- Artist Nina Katchadourian, in a take off on the sometimes serendipitous placement of books on bookshelves, has created micro-stories told only in the words on the spines of books.
- At the site of UK bookstore Any Amount of Books (which also runs the blog Bookride), one can view “The Incredible Bookman,” a bookshelf that takes the form of a human, one who is perhaps charged with enticing you to read more books.
- The Guild of Book Workers is a 100 year old organization created to “establish and maintain a feeling of kinship and mutual interest among workers in the several hand book crafts.”
Like we did last year, we thought it might be fun to compare the U.S. and U.K. book cover designs of this year's Morning News Tournament of Books contenders. Book cover design never seems to garner much discussion in the literary world, but, as readers, we are undoubtedly swayed by the little billboard that is the cover of every book we read. Even in the age of the Kindle, we are clicking through the images as we impulsively download this book or that one. I've always found it especially interesting that the U.K. and U.S. covers often differ from one another, suggesting that certain layouts and imagery will better appeal to readers on one side of the Atlantic rather than the other. These differences are especially striking when we look at the covers side by side. The American covers are on the left, and clicking through takes you to a page where you can get a larger image. Your equally inexpert analysis is encouraged in the comments. The American cover is especially striking, with the bird and skeleton looking like something out of an old illustrated encyclopedia. And the wide black band suggests something important is hidden within. The British version feels generic, with the beach-front watercolor looking like a perhaps slightly more menacing version of the art you'd have hanging in your room at a seaside motel.
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British artist Su Blackwell's wonderful book-cut sculpturesDischarged books from the Stanford library find new life as a barPart Joseph Cornell box, part book about Joseph Cornell boxes (for more info)A selection of works by Georgia Russell, Cara Borer, and other artists whose medium is booksGerman designer Werner Aisslinger's storage modules, made of books, and then there's Housefish's shelves made of booksSecret hiding place book-boxesDonald Lipski's statue for the Kansas City Public LibraryJ. Crew's variations on the chic librarian: Library bookshelf cardigan & library charm braceletRaymond Waites library wallpaper & a bookcase "mural"... And finally: Ever wanted a marble bust of Schiller? Burns? Voltaire, Darwin, Plato, or Dante? Look no furtherMore Books as Objects: Limited Editions, Artifacts and Armaments, Books by the Foot, The Ultimate Prop
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The author and musician Alina Simone published her first collection of essays, You Must Go And Win, this past June. Unlike most writers who toil in obscurity before landing an agent, Simone’s editor at Farrar, Straus and Giroux, Eric Chinski, found Simone on Pandora.com, a free, personalized Internet radio service. After Chinski listened to Simone’s songs, he contacted her to propose that she write a book. “It seemed like he already viewed music and literature as part of one continuum,” Simone says. “Certainly, the best songs out there read like the best poems or short stories.” Of late, publishers and authors have begun to experiment more with audio as a natural step in the promotion of their books. Listening to music has always been an organic piece of literary consumption -- anyone who has queued up a favorite record of sad ballads while reading a heartbreaking novel, in order to up the emotional catharsis can attest to that. But recent trends suggest that readers are looking for even more direct ways to incorporate music into the reading experience. At readings for You Must Go And Win, Simone also performed her songs live, and since then, all of her appearances have morphed into music and literary mash-ups: She played live at benefits for the literary mentoring organization Girls Write Now, for Guernica Magazine, and at other writers’ book release parties, including Evan Hughes’ Literary Brooklyn, as well as the Brooklyn Book Festival this fall. When her book came out, Simone also contributed an author playlist to Largehearted Boy, a books and music blog run by David Gutowski. Since 2005, Largehearted Boy has run a beloved feature called Book Notes, for which recently published writers are asked to create a playlist for their novels; their song selections are explained in the context of both the writing experience as well as the characters in the story. Gutowski recently posted the 900th entry in the series, and has also started a Largehearted Lit series at WORD bookstore in Greenpoint, dedicated to authors who participated in Book Notes, plus musical guests. “There has definitely been a rise in author soundtracks as promotional items in a variety of formats,” says Gutowski. “From my experience, music is a great way to create a unique bond between writer and reader.” A number of authors have told Gutowski that writing the playlist essays are one of the most enjoyable pieces of promotion attached to their book tour. New Yorker editor Ben Greenman contributed two playlists to Largehearted Boy, timed to the release of his books. In the essay that accompanied the playlist for his short story collection A Circle Is A Balloon and Compass Both, Greenman wrote, “When I write, I don’t really listen to words with lyrics -- too distracting -- but many songs are in my mind, and as soon as I’m done writing, I run off and listen to them.” Greenman says that for him, the playlists are a way to amplify some of the themes in his books. “There were songs about romantic confusion or betrayal that were on a loop in my head as I wrote: Graham Parker songs, in particular, or Lou Reed songs,” he said of Circle. “It’s not that those songs helped me make the stories, but they helped me isolate the emotions that in turn helped me make the stories.” The novelist