When Helen Hiebert’s new book, The Papermaker’s Companion: The Ultimate Guide to Making and Using Handmade Paper, arrived in my mailbox, I was simply happy to welcome a new reference book into my collection. Since I was recovering from surgery, I was under orders not to speak for weeks. While those around me reveled in this reprieve from up above, I thoroughly enjoyed reading this book. Each day and each chapter allowed me to reminisce about my own experiences with papermaking and my encounters with other papermakers. Helen Hiebert has written a most excellent book. I will now toss out my handouts and lecture notes on papermaking. I intend to use Hiebert’s guide as a textbook for as long as it remains in print. She provides a panoramic look at equipment, fiber, and techniques for papermaking that touches on most things both beginners and more advanced papermakers will be curious about. I have already referred to this book for refresher information on techniques I have not tried in a while. At one point, while reading sets of instructions on cooking fiber, I repeatedly saw among the fairly straightforward prose a warning note to use non-reactive pots. This warning is listed in the safety section of “Preparing the Fiber,” in the “Cooking Equipment” section, and among the directions for most recipes for cooking with alkali. At first I thought maybe Hiebert was being too cautious and repetitive about stating obvious hazards. Then I remembered a beginning papermaker I knew who put her sculptural piece in the oven to help it dry faster. Out the door went my friend, for a walk. When she returned home from her hike, the entire apartment was filled with smoke. And so, I think it was probably better for us to pass on to beginners all of the precautions we can; you can never predict what people will do with a little bit of information and an abundance of creativity. Hiebert draws on the expertise of others in this guide, many of them well known to papermakers and readers of this magazine. With keen interest I read of folks like Rick Hungerford, Paul Wong, Elaine Koretsky, and David Reina who continue to push hand papermaking forward. Even more interesting and optimistic are new names and techniques from papermakers I have not met. I was surprised to learn of Taos Paperworks, in my own New Mexico backyard, contributing to the stew. Hiebert includes ideas from papermakers across the United States without relying heavily on information already available from other sources. One aspect of the writing I enjoy is the non-judgmental manner in which Hiebert suggests options. I once reduced a student to tears over an abundant use of glitter; I have since learned that each papermaker must march to her or his own drummer. Hiebert avoids my heavy-handed approach by gently pointing out the pluses and minuses of various actions.   The structure of the text is a pleasant journey, from an overview of the history of paper, to how to make or obtain appropriate equipment for a studio, to the collection and preparation of fiber. Once Hiebert presents the materials necessary for the basics of papermaking, she launches into projects and techniques. Along the way, she provides definitions, includes generous and descriptive illustrations, and shares tips from papermakers who have tried almost everything paper is capable of doing. Outside the realm of traditional paper, I particularly liked the recipes for vegetable and tamale papyrus. I look forward to trying these with my students. I expect the state of New Mexico may experience its first tamale wrapper shortage. Some things not mentioned in this book would have made it truly comprehensive. The resource guide at the end of the book does not include the many nonprofit paper centers around the country. Organizations such as the Columbia College Chicago Center for Book and Paper Art, Dieu Donné Papermill, Minnesota Center for Book Arts, Pyramid Atlantic, etc. dot the country, helping to teach artists, educate the public, and promote papermaking as an artistic endeavor. It may be that hand papermaking is so widespread that such a listing is no longer needed or desirable. But I hate to see the paper community not acknowledge these centers that have been so critical in spreading the word about handmade paper. When working with large sheets, a vacuum table can be invaluable, but the cursory description here will send you searching elsewhere for more information. This is not a complicated object to make and would easily fit in with the other construction projects Hiebert provides instructions for and encourages readers to tackle. Lastly, the directions for the drying box need some minor revision as the arithmetic and instructions do not add up. Anyone who sits down with a piece of paper and draws it out, though, will quickly see how it should be built. All of these drawbacks are minor, however, and can be easily fixed in a revised edition. Helen Hiebert has written what I think will become an essential part of every papermaker’s reference library. I just finished setting up a paper and book arts studio at the local community college. If I had had Hiebert's book a year earlier, it would have saved me a lot of work. I now plan to put other ideas from the book to work overtime. I wonder how I ever got along without this work and I am glad I now have it as a resource. Instead of a half dozen books splayed open on my desk, each with only some of the information I need, I feel I now have one outlet I may rely upon for complete answers. Thank you, Helen Hiebert.