Hey. I hope you’re keeping safe and well, especially my friends and colleagues in snowy NYC. Thanks to everyone who helped with images and design credits this month — it’s been a really busy month so I really appreciate it!
Oliver’s own novel, Head of Household, is out from Simon & Schuster in the US this month too. The cover was designed by Christopher Brand, and you can read a conversation between the two about the design process at LitHub.
Favorita by Michelle Steinbeck; translated by Jen Calleja; design by Henry Petrides (Faber & Faber / February 2026)
Hey, I hope you’re keeping safe and well wherever you are. Apart from the weird Toronto weather, it is definitely FALL here with the kids back in school and days of seemingly endless pre-sales calls and shortlists. It is also the time of year for “big” books of course, and there are more covers from the conglomerate publishers in this month’s post than I would generally like. My sense is that independent publishers try to avoid releasing their books in September if they can these days, but maybe I just haven’t seen the right ones? Anyway I guess we should be glad the big guys still care about fun covers, right?
At the turn of the year, writer and activist Cory Doctorow coined the term “enshitification.” Although he was specifically describing the process of online services getting worse for users, it was hard not to see it everywhere in 2023.
In his annual look at the year’s best book covers for the New York Times, art director Matt Dorfman recounts a friend describing 2023 as a “year of survival”, a year of “no growth, no withering, just getting by.”
This year saw a centuries-old business contending with rounds of buyouts and layoffs, alongside an endless news cycle involving two brutal wars from which no authors, friends, enemies or strangers were immune from accountability for any unrehearsed sentiment they might voice in passing. Add to this the ongoing concern about how artificial intelligence will affect a business historically dependent upon human creativity — yet through it all, there was still the matter of making books, and their covers, to get on with.
I read Matt’s piece the same day I read an article by Kyle Chayka in the New Yorkerabout his search foran epochal term to “evoke the panicky incoherence of our lives of late.” The suggestions range from the bland ‘Long 2016,’ to the incredibly ominous-sounding ‘Chthulucene,’ the Lovecraftian ‘New Dark Age,’ and the frankly terrifying and plausible ‘Jackpot’ from William Gibson’s 2014 novel The Peripheral.
This was the context of life and work in 2023.
Matt notes some designers found inspiration in the zeitgeist. He’s not wrong. But, ironically perhaps, I feel less optimistic about the overall picture than he does.
At the risk of repeating what I’ve written in the past couple of years, it’s like we’re stuck in a holding pattern, circling the same design ideas. Trends have stuck around. A lot of covers feel safe. Some of this was the books themselves. I’m not sure exactly how many celebrity memoirs is too many, but I’m pretty sure we reached that point and sailed right past it in 2023. No doubt some of it is sales and marketing departments sanding down all the edges and demanding the tried and true (see Zachary Petit’s alternative best of 2023 piece on killed covers for Fast Company). But I would not be surprised if it designers were just getting caught up in the churn — too many books, too many covers, and too much other stuff to worry about.
Or maybe it’s just me.
Rouge by Mona Awad; design by Oliver Munday (Simon & Schuster / September 2023)Silver Nitrate by Silvia Moreno-Garcia; design by Regina Flath (Del Rey Books / July 2023)Our Share of Night by Mariana Enriquez; design by Donna Cheng (Hogarth / September 2023)
One of the themes of the year was nostalgia, which I’m sure can also be put down to the present being pretty fucking awful. It was apparent across almost all genres, including literary fiction, but nowhere more so than in the resurgent supernatural suspense and horror categories. There were creative stylistic mashups with retro vibes, along side fastidious Stranger Things-like homages to the 1980s and Stephen King.
Looking Glass Sound by Catriona Ward; design by Katie Klimowicz (Tor / August 2023)The Only One Left by Riley Sager; design by Kaitlin Kall (Dutton / June 2023)Come Closer by Sara Gran; design by Caroline Johnson (Soho Press / September 2023)
One genuinely pleasant surprise was the number of interesting covers from Canadian publishers this year. They’ve been quietly risk-averse in recent years, so it was nice to see a few bolder design choices getting approved. I was happy to see a Canadian cover was one of the top picks on Literary Hub’s (very, very long) list of the best covers of 2023.
There were other things to cheer this year too.
