Iriarte Iriarte

Iriarte Iriarte is a shop/studio/atelier of leatherwork in Barcelona. It’s ran by Carolina Iriarte, who makes the bags, belts, wallets and other leather products by hand on site. She also completely manages the business, is her own PR manager and all that. The place is set up on two floors - the current collection is on display on the ground floor, and overlooking is a tiny mezzanine where she works at a sturdy desk.

The first time I went, Carolina immediately noticed my bag - one I found in my grandmother’s old stuff. She was so friendly - as soon as I entered the store, she put down her work, came down the steps and chatted and explained things about the bags. I made a mental note to do more research and come back for an interview - and so today I did! A big thank you to Carolina for a nice chat.

Carolina moved to Barcelona about three years ago from Argentina. She first came to visit at 18, and called her mother saying she loves it and is staying for good. In the end, she went back and completed a degree in art with a focus on theatre direction and production, counting days till she can move. Her sister was already in Barcelona. The two started working together on the project.

Marta: Not only is your shop also your studio, but you often hold events here.
Carolina: Yes, I like to have stuff happening. The space has only been open for a year - we’re having a big party coming up to celebrate this in about two weeks. Before we had a concert - I have many friends who make music, and a collection presentation - a very elaborate one, almost a performance. A number of people were dressed up and doing different things around the store, there was a bride with a bouquet of flowers, people going up and down the stairs, sort of like playing little scenes.

M: How did you find this place? According to the Sight Unseen article on Iriarte Iriarte, ‘fate intervened’.
C: No, not really; we were looking for a place to work. And this one became free..
M: Was the district of Born a conscious choice?
C: Yes, this is traditionally an artisan street, and though I don’t really think of myself in these terms, it’s a commercial area with nice little streets, people walk around here a lot.

M: Another article said it was unpopular for young people to pick up traditional trades, like yours - so you are close to a traditional artisan in a way.
C: Well, yes, it’s all handmade, it’s a pretty traditional material. Before I worked on shoes as well, but now I have no time, so I concentrate on bags. I did make two dresses for this collection, too - they’re not in store, but there are some photos on the website. I might make more, but at the moment, I do everything, literally everything myself. That means I basically have no life of my own!

M: What was it about Barcelona that initially made you so keen to stay?
C: First of all, my sister was here, but I also found an art school which seemed amazing, and it became my ultimate dream to go there. Then when I came back, already with a degree, I enrolled and it was completely not what I was expecting. I did a year there, before I started with this project, and by now I’m pretty sure I won’t be going back.
M: And so you learned to make purses and other things yourself?
C: Pretty much, yeah, I started cutting things out of paper, seeing how they would look in 3D.
M: That’s totally incredible, especially that all your designs look like you are working against a strong tradition, modifying old patterns.
C: My mum is a complete fanatic when it comes to shoes and purses, and so am I. So I always bought loads of purses, usually vintage ones because I rarely liked contemporary ones. I’d pay attention to the type of leather, the colours and all..
M: Is it true your bags are inspired by the schoolbags you used to have in British school in Buenos Aires?
C (laughs): Not entirely. I did have an old school schoolbag, but a lot of my inspiration comes from films. I love old films. 30s films, where they have a lot of leather stuff, luggage and things.. But not necessarily bags themselves, I find a whole film’s aesthetic inspiring. Like Truffaut. A bit Nazi, a bit naive.
M: So what are you planning on next for Iriarte Iriarte?
C: I’d like to have more exposure for the dresses. I made two models that are sort of similar, but really very different. A girl who was interning here helped me with the making of them. I used to make my own clothes when I was younger, my mum gave me a sewing machine for Christmas when I was 15 or 16.. But those are part of the collection, it’s a totally different thing. I prefer making bags, though. I do everything by hand, including dyeing the leather, that’s why no two bags have the exact same colour. But I do it with special dyes, so that the colour won’t run when it’s raining. Everything is done here, in the studio.
M: In plain view of everyone!
C: Yes, but I see them, too! I can see whoever comes into the shop, observe from above. I have a panoramic view (laughs).
M: Going back to the leather, does it bother you that it’s an animal product?
C: It does! I’m vegetarian. It’s a weird contradiction, that I like working with leather most. I try to justify it, it’s still more eco-friendly than plastic bags, and the product is long lasting. The animal is not killed for the skin, it’s killed for the meat that someone else will eat, and I just use the skin and give it a beautiful form..
M: Did you think of making vegan products as well?
C: I did, I’d love to, in the future - right now I’m struggling to keep up with the work I already have, and to make the effort worth the prices. But it’s certainly something I’d like to do.
M: Do you sell a lot?
C: I don’t need another job, so I guess I sell enough! I like making things, so it’s great I can live off it.
M: How did you get so much good press? New York Times, The Guardian...
C: By complete coincidence! The editors just happened to come by. Nothing is definite, but I might get retailers in America, Sweden, maybe London.
M: Not Argentina?
C: They love my bags there, but it’s super expensive with shipping, and people work more but earn a lot less there.
M: Would you say you make things in a specific style?
C: Everyone interprets it their own way. I thought it would be a more defined public, but in the end it’s all sorts of people, I regularly have old grandmas come into the store and ooh and aah over the bags. That surprised me a lot! But when I design, I always make things that I like, I don’t think of any target audience.
M: What advice would you give to someone who wanted to start their own business?
C: To actually do it! If you have an idea, act on it. It’s always scary, you don’t know if you’ll have enough money, if it’ll all work out, or that it will be hard at the beginning. But once you’ve done it, you’ve done it, it’s something you want to do. It certainly gave me a feeling of being independent and free.
M: Working with leather is a traditional trade, and a male trade, too. Also, 50 years ago it wold be unthinkable for a woman to just open a studio and run it herself. Do you think about what you do in a feminist perspective?
C: It’s true, working with a hammer and tough material that hurts your hands, it’s supposed to be male work. It’s not my primary motive, but yes, I do think about it.

