Tag: nicole caputo

Published April 27, 2020

Book Covers of Note, April 2020

Hey. Here are the book covers that have caught my eye online this month. I hope that they bring a little joy in this very grim time.

If you have the means to buy books at the moment (and I appreciate that is not going to be the case for everyone), please consider supporting your local bookstore. I know a lot of stores are taking orders by email even if they are not answering the phone, and many are offering local delivery if curbside pick-up is not currently an option. The situation seems to be changing daily, so if a store wasn’t accepting orders yesterday, they might be today. We are all figuring this out on the fly.

If you are in the US and don’t have access to a local bookstore, there is Bookshop.org who are trying to provide some financial support to independents. If there are similar initiatives elsewhere, let me know — I’m happy to share the link.

Afterlife by Julia Alvarez; design by Jaya Miceli (Algonquin Books / April 2020)

Barn 8 by Deb Olin Unferth; design by Kimberly Glyder (Graywolf / March 2020)

The Beauty of Your Face by Sahat Mustafah; design by Grace Han (W.W. Norton / April 2020)

Becoming George Orwell by John Rodden; design by Monograph / Matt Avery; illustration by Lauren Nassef (Princeton University Press / February 2020)

I wonder where the eye — particularly the combination of the colour red and the eye — as a symbol of Orwell and Nineteen Eighty-Four originated? Does it go back to the 1960s and the Penguin paperback designed by Germano Facetti?

I understand that the eye is a short-hand for the surveillance state. But it is almost as if that is now considered the only element of the book worth visualizing (David Pearson’s cover is in an interesting exception in that it cleverly focuses on censorship rather than surveillance).

I haven’t read Nineteen Eighty-Four in years, but my memory is that the infamous “Big Brother is Watching You” poster is a face whose eyes seem to follow you when you move — something I think Matt’s cover above captures quite nicely — not an all-seeing, omniscient eye. The first time I read the novel, I imagined Big Brother looked something like Lord Kitchener / Uncle Sam in the recruitment posters. I was more traumatized by Room 101 to be honest… Has anyone put rats on the cover of Nineteen Eighty-Four?

The Book of Longings by Sue Monk Kidd; design by Sara Wood (Viking / April 2020)

Los Falcón by Melissa Rivero; design by Adalis Martinez (Vintage Espanol / April 2020)

The cover of the English-language US edition published by Ecco last year was designed by Allison Saltzman with lettering by Boyoun Kim.

Godshot by Chelsea Bieker; design by Nicole Caputo (Catapult / March 2020)

I actually read Godshot in manuscript form last year and liked it a lot. It is set in drought-stricken California, but I had Ry Cooder’s soundtrack to Paris, Texas playing in my head the whole time I was reading it.

I also wanted to give a quick shout-out to Nicole who was diagnosed with breast cancer at the end of last year and bravely shared her story on social media recently. Stay safe, and get well soon, Nicole. :-)

Grief by Svend Brinkmann; design by David A. Gee (Polity Press / April 2020)

David has designed the covers for a number of books by Svend Brinkmann, including Standpoints, which featured on the blog back in March 2018.

Hinton by Mark Blacklock; design by Jamie Keenan (Granta / April 2020)

Inkheart by Cornelia Funke; cover art by Karl J Mountford (Chicken House / April 2020)

Mountford has also created covers for the other two books in the series, Inkspell and Inkdeath. I love these.

A Luminous Republic by Andrés Barba; design by Mark R. Robinson; illustration by Carly Miller (Mariner Books / April 2020)

The cover of the UK edition of A Luminous Republic, which Granta is publishing in a couple of months, was designed by Luke Bird. It’s a really interesting contrast!

Misconduct of the Heart by Cordelia Strube; design by Michel Vrana (ECW Press / April 2020)

Sigh, Gone by Phuc Tran; design Henry Sene Yee (Flatiron Books / April 2020)

This is Shakespeare by Emma Smith; design by Linda Huang (Pantheon / March 2020)

Throat by Ellen van Neerven; by design by Design by Committee / Josh Durham (University of Queensland Press / April 2020)

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Published February 26, 2020

Book Covers of Note, February 2020

Meh. February. At least it’s almost over (and the book covers are good).

The Bear by Andrew Krivak; design by Alban Fischer (Bellevue Literary Press / February 2020)

(I read an ARC of The Bear last year (full disclosure: the folks that pay me distribute Bellevue Literary Press in Canada), and haven’t really stopped talking about it since, so I may as well mention here too. It’s very sincere, and reminiscent of the kind of Cold War science fiction in which war and environmental catastrophe have led to the end of civilization. It is not dystopian though. It reads rather like beautiful melancholy fable. I liked it a lot.)

Black Sunday by Tola Rotimi Abraham; design Nicole Caputo (Catapult / February 2020

Losing Eden by Lucy Jones; design by Tom Etherington (Allen Lane / February 2020)

The Lost Book of Adana Moreau by Michael Zapata; design by John Gall (Hanover Square Press / February 2020)

One for the meta-covers list (and does the use of Lydian on the cover of a book on the cover of book count as ironic?)

The Mercies by Kiran Millwood Hargrave; design by Lucy Kim (Little Brown & Co / February 2020)

The cover of the UK edition published by Picador was designed by Katie Tooke I believe (and if anyone can tell me who the did the illustration — based on traditional Norwegian folk art rosemaling — I would be grateful!)

