Historical Society was fantastic; just really wonderfully kind, helpful and interested in what I was doing. And, there were a couple databases of newspapers that gave me contemporary insights into people’s lives back then.

The book also talks about what is happening now, and has been happening for the past quarter-century. For that, I had a number of interviews with brewers, who all were excited to talk and share their thoughts—and beers.

EB: What was the impact of prohibition? How did brewers cope with that social change?

PB: Obviously, Prohibition had an impact. It shut down the breweries for 15 years (more in Grants Pass, which passed a resolution a full decade before the rest of the country). Interestingly, though, there were other market forces that were as big and damaging. I was surprised to learn that the peak of breweries in America was in the 1870s, with more than 4000 breweries, a number that wasn’t surpassed again until 2005!

The decline in that number started decades before Prohibition and was all about consolidation – and about local economies being undermined with national products like Budweiser came about and had distribution from a nationwide network of railroads. It isn’t a completely different story from what we’ve been seen in the past 20 years with the internet; a tension between locally-produced products and those easily available from national companies.

There was an upstart brewery in Medford, for example, but that was bought out by the Portland-based Weinhart, which was a big regional force.

It was a double whammie to local breweries – first, trying to compete with national brands and, second, becoming illegal from Prohibition. By 1933, when FDR lifted Prohibition, the number of breweries had sunk into the several hundred. It has taken decades for the diversity to recover.

EB: One of the results of prohibition was a ban on homebrewing, which lasted until the 1970s. How did Oregon become such a center of the homebrewing and then the craft beer movement?

PB: I’m not sure why Oregon became such a hub for homebrewing; really, all of the west coast. Maybe it is the pioneer spirit and spunk, or the notion of doing-it-youself. But yes, even after Prohibition was lifted, homebrewing was still illegal for five more decades. This was like removing the minor leagues from baseball; there was no training ground for small breweries to come up through.

Once legal again, though, there is a boom with small breweries. Something like 90% of that first generation of small breweries came from homebrewers; in southern Oregon, that was guys that started Walkabout and Caldera, and Wild River Pizzeria’s craft brewing.

EB: Any predictions for the future of Southern Oregon brewing?

PB: That’s a tough question. I like to think that the trend towards regional breweries will continue.

Southern Oregon Breweries really are gems—places like Portal and Opposition and Conner Fields that are so tied to their community. That is the spirit of the mid-19th century breweries that served as adult community centers in a way. I like to think that philosophy will only deepen. The economic trends seem to indicate that, although it can be a tough business, and is increasingly competitive.

EB: Where can readers get Southern Oregon Beer?

PB: The book is available at most book stores, and online at Amazon. I will have some readings and events in southern Oregon in late September and early October. I have a barnstorming tour, stops at Bloomsbury Books and also at various breweries and other events. We will announce those in the Messenger.

EB: Thanks for talking with us. Cheers.

PB: Cheers! I appreciate the interest in the book. I really am happy for the opportunity to share the history that I was able to piece together and write about.

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Eating With Our Eyes, a guest post by Jordan Hartman

Jordan Hartman is an aspiring writer and photographer based in the Rogue Valley. He has recently graduated from Southern Oregon University with a Bachelor’s degree in English. Jordan has been honing his culinary skills for over eighteen years.

Being able to taste an image means that a photographer has done their job perfectly. Food is not only meant to be eaten it is meant to be experienced. Photographs can only do culinary masterpieces so much to convey the plethora of senses that are experienced during the act of eating. Many professional publications come close to portraying the senses experienced while eating in their photography. But as amateur photographers and chefs we could never come close to the perfection that they portray. I decided to try my hand at preparing and photographing dishes in two cookbooks that are photocentric.

One of the books used for this study is Better Homes and Gardens an extremely well known culinary text, and many would not consider a home complete without this book. It is a culinary text that mainly focuses on homemaking and hosting for beginners. It is a wealth of culinary knowledge. The other cookbook I used for this project was The World in Bite Size by Paul Gayler and photography by Peter Cassidy, this book is not quite as prominent as Better Homes, but has a lot of value in regard to photography. The book focuses on the recent surge in popularity of tapas and other appetizers. When I was contemplating this study I scanned through the books and decided that the two recipes that contrast each other well were the “piggyback dates on polenta” from Bite Size and “Flat-Iron Steaks with Avocado butter” from Better Homes. The reason I chose these two recipes is because I felt that “piggyback dates” would challenge me more due to the polenta component, and the “Flat-Iron Steak” recipe because I have never worked with Flat-Iron steaks before, but it was a fairly basic recipe. Although these recipes seemed fairly basic the “piggyback dates” recipe gave me extreme difficulty in preparing it.