At this point a woman walks into the store. Carolina greets her and tells her to have a look, points to the bags that can be made in different colours within two weeks. The woman walks around, looks at various bags and asks if that’s the only store in Barcelona selling these.

M: Does this make your bags even more special? That each one is unique and you can’t buy them anywhere else?
C: Also because of what we already talked about, that it’s all handmade, and I make it all here, in a studio open to everyone. That creates some sort of trust, and you can always come back here, see the progress of the work.
M: It was mentioned in one of the articles that you design ‘the old way’.
C: Well, the forms really aren’t that traditional. It’s a long way from design to finished product. I think about the whole collection first, how I want it to look all together. Then the making process, I guess that’s traditional, they’re made the same way they were being made before.
M: And you draw inspiration from toys, too?
C: Yes: toys, old cars, also military uniforms.
M: A bit Nazi, a bit naive. A vegetarian, but working with leather.
C (laughs): I never thought I was so extreme!

M: Do you take a siesta?
C: The store officially closes from 2pm to 4pm, more or less. I sometimes go home to eat, but mostly run errands. The siesta phenomenon surprised me a lot when I first moved, I would go out wanting to get something done only to realize everything was closed for a few hours in the day..
M: And do you still travel a lot?
C: Yes! Then the store is closed, but travelling inspires me a lot - people, architecture, everything. I might go to Berlin this summer, my friend just moved there, and she’s not totally settled, but I’d really love to go, I adore Berlin.
M: Favourite place to visit?
C: Berlin! And Lisbon. I like Portugal a lot, my boyfriend is Portuguese.
M: Dream journey?
C: Russia and China! On one of those five-day trains. I’d like to see somewhere that’s completely different in terms of language, people, culture - a total change.
M: Do you think you’ll stay in Barcelona for a while? Or are you sometimes tempted to go back to Argentina?
C: Argentina - not right now. I’m definitely not going to stay in Barcelona forever. I’d love to try Berlin, and maybe before that Madrid - I like it, and I think I could easily continue what I’m doing; people respect efforts like that over there.
M: Any chances for an online shop?
C: I hope so! I just can’t seem to take photos that are accurate enough. A friend of mine who does all the photos for me is great, but it’s not the kind of picture you need for an online shop. I sell stuff through email sometimes. But it would be easier if there was a ‘buy now’ button on the website. And also, it wouldn’t be the same thing - it’s so satisfying to see people come into the shop, find something they like, and see their faces light up. It’s a wonderful feeling.

You can find Iriarte Iriarte at the atelier (C/ Esquirol N°1, 08003 Barcelona, Spain), or online (official website / facebook).

All photos, save for the first and the last, are Carolina's. Thank you!

