Books, Design and Culture
Holly Dunn interviews designer, illustrator and author Coralie Bickford-Smith for the first episode of season 2 of the Spine Magazine podcast:
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America is Not the Heart by Elaine Castillo; design by Gray318 (Atlantic Books / May 2018)
A great new entry in the books on book covers genre!
Awayland by Ramona Ausubel; design by Alex Merto (Riverhead / March 2018)
Be More Pirate by Sam Conniff Allende; design by Chris Bentham (Penguin Books / May 2018)
Related: I have a board of skull covers on Pinterest if that is your thing.
The Comedown by Rebekah Frumkin; design by Rachel Willey (Henry Holt / April 2018)
Exactly by Simon Winchester; design by Julian Humphries (William Collins / May 2018)
For some reason this reminded me of a Peter Mendelsund’s 2009(!) cover design for Vintage’s Foucault list. In reality, they don’t actually look that a like at all:
The Gloaming by Kirsty Logan; design Julia Connolly (Harvill Secker / April 2018)
The Honey Farm by Harriet Alida Lye; design by Zoe Norvell (Liveright / May 2018)
This fits both the ‘centred big white type‘ trend and the ‘type and flora‘ trend, but I still like it.
Invasion by Peadar O’Guilin; cover art by Jeffrey Alan Love (David Fickling Books / March 2018)
Jeffrey also did a cover for The Call, the first book in this series,
It Needs To Look Like We Tried by Todd Robert Petersen; design by Nicole Caputo (Counterpoint / May 2019)
The Life and Rhymes of Benjamin Zephaniah; design by Jack Smyth (Simon & Schuster / May 2018)
A Lucky Man by Jamel Brinkley; design by Kyle G. Hunter (Graywolf / May 2018)
I have to confess that I’m including this partly because I recently had a conversation with a publisher about a street scene on a book cover. The publisher said the author insisted on using a specific photo, which always makes things difficult, but all the same, I felt the photo could be used more effectively. The cover for A Lucky Man isn’t fancy, but it does the job really well — while there is a sense of place and atmosphere (it may even be recognizable if you know the street?), there is also ambiguity that leaves it open to interpretation. The blue of the authors name echoes the blue of a sign in the photo, but it doesn’t over do it — it’s nicely understated.
The Mars Room by Rachel Kushner; design by Peter Mendelsund; photograph by Nan Goldin (Scribner / May 2018)
Using a Nan Goldin photo feels like a bold choice — especially for one of the most anticipated books of the year. I don’t know… perhaps Goldin’s photos aren’t as controversial as they once were? It seems appropriate to me, but then I Goldin’s photography. I guess the cover of A Little Life by Hanya Yanagihana used a photo by Peter Hujar…?
In any case, it’s quite different look from The Flamethrowers cover (designed by Charlotte Strick), and yet the compositions seem to echo each other (the horizontal bands of title — rectangular photo — author) when you place them side by side:
Monday’s Not Coming by Tiffany D Jackson; design by Erin Fitzsimmons (Katherine Tegen Books / May 2018)
The National Debt by Martin Slater; design by Steve Leard (Hurst / May 2018)
On Gravity by A. Zee; design by Jason Alejandro (Princeton University Press / May 2018)
The Pisces by Melissa Broder; design by Rachel Willey (Bloomsbury / May 2018)
See What Can be Done by Lorrie Moore; design by Jonny Pelham (Faber & Faber / May 2019)
You can read about the process behind this cover on the Faber blog.
Sharp by Michelle Dean; design by Bekki Guyatt (Little, Brown & Co. / April 2018)
The cover of the US edition published by Grove was designed by Gretchen Mergenthaler and Daniel Rembert, and features an illustration by Kathryn Rathke:
Tomb of the Unknown Racist by Blanche McCrary Boyd; design by Nicole Caputo (Counterpoint / May 2019)
Nicole’s recent covers for Counterpoint all work quite well together. It’s interesting that snaking curves — a worm, a road, an actual snake! — appears in the background of these three:
Why We Fight by Mike Martin; design by Steve Leard (Hurst / May 2018)
Clearly I have a thing for black, white and red covers this month!
