chose to use the finely pulped, unmodulated pink paper instead. Its homogeneity is too subtle to be provocative on its own. Only after reading the colophon at the end of the book, which describes the process, would a reader know what he or she had been holding. Wofford expressed excitement in anticipating this moment of delayed encounter, as well as a desire to keep the paper from distracting a reader from [Kathryn Stripling] Byer's poems. Still, a reader could feel hoodwinked into handling an artifact that they might not otherwise have chosen to touch, an ambivalence voiced by an audience member in the open talk portion of the program.from Independent Weekly: Pulping Dixie: Poet Kay Byer and the complexity of race in the South
then Side Spur Ramblings: New fine press book edition: Southern Fictions by Kathryn Stripling Byer
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