- British artist Su Blackwell’s wonderful book-cut sculptures
- Discharged books from the Stanford library find new life as a bar
- Part 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 books
- German designer Werner Aisslinger’s storage modules, made of books, and then there’s Housefish’s shelves made of books
- Secret hiding place book-boxes
- Donald Lipski’s statue for the Kansas City Public Library
- J. Crew’s variations on the chic librarian: Library bookshelf cardigan & library charm bracelet
- Raymond Waites library wallpaper & a bookcase “mural“…
- And finally: Ever wanted a marble bust of Schiller? Burns? Voltaire, Darwin, Plato, or Dante? Look no further
If you thought books were just to read - to entertain, educate or enlighten - then think again.Macleans Magazine ran a piece recently on a little bookshop in Old Montreal that displays its wares as museum-pieces. Librissime offers Dante's Divine Comedy, "bound in buttercream-white calfskin leather, a hand-chiseled brass rendering of the crossing of the River Styx by Italian sculptor Alessandro Kokocinski on its cover." Priced at $36,200, it "looks best bathed in indirect halogen light." The thinking behind all this is that the prospective customer has already read the book, and now "wants to honour it by turning it into art." If you are indeed brave enough to walk in off the street, and if something on display catches your eye, apparently gloves will be required before daring to touch the "artified memento."At the other, more utilitarian, end of the spectrum, books can be a handy substitute for a weapon. A number years ago I was visiting my friend Doug in Britain. He'd been living with friends in a big old house, and in that life of dilapidated grandeur, a music room of sorts was doubling as his bedroom. I was asleep on a futon at one end off the room; Doug was slumbering on a mattress at the other end. Evidently my snoring became so unbearable that Doug awoke, picked up the closest object - a hardcover book - and with remarkable and unprecedented marksmanship, he propelled the book across the room toward my invisible bull's-eye, clonking me in the head, silencing my snoring, and returning peace and quiet to the South London night.More Books as Objects: Limited Editions, A List of Bookish Objets, Books by the Foot, The Ultimate Prop
Artist Dawne Michelle Watters has created a set of book jackets bearing fake titles. So now you can fool public transit eavesdroppers (like myself) into thinking you're reading classics like How to Overcome Nymphomania, Laser Eye Surgery at Home and Fast Track to Prison - Exploring the Many Benefits of Life Behind Bars.via
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."
As we've done for several years now, 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 art is an interesting element of the literary world -- sometimes fixated upon, sometimes ignored -- but, as readers, we are undoubtedly swayed by the little billboard that is the cover of every book we read. And, while some of us no longer do all of our reading on physical books with physical covers, those same cover images now beckon us from their grids in the various online bookstores. From my days as a bookseller, when import titles would sometimes find their way into our store, I've always found it especially interesting that the U.K. and U.S. covers often differ from one another. This would seem to suggest 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 the UK are on the right. Your equally inexpert analysis is encouraged in the comments. Neither of these is especially appealing to my eye. The U.S. version uses a travel poster-type image, but at least the bold font and title placement are intriguing. The U.K. goes for realism and the result is pretty dull. Another pair that I don't love, though the U.S. version has an appealing painterly quality to it. The U.K. version feels a bit slapped together. I like both of these a lot. The U.S version is bold and somehow feels both vintage and very current. The LP label motif in the U.K. version is clever, yet subtle enough to avoid being gimmicky. The U.S. version does a great job of setting a mood, but my nod goes to the U.K. version. The black dog is eerie and sculptural and the receding landscape is haunting. These covers are very different and I have loved them both since I first saw them. The tents on the U.S. cover are both magical and, in the context of the subject matter, unnerving. But I love the bold, poster-art aesthetic of the U.K. cover too. Sometimes simpler is better. I like the mesmerizing quality of the U.S. cover, with the tantalizing golden apple peeking from its center. The U.K. version is clearly trying to capture the mad tumult of the book's plot but it is somehow too literal. The U.S. cover is clever and intriguing, with those circular windows on repeated words, but I love the U.K. cover and the subtle suggestion of madness in its Jenga/Tetris puzzle. Update: I had initially posted the paperback U.S. cover, but looking now at the hardcover design, I agree with our commenter Bernie below that it is very striking. The cropping of the sculpture gives the U.S. cover a compelling look. I like the U.K. cover but it doesn't feel quite fully realized.