I am about a month late to this, but Oliver Laing (author of books you should read), wrote about Daphne Du Maurier, and the strangeness of her bestselling novel Rebecca, for The Guardian:
Rebecca has a disturbingly circular structure, a closed loop like James Joyce’s Finnegans Wake. It ends with Manderley in flames, but the first two chapters are also the conclusion. Husband and wife have been condemned to the hell of expatriation, in a hot, shadowless, unnamed country, staying like criminals in an anonymous hotel. It is apparent that they are revenants in a kind of afterlife, their only pleasure articles from old English magazines about fly fishing and cricket. The narrator attests to their hard-won happiness and freedom, while knowing it resides in a place accessible only by the uncertain routes of dream and memory, expelled from the Eden they never quite possessed.
Du Maurier was under no illusions as to the bleakness of what she had written. “It’s a bit on the gloomy side,” she told her publisher, Victor Gollancz, adding nervously “the ending is a bit brief and a bit grim”. But her predictions of poor sales were inaccurate. Rebecca was a bestseller; 80 years on it still shifts around 4,000 copies a month.
Virago have published a special hardcover edition of Rebecca to celebrate the novel’s 80th anniversary. The cover designed was by Hannah Wood whose artwork was embroidered by specialists Hand & Lock. You can read about the process here.
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Writing for the Globe and Mail, Claire Cameron, author of The Last Neanderthal, takes a look why at Elisabeth de Mariaffi’s new novel is being packaged differently in Britain and Canada:
A novel is like a question – what happens when…? [UK publisher] Titan Books is focusing on what happen when a child goes missing. “There is nothing more terrifying than the loss of a child!” publisher Miranda Jewess says. Meanwhile, HarperCollins Canada publisher Iris Tupholme says, “Our focus in positioning the book is less on the missing child, though that is a key part of the story, and more on the tension and mystery for [the mother] Heike.”
The book was originally titled ‘I Remember You’ when it was sold to the publishers. But when de Mariaffi brought forward ‘Hysteria’ as an alternative, Tupholme loved it because it “suggests the book’s complexity … the story’s focus on women.” Jewess also considered the new title, but thought ‘Hysteria’ “sounded like a more gritty action thriller.”
Both covers do tap into deep-seated fear. But the different focus of those fears may speak more to a transatlantic literary divide, says Kate Pullinger, a Canadian novelist in Britain and professor of creative writing and digital media at Bath Spa University. She sees the two covers as responding to each market for fiction.
“In Canada, the popular writer can remain literary,” but in Britain, though there are exceptions, Pullinger says “literary fiction is increasingly devalued and invisible in the marketplace.” In her view, the British cover is trying to connect to the commercial market; it ties into the tabloid newspaper culture that screams for attention. “Scary Sad Crime Happened Here!”
I seem to spend a lot of time in my professional life trying to explain why titles and covers for Canada (and the US) sometimes need to be different from their counterparts in the UK. I even put together some examples for recent trip to London. So I don’t know that this is a ‘rare’ as Cameron supposes. But, in any case, enough people have expressed interest in this that I am trying to expand that original deck into a more coherent presentation for a few other clients. If I ever get it finished I will share a version of it here.
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The Association of University Presses recently announced the selections for their 2018 Book, Jacket, & Journal Show.
The show is the oldest continuous book design competition in the US, and I was lucky enough to join McSweeney’s designer Sunra Thompson in deciding this year’s cover selections. The book selections were made by designer Linda Secondari and writer Robert Bringhurst. You can see all the selected entries — books and covers — in this AUPresses slideshow:
Comments closedI am unfashionably late to the party here, but the winners of the 2018 Academy of British Cover Design (ABCD) Awards were announced last week.