Minor Feelings by Cathy Park Hong; design by Na Kim (One World / February 2020)

The cover of UK edition, which Profile Books is publishing next month, was designed by Steve Panton:

Pallbearing Stories by Michael Melgaard; design by Alysia Shewchuk (House of Anansi / February 2020)

Rendang by Will Harris; design by David Pearson (Granta / February 2020)

A Tall History of Sugar by Curdella Forbes; design by Gill Heeley (Canongate / February 2020)

The cover of the US edition, published last year by Akashic Books, was designed by Christian Fuenfhausen…

This Brilliant Darkness by Jeff Sharlet; design by Sarahmay Wilkinson (W.W. Norton / February 2020)

Too Much by Rachel Vorona Cote; design by Jennifer Carrow (Grand Central / February 2020)

Verge by Lidia Yuknavitch; design by Rachel Willey (Riverhead / February 2020)

Whistleblower by Susan Fowler; design by Catherine Casalino (Viking / February 2020)

Nice type.

Weather by Jenny Offill; design by John Gall (Knopf / February 2020)

There haven’t been very many John Gall covers on the blog recently, so it’s a delight to post two in the same month. And this really is a most Gallian of John Gall covers.

The cover of the UK edition of Weather, published by Granta, was designed by Gray318…

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Published December 11, 2019

Notable Book Covers of 2019

2019 has felt interminable. It has also felt like there are never enough hours in the day to keep up. You can’t talk to me about TV shows or movies. I haven’t seen any.

When it comes to books, I’m fortunate enough to work in the industry. But what hope do casual readers have of finding the good stuff when the same few titles dominate the conversation and there is so much else competing for their attention?

The Testaments by Margaret Atwood and Daisy Jones and the Six by Taylor Jenkins Reid were inescapable this year.

Daisy Jones and The Six by Taylor Jenkins Reid; design by Caroline Teagle Johnson (Ballantine / March 2019)

Daisy Jones and the Six had a glamorous, louche 1970s look. The US and UK editions, designed by Caroline Teagle Johnson and Lauren Wakefield respectively, took slightly different directions with the type, but the photograph (a stock image apparently) felt ideally suited to social media.

The Testaments by Margaret Atwood; design by Noma Bar (Chatto & Windus / September 2019)

The Testaments was everywhere and, like the recent Vintage Classics reissue of The Handmaid’s Tale, the cover illustration was unmistakably by Noma Bar. We live in an age where every cult movie and TV show gets a ‘minimalist’ poster now, and I found that The Testaments looked too familiar for me to find it engaging. It didn’t help that the cover of the 2017 US reissue of the The Handmaid’s Tale by Swedish illustrator by Patrik Svenson had already featured a similar 3/4s silhouette. Nevertheless, it was perhaps a bolder cover choice than I’m giving it credit for. If nothing else, it showed that bright green on book covers — once cursed and reviled — is suddenly all the rage!

In terms of trends, 2019 felt more like a continuation of previous years rather than a break with the past. There was a kind of conservatism to a lot of the covers I saw. My sense was that highly polished designs that looked comfortingly familiar were being approved over riskier ones that stood out from the crowd. The most interesting covers often came from small publishers, especially New Directions who seem to be giving a bit more creative license to the designers they work with (some of whom have 9-5s at much bigger publishers!).

Big centred blocks of utilitarian white type over elaborate backgrounds continued to be a mainstay. It’s the book cover as poster, and it works at any size, so I don’t think it’s going away any time soon.

Handwriting and hand-lettering remained popular too, although my sense is that enthusiasm is starting to wane as publishers are opting for greater legibility and designers are turning back to vintage type styles to give a sense of authenticity and craft. (I’m willing to admit the evidence might not back me up on this, however!)

Fun, swishy 1970s-inspired serifs like Benguiat Caslon revival Cabernet are back. People keep trying to make ITC Avant Garde — another iconic 1970s typeface — happen again too. I don’t think it works for the most part, but I can see why designers think it’s cool in a coked-up New York way. Warren Chappell’s earnest calligraphic sans serif Lydian, originally released in 1938, continued its unlikely rise as a go-to literary typeface. It even got an explainer at Vox.

*On Earth We’re Briefly Gorgeous* by Ocean Vuong; design by Darren Haggar; photograph by Sam Contis (Penguin Press / June 2019)

Black and white portrait photography has been the staple of biographies and classics for years, so it was interesting to see closely cropped black and white photographs used on the covers of a couple of new literary novels this year. This isn’t entirely new obviously. Black and white photography has long been used to signify that something is “art” (as opposed to, say, “pornography”). But I think the latest iteration of trend was started by Cardon Webb‘s 2015 cover for A Little Life by Hanya Yanagihara which used a black and white photograph by the late Peter Hujar.

Coincidentally the cover of the US edition of Garth Greenwell’s new novel Cleanness, publishing early 2020, was designed by Thomas Colligan and uses contemporary black and white photograph by Jack Davison. (The UK edition, designed by Ami Smithson fits this trend a little less neatly, but features black and white photograph by Mark McKnight)

Something that I didn’t anticipate was the use of contemporary landscape and figure painting on the covers of some the big literary releases of the year. Like black and white photography, it felt almost pre-digital — a grasp at traditional values of craft. I don’t know if I would go as far as to say it is a rejection of post-modernism. But maybe it is? I don’t know. Discuss amongst yourselves.