The Lights by Ben Lerner; design by David Pearson (Granta / September 2023)Total Reset by Sinéad Brady; design Steve Leard (HarperCollins / March 2023)How to Build a Boat by Elaine Feeney; design by Zoe Norvell (Biblioasis / November 2023)
Spine continued to give space to designers to talk about their work in a way I’ve never been able to do consistently here. You can find their 2023 cover picks here.
David Pearson started the Book Cover Review, a website for short reviews of book covers.
Zoe Norvell’s I Need A Book Cover, a resource for book cover inspiration as well as place for authors and publishers to connect with designers, also went live.
Steve Leard launched Cover Meeting, a podcast series of in-depth interviews with cover designers (including David and Zoe among others). As Mark Sinclair notes in his piece on book cover design this year for Creative Review, Steve’s conversations shed light on wider concerns in the industry as well as each designer’s individual process. Have a listen if you haven’t already.
Berlin by Bea Setton; design by Emily Mahon; cover image by Nataša Denić (Penguin Books / May 2023)
Also designed by Emily Mahon:
Lost Believers by Irina Zhorov; design by Emily Mahon (Scribner / August 2023)Do Tell by Lindsay Lynch; design by Emily Mahon; illustration and lettering by Studio Martina Flor (Doubleday / July 2023)
B.F.F. by Christie Tate; design by Ben Wiseman (Avid Reader Press / February 2023)
The Illiterate by Ágota Kristóf; design by Oliver Munday (New Directions / April 2023)
Also designed by Oliver Munday:
The Guest by Emma Cline; design by Oliver Munday (Random House / May 2023)Life on Delay by John Hendrikson; design by Oliver Munday (Knopf / January 2023)
Sublunar by Harald Voetmann; design by Jamie Keenan (New Directions / August 2023)
Also designed by Jamie Keenan:
The Dimensions of a Cave by Greg Jackson; design by Jamie Keenan (Granta / October 2023)Dr. No by Percival Everett; design by Jamie Keenan (Influx Press / March 2023)
Sam by Allegra Goodman; design by Donna Cheng; photograph by Mariam Sitchinava (Dial Press / January 2023)
I’m not sure exactly why, but I just assumed this was a UK cover when I first saw it (despite it literally having “New York Times Bestselling Author” in all-caps at the top!).
Sing, Nightingale by Marie Hélène Poitras; translated by Rhonda Mullins ; design by Ingrid Paulson (Coach House / February 2023)
For some reason this makes me think of the ‘weird nature’ (including animals with human eyes!) in Annihilation by Jeff Vandermeer, which is still one of my favourite novels of the last 10 years…
True Life by Adam Zagajewski; design by Jeff Clark (Farrar, Straus & Giroux / February 2023)
I also saw Pete Garceau’s cover for School House Burning by Derek W. Black recently, which snuck past me when it was published by PublicAffairs in September 2020 but still seems terribly au courant…
Wolfish by Erica Berry; design by Keith Hayes; illustration by Rokas Aleliunas (Flatiron / February 2023)
This feels a bit like blogging at the end of world, but I am taking my joy where I can get it these days. I hope you can find at least a couple of minutes respite from the stress by scrolling through a few nice book covers.
Normally I link titles to the Book Depository because they ship internationally, but I won’t be doing that this month. Please try — more than ever — to support your local independent bookstore instead. Amazon does not need your money.
In Canada, many independent stores are offering free local delivery. Some may still be offering curbside pick-up, although that no longer seems to be the case in Toronto and Montreal. If you are in the US, you can also check out bookshop.org, which allows you to order online and support local stores. LitHub posted some other tips on how to help (US) bookstores here. I know there are some fundraisers for booksellers doing the rounds too. If anyone has collected them together in one place or can point to other useful resources, please let me know — I’ll be more than happy to post the links.1
Stay safe. Read books.
Actress by Anne Enright; design by Evan Gaffney (W. W. Norton / March 2020)
The Age of Innocence and The House of Mirth by Edith Wharton; design by Tristan Offit (Scribner / January 2020)
Companions by Katie M. Flynn; design by Laywan Kwan (Scout Press / March 2020)
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?
Daisy Jones and The Six by Taylor Jenkins Reid; design by Caroline Teagle Johnson (Ballantine / March 2019) Daisy Jones and The Six by Taylor Jenkins Reid; design by Lauren Wakefield (Hutchinson / 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 Handmaid’s Tale by Margaret Atwood; art direction by Christopher Moisan; illustration by Patrik Svensson (Houghton Mifflin Harcourt / April 2017)
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.