The ABCD Awards are always pleasantly surprising. Every year the shortlists include at least two or three covers I have never seen before, and I find it strangely reassuring that the winners picked on the night are not always the covers I would’ve chosen — somehow that makes it feel more democratic.
The awards have a brand new website (designed by Joseph Bisat Marshall) where you can find this year’s shortlists and archive of the previous awards, but you will find all the winning covers from last week below…
Surrender by Sonya Hartnett; design by Jack Noel; illustration by Jeffrey Alan Love (Walker Books / May 2017)
The Handmaid’s Tale by Margaret Atwood; design by Suzanne Dean; illustration by Noma Bar (Vintage / October 2017)
Riot Days by Maria Alyokhina; design by Tom Etherington (Allen Lane / October 2017)
Pan 70th Anniversary collection; design Justine Anweiler and Stuart Wilson (Pan / September 2017)
The Communist Manifesto by Karl Marx and Friedrich Engels; design David Pearson (Pluto Press / January 2017)
Jill and Lion by Lesley Barnes; design and illustration by Lesley Barnes (Tate Publishing / March 2017)
Think and Make Like an Artist by Claudia Boldt and Eleanor Meredith; design by Shaz Madani; illustrations by Jay Daniel Wright and Ola Niepsuj (Thames & Hudson / May 2017)
The Blot by Jonathan Lethem; design by Gray318 (Jonathan Cape / February 2017)
Dark Pines by Will Dean; design by Mark Swan (Oneworld / January 2018)
The Invisible LIfe of Euridice Gusmao by Martha Batalha; design by Sinem Erkas (Oneworld / September 2017)
You can find my previous posts on the ABCD Award winners here: 2017; 2016; 2015 and 2014.
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Lots to see this month, including several YA covers (which I know will please some regular readers), some ‘big’ literary fiction, and a couple of confrontational nonfiction covers to round it out. Enjoy!
Aetherial Worlds by Tatyana Tolstaya; design by Stephanie Ross (Knopf / March 2018)
Beneath the Water by Sarah Painter; design by Emma Rogers (Lake Union / February 2018)
Although it pains me a little to say it, I think Amazon’s ‘book club’ imprint Lake Union are doing an impressive job commissioning appealing covers for their intended market. I would be interested to hear about the process from designers who’ve worked with them.
The Birth of the RAF 1918 by Richard Overy; design by Richard Green (Allen Lane / March 2018)
The type on this cover is ace.
The Bleeds by Dimitri Nasrallah; design by David Drummond (Esplanade Books / February 2018)
Children of Blood and Bone by Tomi Adeyemi; design Richard Deas (Henry Holt / March 2018)
Don’t Call Me Princess by Peggy Orenstein; design Robin Bilardello (Harper / February 2018)
Emergency Contact by Mary H.K. Choi; design by Lizzy Bromley; illustration gg (Simon & Schuster / March 2018)
The End of American World Order by Amitav Acharya; design by David A. Gee (Polity / March 2018)
I feel like there are a lot of stars and stripes covers kicking around right now, but I like the ‘collapsing Venetian blind’ thing going on here.
A Girl Like That by Tanaz Bhathena; design by Elizabeth H. Clark (Farrar, Straus & Giroux / March 2018)
Graffiti Palace by A.G. Lombardo; design Rodrigo Corral Studio (FSG x MCD / March 2018)
Gun Love by Jennifer Clement; design by Michael Morris (Hogarth / March 2018)
I like this cover very much–especially the type. The illustration and colour combination remind me of Matt Dorfman’s 2011 cover for The Pyschopath Test by Jon Ronson (Riverhead):
The Gunners by Rebecca Kauffman; design by Nicole Caputo (Counterpoint / March 2018)
I read The Gunners earlier this year and it’s very good. Recommended if you enjoyed The Interestings by Meg Wolitzer.