The Innocents by Michael Crummey; design by Emily Mahon; art by Diana Dabinett (Doubleday / August 2019)

Thank you to all the designers and art directors who’ve been in touch and helped me identify covers for my posts. I’m sorry if I haven’t replied to your message. It’s been a year.

The Affairs of the Falcóns by Melissa Rivero; design Allison Saltzman; lettering Boyoun Kim (Ecco / April 2019)

Also designed by Allison Saltzman:

*Come Closer and Listen* by Charles Simic; design by Allison Saltzman; art by Jessica Brilli (Ecco / July 2019)

All the Lives We Ever Lived by Katharine Smyth; design by Michael Morris (Crown / January 2019)

Aug 9 — Fog by Kathryn Scanlan; design by Na Kim (Farrar Straus & Giroux MCD / June 2019)

Also designed by Na Kim:

Lie With Me by Philippe Besson; design by Na Kim (Scribner / April 2019)

Baron Wenkheim’s Homecoming by László Krasznahorkai ; design by Paul Sahre (New Directions / September 2019)

Berta Isla by Javier Marías; design by Kelly Blair (Knopf / August 2019)

Also designed by Kelly Blair:

*Chances Are…* by Richard Russo; design by Kelly Blair (Knopf / July 2019)

Big Bang by David Bowman; design by Jamie Keenan (Corsair / August 2019)

Black Leopard Red Wolf by Marlon James; design Helen Yentus; art by Pablo Gerardo Camacho (Riverhead / February 2019)

Brilliant, Brilliant, Brilliant Brilliant Brilliant by Joel Golby; design by Linda Huang (Anchor / March 2019)

The cover of the UK edition, published by HarperCollins imprint Mudlark in February, was designed by Bill Bragg and is also very good:

The Case Against Reality by Donald Hoffman; design by Sarahmay Wilkinson (W. W. Norton / August 2019)

Also designed by Sarahmay Wilkinson:

*Swift* by David Baker; design by Sarahmay Wilkinson (W.W. Norton / April 2019)

Categorically Famous by Guy Davidson; design by Michel Vrana (Stanford University Press / June 2019)

Also designed by Michel Vrana:

*The Western Alienation Merit Badge* by Nancy Jo Cullen; design by Michel Vrana (Buckrider Books / May 2019)

The Colonel’s Wife by Rosa Liksom; design by Kimberly Glyder (Graywolf / December 2019)

Also designed by Kimberly Glyder:

*The Liberty Hyde Bailey Gardener’s Companion* by Liberty Hyde Bailey; design by Kimberly Glyder (Cornell University Press / September 2019)

Dead Astronauts by Jeff Vandermeer; design Rodrigo Corral (MCD / December 2019)

Also designed by Rodrigo Corral:

*The Topeka School* by Ben Lerner; design by Rodrigo Corral (Farrar, Straus & Giroux / October 2019)

Doxology by Nell Zink; design Jack Smyth (Fourth Estate / August 2019)

Drive Your Plow Over the Bones of the Dead by Olga Tokarczuk; design by Alex Merto (Riverhead / August 2019)

Driving in Cars with Homeless Men by Kate Wisel; design Catherine Casalino (University of Pittsburgh Press / October 2019)

Also designed by Catherine Casalino:

*All This Could Be Yours* by Jami Attenberg; design by Catherine Casalino (Hougton Mifflin / October 2019)

The Dry Heart by Natalia Ginzburg; design by Pablo Delcan (New Directions / July 2019)

Also designed by Pablo Delcan:

*The Social Photo* by Nathan Jurgenson; design by Pablo Delcan (Verso / May 2019)

The Dutch House by Ann Patchet; design by Robin Bilardello; painting by Noah Saterstrom (HarperCollins / September 2019)

Even That Wildest Hope by Seyward Goodhand; design by Megan Fildes (Invisible Books / September 2019)

*Land and Forests* by Andrew Forbes; design by Megan Fildes (Invisible Books / May 2019)

The Factory by Hiroko Oyamada; design by Janet Hansen; photography by Arthur Woodcroft (New Directions / October 2019)

Also designed by Janet Hansen:

*In Her Feminine Sign* by Dunya Mikhail; design by Janet Hansen (New Directions / July 2019)

The Five by Hallie Rubenhold; design by Jo Thomson (Transworld / February 2019)

Follow Me To Ground by Sue Rainsford; design and illustration Beci Kelly (Transworld / August 2019)

Follow This Thread by Henry Eliot; design by Elena Giavaldi (Three Rivers Press / March 2019)

Holy Lands by Amanda Sthers; design by Tree Abraham (Bloomsbury / January 2019)

Also designed by Tree Abraham:

*The Remainder* by Alia Trabucco Zerán; design by Tree Abraham (Coffee House Press / August 2019)

Humiliation by Paulina Flores; design by Nicole Caputo (Catapult / November 2019)

Also designed by Nicole Caputo:

*The Crying Book* by Heather Christie; design by Nicole Caputo (Catapult / November 2019)

Indelible in the Hippocampus by Shelly Oria; design by Sunra Thompson (MacSweeney’s / September 2019)

Lanny by Max Porter; design by Jonny Pelham (Faber & Faber / March 2019)

Learning from the Germans by Susan Neiman; design by Tom Etherington (Allen Lane / August 2019)

Tom Etherington is also the designer of Penguin magazine The Happy Reader:

Life Support by Julia Copus; design by Helen Crawford-White (Head of Zeus / April 2019)

*A Half-Baked Idea* by Olivia Potts; design by Helen Crawford-White (Fig Tree / July 2019)

The Light That Failed by Ivan Krastev and Stephen Holmes; design by Richard Green (Allen Lane / October 2019)

Malina by Ingeborg Bachman; design by Peter Mendelsund (New Directions / June 2019)

Mind Fixers by Anne Harrington; design by Matt Dorfman (W.W. Norton / April 2019)

Mothers by Chris Power; design by Grace Han (Farrar, Straus & Giroux / January 2019)

Also designed by Grace Han:

*Bangkok Wakes to Rain* by Pitchaya Sudbanthad; design by Grace Han (Riverhead / February 2019)

Mouthful of Birds by Samanta Schweblin; design by Stephen Brayda (Riverhead / January 2019)

Muscle by Alan Trotter; design by Gray318 (Faber & Faber / February 2019)

Also designed by Gray318:

*Quichotte* by Salman Rushdie; design by Gray318 (Jonathan Cape / August 2019)

Never a Lovely So Real by Colin Asher; design by Jonathan Bush (W. W. Norton / April 2019)

Not Working by Josh Cohen; design by Matthew Young (Granta / January 2019)

Also designed by Matthew Young:

*What We Really Do All* Day by Jonathan Gershuny and Oriel Sullivan; design Matthew Young (Pelican / September 2019)

One Day by Gene Weingarten; design by David Litman (Blue Rider / October 2019)

Also designed by David Litman:

*Ask Again, Yes* by Mary Beth Keane; design by David Litman (Scribner / May 2019)

Our Women on the Ground edited by Zahra Hankir; design by Rosie Palmer; hand lettering by Lily Jones (Harvill Secker / August 2019)

Red at the Bone by Jacqueline Woodson; design by Jaya Miceli (Riverhead / September 2019)

Also designed by Jaya Miceli:

*Speaking of Summer* by Kalisha Buckhanon; design Jaya Miceli (Counterpoint / July 2019)

Safe Houses I Have Known by Steve Healey; design by Alban Fischer (Coffee House Press / September 2019)

Also designed by Alban Fischer:

*The Hypothetical Man* by Paul Maliszewski & Ryan Weil; design by Alban Fischer (Trnsfr Books / March 2019)

Say Say Say by Lila Savage; design by Jennifer Carrow (Knopf / July 2019)

Sonnets to Orpheus by Rainer Maria Rilke; design by Anne Jordan & Mitch Goldstein (Open Letter Books / December 2019)

Sweet Days of Discipline by Fleur Jaeggy; design by Oliver Munday (New Directions / August 2019)

Oliver Munday wrote about designing the cover for New Directions at Literary Hub earlier this year.

He also designed a lot my favourite covers this year…

Riots I Have Known by Ryan Chapman; design by Oliver Munday (Simon & Schuster / May 2019)

Turbulence by David Szalay; design by Lauren Peters-Collaer (Scribner / July 2019)

The Unwanted by Michael Dobbs; design by Tyler Comrie (Knopf / April 2019)

Also designed by Tyler Comrie:

The Revolutionaries by Joshua Furst; design by Tyler Comrie (Knopf / April 2019)

The Volunteer by Salvatore Scibona; design by Rachel Willey (Penguin / March 2019)

Also designed by Rachel Willey:

*The New Me* by Halle Butler; design by Rachel Willey (Penguin / March 2019)

The Water Dancer by Ta-Nehisi Coates; design Greg Mollica; art Calida Garcia Rawles (One World / September 2019)

The White Death by Gabriel Urza; design by Joan Wong (Nouvella / June 2019)

A Year Without a Name by Cyrus Grace Dunham; design by Lucy Kim (Little Brown & Co. / October 2019)

*Consent* by Donna Freitas; design by Lucy Kim (Little, Brown & Co. / August 2019)

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Published October 18, 2019

Book Covers of Note, October 2019

Oh hey, it’s October, AKA the best month of the year, so this is the last of my monthly cover round-ups for 2019. My look back at the year will be coming soon, so if I have shamefully overlooked your work for the past 10 months, or you want to share a cover design for a book that is coming out in November or December, now would be a really great time to drop me a line! High resolution images are always appreciated. This goes double if you design or illustrate YA covers. 1

All This Could Be Yours by Jami Attenberg; design by Catherine Casalino (Hougton Mifflin / October 2019)

Big Bang by David Bowman; design by Jamie Keenan (Corsair / August 2019)

This makes me think of the décollage art of folks like Mimmo Rotella.

The cover of the US edition published by Little, Brown was designed by Gregg Kulick and takes a different pop art approach…

Dead Astronauts by Jeff Vandermeer; design Rodrigo Corral (MCD / December 2019)

The cover of the UK edition, out in January 2020 from Fourth Estate, was designed by Jo Walker with an illustration by Alycia Rainaud.