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)The World Doesn’t Require You by Rion Amilcar Scott; design by Laywan Kwan; art by Fahamu Pecou (Liveright / August 2019)Inland by Téa Obrecht; design by Jaya Miceli; art by Tamara Ruiz (Random House / 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.
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)Mother Winter by Sophia Shalmiyev; design by Na Kim (Simon & Schuster / February 2019) High School by Tegan & Sara; design by Na Kim (MCD / September 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) Grand Union by Zadie Smith; design by Gray318 (Hamish Hamilton / October 2019)Salt On Your Tongue by Charlotte Runcie; design by Gray318 (Canongate / January 2019)
What We Really Do All Day by Jonathan Gershuny and Oriel Sullivan; design Matthew Young (Pelican / September 2019)Artificial Intelligence by Melanie Mithcell; design by Matthew Young (Pelican / October 2019)
One Day by Gene Weingarten; design by David Litman (Blue Rider / October 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)The Nickel Boys by Colson Whitehead; design by Oliver Munday (Doubleday / July 2019)Thick by Tressie McMillan Cotton; design by Oliver Munday (The New Press / January 2019)White Flights by Jess Row; design by Oliver Munday (Graywolf / August 2019) Harbart by Nabarun Bhattacharya; design by Oliver Munday (New Directions / June 2019)
The Revolutionaries by Joshua Furst; design by Tyler Comrie (Knopf / April 2019)The Memory Police by Yoko Ogawa; design by Tyler Comrie (Pantheon / August 2019)Someone Who Will Love You in All Your Damaged Glory by Raphael Bob-Waksberg; design by Tyler Comrie; illustration Justin Metz (Knopf / June)
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 Need by Helen Phillips; design Rachel Willey (Simon & Schuster / July 2019)
Since 2010, I’ve posted an annual survey of the year in book covers. The post has expanded and developed over the past 7 years, but essentially it is a collection of the covers published in the previous 12 months that I found interesting or noteworthy in some way. As with the previous couple of years, the 2017 list is organized by covers (alphabetical by title), and by designer so that I can show a greater variety of work, and no one designer or studio dominates.
Thank you to everyone who has supported the blog this year, and special thanks to all the designers, art directors, authors, publishers, and fellow design enthusiasts who have helped me with covers and design credits. My sincere apologies to the designers and publishers not on this year’s list and whose covers I have overlooked in the past 12 months.
A post looking back on the YA covers of 2017 is to follow.
Jason Booher, designer and art director of Blue Rider Press and Plume, talks to Penguin Random House blog The Perch about the book cover design process:
A design can be thought of as a set of constraints or parameters. In book design, these consist of things like the conceptual literary content of the book, what makes the book unique in the context of other similar books or all books, how the author is (or is not) known, the expectations of the book from the point of view of the author/editor/sales force/readers, the context of book jacket in the contemporary moment, the context of book jackets in the last 10 (or even 20) years, visual pop culture. Or something that is obvious and not obvious is working with type is very difficult. And it perhaps the most specialized thing that graphic designers bring to that general problem solving into form.
Jason also describes how he approaches a book cover:
There’s a combination of reading the manuscript, and listening to the editor talk about the book. As an art director, I have to dip into almost all the of the books to see what they are like before deciding to whom to give each title. As a designer (if I’m working on that title’s jacket) it’s always different with every book. But as a general process I will read the book, and think and sketch, and sketch, and reread, work though a number of ideas, throw most of them out, stay with others, reread, take a walk (much harder when you are also the art director), try to come up with something new. Those are the first steps.
And how he works with other designers:
When I work with a freelancer (as well as with my in-house designers), I like to see what they come up with without any input from me. Not only are you more likely to get something special and surprising, something you couldn’t have thought of yourself (which is why art directors work with a variety of freelancers in addition to their in-house staff), but you are sending a signal of trust. If a designer knows what “kind” of design they are expected to deliver, they might not push very far or hard. But if they take ownership of being the first arbiters of what the package of the book might be, there is more of a chance for something brilliant. I’m just trying to maximize the talent I have working with me.