The Immortalists by Chloe Benjamin; design Yeti Lambregts (Tinder / March 2018)
It’s interesting to see the UK publisher go in such a different direction from the US cover (designed and illustrated by Sandra Chiu) which, as I noted back in January, seems very on trend internationally to me.
In Every Moment We Are Still Alive by Tom Malmquist; design Marina Drukman (Melville House / January 2018)
In Full Flight by John Heminway; design by Janet Hansen (Knopf / February 2018)
The Italian Teacher by Tom Rachman; design by Jaya Miceli (Viking / March 2018)
I felt like this cover might be a little too much when I first saw it online, but I bet it will look absolutely stunning in print and piled up on tables.
I Wrote This Book Because I Love You by Tim Kreider; design by David Litman (Simon & Schuster / March 2018)
For reference, I have a pinboard of contemporary covers that make use of Lydian, the typeface used here. It was designed for American Type Founders by Warren Chappell in 1938, and it’s very distinctive (those ‘R’s!), so it’s interesting to me that it suddenly has this kind of cult popularity.
The Largess of the Sea Maiden by Denis Johnson; design by Suzanne Dean (Jonathan Cape / February 2018)
The pencil shavings are delightful of course, but I did immediately think of Peter Mendelsund‘s covers for Leaving the Sea (2014) and The Flame Alphabet (2012) by Ben Marcus.
The Poet X by Elizabeth Acevedo; design by Erin Fitzsimmons; illustration by Gabriel Moreno (Harper Teen / March 2018)
You can read about the design process for the Poet X cover on the Epic Reads blog.
Police: A Field Guide by David Correia and Tyler Wall; design by Matt Avery; illustration by Lauren Nassef (Verso / March 2018)
Can anyone tell me if there is a term for this kind of semi dust jacket? It seems like more than just a belly band.
The upside-down ‘POLICE’ shield is an interesting decision. It gives the illustration a kind of authenticity (I assume it is based on an actual example), but it also subtly implies something about the contents of the book (as does the not so subtle decision to show a police officer in riot gear rather than more approachable attire!).
The Sparsholt Affair by Alan Hollinghurst; design by Jenny Carrow (Knopf / March 2018)
Standpoints by Svend Brinkmann; design by David A. Gee (Polity / March 2018)
This is a bit like one Canadian designer called David doing an impression of the ‘other’ Canadian designer called David. Both of them are very idea-driven, and sometimes they do seem to think very alike! I believe they both worked in advertising before turning their attention to design.
The Word for Woman is Wilderness by Abi Andrews; design by Steve Panton; illustration by Lizzy Stewart (Serpent’s Tail / February 2018)
I had such good intentions to post more often this year. Ah well… Here are this month’s cover selections at least…
An American Marriage by Tayari Jones; design by Jaya Miceli (Algonquin Books / February 2018)
Building and Dwelling by Richard Sennett; design by Tom Etherington (Allen Lane / February 2018)
Eat the Apple by Matt Young; design by Edel Rodriguez (Bloomsbury USA / February 2018)
Feel Free by Zadie Smith; design by Gray318 (Hamish Hamilton / February 2018)
Frankenstein in Baghdad by Ahmed Saadawi; design by James Paul Jones (Oneworld / February 2018)
The cover of the US edition, published by Penguin last month, was designed by Jason Ramirez:
The Hazel Wood by Melissa Albert; design by Jim Tierney (Flatiron / January 2018)
The House of Impossible Beauties by Joseph Cassara; design by Sara Wood (Ecco / February 2018)
Sara wrote a great piece about designing this cover for Literary Hub.
