`Muffins is a square; it has a vinyl cover of a photograph of Rooke and his wife and another woman (their daughter?). The photograph-cover, if one ``reads'' it closely, shows the daughter reading a book; her back is facing her parents who are at a table eating -- or about to eat -- muffins. There is a book case stuffed with books ``arranged'' in a messy way. The photograph has in the middle a rectangle in white lines and the words in different typefaces (and colours): Muffins and Leon Rooke under Muffins. The effect is startling because I see photographs of books within the book itself. And I am thus aware that there is a carefully designed book-within-the-book. And I start thinking about the relation of the various elements I have mentioned. Is the cover the beginning of the book? Does it, on the contrary, tell a secret story? I see, finally, that I as reader or viewer must interpret the relations, must join -- or create -- the performance of interpretation. In a sense, then, I am writing a review of the photograph of the author. And I have not yet opened Muffins! My consciousness is whirling!'