The photos for the recipe gave a false sense of simplicity:

“Piggyback Dates on Polenta” Peter Cassidy, The World in Bite Size

“Piggyback Dates IN Polenta” Jordan Hartman

To begin, the recipe called for instant polenta which I prepped twenty-four hours in advance by bringing to a boil and simmering. I then placed the polenta in a greased baking dish and let chill. Unfortunately I am not well versed in making polenta so it did not set correctly. I then placed it in the freezer for the day hoping that when I revisited it later I might be able to salvage it. I was wrong, the difficulties with this recipe had only begun. When I finally came back around to make this recipe I realized I did not have a grill pan so I tried to just use a regular frying pan coated with olive oil. This decision was costly, because when I added a polenta square to the pan it sizzled and shot a chunk of corn meal into my eye. The polenta square then began to turn to mush in the pan, and I quickly changed my attention to my barbeque. When I switched to the barbeque I first placed a polenta square on the grates and it slowly started to melt through. I decided to just throw the remaining polenta in a baking dish and make creamy baked polenta. I then placed the bacon wrapped dates on the grill, but forgot to keep an eye on them and returned to a grease fire with most of the dates charred to a crisp. Unfortunately the only salvageable date was the one photographed above. This recipe seemed so novice at first glance, but proved to be one of the most difficult, and frustrating, recipes I have ever undertaken. One of the main lessons for this recipe was to actually read the recipe all the way through before attempting. I also realize now looking at the photo post-production that the lighting on the image is too flat. I needed to deepen the light with a darker filter, and angle it from the back more. Taking into consideration all of the failed aspects of this recipe, the learning experience was more valuable than anything.

The other recipe, “Flat-Iron Steaks with Avocado Butter”, was much easier to execute than the “piggyback dates.” The recipe is a straight-forward grilling recipe with an avocado compound butter pictured below next to my attempt:

“Flat-Iron Steaks with Avocado Butter” Photographer Unknown, Better Homes and Gardens

“Flat-Iron Steak with Avo Butter and Home Fries” Jordan Hartman

Obviously the potatoes are different, I will get that out of the way now. I forgot to write the type of potato I thought the recipe called for before go to the store, and thought that the small yukon golds were the right potato. This is most certainly the case, but they were still delicious. The process for grilling the steak was fairly easy, and it looks as though I matched the coloration of the official photograph. The avocado butter ended up being slightly lumpy, and in the future needs a food processor to gain the smoothness of the official photograph. The execution of my photograph turned out better than I had hoped. I feel as though my photo is slightly cold compared to the original photo, but I feel as though my attempt does the recipe justice.

Although I had a moderate amount of difficulty between the two dishes I am very satisfied with the outcome. Most food photography is not meant to be eaten and that was a factor that had to be taken into consideration throughout the duration of this study. Many of the photographs used in the culinary world use inedible items to make them more appetizing to the eye, but would cause major harm if ingested. Although these photographs did not turn out exactly like the original images for various reasons the outcome was satisfactory.

Works Cited

Gayler, Paul. The World in Bite Size: Tapas, Mezze, and Other Tasty Morsels. Edited by Peter Cassidy, Kyle Books, 2008.

New Cook Book: Better Homes and Gardens. HougHton Mifflin Harcourt, 2014.

Works Referenced

Bright, Susan. Feast for the Eyes the Story of Food in Photography. Aperture, 2017.

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An Interview with Sophia S. W. Bogle, author of Book Restoration Unveiled

Sophia S.W. Bogle is an expert in book restoration with a diploma from the American Academy of Bookbinding and over 25 years of hands-on experience. She founded Save Your Books (formerly Red Branch Book Restoration) in 2000. 

Among her thousands of book restorations are first editions of Darwin’s Origin of Species, The Kelmscott Chaucer, and The Wonderful Wizard of Oz.  She is the author of Book Restoration Unveiled, which is just out and available in three formats: See below for more details.

Sophia will be at the Ashland Book Exchange celebrating and signing books from 4-6 on July 5.

Ed Battistella: Who is Book Restoration Unveiled for?  Who is your audience?

Sophia Bogle: The book evolved as I wrote. I started out writing it only for book collectors and then it expanded to include book dealers and then it expanded again because I realized that anyone who loves books should know these things. 

EB:  One of the things I found fascinating in the book and in your presentations is the history of book restoration and repair—can you tell our listeners a bit about the Florence Flood in the 1960s?

SB: The Florence Flood was a huge turning point. Before the flood, innovations in book repair technology just sort of followed behind whatever the art world was doing for art restoration. The flood damaged so many books all at once (millions) that it forced a shift. New techniques had to be invented quickly. Some worked, some didn’t, but the combination of moisture and heat made the books into time bombs for mold as well as pages getting stuck together. It was a real Mission Impossible moment and Peter Waters emerged as the hero. He led hundreds of “mud angels”(as the volunteers were called) through the muck of the detritus from the flood to rescue as many books as they could. 

EB: What’s the distinction between repair, restoration and conservation in a nutshell?

SB: First of all, Conservation is a profession. The people who do it are Conservators. What they do mostly is preservation but they also do restoration. The goal of preservation is to maintain the original object into the future with minimal change to the object. You can use the words conservation and preservation in the same ways but I find that confusing. 

