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.
If you've ever been to a bookshop in the UK (or to one of the few bookstores in the States that imports British books), you've probably noticed that the books on the shelves look stunning compared to their Yankee counterparts. At the bookstore where I worked in LA, I encountered authors who hated their American book covers but adored the British ones. Why the discrepancy? I don't know; I suspect it has to do with the fact that books are marketed by entertainment companies as "entertainment products" here in the US, while elsewhere, books are treated simply as books. To illuminate the differences in book design, I've placed some American books (on the left) side by side with their British versions (on the right). (click on the images to enlarge).Freakonomics by Steven LevittThe American cover looks like an ad for insurance, while the British version is more vivid and features nifty pixel art.Until I Find You by John IrvingThe American version is flat and looks like a promotion for the "John Irving brand," while the British version is slick and sexy.Cloud Atlas by David MitchellUS version: as dull as a textbook. UK Version: so groovy, you want to dive right in.On Beauty by Zadie SmithThe US versions of Zadie Smith's books look nice, but they are quite pale compared to their British counterparts.Slow Man by J. M. CoetzeeThis time the US version gets the better of the British one with mysteriously iconic silhouette of the broken bicycle.If you are interested in book design have a look at my long ago post about superstar book designer Chip Kidd, and you'll also enjoy the book design blog Forward.
Last winter I found myself lost in a draft of a novel, unable to keep track of the events in my book and getting hung up on unimportant logistical details. I felt kind of stupid because my story was simple, one that only took place over a few months in 1996. I had a list of scenes and an outline of what I had written but the only way I could really get my bearings was to Google old lunar calendars. Finally, I took a big piece of paper from my son’s easel and drew a three-month calendar that I could look at as I worked. In the calendar squares I wrote the events of the story, like a diary. After I did that, it was much easier to write. It was as if my brain could finally relax once the events of the story were organized in a familiar way. Shortly after I drew this calendar, I read an interview with Michelle Huneven on this site and smiled in recognition when she explained that “the difference between short stories and novels is, with a novel, sooner or later you’re on the floor with a pad of paper making timelines and calendars and family trees.” Then, last fall, I was reading The Millions interview with Emily St. John Mandel and was fascinated by the spreadsheet she created to organize her novel Station Eleven. I got curious about the other visual aids that novelists create to manage their books, so I asked around and gathered a variety of notebook pages, diagrams, and timelines. In my search for material, I was often stymied by two factors: 1) writers had thrown out notes and materials related to finished novels and 2) writers were nervous about sharing their notes, especially for works-in-progress. I can certainly understand this vulnerability, and in fact I still feel a little silly about the calendar I’ve shared above. I doubt I would feel so foolish if I were working on a biography or reporting a complicated story from a variety of sources. But there’s something about making a diagram or calendar for an imagined world that feels over-the-top or maybe borderline delusional. So, I thank the writers below for sharing (and saving!) their peculiar and illuminating designs. And if you’re in the midst of a novel now, and stuck, maybe the answer is not to keep typing but to get a blank piece of paper and start drawing. Claire Cameron, notebook pages for The Bear I am always underlining, clipping and making notes. Sometimes I decide that it's time to put some of these little bits of paper into a notebook. I like to think that I'm working on my visual side, but lately I've realized that I'm actually thinking. When my hands are busy, my mind is free to run. These are a couple pages that I made around the time I was writing my recent novel, The Bear. It's a survival story of two young kids who are lost in the wilderness after their parents are killed by a black bear. [caption id="attachment_73762" align="aligncenter" width="570"] Photo credits, from top: Man with Bandage (1968) from Fred Herzog: Photographs; Kotjebi “fluttering swallows” children in North Korea.[/caption] This page gave me a feel for the mix of vulnerability and resilience of the kids in The Bear. I read about Kotjebi or 'fluttering swallows' -- street kids in North Korea. Apparently they are often seen with a tube of toothpaste in hand as they believe it will help with the constant indigestion that comes from garbage-based diets. It's crushing to think about, but it's also the opposite of helpless. The kids are forming their own culture to help them survive. The stark, blocked composition in the Herzog photo spoke to me of a certain toughness. And that women. No one is going to mess with her, right? [caption id="attachment_73766" align="aligncenter" width="570"] Photo credits, clockwise from top left: The Tent by Tom Thompson, I cut it from a calendar from the McMichael Gallery; a slightly smaller Coleman cooler, I’ve lost track of who owns this particular one; a purple flower; Cat Power; a note, typical of the specimens that I find on my bedside table each morning ; Cat Power again.