I’m seriously digging these new cover designs for the British editions of John O’Hara classics BUtterfield 8 and Appointment in Samarra. They were done by illustrator Tomer Tanuka, and he shares his inspirations for the covers at his blog Tropical Toxic (where you’ll also find posts from his twin brother Asaf, who is also an illustrator).
For all its many virtues, the fifth edition is not perfect. Its one glaring flaw is an introductory essay written by the chairman of the Usage Panel, Steven Pinker, a Harvard University linguist and cognitive scientist who is also an avowed descriptivist. What's that whirring noise I hear? Is it William Morris, who died in 1994, spinning in his grave?
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. So this is interesting. It would seem that us American readers require more orbs to get us interested in a novel of Victorian scope and heft. I like the slightly more subtle U.K. look The U.S. version is a little dull though it has a pleasing spareness to it and I like the vintage botanical illustration thing going on there. I far prefer it to the U.K. cover. I get that there's a handmade motif happening but the colors are jarring to my eye. I don't think you would ever see a cover that looks so "genre" on a literary novel in the U.S., and it kind of makes sense with Hamid's self-help-inflected title and the "Filthy Rich" in a giant font. The U.S. cover is aggressively boring. Both are bold, but I prefer the U.S. cover. The burnt tablecloth is a more original image than the lobster. I suspect I may be in the minority here, but I prefer the U.S. cover which seems to bank on the Lahiri name, rather than the U.K., edition which seems to telegraph the subcontinental content. Neither of these seems to be exerting much effort to break out of the Western-genre tradition, but the U.S. version's painterly affect at least gives it a little intrigue. At first glance, both of these appear to be going for the creative use of classic Asian motifs, but the British cover is actually pretty wild, using something called "Blippar technology" to produce an animated effect when you look at it with a smartphone. So, points for innovation in book cover design. Both of these are pretty great, but I love the U.S. cover. It's clever to have a YA book with a cover that looks drawn by the hand of a precocious teen. It kind of reminds me of the similar design philosophy of the 2007 movie Juno. Drawings inspired by vintage botany texts must be in this year. Here we have two different versions of the same idea, but the U.S. take is more lush and interesting. Atkinson is a superstar in the U.K. (as opposed to merely having legions of devoted fans in the U.S.) so that may account for the foregrounding of her name on the U.K. cover. Regardless, the U.S. look is far more intriguing. The Flamethrowers unaccountably didn't get a Tournament bid, but it should have, so we'll include it here, especially because it's a great example of some seriously bold cover design going on on both sides of the pond.
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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 many of us no longer do most 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. I much prefer the U.K. version here. The woodblock art is sublime, and the red and black are nice and bold.
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.
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
When I worked at the bookstore in Los Angeles,we would occasionally get customers who would by books based not on their subject matter or on who wrote them, but by the color of their spines. Somebody would come in looking for light covered spines. Another would peak behind dusk jackets looking for books that conveyed a "vintage look." More often than not these shoppers were Hollywood set designers, trying to fill the bookshelves that would provide the backdrop for the action in a movie or television show. Ever wonder why movies cost tens of millions of dollars to make? It's because these guys were paying full price for these books and not picking them up cheap at a Goodwill store. But other people shopped like this to fill their homes because full bookcases look nicer than wallpaper. One celebrity would routinely buy multiple copies of dozens of books, so that his bookshelves would be equally full in each of his multiple homes.According to a Knight-Ridder article, this book decor trend is filtering down to the masses:Perhaps the ultimate signal that books are decor came when a recent Pottery Barn catalog showed an entire bookcase with the books turned backward, annoying mismatched spines facing inward, all in an attempt to achieve a neutral, uniform look.Luckily the article is mostly skeptical of this trend, but it goes on to mention Book Decor, "a California company that sells foreign books by the foot for the express purpose of looking at them rather than reading them. Danish books cost $100 a foot, German are $150 a foot and French are $200."In a way they're right. Books look great on the walls, elegant and inviting. A well-stocked library makes an impressive statement about one's taste, but of course, lest we forget, each of the books is filled with stories. Walking into such a room, one can almost see all the words and characters peaking out from behind the book covers and floating through the ether. It strikes me as insane that anyone would fill shelves with books that they would never be able to read. After all, books are multitaskers of home decor. They look great, but you can read them and share them with friends, too. Try to do that with wallpaper.