UK Feminista Summer School

If you're in London in July/August, register! I just did.


via thefword.org.uk:

UK Feminista is holding a free two-day summer school in London on Saturday 31 July-Sunday 1 August. Schedule:

DAY 1: Saturday 31st July, 10:00-17:00

Speakers confirmed: Zoe Williams, the Guardian; Karin Robinson, Democrats Abroad; Shaista Gohir MBE, Muslim Women’s Network UK; Heather Harvey, Amnesty International UK; Denise Marshall, Eaves; Baljit Banga, Newham Asian Women’s Project; Kat Banyard, author of The Equality Illusion & Director of UK Feminista; WOMANKIND Worldwide; Fawcett Society

Workshops: How to run a feminist group; running an effective campaign; fundraising skills

Panel discussions & seminars: The importance of feminist organising; the feminist year ahead; men and masculinity

DAY 2: Sunday 1st August, 10:00-17:00

Speakers confirmed: Kira Cochrane, the Guardian; Hannah Pool, journalist; Michelle Daley, Disability Awareness in Action; Pragna Patel, Southall Black Sisters; Jess McCabe, the F Word; Joy Millward, Principle; Julia Minnear, Women’s Environmental Network; OBJECT; Lynne Parker, Funny Women

Workshops: How to use the media; how to influence local and national politics; creative campaign and direct action; promoting diversity within feminist groups; public speaking skills;

Panel discussions & seminars: Women and the media; Feminist Question Time; Why climate change is a feminist issue

More details and a registration form on the UK Feminista site.

Aleksandra Waliszewska

It's enough of a recommendation that my friend Katarzyna Szenajch (a visual artist herself) likes Waliszewska: "I seriously like her, cause she's authentically bonkers. I am hugely impressed by her bonkerness. Look at her last.fm: there's Lil Wayne! Or her pet society gallery WTF? Besides, she added me on last.fm, that's nice :) Oh, yeah, and her paintings are good, hehe"

Aleksandra Waliszewska started with beautiful big-scale oil old masters-like painitings. Authentically beautiful. She would receive praise and scholarships, have books published, and all that. But she suddenly changed her style completely. In a really interesting interview for Wysokie Obcasy, she says her old paintings became tiring. That she would labour at them, but have no pleasure from it: "The last one took me six months. And I decided it was mediocre". Now she paints one or two small format gouaches every day, and most depict little girls. Little girls among monsters; ambiguous, disturbing, uncomfortable situations. And she says it gives her real pleasure: "Before, I had a task-oriented approach to work. Now I want to do what gives me pleasure. And it so happens that I find painting little girls in oppressive situations pleasurable."

She insists her work is in no way autobiographic - rather, it's a return to what she used to paint when she was 4 or 5: "I would paint a big head with various animals coming out of it. Or elephants with dead cats. Then at 7 I started drawing naked women running away from Martians, who try to catch them on lassos. Or naked running families." Provocatively, she says it's her boyfriend who often comes up with the titles: Paedophile's Death, Handball with Fritzl, Guardian. "Guardian shows a sleeping girl and a goat. You can't tell if he's protecting her, or lurking. I don't really know myself what it's about - it's a mystery to me too". The most important thing is the composition, not the story - that's secondary. And Waliszewska doesn't feel any discomfort: "I prefer to treat [my paintings] as grotesque".

This one reminds me of The Tiger's Bride, a short story by Angela Carter

It's really interesting to speculate on the victim/perpetrator status in her paintings, the ambiguity of the roles of little girls and beasts. It's not a simple case of "the drawing is empowering when the girl wins". Most of the time, it's completely unclear what the outcome is, and as Waliszewska says herself, she is not interested in it. She likes drawing naked girls surrounded by monsters - it really takes guts to admit it, and say it out loud. It's still such a touchy issue, deriving pleasure from not-beauty, not-serenity, in whatever form. Gore, sex and violence are already controversial, but with the added references to paedophilia Waliszewska is really walking on shaky ground, tackling such issues as the age limits of sexuality, the role of bodily exposure, idols, fetishes, and all this is a context of gender - her protagonists are always female. I, too, admire her bonkerness, as well as courage.

All quotes translated by me from the Wysokie Obcasy interview by Paulina Reiter.
All photos from Aleksandra Waliszewska's Flickr photostream.