With my in house staff, it is similar but there might also be a concept that is floating that we will work with. Or occasionally I’ll work with one designer or my whole team to come up with ideas together. That’s an exception though, and cover design is generally a sole enterprise in the initial stages. Then it becomes a collaboration when I see comps, and goes from there.
Back in 2014, there were signs that book cover design was maybe, just maybe, having a moment. Suzanne Dean was on the BBC. Peter Mendelsund was on… well, everything. But if 2015 has felt a little quiet by comparison, there were still plenty of reasons to be cheerful. This year’s list includes over 120 covers by 60 designers, and there is little doubt in my mind that this really is a golden time for book design.
Thank you to all the art directors, designers, and publicists who have supported the blog this year, and who make posts like this possible. Thanks too, to my local bookstore TYPE for letting me browse their shelves.
A Bad Character by Deepti Kapoor; design by Janet Hansen (Knopf / January 2015)Voices in the Night by Steven Millhauser; design by Janet Hansen (Knopf / April 2015)Empire of the Senses by Alexis Landau; design by Janet Hansen (Pantheon / March 2015)
(Oliver Munday’s cover design for the US edition of the Book of Numbers published by Random House is also great.)
Also designed by Suzanne Dean:
Boo by Neil Smith; design Suzanne Dean; illustration by Stephanie von Reiswitz (William Heinemann / May 2015)Fates and Furies by Lauren Groff; design by Suzanne Dean (William Heinemann / September 2015)Satin Island by Tom McCarthy; design by Suzanne Dean (Jonathan Cape / March 2015)
Consumed by David Cronenberg; design by David A. Gee (Penguin Canada / September 2015)Why the World Does Not Exist by Markus Gabriel; design by David Gee (Polity / June 2015)Economics After Capitalism by Derek Wall; design by David A. Gee (Pluto Press / July 2015)
Unabrow by Una Lamarche; design by Zoe Norvell (Plume / March 2015)Anything You Want by Derek Sivers; design by Zoe Norvell (Portfolio / September 2015)
Karate Chop by Dorthe Nors; design by David Pearson (Pushkin Press / February 2015)Baddeley Brothers by The Gentle Author; design David Pearson (October 2015)Shooting Stars by Stefan Zweig; design by David Pearson (Pushkin Press / February 2015)
The Fishermen by Chigozie Obioma; design by Gray318 (Pushkin Press / February 2015)Making Nice by Matt Sumell; design by Gray318 (Henry Holt & Co. / February 2015)Laurus by Eugene Vodolazkin; design Gray318 (Oneworld / October 2015)
Terrified by Christopher A. Bail; design by Amanda Weiss (Princeton University Press / January 2015)The Little Big Number by Dirk Philipsen; design by Amanda Weiss ( Princeton University Press / June 2015)
The Fox and the Star, written, illustrated and designed by Coralie Bickford-Smith (Particular Books / August 2015)
Also designed by Coralie Bickford-Smith:
Seven Brief Lessons on Physics by Carlo Rovelli; design by Coralie Bickford-Smith (Allen Lane / September 2015)Seneca: A Life by Emily Wilson; design by Coralie Bickford-Smith (Allen Lane / March 2015)
Satin Island by Tom McCarthy; design by Peter Mendelsund (Knopf / February 2015)New American Stories edited by Ben Marcus; design by Peter Mendelsund (Vintage / July 2015)Building Art: The Life and Work of Frank Gehry by Paul Goldberger; design by Peter Mendelsund (Knopf / September 2015)
World on a Plate by Mina Holland; design by Nick Misani (Penguin / May 2015)
KL by Nikolaus Wachsmann; design by Alex Merto (Farrar, Straus & Giroux / April 2015)
Also designed by Alex Merto:
Earth by Hubert Krivine; design by Alex Merto (Verso Books / April 2015)The Art of the Publisher by Roberto Calasso; design by Alex Merto (FSG / November 2015)Written in the Blood by Stephen Lloyd Jones; design by Alex Merto (Mulholland Books / May 2015)
A Manual for Cleaning Women by Lucia Berlin; design by Justine Anweiler; photography Jonathan Simpson (Picador UK / September 2015)
Also designed by Justine Anweiler:
All This Has Nothing To Do With Me; design by Justine Anweiler; illustration Daphne van den HeuvelDon’t Let’s Go To the Dogs Tonight by Alexandra Fuller; design by Justine Anweiler (Picador / January 2015)
Negroland by Margo Jefferson; design by Oliver Munday (Pantheon / September 2015)American Warlord by Johnny Dwyer; design by Oliver Munday (Knopf / April 2015)The Water Knife by Paolo Bacigalupi; design by Oliver Munday (Knopf / May 2015)
Barbara the Slut by Lauren Holmes; design by Rachel Willey (Riverhead / August 2015)Discontent and its Civilizations by Mohsin Hamid; design by Rachel Willey (Riverhead / February 2015)Witches of America by Alex Mar; design by Rachel Willey (Sarah Crichton Books / Ocotber 2015)
Munich Airport by Greg Baxter; design by Anne Twomey (Twelve Books / January 2015)
This is actually a rather special lenticular cover that imitates the effect of flashing neon.