Second, repair is both the overarching term for any treatment of something broken and it can also refer to simple treatments that are not fussed about matching or being invisible. 

Third, restoration is focused on invisible treatments that will bring the book back to functionality and its original beauty. 

EB: How does it feel to work with rare books—you’ve handled some first editions and even a Shakespeare First Folio in your career.  Do you have a sense of awe when you work with such rare pieces? 

SB: It is certainly wonderful to hold such a book and imagine the history. It means even more to me now that I have seen the play The Book of Will which was at OSF last year. The First Folio came through the shop when I was working for David Weinstein. It didn’t actually need any restoration at all. David just did a bit of treatment on the leather for preservation. In my interview with David in the book (BRU) he talks about the very interesting story of its sale.

EB: In Book Restoration Unveiled, you mention that some people think that book restoration and making facsimiles is inherently a bad thing. What do you say to that?  Can book restoration be used for good and evil?

SB: I am not sure that there is anything in the world that cannot be twisted with evil intent. I truly believe that the answer is always more information. I say that because I have had experience with some book people who have suggested that I should not be telling people about how some of these frauds are perpetuated. Their thinking is that now more people will commit crimes. I say that no information can create the intent. The intent exists aside from information. It is more important to arm the general public with the tools to spot it!

EB: You also talk about book restoration fraud? What is the most common type of fraud?

SB: There are three things that come to mind. Swapping out pages with publishers information in order to make the book appear to be a more valuable edition. Scratching out/removing numbers or words for the same purpose. And lastly, swapping out pages to insert the author’s signature.  None of those things can be done without intent to defraud and it is the intent that matters most. 

EB: One of the great features of your book are the many interviews with book professionals.  What was your idea in doing that? What did you learn from talking with them? 

SB: The interviews came out of a need to understand how others in the book world saw restoration. I was aware of a certain paradox that I wanted to clarify. You see, book restoration is both revered and shunned or hidden. Book dealers will only reluctantly tell you about who does restoration for them because they don’t want their book restoration person to get backed up and not have the time to do that dealers’ books. 

Also, dealers and collectors know that a book that has been restored is then not seen as a perfect book and so a stigma is attached. The stigma is attached even though the book was broken in the first place. This is due to the top 1% of book collectors preferring untouched books and so is market driven. 

The last part of it is that some people have been using the skills of book restoration to have shady things done and they don’t want to be caught. I have turned away some people when they asked me to do sketchy things. In the book I mention how one person asked me to change the name of the publisher on the spine of a book. I could have done it but I could not see how that wasn’t fraud so I declined.

EB: There is an Antiquarian Booksellers’ Association of America code of ethics.  What does that entail?

SB: The important thing is that they must declare any changes made to a book meaning restoration or re-binding mostly. Also they must accept returns if the book is not as stated. 

EB: Can you tell us a little about the Print-to-Sew version (sew-your-own-version delete) of Book Restoration Unveiled and about your video courses and book repair kits.

SB: I have created a Print to Sew format that is a set of downloadable pdfs. You just print each signature double-sided and then you can sew them together and bind it however you like. No instructions are included at this time.  I might be the first person ever to offer this as an option. There is a risk that someone will print a ton of copies to sell and so I will lose out on money. But aside from the fact that I could sue them for copyright infringement, I believe the bookbinders out there to be honorable. Teachers can just let me know they need more copies for a class and I will approve such uses. Otherwise they can print three copies to bind as they like. That comes out to about $5 per copy. They can sell the three copies that they bind themselves as long as they have bought the download properly.

AND, I have decided to donate 10% of all sales of the Print to Sew book to the Save Your Books Scholarship Fund. I have three applicants this term already. Scholarships are awarded quarterly. To donate or apply go to: https://saveyourbooks.com/scholarships/

EB: Is there a book out there that you are just dying to work on but haven’t had the chance yet?

SB: Not really. I actually get excited about each book that comes through my shop, I love meeting with the owner and finding out why the book is important. I do love working on illustrated children’s books though. Rackham and Sendak are favorites and I also love all the Wizard of Oz series that has come through the studio.

EB: How can readers get copies of Book Restoration Unveiled?

SB: There is an e-book format that is available through Amazon, while the Paperback and the Print to Sew formats are available through http://saveyourbooks.com/ .  I have decided not to sell the paperback on Amazon in order to encourage independent bookstores to carry it.

The Paperback is also available through several  local independent bookstores including the Ashland Book Exchange, Bloomsbury Books, Rebel Heart Books and Oregon Books and Games. It is also available in the rare book room in Powell’s City of Books and at Chaparral Books in Portland and J. Michaels’ Books in Eugene. Please support your local independent bookstores!

EB: Thanks for talking with us.

SB: It is my pleasure! 

Posted in Interviews | Comments Off on An Interview with Sophia S. W. Bogle, author of Book Restoration Unveiled