Waliszewska has a Facebook, blog, Flickr, and an exhibition at the Centre for Contemporary Art in Warsaw (until May 23rd). This Saturday, there is a closing party with live music and stuff. (and if you go, Centre for Contemporary Art (CSW) has a really cool Roni Horn exhibit, too)

frl.zucker

I discovered Maren, or frl.zucker, when I was looking for a banner for this blog. Freshly inspired by a friend, who in a moment of crisis told me to do as Kathleen Hannah does, I looked for something that embodies the fierce spirit of the riot grrl brand of militant, but positive feminism. I wanted something that would also motivate the shit out of me. And I found frl.zucker's drawings! I can't remember what phrase I googled, and I don't want to guess, but I can assure you it was somewhere between embarrassing and awesome. frl.zucker is totally not afraid to be embarrassing though. Her blog is very personal, it sometimes reads like a story. And though she never spells it out, you get a feeling she, too, is looking for motivation and inspiration, trying to overcome something that's preventing her from feeling 100% every day. I can really relate to that, and probably so can very many girls and women. It's nice to find inspiration to act in one another. Maren told me that the banner illustration is of her and her best friend Hannah reassuring her she could do anything, which is really sweet, and also really important. If you have a best friend, it's definitely a thing you should tell her once in a while.

Apart from sharing her story and A LOT of awesome, awesome links + posting nice photos, frl.zucker uses a lot of text in her drawings. That's what interested me in her work a lot - exploring the intersections of images and words. It's a really common medium, if you think about it (comic strips, graphic novels, graffiti, prints, even traditional illustration to an extent, and most of graphic design), but one that I feel is left out from a lot of investigation. We think of type as a separate art form, and images as works on its own, or as ones as additions to others, but rarely as a whole. But as Maren put it, it 'lets [one] think about stuff in a more complex way', and it's impossible to choose which one describes the other - they are both equally important, integral elements of a whole.

frl.zucker recently contributed to a scrapbook released as part of Kate Nash's new album, and also designed some tour t-shirts for her. She also made a fabulous press kit for a band called Desperate Teenage Girls, whom I know nothing more about, as they apparently "refuse to put anything about themselves online..."

Maren kindly answered some questions just for Women, Fire and Dangerous Things, and in an awesome handwriting way. My questions are sometimes a bit vague, but it's a really interesting contribution - thank you!

If you wanted to ask frl.zucker anything else, she has a question form thingy of her own, and often replies to questions on her blog. She also has a Flickr, Etsy, and last.fm. And as I hope you can tell from this post, she's pretty awesome.

Women, Fire and Dangerous Things in Exklusiv #88 (05.2010)

The wonderful woman Karolina Sulej, music and fashion journalist, scholar, dj, co-organiser of such awesome events as Photomonth Krakow, contributor to Wysokie Obcasy, music editor and vice-editor of Exklusiv Magazine, is inspired by Women, Fire and Dangerous Things in her May music editorial. I could not be more honoured!

"Your Kid Sister


I recently found some tapes from my childhood years. Apart from 2Unlimited and Guns'n'Roses, there were tapes with my own songs. I was ashamed to find out I have over 5 hours of my lyrical and vocal performances of dubious quality on tape.


Karolina Sulej - vice-editor, music editor
illustration: Magdalena Łapińska

The American documentary Girls Rock is a story about how important it is for girls to "sing to the tape recorder". That is, about how they shouldn't be afraid to express their feelings and be who they are. Specifically, about a summer camp. A rock camp. Young girls, from the age of five or six to teenagers, learn to play, compose, write lyrics, form bands, and at the end, give a concert together. The camp is visited by female rock stars. When Beth Ditto came over, even the tiniest babies pogoed to Standing in the Way of Control. Rock and roll is supposed to work as a way of releasing anger, fear and frustration, as well as of learning to communicate with others, making friends with those similar to you. The girls who came to the camp include: a daughter of drug addicts, sent from one orphanage to another, a chubby Asian girl bullied at school for being a "freak", a girl with ADHD, another with anxiety neurosis. The campsite, in the middle of a forest, was a meeting ground for young girls of all races and classes - a real ersatz America. They say they're afraid of school. That nobody likes them. That they're fat. That they're ugly. That they don't fit in. That they can't believe they can succeed in anything. The teachers want to explain to them that MTV and a few popular girls at school can't dictate their self-worth. And music, again, becomes a mainspring of evolution - in this case a small one, restricted to a few people, but big enough to heal some traumatic experiences of growing up. The little Palace, who at first couldn't cope with other girls, bit, hit, and argued about everything, is smiling widely at the closing concert, fondly looking at her equally little guitarist and singing lyrics she wrote herself: "San Francisco can be so boring, I don't want to go on this trip with mum, because she only thinks of herself, I'm gonna watch this city burn, burn, burn". She drops the piece of paper with song lyrics. We get a close-up: "I wanna be a SOUPer star". I'd like to be a star like that too.

