The content of this book is based upon Eastern philosophy and religion and consists of shaped, tautologic, concrete poems with the visual appearance of typewriter face, letter forms but printed by letterpress at the Carolingian Press. Each poem is printed on a different handmade rice paper and interleaved, blank, handmade rice paper pages are included. The book includes a anagraphic, permutated, concrete poem incorporating the words: breath, earth, heart, death.Bromer Books 2011 priced an Archive of this work at $12,000 with the following description: A collection of unique artist's books handmade by Mali Burgess that led up to the creation of her book Still, which was published in a limited edition. The five books contain concrete poetry composed by Burgess on her Smith Corona electric typewriter, during her time as a student at Princeton. Includes: copy number one from the limited edition of Still. One of 25 copies, signed by the author/artist. Square octavo. (86)ff. Letterpress printed from zinc plates, which were produced from a typewritten text. This is Burgess' s only published book and is beautifully conceived on over 40 varieties of Japanese papers, including leaf papers with clover and ferns. This unusual and striking book was written by the artist in response to her study of Eastern philosophy and religion. The text is a series of meditations delicately integrated with the typography and papers to lead to a peaceful calm for the reader, a motionless "still." The book is stab-bound in Japanese style with gold threads, and housed in a black folding box, each side of which is lined in red, blue, yellow, white, and green Chinese silk. On the cover is a gold painted circle, the symbol of eternal light. The box's clasps are made from mother-of-pearl. Together with a booklet explaining the philosophies and process behind the book's creation, Burgess's first handmade book, Silence, her third book, Time, and the three untitled handmade artist's books from which Burgess selected poems to create Still. Burgess created Silence during a student-initiated seminar on poetry and printing at Princeton. This was the beginning of her exploration of concrete poetry, and Burgess rotated and re-inserted the pages into the typewriter in various directions to create the complex shapes and patterns of the poems. The loose sheets have Lucite covers, and are housed in a quarto chemise made from two sheets of gold-colored metal, united at the spine with a Lucite rod. Her third book, Time, was made during a subsequent course with Victor Preller that involved the study of the Upanishads. With a square of thick smoked glass cut to the size of the loose sheets, which serves as a cover, and housed in a square Lucite chemise. The three untitled books were made in response to Burgess's study of Zen, Mahayana, Theravada, and Tibetan Buddhism with William LaFleur. All three feature different concrete poems typed directly onto a wide variety of Japanese papers. The first two untitled books are similar: loose sheets with matted geometric etchings forming the front and rear covers, housed in Lucite chemises. One includes some etchings of circles in addition to the text. For the third untitled book, the loose sheets are contained within a wooden box layered with white, black, red, yellow blue, green cloths. The cloths unfold to reveal the book at the bottom of the box. One can see how the process of unfolding the cloths and the effect of the colors were translated into the folding box for the limited edition. This goes along with the artist's intention for the work: in the pamphlet, she writes, "The heart of this book is the interlocking of intuition, in the deepest sense of the word." -- Source of annotation: Marvin or Ruth Sackner.