Stationary perspective
Told from the perspective of the stationary that F uses to write to Shareef. It doesn't have to have a memory or a conscience. It is simply a medium from which her thoughts transcend to the surface. The monolithic inanimate nature of the page (or writing surface, blank slate, tabula rasa) lures her true self out, exposed for all to see. But she immediately seals them up, enveloping them, stamping them and boxing them off to a place she never (really?) expects to find them again.
The paper also becomes a means by which she invents her physical self, appearance, personality, etc. She does not consider herself a creative person visually, but when she discovers the extent to which she can do this on the page, she immediately asks her mother to help. Nora, who comes from a do-it-yourself farming background, is glad to help. Not a quilter or a homemaker yet, but she definitely appreciated the opportunity to teach her paper making. Her mother phoned her father at the Cotton Gin and told him to bring as much lint as he could on Friday when he comes home for the weekend. They were going to have a paper making party.