Or one like Your Kid Sister, or Maia Vidal. The frisky Spaniard pulled a right stunt at old hardcore punks. She recorded the hit Poison in a version which easily floors the old hands. Time out, boys. From Maia's MySpace: "The character that was created is a (duh) younger sister who, having found your Rancid records, dragged them into her room and learned to sing along. As you can tell, she never understood that Punk was a movement, a state of mind, or that she was doing it all wrong". You can listen to her "singing along" record on the internet, and also see the video to Poison - a little masterpiece comparable to Bat For Lashes' What's a Girl to Do. Unfortunately, from my childhood adventure with the tape recorder and playing "the keys" I'm only left with the ability to play Kumbaya my lord, Kumbaya and singing Whitney Houston songs correctly on karaoke. And of course, because I couldn't become a musician, I became a music journalist. A female music journalist, actually. Oops.

I recently found an interesting zine online. It's called "Veto" and is about the situation of women in the media. "In 2007 the Fawcett Society collated data from nine leading daily British newspapers: they document two female to seventeen male editors, one female to seventeen male deputy editors and one female to seventeen male comment and review editors. The International Federation of Journalists notes that in 2001 in Canada and North America only 28% of all newspaper journalists and 37% of television journalists were female. The Canadian Newspaper Association records that in 2002 women represented only 8% of all editors-in-chief and publishers for nationally recognised broadsheets." That's a part of the opening manifesto. Are female journalists really still at a risk of bumping their heads against the glass ceiling? I don't think so - the glass ceilings are breaking one after another, even if we get our pretty faces scarred in the process. And for those who wish us hell, we can only sing: Some people are poison, Under my skin like opium, And I'll stare in their eye to annoy them, Yeah they're poison.

I found out about Your Kid Sister and the "Veto" zine from Women, Fire and Dangerous Things - www.womenfiredangerousthings.blogspot.com - a blog ran by female journalist Marta Owczarek. We're publishing her interview with the Spanish band Tu Madre next month."



Nothing makes me happier than to think that this blog actually inspired someone and spread the word about women and their various activities. The blog gets a mention, but the editorial really is about Your Kid Sister and "Veto", and I'm infinitely glad I could support both like this. Maïa Vidal is really French-American and not Spanish, and the blog address is www.womenfiredangerousthings.blogspot.com, but those are minor details that I hope don't spoil the sheer pleasure of seeing this editorial in print for anyone. They certainly don't spoil it for me, I'm giddy like a five year old on stage, Girls Rock-like. Thank you so much, Karolina!

Magazines: nostalgia/actual degeneration

Jezebel did a story on comparing two May issues of Elle magazine: one from 1986, one from 2010. Conclusions:

1) freckles vs Photoshopped poreless mannequins on the cover

2) interview + photos of people who look directly into the camera vs celebrities as substitute models

3) actually doable fashion trends relevant to everyone

4) 'playfulness and spark' + diversity vs clinically beautiful, thinner, 'somber'

5) shoots look like actual fun, models show less body and are still sexy vs vamping it up big time

6) obligatory desert shoot

7) women appear stronger, sassier, 'aggressive, energetic, fierce, forces to be reckoned with' vs just not the same "oopmh."

It's really quite shocking to notice most of these things really are true. You can argue about the powerful images of women, picking different shoots of different clothes, and that's manipulatable to a large extent, but with some stuff, like the excessive Photoshopping, thinner models, and surprisingly, even the lack of diversity today (I would have never guessed there would be more black models and redheads in a 1986 shoot) - you kinda just have to acknowledge there is some disturbing degeneration going on. Obviously, this comparison is a random sample, but it got me thinking - were we really closer to something more real and "better" 25 years ago? If so, what the fuck?