[/caption] The Bear ends with a short epilogue where the grown kids revisit the site of the bear attack. I knew the exact note that I wanted to hit -- I could hear it -- but I couldn't find it in my keyboard. I made this page while I was thrashing through that part of the edit. I thought, what do I know? And I stuck that all on a page. Lauren Groff, notebook pages for Fates and Furies (forthcoming from Riverhead, September 2015.) This is a page of my notebook that I used in writing my next novel, Fates and Furies. I've thrown out the enormous eight foot square wall-maps of incident and character that I relied on during the first three years of writing this novel; this page from my notebook is from just after I discovered I hadn't been writing the two slender novels I thought I'd been writing, but rather one (much fatter) novel. I love revising, but am easily overwhelmed, and I have to make lists and only concentrate on one change at a time to get through it all. Though this page is incomprehensible to me now (more god? Fat man -- & Dwight?), at the time it was my roadmap for the things I needed to do, from most urgent to least. The drawing under the notebook was given to me by my next door neighbor and friend, the kick-ass cartoonist Leela Corman, and it powered me through finishing the manuscript. Tania James, notebook page for The Tusk That Did the Damage I wrote a novel, The Tusk That Did the Damage, that involves three different perspectives, that of an elephant, a filmmaker, and a poacher's brother. Even with these differing perspectives, I wanted to keep the story flowing forward, to have the tail end of one section feed into the next. Hence my predilection for arrows. Scott Cheshire, notes from High as the Horses' Bridles I found this page, one of about five pages I used to occasionally and desperately display on my desk because they apparently helped me keep things "in order." Scrawled with phrases like "cell-phone logic," "truth!?," and "BOIL X2," I have no idea what they mean anymore. They look embarrassingly like those pieces of paper you see on cop shows, pinned to walls behind the desk of a brainy detective working on a tough case. My favorite phrase from this page: "This is the thing -- Joe." Joe is underlined, and circled. I have no idea who he is. Katherine Hill, timeline for The Violet Hour I began this timeline to keep track of all the narratives I'd started when I was drafting The Violet Hour. The early versions were really messy and full of question marks and speculations. But by the time I was making my final revisions, the timeline had grown shorter and tighter, and I was using it as a kind of retrospective blueprint: a file I could reference to make sure everything in the world of the novel was in line. It's a document of the novel's events -- or most of them -- but it's also, in a very real way, a document of the novel's process. By the time it was done, I knew the novel was basically done, too. Alexander Chee, drawing for The Queen of the Night (forthcoming from Houghton Mifflin Harcourt, Feb. 2016) This is a drawing I made in the back of my copy of The Kill by Emile Zola, which I was reading for research at the time. One of the hardest things for me to figure out with The Queen of the Night was how to structure the story. The novel is about a woman searching her memories of her past, identities she's adopted and discarded in order to survive a world that wasn't made for her to survive in. My narrator is the kind of woman I would glimpse in little glances to the side in novels like The Kill, and I wanted to make a novel that put her at the center. But it is very tricky to write a novel about someone who lies to themselves and others in order to live -- telling the truth even to herself is dangerous. When I did this, I had written several drafts, writing and then discarding sections until I realized the discard file -- where I saved everything -- was the novel. It was a novel composed out of rejected selves. This drawing then was one attempt to get the structure right. It's not what ultimately happened for the structure, it's a middle version I moved on from, but it helped me get there. I took a learning styles test once that told me I was a visual mathematician, and while I doubted it at the time, I think that it is true. I first did it to diagram a novel whose structure I was trying to understand while working on my first novel. I do it on chalkboards with my students now, to explain the way the force of the narrative moves the reader's attention. Looking at this now, I might have to get this made into a t-shirt to wear while on tour. Michelle Huneven, binder notes for a work-in-progress I am writing a novel about a church’s search for a new minister. I am following an actual process as determined by the denomination, which means I have a series of events in a set order that I have to somehow make dramatically interesting. I have all of these pamphlets and brochures and guidelines outlining the process; I have timelines, I have interviews with people who’ve conducted searches and those who’ve been hired (or not). And then, I have seven characters on the search committee who all have stuff going on in their lives... For a long time I had two or three manila folders of notes and any number of “notes for novel” files on my computer. A good portion of my writing day was spent trolling through these files for the nugget I needed, which was fine for a while because it familiarized me with all the stray bits I’d accumulated. Then, I started writing the book itself by hand on legal pads. And not on the same legal pad. Which meant that, when I wanted to write, I had to go through various legal pads to find where I wanted to work. That, too, was fine for a while, because I was constantly reviewing what I’d done. But at a certain point the accumulated disorder had me whimpering. Down to the floor I went. I had inherited my mothers three-hole punch (she was an elementary school teacher), and I had an empty three-ring binder sitting around, so I printed out all the notes on my computer, and put them in the binder with all my other notes and pertinent papers. Soon, it came clear that having research and writing in one binder was inefficient -- too much paging back in forth. So it was off to Office Depot, where I bought more binders and file dividers, and spent some very happy hours on the floor punching holes and organizing. (Since then, I also created separate binders for short stories and journalism...and, yes, recipes.) The floor of my office, as you can see from the picture, is my largest flat surface, so I’m down there when researching, and also when punching holes in new material. I can also work from both binders while writing...which proves that, at certain points, the floor is more useful than the computer screen.