Driving in Cars with Homeless Men by Kate Wisel; design Catherine Casalino (University of Pittsburgh Press / October 2019)

The Factory by Hiroko Oyamada; design by Janet Hansen; photography by Arthur Woodcroft (New Directions / October 2019)

Feminist City: A Field Guide by Leslie Kern; design by Ingrid Paulson (Between the Lines / October 2019)

The flaps are fun…

Geometry of Shadows by Giorgio di Chirico; design by Atelier Bingo (Public Space Books / October 2019)

Ghosts of Berlin by Rudolph Herzog; design by Marina Drukman (Melville House / October 2019)

Gorgeous War by Tim Blackmore; design Michel Vrana (Wilfred Laurier University Press / October 2019)

The Grace Year by Kim Liggett; design by Kerri Resnick; illustration Hsiao Ron Cheng (Wednesday Books / October 2019)

Humiliation by Paulina Flores; design by Nicole Caputo (Catapult / November 2019)

I Hope You Get This Message by Farah Naz Rishi; design by Erin Fitzsimmons; illustration by Adams Carvalho (HarperTeen / October 2019)

This makes a nice pair with the Adams Carvalho illustration on the cover of We Are the Lost and Found mentioned last month…

Nightmareland by Lex “Lonehood” Nover; design by Linet Huamán Velásquez (TarcherPerigee / October 2019)

Nothing To See Here by Kevin Wilson; design by Allison Saltzman; art by Christian Northeast (Ecco / October 2019)

Not Me by Marianne Dissard; design by Jamie Keenan (October 2019)

One of the more disturbing covers of the year I think…

One Day by Gene Weingarten; design by David Litman (Blue Rider / October 2019)

Sonnets to Orpheus by Rainer Maria Rilke; design by Anne Jordan & Mitch Goldstein (Open Letter Books / December 2019)

Space Struck by Paige Lewis; design by Alban Fischer (Sarabande Books / October 2019)

Suspect Communities by Nicole Nguyen; design by Matt Avery (University of Minnesota Press / October 2019)

Redaction on covers is most definitely in…

The Topeka School by Ben Lerner; design by Rodrigo Corral (Farrar, Straus & Giroux / October 2019)

What Happened? by Hanif Kureishi; design Jonny Pelham (Faber & Faber / October 2019)

Are we seeing the beginnings of a psychedelia revival? There are a couple of covers coming in 2020 in addition to these three that make me think we might be…

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Published December 11, 2018

Book Covers of Note 2018

This has been an exhausting year for oh so, so many reasons, but book covers remained a bright spot for me in 2018.

As always, my end-of-year list collects together the covers that I found interesting or noteworthy in some way or another in the past 12 months. It is organized alphabetically by title and grouped by designer (because that makes sense to me when I’m compiling the list).

In terms of trends, there were a lot of hot orange book covers this year. Stark black, white and red covers were popular for non-fiction. Stars and stripes featured heavily too (I refuse to do a post about this!). Snakes seemed to be a thing!

Typographically, big white sans serifs are still a go-to. And hand-lettering and handwriting are still going strong. But retro typefaces, particularly big serifs with swishy swashes, are making a comeback.

Thanks as always to everyone who has supported the blog this year, especially the folks who have taken the time to help with cover images and design credits. I’m sorry for the many, many the emails I have not replied to this year, and for all the covers, designers, and publishers I have overlooked.

Aetherial Worlds by Tatyana Tolstaya; design by Stephanie Ross (Knopf / March 2018)

Stephanie Ross’s cover for Ruth Bader Ginsberg by Jane Sherron De Hart, published by Knopf in October, also caught my eye this year.

Agrippina: Empress, Exile, Hustler, Whore by Emma Southon; design by Mark Ecob (Unbound / August 2018)

America is Not the Heart by Elaine Castillo; design by Gray318 (Atlantic Books / May 2018)

Also designed by Gray318:

Something Great and Beautiful by Enrico Pellegrini; design by Gray318 (Other Press / September 2018)

Me Mum. Me Dad. Me. by Malcolm Duffy; design Gray318 (Head of Zeus / April 2018)

Feel Free by Zadie Smith; design by Gray318 (Hamish Hamilton / February 2018)

(I got to visit Jon in his studio this summer, which was nice.)

Austerlitz by W.G. Sebald; design David Pearson (Penguin / June 2018)

Also designed by David Pearson:

Staying Power by Peter Fryer; design by David Pearson; illustration by Adam Busby (Pluto Press / September 2018)

Mad, Bad, Dangerous to Know by Colm Tóibín; design David Pearson (Viking / October 2018)

England’s Discontents by Mike Wayne; design by David Pearson (Pluto Press / November 2018)

The Book of Joan by Lidia Yuknavitch; design by Rafi Romaya; illustration by Florian Schommer (Canongate / January 2018)

Born To Be Posthumous by Mark Dery; design by Jim Tierney; photograph by Richard Corman (Little Brown & Co. / November 2018)

Congratulations to Jim and Sara on the birth of their baby last month!

Bullshit Jobs by David Graeber; design by David Litman (Simon & Schuster / May 2018)

Cherry by Nico Walker; design by Janet Hansen (Knopf / August 2018)

Also designed by Janet Hansen:

Immigrant, Montana by Amitava Kumar; design Janet Hansen (Knopf / July 2018)

Provocations by Camille Paglia; design Janet Hansen (Pantheon / October 2018)

Circe by Madeline Miller; design by Will Staehle (Little Brown & Co / April 2018)

Also designed by Will Staehle:

The Outsider by Stephen King; design by Will Staehle (Scribner / May 2018)

The Infinite Future by Tim Wirkus; design by Will Staehle (Prentice Hall / January 2018)

Codex 1962 by Sjón; design by Rodrigo Corral (MCD / September 2018)

The cover of the UK edition of Codex 1962 published by Sceptre, which features art by Owen Gent, is also beautiful.

