"What to buy, where to buy it, where to learn the processes, where to make contact with others..."--these were Sophie Dawson and Silvie Turner's intentions in preparing this book and they achieved them well. I enjoyed preparing this review, though I had trepidation about my qualifications. Since I began to make paper in the seventies, new suppliers have sprung up all over the world, many of whom I know nothing about. For lack of resources, including money, I had my friend Michael Paulin build most of my equipment. I cherish my Howie Clark press, one piece of purchased equipment; unfortunately, he no longer builds or sells them. The fiber I use today I bought in the early eighties when thrift shops in New York City would allow me to fill large plastic garbage bags with beautiful linens for about six dollars a bag. Not any more. Bodegas have become bistros and thrift shops are now boutiques. Since I am now pretty much a non-consumer, I have tried to review this work from as many points of view as possible. The book begins with a brief description of papermaking, which discusses studio needs and supplies. The authors divided the supplier information into sections according to type of supply; e.g., plant fibers, vats, additives, and adhesives. Explanatory advice and comments, which can be helpful for beginners, introduce most of the sections. These observations allow Turner and Dawson to provide "a picture of a contemporary craft," one of their stated goals for the book, and add an aesthetic element to what would otherwise be rather dry material. Lone Morton designed the book, evenly interspersing illustrations, photos, and comments. In one place this did not work: on a two-page spread, listing mold and deckle makers, Morton imposed the text upon an old illustration of a vatman and coucher, making it difficult to read.  Each product listing includes the name, address, and phone number of the supplier and, next to it, the product description, when available. Because the authors have arranged the sections of the book according to type of supply, any particular supplier may be listed many times. For example, the authors list Lee Scott McDonald Inc.'s name, address, and phone number seventeen times because they carry so many types of products. I found this redundancy distracting and inefficient. I would have preferred to see just the name of the company and its product in each section and then an index of addresses and phone numbers at the back of the book. (The book already has a suppliers index, but it only gives the names of the companies.)  Simon Green did a thorough job of proofreading this work and also provided my favorite of the various quotations added to provide interest, E. J. LaBarre's definition of "half-stuff:" Half-stuff, formerly also known as first stuff, is the term applied to any partially broken and washed stock (rag pulp or other material) and thus reduced to a fibrous pulp, usually before it is bleached. Half-stuff is wet, in-mill material and was not something usually traded or dried although it could be kept in the mill drained off, or as press pate until it became revolting! It disappointed me to find LaBarre's dictionary, from which this definition comes, missing from the Books section; it is a wonderful resource. From a practical standpoint, this book can be handy for both the beginner and the experienced papermaker. If you already have your resources lined up and have been using the same suppliers for years, it would be useful in introducing newer products and services. Resources are always changing in the hand papermaking industry, as trends emerge. As most teachers now provide a source list at the beginning of a workshop, a teacher could recommend this book at the beginning of a class and then move right into the instruction. This could be especially convenient for workshops with limited time. Since the scope of this directory is international, it could be valuable for travelers who do installation work or artists with residencies in foreign countries. One could order supplies in advance in the country of one's destination, lessening weight and freight expenses. As just one example, the book lists twelve countries in which one can buy prepared pulps. If you plan on buying or building a beater, buy this book first. Be aware that once you have bought a beater, you will be stuck with it until you can make another leap of faith or funds. Do the research before you buy. The descriptions listed in the Pulp Processing Equipment section are the beginning of an education in themselves. The work provides the most useful information in the sections on beaters, presses, and general mill equipment, especially for those wanting to start a new mill setting or upgrade equipment in an existing space.  Most of my supplies have been purchased from American companies. Therefore I do not know how comprehensive this book is on an international level. I suspect that many suppliers outside of the United States operate in a studio/mill setting, much the same way as Dieu Donne and Twinrocker here in America make paper and sell supplies manufactured elsewhere. I consulted with an expert in Eastern-style papermaking about the scope of the Oriental Papermaking section. She found the section fairly comprehensive. She was impressed with the listings for chemistry and was happy to see konnyaku powder sources. She also thought that it would have been a good idea to list whether or not someone at each particular company speaks English. (This information would have been convenient throughout the book.) If you cannot find a source in this book, you will probably be able to find a source for a source. Separate sections cover videos, magazines, workshops, and information resources. The book contains a limited glossary of papermaking terms, as well. Out of thirty-one titles listed in the Books section, all but two are in English. This may be because few books on papermaking are available in other languages or due to limitations in the authors' research. Perhaps they just intended the book primarily for an English-speaking audience. Thematically, the list includes predominantly "how-to" books; few cover paper science or archival concerns. The Information Resources category contains only three listings for the U.S. The authors mention that they added this section "to the numerous previous listings in this book" but I worry that it would not be clear to a beginner that she or he should look specifically into the Paper Workshops section to find the bulk of information resources. I would recommend this book to any hand papermaker, binder, teacher, or artist interested in paper. There really is no other publication like it in the field. If it generates sufficient interest, the authors can continue to further update the sources. To quote Dawson and Turner: "[We] would like to hear from papermaker's suppliers in other countries that have not been covered by this first edition and we expect that both readers and suppliers will keep us informed with details for future editions. We hope you will like the idea of this book." This idea is long overdue, and it pleases me to see that these authors put their hearts into the project.