Originally published as a travel journal detailing American explorer William B. Seabrook’s sensationalized encounters with African tribes and their rituals, this binding is a beautiful example of Mary Reynolds’ craftsmanship. Reynolds layered snakeskin, most likely from a boa constrictor, between the earthy cover and the Moroccan leather book casing. The contrast between the smoothness of the cover and the scaly snakeskin serves as a tactile metaphor for Seabrook’s narrative. The binding’s design evokes the camouflaging effect of snakeskin amidst foliage. Camouflage and other types of animal mimicry—an animal’s unconscious ability to visually blend in with their environment—inspired Surrealist artists because of its eerie trickery of the human eye. The most surprising detail of Reynolds' binding may be the subtle curl on the very bottom of the spine, as if a small reptile in relief has slithered across the book and disappeared into the pages, its tail protruding as a leather embellishment. This small projection sits perfectly where a finger could absentmindedly trace the curve. Within the pages of the book is a brief inscription from Seabrook to Reynolds, showing how gifts between friends often inspired Reynolds’ creativity.