Also designed by Rodrigo Corral Studio:

Severance by Ling Ma; design Rodrigo Corral (FSG / August 2018)

The End of the End of the Earth by Jonathan Franzen; design by Rodrigo Corral; photo by Jeroen Mantel (FSG / November 2018)

The Linden Tree by Cesar Aira; design by Rodrigo Corral (New Directions / May 2018)

The Comedown by Rebekah Frumkin; design by Rachel Willey (Henry Holt / April 2018)

Also designed by Rachel Willey:

Heartbreaker by Claudia Dey; design by Rachel Willey (Random House / August 2018)

The Pisces by Melissa Broder; design by Rachel Willey (Bloomsbury / May 2018)

The Doctor Stories by William Carlos Williams; design by Joan Wong (New Directions / September 2018)

Educated by Tara Westover; illustration by Patrik Svensson (Random House / March 2018)

Probably the most ubiquitous nonfiction book of the year (if not, in the end, the bestselling). Canada and the UK went with photographic covers. This was more memorable I thought.

Evening in Paradise by Lucia Berlin; design by Na Kim (Farrar, Straus and Giroux / November 2018)

Also designed by Na Kim:

Welcome Home by Lucia Berlin; design by Na Kim (Farrar, Straus and Giroux / November 2018)

Heavy by Kiese Laymon; design by Na Kim (Scribner / October 2018)

Certain American States by Catherine Lacey; design by Na Kim (Farrar, Straus & Giroux / August 2018)

he Fed and Lehman Brothers by Laurence M. Ball; design by Catherine Casalino (University of Cambridge Press / June 2018)

Also designed by Catherine Casalino:

The Age of Caesar by Plutarch; translation by Pamela Mensch; design by Catherine Casalino (W.W. Norton / January 2018)

Here Kitty Kitty by Jardine Libaire; design Catherine Casalino (Hogarth / June 2018)

The Female Persuasion by Meg Wolitzer; design by Ben Denzer (Riverhead Books / April 2018)

I also really liked Ben Denzer’s typographic cover for A Short Film About Disappointment by Joshua Mattson (Penguin Press / August 2018).

Feminasty by Erin Gibson; design by Anne Twomey; photograph by Ricky Middlesworth (Grand Central / September 2018)

The Feral Detective by Jonathan Lethem; design Allison Saltzman; photograph Kate Bellm (Ecco Press / November 2018)

Fox 8 by George Saunders; design by Greg Heinimann (Bloomsbury / November 2018)

Gin: Distilled by Gin Foundry; design by James Paul Jones (Ebury Press / October 2018)

Gun Love by Jennifer Clement; design by Michael Morris (Hogarth / March 2018)

Also designed by Michael Morris:

My German Brother by Chico Buarque; design by Michael Morris (Farrar, Straus & Giroux / June 2018)

Woman No. 17 by Edan Lepucki; design by Michael Morris; illustration by Oliver Wilson (Crown / February 2018)

Hippie by Paulo Coelho; design by Tyler Comrie (Knopf / September 2018)

Also designed by Tyler Comrie:

Ponti by Sharlene Teo; design by Tyler Comrie (Simon & Schuster / September 2018)

Bitwise: A Life in Code by David Auerbach; design by Tyler Comrie (Pantheon / August 2018)

There There by Tommy Orange; design by Tyler Comrie (Knopf / June 2018)

The Hole by José Revueltas; design by John Gall (New Directions / November 2018)

Also designed by John Gall:

The Frolic of the Beasts by Yukio Mishima; design John Gall (Vintage / November 2018)

Emissary by Yuko Tawada; design by John Gall (New Directions / April 2018)

(Don’t forget about the new book collecting 10 years of John Gall’s collages!)

The House of Impossible Beauties by Joseph Cassara; design by Sara Wood (Ecco / February 2018)

You can read about the design of this cover on Literary Hub.

The Infinite Blacktop by Sara Gran; design by Alex Merto (Atria Books / September 2018)

Also designed by Alex Merto:

Pretend I’m Dead by Jen Beagin; design by Alex Merto (Scribner / May 2018)

Let It Bang by RJ Young; design by Alex Merto (HMH / November 2018)

Awayland by Ramona Ausubel; design by Alex Merto (Riverhead / March 2018)

In the Distance by Hernan Diaz; design by Luke Bird (Daunt Books / June 2018)

I read the US edition of In the Distance (Coffee House Press / 2017) earlier this year. It is quite extraordinary and not what I expected — a western, but not really. I was really pleased that Daunt decided to publish it in the UK.