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In late 2001 among the people I knew, cellphones went from being a gadget of the technorati to something that everyone had. I was living in a dorm with five roommates at the time and one consequence of the change was that we no longer ever spoke with each other’s parents. Previously parents had called the room line and whoever was around would pick up. I enjoyed shooting the breeze with my friends’ moms (it was mostly moms who called) and I regretted that there was no longer much opportunity to do that once cellphones allowed our parents to call each of us directly. Ereaders today feel somewhat like cellphones just before 2001. They are not yet ubiquitous, but they are well past the early-adopter stage and their growth seems poised to go geometric. When the Kindle came out in 2007 I poopooed it as the future face of reading; the hyperactivity of the Internet just seemed like a bad match with the meditative experience of reading a book. But the other day while watching my eight-month-old son knock around a pile of books, I knew suddenly and viscerally that I was wrong. The clunky objects he was playing with seemed like relics. The Millions has written previously about the externalities of e-readers. Edan has commented on how they portend a drawing down of the public space in which we read—with the Kindle you don’t know what the person next to you is reading, or how far along in it they are, or whether their copy of the book is dog-eared or brand new (because it’s neither). One of the most prominent losses in this regard stands to be the loss of bookshelves. A chief virtue of digital books is said to be their economical size—they take up no space at all!—but even a megabyte seems bulky compared to what can be conveyed in the few cubic feet of a bookshelf. What other vessel is able to hold with such precision, intricacy, and economy, all the facets of your life: that you bake bread, vacationed in China, fetishize Melville, aspire to read Shakespeare, have coped with loss, and still tote around a copy of The Missing Piece as a totem of your childhood. And what by contrast can a Kindle tell you about yourself or say to those who visit your house? All it offers is blithe reassurance that there is progress in the world, and that you are a part of it. Of the bookshelves I’ve inspected in my life, two stand out as particularly consequential. The first was my mother’s, which was built into the wall of the bedroom where she grew up. When I would visit my grandparents in the summer I would spend hours inspecting that bookshelf. The books were yellowed and jammed tightly together, as though my mother had known it was time to leave home once she no longer had any room left on her shelves. In the 1960s novels, the Victorian classics, and the freshman year sociology textbooks fossilized on the bookshelf, I got the clearest glimpse I ever had of my mother as a person who existed before me and apart from me, and whose inner life was as bottomless as I knew my own to be. And then there was my wife, whose bookshelves I first inspected in a humid DC summer, while her parents were away at work. The shelves were stuffed full of novels—Little House on the Prairie, The Andromeda Strain, One Hundred Years of Solitude—that described an arc of discovery I had followed too. At the time we met, her books still quivered from recent use and still radiated traces of the adolescent wonder they’d prompted. In the years since, on visits home for the holidays and to celebrate engagements and births, I’ve watched her bookshelves dim and settle. Lately they’ve begun to resemble a type of monument I recognize from my mother’s room. They sit there waiting for the day when our son will be old enough to spend his own afternoons puzzling out a picture of his mother in the books she left behind. It remains to be seen how many more generations will have the adventure of getting to know their parents in just this way. One for sure, and maybe two, but not much beyond that I wouldn’t think. To the extent that bookshelves persist, it will be in self-conscious form, as display cases filled with only the books we valued enough to acquire and preserve in hard copy. The more interesting story, however, the open-ended, undirected progression of a life defined by books will surely be lost to a digital world in which there is no such thing as time at all. [Image source: David Goehring]
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In January, I put up some scans of the first round of Penguin Classics Deluxe Editions, for which famous cartoonists provided the cover art. Scott points to a new batch of Deluxe Editions posted at The Fantagraphics Blog. For more on the creation of the art for the Marquis De Sade book (to be released in October), visit Tropical Toxic, the blog of the artist, Tomer Hanuka.Update: A new batch is out.
Like we did last year, we're going to have a little fun comparing the U.S. and U.K. book cover designs of this year's Rooster contenders. Book cover design is a strange exercise in which one attempts to distill iconic imagery from hundreds of pages of text. Engaging the audience is the name of the game here. and it's interesting to see how the different audiences and sensibilities on either side of the Atlantic can result in very different looks. The American covers are on the left, and clicking through takes you to a larger image. Your equally inexpert analysis is encouraged in the comments. At first glance, these are both a little cheesy, but closer inspection of the American cover reveals a clever trick: the shadow of the cake is the silhouette of our despondent protagonist. The U.K. cover, meanwhile, is a bit too on the nose. Lemons, check. Cake, check. Particular Sadness, check. These are both appropriate creepy, and while the U.K. cover gets points for the claustrophobic smallness of the toy house, I think the U.S. cover is better here. there's something harrowing about that crayon scrawl on the stark white background. These are both pretty great. The U.S. cover is simple and memorable with those curly guitar strings hinting at the drama within. The U.K. version is more playful, and I love the slightly sunbleached and tattered effect. Franzen's Cerulean Warbler on the U.S. cover has become somewhat iconic stateside. In the U.K., they give us a feather and a big "F" instead. The U.S. cover is awfully bland here, while the U.K. cover is pretty stunning, with a clever visual pun. The U.K. cover has a cool throwback sci-fi vibe going on, but the U.S. cover is one of the more visually arresting efforts in recent years.
"I truly believe that we are at a critical crossroads in publishing. As the attention, bandwidth and energy of publishing turns to e-books, we are concerned that what is currently a trend toward lesser quality print versions of books will then become a landslide."