The Kings of Big Spring by Bryan Mealer; design by Keith Hayes (Flatiron / February 2018)
The Line Becomes a River by Francisco Cantú; design by Grace Han (Riverhead / February 2018)
She Regrets Nothing by Andrea Dunlop; design by Rachel Willey (Washington Square Books / February 2018)
Sunburn by Laura Lippman; design by Elsie Lyons (William Morrow / February 2018)
I included the cover of Sunburn and Elsie Lyons’s cover for The Woman in the Window by A.J. Finn (featured last month) in a recent presentation about the differences between US and UK cover design. UK editions of both books have a much more conventional genre covers. They signal very clearly to readers that they are thrillers.
The US covers on the other hand have a much more literary, sophisticated look. They both have a distinctive, individual appearance (although I suspect we may see covers copying the approach of The Woman in the Window very soon!) that suggest that these are not your average thrillers.
It is not that one approach is necessarily better than the other from a marketing perspective (although I can guess which designers might prefer!), but it is an interesting contrast.
Up Up, Down Down by Cheston Knapp; design Anna Laytham (Scribner / February 2018)
Woman No. 17 by Edan Lepucki; design by Michael Morris; illustration by Oliver Wilson (Crown / February 2018)
I will admit it was the photo-realistic painting that first drew my eye to this cover, but I also like that the blocky typography echoes the cover of the author’s previous novel California.
Happy New Year! Let’s hope it’s better than the last one, eh? But before we finally bid adieu to 2017 and toss it onto the flaming garbage fire, here’s are some of the other lists that looked back at the year in book cover design…
Spine Magazine were ahead of the pack — as they have been all year — with their eclectic list of 50 ‘Book Covers We Loved’.
Designer and New York Times Book Review art director Matt Dorfman chose his ‘Best Book Covers of 2017‘ for the Times. Matt’s lists always have a lot of personality, and this one is no exception. I think it’s probably the list I look forward to most, and I suspect it’s also the list that matters most to many American designers too.
At Literary Hub, Emily Temple asked 20 of her favourite designers for their picks for best book covers of the year. While Matt Dorfman’s cover design for Hollow by Owen Egerton was the top pick, Oliver Munday was the most popular designer with seven covers on the list.
CMYK, Vintage UK’s design blog, also posted a short but sweet list of their designers’ favourite covers of the year.
I contributed to two lists (aside from my own) this year. I gave Vulture my two cents for their list of the ’10 Best Book Covers of the Year’.
And Danny Arter enlisted me as part of a panel to round up the best book covers of 2017 for UK trade magazine The Bookseller. Danny also took a look back at some of the cover design trends of the year for the magazine.
You can find my round-up of the year in covers here, and my YA list for 2017 here.
Comments closedSo here it is, Merry Xmas, everybody’s having fun, my YA (and middle-grade) covers round-up for 2017. This is far from my area of expertise (I mostly work on the adult trade side of things), but until someone else steps up to do a annual post on YA covers with design credits and publisher details you’re stuck with me. Sorry.
All the picks are, of course, mine, but thank you to all the designers who have helped me over the year with covers, suggestions, and credits, and special thanks to Erin Fitzsimmons at HarperCollins and Sarah Creech at Simon & Schuster who helped me with this post in particular. Happy holidays!