Also designed by Luke Bird:

Patient X by David Peace; design by Luke Bird (Faber & Faber / April 2018)

Convenience Store Woman by Sayaka Murata; design by Luke Bird (Portobello Books / July 2018)

The Island That Disappeared by Tom Feiling; design by Marina Drukman (Melville House / March 2018)

The Italian Teacher by Tom Rachman; design by Jaya Miceli (Viking / March 2018)

Also designed by Jaya Miceli:

An American Marriage by Tayari Jones; design by Jaya Miceli (Algonquin Books / February 2018)

The Incendiaries by R.O. Kwon; design Jaya Miceli (Riverhead / July 2018)

Wasteland by W. Scott Poole; design by Jaya Miceli (Counterpoint / November 2018)

A Ladder to the Sky by John Boyne; design by Jo Thomson (Doubleday / August 2018)

Liveblog by Megan Boyle; design by Nicole Caputo (Tyrant Books / September 2018)

Also designed by Nicole Caputo:

It Needs To Look Like We Tried by Todd Robert Petersen; design by Nicole Caputo (Counterpoint / May 2019)

Tomb of the Unknown Racist by Blanche McCrary Boyd; design by Nicole Caputo (Counterpoint / May 2019)

The Gunners by Rebecca Kauffman; design by Nicole Caputo (Counterpoint / March 2018)

The Gunners — a novel about a group of misfit friends reuniting at a funeral — was a favourite in my office this year.

The Mars Room by Rachel Kushner; design by Peter Mendelsund; photograph by Nan Goldin (Scribner / May 2018)

Also designed by Peter Mendelsund:

Notes from the Fog by Ben Marcus; design Peter Mendelsund (Knopf / August 2018)

Calypso by David Sedaris; design by Peter Mendelsund (Little, Brown & Co. / May 2018)

Tell Them of Battles, Kings, and Elephants by Mathias Énard; design by Peter Mendelsund (New Directions / November 2018)

My Cat Yugoslavia by Pajtim Statovci; design by Anna Morrison (Pushkin Press / April 2018)

I thought this was a nice contrast to the cover of the US edition designed by Oliver Munday (Pantheon / April 2017). It’s interesting that only the cat’s ear makes an appearance, and the snake (a boa constrictor in the story I think?) is more prominent.

Also designed by Anna Morrison:

Odessa Stories by Isaac Babel; design by Anna Morrison (Puhskin Press / November 2018)

All the Beautiful Girls by Elizabeth J. Church, designed by Anna Morrison (Fourth Estate / March 2018)

Women by Chloe Caldwell; design by Anna Morrison (Fourth Estate / March 2018)

No Country Woman by Zoya Patel; design by Astred Hicks (Hachette Australia / August 2018)

Notes from the Fog by Ben Marcus; design by Jamie Keenan (Granta / September 2018)

Also designed by Jamie Keenan:

Perfidious Albion by Sam Byers; design Jamie Keenan; art by Emily Allchurch (Faber & Faber / August 2018)

Rock and Roll is Life by D.J. Taylor; design by Jamie Keenan (Constable / May 2018)

Impossible Owls by Brian Phillips; design Jamie Keenan (FSG / October 2018)

On Gravity by A. Zee; design by Jason Alejandro (Princeton University Press / May 2018)

Packing My Library by Alberto Manguel; design by Tom Starr (Yale University Press / March 2018)

The Perfect Nanny by Leila Slimani; design by Julianna Lee (Penguin / January 2018)

The Reservoir Tapes by Jon McGregor; design by Strick&Williams (Catapult / August 2018)

She Wants It by Jill Soloway; design by Elena Giavaldi (Crown / October 2018)

The Son of Black Thursday by Alejandro Jodorowsky; design by Richard Ljoenes (Restless Books / November 2018)

Richard Ljoenes recently talked about designing covers for Alejandro Jodorowsky — the cover of Where the Bird Sings Best was on my 2016 notable list — with Spine Magazine.

The Stars Now Unclaimed by Drew Williams; design by Jack Smyth (Simon & Schuster / August 2018)

Also designed by Jack Smyth:

The Life and Rhymes of Benjamin Zephaniah; design by Jack Smyth (Simon & Schuster / May 2018)

Yeti by Graham Hoyland; design by Jack Smyth (William Collins / May 2018)

A Station on the Path to Somewhere Better by Benjamin Wood; design by Jack Smyth (Scribner UK / June 2018)

A Superior Spectre by Angela Meyer; design by Design by Committee (Ventura / August 2018)

Swan Song by Kelleigh Greenberg-Jephcott; design by Lauren Wakefield (Hutchinson / June 2018)

Tell Me Lies by Carola Lovering; design Donna Cheng (Simon & Schuster / July 2018)

Crossing out is a thing.

Ten Arguments For Deleting Your Social Media Accounts Right Now by Jaron Lanier; design Dan Mogford (The Bodley Head / June 2018)

Also designed by Dan Mogford:

Homeland by Walter Kempowski; design by Dan Mogford (Granta / November 2018)

A Very British Coup by Chris Mullin; design by Dan Mogford (Serpent’s Tail / 2018)

Portraits Without Frames by Lev Ozerov; design by Dan Mogford (Granta / November 2018)

There There by Tommy Orange; design by Suzanne Dean; art by Bryn Perrott (Harvill Secker / July 2018)

You can read about the design of this cover at Spine Magazine.

Also designed by Suzanne Dean:

The Largess of the Sea Maiden by Denis Johnson; design by Suzanne Dean (Jonathan Cape / February 2018)

Nervous States by William Davies; design by Suzanne Dean (Jonathan Cape / September 2018)

The Only Story by Julian Barnes; design by Suzanne Dean (Jonathan Cape / February 2018)

This Mournable Body by Tsitsi Dangarembga; design Kimberly Glyder (Graywolf / August 2018)

Also designed by Kimberly Glyder:

The Last of the Stanfields by Marc Levy; design by Kimberly Glyder (AmazonCrossing / December 2018)

Waiting for Tomorrow by Nathacha Appanah; design by Kimberly Glyder (Graywolf / April 2018)

The Music Shop by Rachel Joyce; design by Kimberly Glyder (Random House / January 2018)

Tin Man by Sarah Winman; design by Grace Han ( G.P. Putnam’s Sons / May 2018)

Everyone should read Tin Man btw. It is sad and lovely.

