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Book Covers of Note, July 2023

Even though it’s still just about July — a supposedly “quiet” month in publishing — I’m running late once again. Hopefully everyone is on vacation and won’t notice that it’s basically August already and I am here sliding in under the wire. There are some great covers this month though. A bit of collage, some really nice typography, and lots of pink and red. Enjoy!

The Absolutes by Molly Dektar; design by Yeon Kim (Mariner / July 2023)

I like this cover a lot, but I’m shamelessly stealing it from Lit Hub’s most recent book cover round-up (a benefit of being last to post!), so I hope the design credit is correct because I couldn’t verify it before posting!

Beijing Sprawl by Xu Zechen; design by Andrew Walters (Two Lines Press / June 2023)

I had this noted as down as July cover, but the book was actually released in June. The cover of the Two Lines Press edition of Running Through Beijing by Xu Zechen has also been re-designed to match.

The Black Eden by Richard T. Kelly; design by Robbie Porter (Faber & Faber / July 2023)

Cat Prince by Michael Pedersen; design by Gray318 (Little, Brown / July 2023)

Jon’s design for Michael’s previous book Boy Friends, which features an illustration by Nathaniel Russell, was on last year’s notable book cover list.

The Complete Works of Álvaro de Campos by Fernando Pessoa; design by Peter Mendelsund (New Directions / July 2023)

Counterweight by Djuna; design by Tal Goretsky (Pantheon / July 2023)

Do Tell by Lindsay Lynch; design by Emily Mahon; illustration and lettering by Studio Martina Flor (Doubleday / July 2023)

Excavations by Hannah Michell; design by Arsh Raziuddin (One World / July 2023)

This reminded me of the 2017 cover of Smoke by Dan Vyleta designed by Mark Abrams with an illustration by the late Colombian artist Alejandro García Restrepo who passed away last month.

The Librarianist by Patrick DeWitt; design by Allison Saltzman (Ecco / July 2023)

Nothing Special by Nicole Flattery; design by Katya Mezhibovskaya (Bloomsbury / July 2023)

Ripe by Sarah Rose Etter; design by Natalia Olbinski; art by Angela Faustina (Scribner / July 2023)

I love pretty much everything about this cover.

Screwjack by Hunter S. Thompson; design by Math Monahan (Simon & Schuster / July 2023)

The Sea Elephants by Shastri Akella; design by Dave Litman (Flatiron Books / July 2023)

Silver Nitrate by Silvia Moreno-Garcia; design by Regina Flath (Del Rey Books / July 2023)

I think this delivers just about everything you want from a horror / thriller cover.

Someone Who Isn’t Me by Geoff Rickly; design by Jesse Reed; art by Jesse Draxler (Rose Books / July 2023)

The Stolen Coast by Dwyer Murphy; design by Dave Litman (Viking / July 2023)

A Thread of Violence by Mark O’Connell; design by Jack Smyth (Granta / July 2023)

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Book Covers of Note, March 2022

A short and sweet post this month.

Bless the Daughter Raised by a Voice in Her Head by Warsan Shire; design by Kishan Rajani; illustration by Natalie Osborne (Chatto & Windus / March 2022)

The black and white illustration and pink type reminded me of the US cover for Fight Night by Mirian Toews, designed by Patti Ratchford with an illustration by Christina Zimpel, from last year.

Booth by Karen Joy Fowler; design by Tal Goretsky (G.P. Putnam’s Sons / March 2022)

If you’d asked me to guess sight-unseen, I would’ve 100% said this was designed by someone else. It just goes to show that designers are talented, versatile people and I know nothing (NOTHING).

Checkout 19 by Claire-Louise Bennett; design by Jaya Miceli; art by Kristine Moran (Riverhead / March 2022)

Nice to feature a contemporary Canadian artist here.

The Doloriad by Missouri Williams; design by Luke Bird (Dead Ink / March 2022)

Further evidence that “big faces” are a thing?

The cover of the US edition of The Doloriad was designed by Thom Colligan.

A Guerrilla Guide to Refusal by Andrew Culp; design by Matt Avery / Monograph (University of Minnesota Press / March 2022)

Our Wives Under the Sea by Julia Armfield; design by Ami Smithson (Picador / March 2022)

Ami Smithson knocking it out of the park with this and the cover for New Animal by Ella Baxter featured in last month’s post.

Real Phonies and Genuine Fakes by Nicky Beer; design by Mary Austin Speaker; art by Dane Shue (Milkweed / March 2022)

The art feels like a perfect match here for the second half of the title.

