As others have noted, it is a little odd that the project is being announced now when the winners have been chosen rather than when the competition opened (why wasn’t the cost of the catalogue factored into the entry fee?), and I wonder if a traditional publisher could not be found to partner on this project, but even if it feels like something of an afterthought, a well-designed catalogue would still be a lovely thing to have.
At the lovely Spitalfields Life blog, the Gentle Author reminisces about buying and selling used books in London, and shares some wondeful black and white photographs of the city’s secondhand bookshops taken in 1971 by Richard Brown:
Frustrated by my pitiful lack of income, it was not long before I began carrying boxes of my textbooks to bookshops in the Charing Cross Rd and swapping them for a few banknotes that would give me a night at the theatre or some other treat. I recall the wrench of guilt when I first sold books off my shelves but I found I was more than compensated by the joy of the experiences that were granted to me in exchange.
Inevitably, I soon began acquiring more books that I discovered in these shops and, on occasion, making deals that gave me a little cash and a single volume from the shelves in return for a box of my own books. In this way, I obtained some early Hogarth Press titles and a first edition of To The Lighthouse with a sticker in the back revealing that it had been bought new at Shakespeare & Co in Paris. How I would like to have been there in 1927 to make that purchase myself.
This weekend’s New York Times Magazine has a remarkable profile of photographer and filmmaker Robert Frank by writer Nicholas Dawidoff:
Frank absorbed artistic influences all over New York. Edward Hopper’s moody office-scapes, restaurant interiors and gas pumps were not in fashion when Frank discovered the painter: ‘‘So clear and so decisive. The human form in it. You look twice — what’s this guy waiting for? What’s he looking at? The simplicity of two facing each other. A man in a chair.’’ Frank’s creative day to day was informed by the Abstract Expressionist painters he lived among. Through his window, Frank studied Willem de Kooning pacing his studio in his underwear, pausing at his easel and then walking the floor some more. ‘‘I was a very silent unobserved watcher of this man at work. It meant a lot to me. It encouraged me to pace up and down and struggle.’’ He also saw the downside of an artist’s life: ‘‘I used to watch de Kooning work, and then I’d walk down the street and see him drinking and lying in the gutter. Somebody’s bringing him upstairs. You drink because you have doubts. Things seem to crumble around you.’’
Online, the Timesalso revisitsThe Americans, Frank’s best known work and “one of the most influential photography books of all time.”
“Parade — Hoboken, New Jersey,” 1955. Robert Frank
Sticking post-it notes to the front of books is a very real thing in the book industry — at least in the corners I’ve occupied — so perhaps it’s no surprise that they’ve made into cover designs too.
The first cover I can think of to incorporate a post-it was the hardcover of Heaven in Small by Emily Schultz, designed by Ingrid Paulson (House of Anansi in 2009).1 Interestingly, while the paperback, also designed by Ingrid (see below), kept the post-it, it no longer tricks the eye in quite the same way.
The last couple of years has seen a small flurry of post-it note book covers. I particularly like Nathan Burton‘s designs for rising literary star Valeria Luiselli, but post-it notes seem particularly in vogue for young adult covers, so we might well be seeing a few more in the coming months…