Also designed by Grace Han:

The Line Becomes a River by Francisco Cantú; design by Grace Han (Riverhead / February 2018)

There Will Be No Miracles Here by Casey Gerald; design by Grace Han (Riverhead Books / October 2018)

Florida by Lauren Groff; design by Grace Han (Riverhead / June 2018)

Unsheltered by Barbara Kingsolver; design by Ami Smithson (Faber & Faber / October 2018)

This has rather fancy edges (and endpapers I believe):

The Woman in the Window by A. J. Finn; design by Elsie Lyons (William Morrow / January 2018)

I also really liked Elisie Lyons’ glamorously noir cover for Sunburn by Laura Lippman (William Morrow / February 2018).

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Published May 14, 2018

Book Covers of Note May 2018

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:

mars room design peter mendelsund photo nan goldin

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:

sharps us design gretchen mergenthaler and daniel rembert illus 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:

Tomb of the Unknown Racist by Blanche McCrary Boyd; design by Nicole Caputo (Counterpoint / May 2019)

It Needs To Look Like We Tried by Todd Robert Petersen; design by Nicole Caputo (Counterpoint / May 2019)

The Gunners by Rebecca Kauffman; design by Nicole Caputo (Counterpoint / March 2018)

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!

The Life and Rhymes of Benjamin Zephaniah; design by Jack Smyth (Simon & Schuster / May 2018)

Mondays Not Coming design erin fitzsimmons

See what can be done design jonny pelham

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Published March 16, 2018

Book Covers of Note March 2018

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)

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Published March 8, 2016

52 Women Book Cover Designers

If you follow the Casual Optimist on Twitter, you will know that a couple of weeks ago design studio Aishima asked people to tweet about inspiring women graphic designers using the hashtag #celebratewomen. As today is International Women’s Day, I thought I would follow up my #celebratewomen tweets with a visual list of 52 inspiring women book cover designers (one for every week of the year!) — from influential veterans whose work I’ve admired for years to junior designers that have just appeared on my radar.

The names of all 52 designers can be found at the end of the post. With a few more hours in a day the list could easily have been many times longer, so apologies to anyone I have overlooked. Please let me know who you would’ve included in the comments or on Twitter.

Don't Let's Go To the Dogs Tonight by Alexandra Fuller; design by Justine Anweiler (Picador / January 2015)

All This Has Nothing To Do With Me; design by Justine Anweiler; illustration Daphne van den Heuvel

Justine Anweiler

Jane Eyre Clothbound design Coralie Bickford Smith

Last Tycoon design Coralie Bickford Smith

Seven Brief Lessons on Physics by Carlo Rovelli; design by Coralie Bickford-Smith (Allen Lane / September 2015)

Coralie Bickford-Smith

Aftermath design Kelly Blair

Kelly Blair

The Wall design Gabrielle Bordwin photograph John Gay

Gabrielle Bordwin

forever design Lizzy Bromley

Lizzy Bromley

On-the-Noodle-Road

Lynn Buckley

Curious design Nicole Caputo

Letters to a Young Therapist design Nicole Caputo

Nicole Caputo

friendship_gould

Jennifer Carrow

m train design carol devine carson

Carol Devine Carson

Girl-Who-Was-Saturday-Night

Catherine Casalino

Cat and Fiddle design Allison Colpoys

A Fairy Tale by Jonas T. Bengtsson; design by Allison Colpoys

Allison Colpoys

Stoner (hardback)

General Theory of Oblivion design by Julia Connolly

Give Me Everything You Have by James Lasdun; design by Julia Connolly

Julia Connolly

Holloway

Eleanor Crow

100-sideways-miles-9781442444959_hr

Lucy Ruth Cummins

First Novel design Suzanne Dean photograph Stephen Banks

The Sens of an Ending design by Suzanne Dean

Suzanne Dean

Milk

Visit from the Goon Squad design Barbara deWilde

Barbara deWilde

tender-is-the-night

Sinem Erkas

Madness So Discreet design Erin Fitzsimmons

Erin Fitzsimmons

Dust to Dust design Alison Forner

Alison Forner

Seating Arrangements design Elena Giavaldi

Elena Giavaldi

barefoot queen design Kimberly Glyder

Worthy by Denice Turner; design by Kimberly Glyder (University of Nevada Press / April 2015)

Kimberly Glyder

Lopsided design by Carin Goldberg

Carin Goldberg

luminaries

Jenny Grigg

Voices in the Night by Steven Millhauser; design by Janet Hansen (Knopf / April 2015)

A Bad Character by Deepti Kapoor; design by Janet Hansen (Knopf / January 2015)

Act of God design Janet Hansen

design Janet Hansen

Janet Hansen

What the Family Needed

Jennifer Heuer

follow me design Karen Horton

Simon_Unforgettable_approved_110514.indd

Karen Horton

book-of-heaven

Linda Huang

specter-of-capital

Souffles-Anfas edited by Olivia C. Harrison and Teresa Villa-Ignacio; design Anne Jordan and Mitch Goldstein (Stanford University Press / November 2015)