As e-books gain market share, publishers are gussying up book designs. Free Press vice president and publisher Martha K. Levin says, “the message [is] that even if you’re buying 90 percent of your books on your e-reader, this is the one that you want to have on your bookshelf.” The article highlights 1Q84 as an example of a successfully well-designed physical object, but if you haven’t seen a copy, check out Chip Kidd’s discussion of his work on the book.
Beautifying Books
The Tragedy Interviews
One of Tumblr’s most consistently enjoyable accounts belongs to Ben Dewey, comic book artist and proprietor of The Tragedy Series. This past week, Mr. Dewey gave two interviews about his work.
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The Summer Rooster Strikes Back
The second annual Rooster Summer Reading Challenge starts next week with two selections for June: Julián Herbert‘s Tomb Song and Tayari Jones‘s An American Marriage. Get yourself ready with an essay about black love stories featuring Jones’ novel.
Vocal Harmony
At the LARB, Len Gutkin interviews Year in Reading alumnus William H. Gass, whose new novel, Middle C, incorporates techniques of twelve-tone composition. (In case you missed it, I wrote about the book a few weeks ago.)
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This Land Press
This Land Press, which launched in 2010 as a project to “bring literary journalism to Middle America,” will suspend publication of its magazine this spring, and there are no immediate plans for future publication.
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Writing Desire
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Orsonalia
This will either make or ruin your Tuesday: a clip of Orson Welles, in 1974, reminiscing about his relationship with Hemingway. As Sadie Stein writes, “it has everything: titanic ego-clashing, disingenuous concern-trolling, bullfighting, damning with faint praise, posthumous character assassination.” You could also read Jessica Roake on Peter Biskind’s My Lunches with Orson.
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More Pale King
A couple of Pale King odds & ends: N+1 reruns Benjamin Kunkel‘s astute DFW memoriam, and Jonathan Raban tackles the religious side of the Wallace weltanschauung for the NYRB. (Whither Wyatt Mason?)
I might only be the one here but I prefer the U.K. edition covers to Chip Kidd’s cover for the U.S. edition of 1Q84. No doubt Kidd’s design concept for the cover is brilliant (transparent jacket representing parallel worlds) but the end product with the faces and the slightly blocky artwork for the title doesn’t convey in me the sense of mystery and wonder I got from the story compared to the U.K. editions.