Allegedly by Tiffany D. Jackson; design by Erin Fitzsimmons (Katherine Tegen Books / January 2017)
The Art of Starving by Sam J. Miller; design by Jenna Stempel-Lobell; Illustration by Matt Blease (HarperTeen / July 2017)
Autoboyography by Christina Lauren; design Laurent Lint; illustration by Allison Colpoys (Simon & Schuster / September 2017)
Between Two Skies by Joanne O’Sullivan; design by Matt Roeser (Candlewick / April 2017)
Caraval by Stephanie Garber; design by Erin Fitzsimmons and Ray Shappell (Flatiron / January 2017)
The Circus by Olivia Levez; design by Nathan Burton (Oneworld / May 2017)
Nathan’s cover for The Island by Olivia Levez was on my list of Notable YA Book Covers last year:
Dear Martin by Nic Stone; design Angela Carlino (Crown / October 2017)
Disappearances by Emily Bain Murphy; design by Helen Crawford-White; embroidery by Jane Crawford-White (Pushkin Press / July 2017)
Done Dirt Cheap by Sarah Nicole Lemon; design Alyssa Nassner; illustration Amanda Lanzone (Amulet Books / March 2017)
Dress Codes for Small Towns by Courtney Stevens; design Heather Daugherty; illustration by Jen Heuer (HarperTeen / August 2017)
The Education of Margot Sanchez by Lilliam Rivera; cover art by Dana Svobodova (Simon & Schuster / February 2017)
Everybody Hurts by Joanna Nadin & Anthony McGowan; design by Leo Nickolls (Atom / August 2017)
Good and Gone by Megan Frazer Blakemore; design by Katie Klimowicz illustration Thomas Danthony (HarperCollins / December 2017)
Goodnight Boy by Nikki Sheehan; design by Edward Bettison (Oneworld / July 2017)
The Hate U Give by Angie Thomas; design by Jenna Stempel-Lobell; illustration Debra Cartwright (Balzer + Bray / February 2017)
The Hate U Give by Angie Thomas; design by Maria Soler (Walker Books / April 2017)
Here We Are Now by Jasmine Warga; design by Jenna Stempel-Lobell; illustration by Monica Ramos (Balzer + Bray / November 2017)
I Am Not Your Perfect Mexican Daughter by Erika L. Sánchez; design by Connie Gabbert (Knopf / October 2017)
Jaya and Rasa by Sonia Patel; illustration by Zeke Peña (Cinco Puntos Press / September 2017)
The Language of Thorns by Leigh Bardugo; design by design Natalie C. Sousa & Ellen Duda (Imprint / September 2017)
Landscape with Invisible Hand by M. T. Anderson; design by Matt Roeser (Candlewick / September 2017)
Long Way Down by Jason Reynolds; design by Micheal McCartney (Atheneum Books / October 2017)
The Memory Book by Lara Avery; design by Sinem Erkas (Quercus / January 2017)
Moxie by Jennifer Mathieu; design by Elizabeth H. Clark (Roaring Brook Press / September 2017)
Norse Myths: Tales of Odin, Thor, and Loki by Kevin Crossley-Holland; illustrated by Jeffrey Alan Love; artwork by Jeffrey Alan Love (Candlewick / September 2017)
The UK edition has a different, bright yellow, cover by Jeffrey Alan Love:
The Nowhere Girls by Amy Reed; design by Alex Robbins (Simon Pulse / October 2017)
Now I Rise by Kiersten White; design Jet Purdie (based on design by Margaret Hope); illustration Alessandro Taini
The cover is based on Margaret Hope’s design for And I Darken with art by Taini, which was on my list last year:
One Of Us Is Lying by Karen M. McManus; design by Melissa Four (Penguin / June 2017)
Optimists Die First by Susin Nielsen; design by Joan Wong (Wendy Lamb Books / February 2017)
Race to the Bottom of the Sea by Lindsay Eager; design by Matt Roeser (Candlewick / October 2017)
Ramona Blue by Julie Murphy; design by Aurora Parlagreco; illustration by Daniel Stolle (Balzer + Bray / May 2017)
The cover of Dumplin’ by Julie Murphy; also designed by Aurora Parlagreco and illustrated by Daniel Stolle was on my 2015 list.