and essayist Corinna Clendenen is familiar with that line of thinking; it’s part of what led to her decision to write Double Time, a love story following a Dani and Dylan, twin sisters who are obsessed with music and choose to make it a powerful agent of change in their lives. Double Time came out on Audible.com in September as an audio book -- it has no printed form as of now. Songs punctuate the book’s 44 chapters, and Clendenen selected each track to underscore the unfolding events of the novel. Among them are Vampire Weekend’s “Oxford Comma,” Matt Costa’s “Vienna” and “Not Your Lover Anymore” by Blitzen Trapper. “The blending of story and song was something that developed organically as I was writing the book,” says Clenenden. “Early in the writing process, I started hearing songs in my head and putting their lyrics into chapter openings.” What began as a curiosity morphed into the notion that the songs she was listening to and connecting to the character of Dylan, a rising indie musician, could actually be incorporated in the book itself. Acquiring the copyrights involved clearing permissions with the artists involved, as well as the recording studios and occasionally the publisher. Clendenen also established an annual grant to an indie musician after Double Time has been available for sale for a year; the funds will be awarded to a band or artist in the form of five percent of the net proceeds from the novel. While Audible.com senior editor Matthew Thornton notes that audio is becoming a bigger part of literary consumption for readers thanks to audiobooks, he explains that books like Double Time are still a rarity. “We think it’s wonderful that authors are experimenting with creative ways to enhance listeners’ experiences of their audiobooks, not only with music but with different kinds of narration,” Thornton says. “But the weaving together of music and text is still relatively unusual.” By contrast, Richard Nash is the vice president of content and community at Small Demons (and formerly the publisher of Soft Skull Press), a site that catalogs endless cultural references found in books, from music and movies to people and objects. He sees incorporating audio and other cultural reference points as a way to allow readers to truly live inside a novel. “David Gutowski made it interesting and fun and gratifying,” Nash says of how Largehearted Boy weaves music and literature together via the Book Notes playlists. “But music is but one piece of a larger puzzle,” Nash says. “That being, how do we connect books to the daily elements of everyone’s cultural lives, to music, yes, but also to movies, to restaurants, to landmarks, to drinks.” As the Small Demons database expands, authors will be able to add greater context to the details pulled out by the site, and users will be able to find links between the references in their favorite books. Nash says readers will also be able to listen to the music that the author heard while writing. “You might choose to listen as you’re reading, or as you traverse a path taken by the protagonist as she listens to that music. Or you might stop reading, and close your eyes,” he says. Another service, Booktrack, demands that the reader listen to a preselected soundtrack while they read something on an iPad or tablet: As you work your way through the story, the app matches music to various plot points to create what vice president of publishing Brooke Geahan calls an “immersive” experience that audio playlists don’t necessarily take far enough, particularly “when the music and mood do not match up.” But on Spotify, a new digital music service that offers access to an enormous library of songs available both on PC and smart phones, both casual users and publishing companies have began to crank out playlists for books and authors. Mediabistro’s GalleyCat blog created a playlist in homage to Haruki Murakami, it offers a compilation of songs mentioned in his novels South of the Border, West of the Sun, Norwegian Wood and 1Q84. And publishers like Knopf are working directly with their authors to create custom playlists that readers can spin while they read; Jennifer Egan and Colson Whitehead are among the participating writers. If you’re reading (or re-reading) the Pulitzer Prize-winning A Visit From the Goon Squad with Egan’s Spotify mix, you’ll be listening to Death Cab for Cutie, Massive Attack and The Who. In the U.K., Spotify has worked directly with publishers to support forthcoming book launches, including James Corden’s autobiography and a book based on the television series The Inbetweeners. Still, despite the ease with which music and literature has intersected for her book, Simone suggests that the crossover often gives readers more insight into the author rather than the text, which is still a bonus for obsessive fans. “The key is keeping the quality high,” she says. She and Greenman, as authors, both worry about the promotional static diluting the value and impact of the book. “In the end, books are books, and albums are albums,” Greenman says. “They’re cooked differently, served different, and eaten differently.” Image credit: Flickr/Michael Casey
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A new edition of Voltaire's Candide with a cover by Chris Ware came out a few months ago. At the time, it was announced that there would other books in this series with covers by other famous artists, and I've been waiting to see them ever since. The other other day Penguin's Summer 2006 catalog arrived, and I was excited to see that the covers are in there. I was going to wait until the pictures were up online somewhere before posting them, but it was taking too long, so I scanned them. Candide is already out, the rest are out on March 28:Fairy Tales by Hans Christian Andersen, Cover by Anders NilsenThe New York Trilogy by Paul Auster, Cover by Art Spiegelman Cold Comfort Farm by Stella Gibbons, Cover by Roz ChastThe Portable Dorothy Parker, Cover by Seth The Jungle by Upton Sinclair, Cover by Charles BurnsCandide by Voltaire, Cover by Chris WareSee the full-size pictures hereUpdate: See Part Two
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