This book is very densely written, however it's clear that the story has been distilling carefully for many years. Nothing remains that isn't essential for the overall story. I really enjoyed learning about the history of Gibbons and carving, as well as what carving has taught the author.

A few quotes:
"Inspiration is for amateurs, somebody once said. The creativity is incremental, not divorced from the making. You invent while you make. You work in the churn of the moment, and the forms seem to determine their own shape. You think with your hands. The carving thinks with your hands."

"The extreme is the circumstance under which you continue to learn, even after years of plying your trade. You push through your second and third and fourth wind, until the creature gives up the ghost and all that's left is the task. Not that what you're doing becomes easier, under pressure, just that it becomes second nature." ( )

David Esterly's memoir of the time he spent restoring the woodwork of Grinling Gibbons at Hampton Court after it was damaged by a fire. Some interesting insights on the art of woodcarving (and other "making"), but I found the author to be a bit full of himself, and a study in contradictions. I also hated all of the incomplete sentences. A few phrases may be fine, but this was overboard. Disappointing. ( )

David Esterly came to limewood carving by way of degrees in literature from Harvard and Cambridge. Upon completing his studies at Cambridge in 1974, he stood in St. James Cathedral in Piccadilly London before the 17th century carvings of Grinling Gibbons and knew that such fine art carving is what he would do.

After the 1986 fire at Hampton Court he was invited to re-carve a 7 foot decorative drop originally carved in Gibbons' shop, but destroyed in the fire. This book is a reflection on that year of his life where he plumbed the depth of his relationship to Grinling Gibbons, sussed out historically accurate means of recreating the piece, and contemplated the meaning of working with one's body in what he describes as a subtractive art.

Each chapter moves through the distant past, the time period of the restoration, and the time he was writing the book. There is reflection on the function and meaning of such a slow means of creating in our current, digitally manipulated, world.

During this restoration period he also began to lay the groundwork for a major Gibbons exhibit which finally took place in 1998, more than a decade after the time period of this book.

Anyone who enjoys creating and working with their hands will appreciate the meditative quality of the writing. Indeed, Esterly's training in literature did not go to waste...his use of language invites the reader into a world that few of us ever glimpse. If you read this book, make sure to visit the blog set up by the author to offer more photo's to support the text. There are photo's in the book, but the website enhances the experience. ( )