Release by Patrick Ness; design by Erin Fitzsimmons; photograph by Andrew Yuzko (Harper Teen / September 2017)
Release by Patrick Ness; design by Ben Norland; illustration by Levente Szabo (Walker Books / May 2017)
Retribution Rails by Erin Bowman; cover art by Teagan White (Houghton Mifflin Harcourt / November 2017)
White’s cover for Vengeance Road by Erin Bowman was on my list in 2015:
A Skinful of Shadows by Frances Hardinge; design by Rachel Vale; illustration by Aitch (Macmillan / September 2017)
Solo by Kwame Alexander with Mary Rand Hess; design Micah Kandros (Blink / August 2017)
Spurt by Chris Miles; design by Lucy Ruth Cummins (Simon & Schuster / February 2017)
Starfish by Akemi Dawn Bowman; design by Sarah Creech (Simon Pulse / September 2017)
10 Things I Can See from Here by Carrie Mac; art by Steven Wilson (Knopf / February 2017)
There’s Someone Inside Your House by Stephanie Perkins; design by Lindsey Andrews; artwork by Sean Freeman (Dutton / September 2017)
This Mortal Coil by Emily Suvada; design by Regina Flath (Simon Pulse / November 2017)
A Tragic Kind of Wonderful by Eric Lindstrom; design by Maggie Edkins (Poppy Books / February 2017)
Turtles All the Way Down by John Green; design by Rodrigo Corral and Zak Tebbal; lettering by June Park (Dutton / October 2017)
An Unkindness of Magicians by Kat Howard; design by Lizzy Bromley (Saga Press / September 2017)
The Upside of Unrequited by Becky Albertalli; design by Sarah Creech; illustration by Chris Bilheimer (Balzer + Bray / April 2017)
The cover for Becky Albertalli’s previous book, Simon vs the Homo Sapiens Agenda, also illustrated by Chris Bilheimer was on my 2015 list.
Vanilla by Billy Merrell; design by design by Nina Goffi (Scholastic / October 2017)
We Are Okay by Nina Lacour; design by Samira Iravani; illustration by Adams Carvalho (Dutton / February 2017)
What I Lost by Alexandra Ballard; design Elizabeth H. Clark (Farrar, Straus & Giroux / June 2017)
When Dimple Met Rishi by Sandhya Menon; design by Regina Flath (Simon Pulse / May 2017)
Wildman by J.C. Geiger; design by Maria Elias; illustration by Jeff Östberg (Hyperion / June 2017)
It’s my last monthly cover round-up of the year! Watch out for my review of 2017 next month…
After Me Comes the Flood by Sarah Perry; design by Pete Dyer (Serpents Tail / November 2017)
Basket of Deplorables by Tom Rachman; design by Josh Durham, Design by Committee (Text / September 2017)
Bonfire by Krysten Ritter; design by Will Staehle (Crown Archetype / November 2017)
Don’t Save Anything by Jame Salter; design by Zoe Norvell (Counterpoint / November 2017)
Dunbar by Edward St Aubyn; design by Julia Connolly; illustration Peter Strain (Hogarth / October 2017)
The Giving Light by Gavin Corbett; design by Niall McCormack (Cló Hi Tone / November 2017)
Niall also designs the excellent covers for Gorse journal. The latest issue, Gorse #9, is out this month:
Go, Went, Gone by Jenny Erpenbeck; design by Rodrigo Corral (New Directions / September 2017)
Gravel Heart by Abdulrazak Gurnah; design by Greg Heinimann (Bloomsbury / May 2017)
How Will I Know You? by Jessic Treadway; design by Catherine Casalino; illustration by Henrietta Harris (Grand Central Publishing / August 2017)
The cover of How Will I Know You? reminded me of Lynn Buckley’s 2016 cover design for Sex Object by Jessica Valenti…
And I’m starting to think that faceless women might be a thing…
Over the Plain Houses by Julia Franks; design Meg Reid; illustration by Jody Edwards (Hub City Press / September 2017)
The Parcel by Anosh Irani; design by Allison Colpoys (Scribe / September 2017)
The Poems of Dylan Thomas; design by Jamie Keenan (New Directions / November 2017)