Also from Rodrigo Corral:
Home is Burning by Dan Marshall; design by Rodrigo Corral (Flatiron / October 2015)Fates and Furies by Lauren Groff; design by Rodrigo Corral and Adalis Martinez (Riverhead / September 2015 )
Of Beards and Men by Christopher Oldstone-Moore; design Isaac Tobin (University of Chicago Press / December 2015)
The Only Street in Paris by Elaine Schiolino; design by Strick&Williams (W.W. Norton / November 2015)
Also from Strick&Williams:
Safekeeping by Jessamyn Hope; design by Strick&Williams (Fig Tree / June 2015)Among the Ten Thousand Things by Julia Pierpoint; design by Strick&Williams (Random House / July 2015)
Ohey! by Darby Larson; design by Alban Fischer (CCM / May 2015)American Meteor by Norman Lock; design by Alban Fischer (Bellevue Literary Press / June 2015)Every Living One by Nathan Haukes; design by Alban Fischer (Horse Less Press / March 2015)
Paulina and Fran by Rachel B. Glaser; illustration Kaethe Butcher; typography Nina LoSchiavo (Harper Perennial / September 2015)
Unbuttoning America by Ardis Cameron; design by Kimberly Glyder; illustration by Al Moore (Cornell University Press / May 2015)Worthy by Denice Turner; design by Kimberly Glyder (University of Nevada Press / April 2015)
A Darker Shade of Magic by V. E. Schwab; design by Will Staehle (Tor / February 2015)I Am Radar by Reif Larsen; design by Will Staehle (Penguin / February 2015)
Pretty Is by Maggie Mitchell; design by Lucy Kim (Henry Holt / July 2015)
Real Life Rock by Greil Marcus; design by Rich Black (Yale University Press / October 2015)
No Such Thing as a Free Gift by Linsey McGoey; design by James Paul Jones (Verso / October 2015)How Music Got Free by Stephen Witt; design by James Paul Jones (The Bodley Head / June 2015)The Rise of the Novel by Ian Watt; design by James Paul Jones (Vintage / October 2015)
The Sphinx by Anne Garréta; design by Anna Zylicz (Deep Vellum / May 2015)
Also designed by Anna Zylicz:
The Mountain and the Wall by Alisa Ganieva; design by Anna Zylicz (Deep Vellum / June 2015)The Indian by Jón Gnarr ; design by Anna Zylicz (Deep Vellum / May 2015)
Trust Me, PR is Dead by Robert Phillips; design by Jamie Keenan (Unbound / June 2015)Wake Up, Sir! by Jonathan Ames; design by Jamie Keenan (Pushkin Press / May 2015)
Trans by Juliet Jacques; Design and illustration by Joanna Walsh (Verso / September 2015)
Wall Flower by Rita Kuczynski; design by David Drummond (University of Toronto Press / August 2015)Young Babylon by Lu Nei; design by David Drummond (AmazonCrossing / September 2015)
Girl in the Dark by Anna Lyndsey; design by Greg Heinimann (Bloomsbury / February 2015)Thirteen Ways of Looking by Colum McCann; design by Greg Heinimann; photograph by Julio Gamboa (Random House / October 2015)
Souffles-Anfas edited by Olivia C. Harrison and Teresa Villa-Ignacio; design Anne Jordan and Mitch Goldstein (Stanford University Press / November 2015)Capitalism in the Web of Life by Jason W. Moore; design by Anne Jordan and Mitch Goldstein (Verso / August 2015)