Looking at these scans, I get an obvious wackier vibe from the older ones, and sleazier vibe from the new ones. Like all the on-the-verge-of-embarrassing clothes and attitudes were polished to some slick and shiny outcome. There is so much talk about an 80s revival, and it's been around for so long, so it's natural we see these blasts from the past and go 'aww, so cute!', but thinking about it from Jezebel's perspective, we're more like '80s - you're doing it wrong'. There is something very natural with looking at contemporary stuff and it feeling quite normal, while older things instantly seeming dated and a bit funny, if not downright ridiculous. But the fact that magazines used to print women pulling silly faces, and not the kind of faux-sexy post-myspace faces, but actual ones, wacky or smiling or serious faces - that's kind of a bomb filled with nostalgia for something that seems to have actually happened.

Still, it sounds a bit too good to be true. Everything that suggests something of the past was better than its contemporary equivalent (or lack thereof) inspires my instant suspicion. It's not even a thing of memory, because memory is selective and mutable (as I learned from the film Waltz with Bashir, people would recognize themselves on fake childhood photos and recall the day/place/their feelings). Nostalgia is what contemporary culture depends on, as we go through series and series of reworkings and revivals. On the one hand, there is this gigantic push towards the new, undiscovered, and constantly updated, but on the other, the reliance on things past is so enormous it never fails to blow my mind (at a young age, the first time I saw Pink Floyd: The Wall, I could not get my head around the fact it was still about World War 2. Since then, I've been ever so vigilant of anything modern really being about distant past). There's a disturbing certainty in many people that any piece of shit coming from the 50s/60s/70s/80s/90s is astronomically better than anything produced in the last 10 years. Of course, very often these assertions are based on more than just age, but it only makes it harder to catch yourself falling for one bogus argumentation or the other. There's something extremely annoying about always looking back and digesting for the millionth time what trash or treasure was spewed out before you were born. But then again, like with this 1986/2010 Elle comparison, sometimes it's hard not to believe we used to have it better, and somewhere along they way totally fucked up.


Vintage magazine nostalgia is rife on the internet, with all manners of sites putting up aged Vogue scans or whatever. Most of it is a question of aesthetics (or the annoying retroer-than-thou contest), but another place where actual debate is signalled is some recent posts on Style Rookie about a 90s teen magazine, Sassy. A commenter describes the magazine as one that 'treat[ed] teenage girls like intelligent, capable, interesting people.' It wrote about serious stuff and playful stuff, feminist issues and teen problems, clothes and makeup as well as sex and prom. For crying out loud, it had a Thurston Moore advice column, which must be the best thing ever. It printed reader's comments, made fun of stuff, including itself, but it was not sickeningly meta-self-ironic like some idiotic magazines today that also pretend to cover serious issues while being playful and sexy at the same time. Needless to say, I'm much more attracted to Sassy than I am to Vice, despite never reading a full issue of either.

All scans from Style Rookie.

Sassy is also a subject of a full-length publication, How Sassy Changed My Life, by Marisa Meltzer, who is also an expert on Girl Power.



Is it nostalgia for something impossible that I never had? Partly, maybe. But mostly, I can't help but agree with Style Rookie's Tavi that 'popular culture has gotten to a point where you have both the Disney superstar and the ~quirky~ outsider rooting for, trying to be, and promoting the nerdy underdog. And when everyone is the nerdy underdog, no one is the nerdy underdog.' And I believe women suffer from this cretinous double-standard loads. Not out of nostalgia, but out of real feeling, I wish today's magazines were more like the 1986s Elle or Generation X Sassy: fun, relevant magazines for girls and women that don't patronize and Photoshop them into skinny shiny contorted "independent" standardized fit-ins, but celebrate as diverse, intelligent and interesting people, with a range of attitudes, hobbies and problems, who are brave and honest and not afraid to be a bit out there and risk being mocked by people for being "overly politically correct", "too serious", "too childish", "too New Age", "too feminist", or whatever bullshit. A magazine to identify with and relate to!

It would be interesting to see what happened in magazines at those times in Poland, where I grew up - I know for a fact that both aesthetically and content-wise, the publications that were available in '86 or '92 were distinctly different from what this post cites. With both my mother and I being avid fans of the printed press, and rarely throwing our pages away - summer excavation project ahead!