Release by Patrick Ness; design by Erin Fitzsimmons; photograph by Andrew Yuzko (Harper Teen / September 2017)
Sing Unburied Sing by Jesmyn Ward; design by David Mann (Bloomsbury / November 2017)
They Can’t Kill Us Until They Kill Us by Hanif Willis-Abdurraqib; design Two Dollar Radio (Two Dollar Radio / November 2017)
Time of Gratitude by Gennady Aygi; design by Eileen Baumgartner (New Directions / December 2017)
Toi Aussi Mon Fils by Jonathan Pedneault; design by David Drummond (Les Éditions XYZ / November 2017)
The Trauma Cleaner by Sarah Krasnostein; design by W. H. Chong (Text / October 2017)
Ultraluminous by Katherine Faw; design by Rodrigo Corral; lettering June Park (FSG / December 2017)
Where the Past Begins by Amy Tan; design by Allison Saltzman (Ecco / October 2017)
The World Goes On by László Krasznahorkai; design by Paul Sahre (New Directions / November 2017)
Speaking of Paul Sahre, his “graphic memoir” Two Dimensional Man was publishing by Abrams in September:
AND… speaking of László Krasznahorkai (as I know you all were), the cover of the UK edition of The World Goes On was designed by Harry Haysom:
It’s part of a series of abstract covers by Haysom for the Profile Books editions of Krasznahorkai:
I have steadily fallen further and further behind with my cover posts this year. There is some cracking work in this month’s round-up. But I can’t help feeling that there are some covers missing. Somehow it almost November, and I have run out of time. If I don’t post this now, I will never catch up!
All We Saw by Anne Michaels; design by Janet Hansen; photograph by Jouke Bos (Knopf / October 2017)
Bloodprint by Ausma Zehanat Khan; design by Micaela Alcaino (Harpercollins / October 2017)
Crossings by Jon Kerstetter; design by Matt Dorfman (Random House / September 2017)
The Dead Husband Project by Sarah Meehan Sirk; design by Jennifer Griffiths (Anchor Canada / August 2017)
George & Lizzie by Nancy Pearl; design by Gray318 (Simon & Schuster / September 2017)
(Someone on Twitter recently asked about current book cover design trends. If I had to pick one out for 2017, it would be crossed-out words)
He Doesn’t Hurt People Anymore by Dane Swan; design by 13Jupiters (Dumagrad Books / October 2017)
Her Body and Other Parties by Carmen Maria Machado; design by Kimberly Glyder (Graywolf / October 2017)
I Am Not Your Perfect Mexican Daughter by Erika L. Sánchez; design by Connie Gabbert (Knopf / October 2017)
Ma’am Darling by Craig Brown; design by Anna Morrison (Fourth Estate / September 2017)
My Ariel by Sina Queyras; design by Ingrid Paulson (Coach House Books / September 2017)
The Naturalist by Andrew Mayne; design by M.S. Corley (Thomas & Mercer / October 2017)
The Nowhere Girls by Amy Reed; design by Alex Robbins (Simon Pulse / October 2017)
Russia: A Short History by Abraham Ascher; design by Kishan Rajani (Oneworld / October 2017)
A Selfie As Big As the Ritz by Lara Williams; design by Janet Hansen; art by Nathan Manire (Flat Iron Books / October 2017)
Such great image selection from Janet on both these covers… and I love the restraint of the type. Beautiful stuff.
Spectatorship edited by Roxanne Samer and William Whittington; design by Anne Jordan and Mitch Goldstein (University of Texas Press / October 2017)
Stephen Florida by Gabe Habash; design by Micaela Alcaino (Borough Press / September 2017)
The cover of the US edition of Stephen Florida, designed by Karl Engebretson with an illustration by George Boorujy, was included in my June round-up.
This Accident of Being Lost by Leanne Betasamosake Simpson; by design Alysia Shewchuk; photograph of ‘Mixed Blessing’ by Rebecca Belmore by Toni Hafkenshied (House of Anansi / April 2017)
The Whole Beautiful World by Melissa Kuipers; design by Tree Abraham (Brindle & Glass / October 2017)