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I've always thought that British book covers, generally speaking, are nicer looking than their American counterparts, with the latter seeking to target a demographic rather than to dazzle the eye. With this in mind, the following is an incredibly unscientific experiment in aesthetics. I've taken as a sample the Tournament of Books contenders whose American and British editions differ. The American covers are on the left, and clicking through takes you to a larger image. Your equally inexpert commentary is welcomed in the comments.Both are dark and complex, but I think I like the American one here. It's the big red 2666 that does it for me, and I'm not crazy about the digital clock action on the British cover. The American cover wins this one going away. I love the serious elegance of the bent arm and smoky cigarette and the mysterious juxtaposition of yellow and red lights. I appreciate the playful fonts and colors of the British version, but it is treading too far into "chick lit" territory for my taste. Even though I find the color a bit jarring, the boldness of the British cover is something you rarely seem to find in American covers. The American cover meanwhile seems to be trying terribly hard to be interesting. The American cover has a nifty diorama quality to it, but I love the British cover with its bold yet grainy font and its washed out, almost painterly quality. The American cover is nice enough, but it seems to be begging to be named an Oprah pick. The British cover, meanwhile, is my favorite of this little exercise. The wave motif is Eastern, but closer inspection shows that it is not merely an appropriation of the style. There's a charming, cartoonish, anthropomorphic quality to the wave crests that I find really engaging. And the colors are terrific. In this case, its the reverse. The British cover looks like the Oprah pick, while the American cover offers up more mystery. I particularly like the font on the American cover, all pock-marked like that of a 300-year-old text.
We recently posted a new edition of Judging Books by Their Covers 2015: U.S. Vs. U.K. These comparisons are fascinating -- what does a "little billboard" on a book say about our respective cultures? I was recently looking at the covers of Dutch-language books and found many titles that I recognized. Despite our different cultures, we share many overlaps in our literary taste. I hoped that I could draw some conclusions about those tastes by comparing U.S. and Dutch-language book covers. After spending way too much time on the task, I conclude that I can't. The comparisons, however, are equally fascinating. With my tongue in one cheek, I've provided a few thoughts below. You are encouraged to take equally wild stabs in the comments. If anyone has more cultural insight, please do weigh in. The American covers are on the left, and the covers from the Dutch originals or translations are on the right. The Dinner is a good place to start as it was first published in Dutch in 2009. I understand the scorched place setting of the U.S. cover. Looking at the lobster on the Dutch cover...I'm thinking of a seaside restaurant in Maine. Maybe it's evoking the feelings that lobsters have when they go into a pot? That's how the tension of the novel feels, like being boiled alive? A Millions favorite, Stoner. I read the New York Review Books Classics version and it blew me away, so it is difficult for me to say anything that might sound disloyal. However, if I could draw a picture of my face after I read the novel, I would have looked exactly like the man in the Dutch cover on the right. I had to run this Dutch title through Google Translate to make triple sure that I had the cover of A Visit from the Goon Squad. It becomes "Visit the Thugs" in Dutch, which has a nice ring to it. I'm less clear about what purples evoke to the Dutch that turquoise on the U.S. hardback cover does not? Why one less fret on the neck of the guitar? Google Translate was no help in answering these questions. Some of the imagery for Freedom is similar, but the covers have very different feels. To me, the lake country in the U.S. cover evokes the gentrified world view of Patty and Walter Berglund. I'm interested in the choice of a flat field -- is it trying to say something similar to a Dutch speaker? If there is an Ornithologist out there, please let me know if the bird on the right speaks Dutch or English. Cloud Atlas by David Mitchell: wow. Anthony Doerr's Dutch translation is interesting as the publisher went with the U.K. cover (we declared it "pretty dull.") Maybe the Dutch designer agreed because there are some differences. Most striking are the changes of tint. The girls dress, for example, is much more vibrant on this cover than on the U.K. version on the right. In general, the U.S. cover takes the broader view of the book I read. I wonder if a reader in Amsterdam or London would disagree?
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