Reptile Memoirs by Silje Ulstein; design by Carmen Balit (Grove Press UK / March 2022)

The cover of the US edition of Reptile Memoirs, which has more of a film noir feel, was designed by Michel Vrana:

Run and Hide by Pankaj Mishra; design by Na Kim (Farrar, Straus & Giroux / March 2022)

Shit Cassandra Saw by Gwen E. Kirby; design and illustration by Lydia Ortiz (Penguin Books / January 2022)

Unfinished Spirit by Rowena Kennedy-Epstein; design Henry Sene Yee (Cornell University Press / March 2022)

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Recent Book Covers of Note April 2014

accidental-universe
The Accidental Universe by Alan Lightman; design by Pablo Delcán (Pantheon January 2014)

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Boy, Snow, Bird by Helen Oyeyemi; design by Jo Thomson (Picador March 2014)

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Boy, Snow, Bird by Helen Oyeyemi; design by Helen Yentus (Riverhead March 2014)

9781594205798

Chop Chop by Simon Wroe; design by Ben Wiseman (Penguin April 2014)

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Danish Dynamite: The Story of Football’s Greatest Cult Team by Rob Smyth, Lars Eriksen & Mike Gibbons; design by Steve Leard (Bloomsbury April 2014)

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Dept. of Speculation by Jenny Offill; design by Gray318 (Granta March 2014)

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The Empathy Exams: Essays by Leslie Jamison; design by Kimberly Glyder (Graywolf April 2014)

exception

L’Exception by Auður Ava Ólafsdóttir; design by David Pearson (Éditions Zulma April 2014)

David’s cover design for Rosa Candida by Auður Ava Ólafsdóttir (Éditions Zulma March 2011) is also stunning.

mistakes-i-made-at-work
Mistakes I Made at Work edited by Jessica Bacal; design by Jaya Miceli (Plume April 2014)

quand-pépin
Quand j’étais l’Amérique by Elsa Pépin; design by David Drummond (Les Éditions XYZ April 2014)

Resurrection
Resurrection by Wolf Haas; design by Christopher Brian King (Melville House January 2014)

The cover for next book in the series, Come, Sweet Death! (Melville House July 2014), is great too.

there-goes-gravity-alex-merto
There Goes Gravity: A Life in Rock and Roll by Lisa Robinson; design by Alex Merto (Riverhead April 2014)

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Favourite Covers of 2013: A Postscript

I didn’t exactly know what to call this post, but ‘postscript’ seems appropriate.

Every time I post my annual list of favourite covers I immediately see (or remember) a dozen designs that would have been on the list (or would’ve been close) if I did it all over again. This is an attempt to collect a few of those covers from last year in one place. I guess you could call it a list of ‘honourable mentions,’ but that doesn’t seem quite right. Truthfully, it’s a collection of some of the covers that I saw for the the first time, or was gently reminded of, immediately after I posted my original list. It is, as much as anything else, an excuse to post more fantastic work from 2013.

I have been completely overwhelmed by the incredible response to this year’s covers post, and although I could probably do lists like this for the rest of 2014, I won’t. I will save my energy for next December. Happy New Year!


The Book of Immortality by Adam Leith Gollner; design by Tal Goretsky and Janet Hansen

The cover for Doctor Sleep by Stephen King, designed by Tal Goretsky and illustrated by Sean Freeman was also a cracker.


Constable Colgan’s Connect-O-Scope by Stevyn Colgan; illustration by Tom Gauld


The Dinner by Herman Koch; design by Christopher Brand

Christopher Brand did some great covers this year, especially for Crown. I like this one too.


The Divine Comedy by Dante Alighieri, translated by Clive James; design by Rodrigo Corral


Down and Out in Paris and London by George Orwell; design by David Pearson, illustration Paul Catherall

Yes, it was the year of David Pearson.


The Illicit Happiness of Other People by Manu Joseph; design by Jarrod Taylor


Nosferatu: Phantom der Nacht by S. S. Prawer; design by Matt Brand

I also really like Julia Soboleva‘s design for Nosferatu: Eine Symphonie des Grauens and Ben Goodman‘s cover for Das Cabinet des Dr. Caligari.


Roth Unbound by Claudia Roth Pierpont; design by Charlotte Strick, photograph Ken Sharp

Great photo. Great type. Charlotte produced some really lovely work for FSG in 2013.


The Shining by Roger Luckhurst; design by Mark Swan

I liked a lot of the BFI covers (obviously!), but Mark’s design for The Shining struck me as particularly clever. You can read about the design process for all the recent BFI Film Classics here.


Sunland by Don Waters; design by Kimberly Glyder


That Smell and Notes from Prison by Sonallah Ibrahim; design by Paul Sahre

Nicholas Blechman’s cover design list for the New York Times alerted me to this one.


Ulysses by James Joyce; design by Peter Mendelsund

Ok. I had seen this cover and didn’t forget about it either. It was on my list from the start and it got cut at the last minute. I’ve agonised about it since. Sorry Peter.

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Something for the Weekend

The cover for The Disappearing Spoon designed by the amazing Will Staehle. To quote Tal Goretsky at Book Covers Anonymous:  “Holy Mother God!”. Apparently it’s printed on uncoated paper.

You can see some of Tal’s own rather nice design work here.

And speaking of designer’s blogs… Designer Joanna Rieke has started a new blog called UnCovered about book and magazine covers. She recently interviewed illustrator (and Casual Op. hero) Tom Gauld:

I think most literature works perfectly well without illustrations and I have seen some truly awful images put on the cover (used as illustrations) of great books. As for comics, I’m more often frustrated by comics which are too wordy than too visual. I think the balance between words and pictures is very important in a comic and though the ratio doesn’t always have to be the same, my heart sinks when I see a page which is filled with writing.

Taking a summer break from his regular illustration gig at The Guardian, Tom is currently producing a weekly comic and posting it to Flickr:

Real Editors Ship — I linked this on Twitter already, but it’s kind of great so what the hell… Paul Ford on getting stuff out the door and the value of editors (and I would suggest Production Managers):

People often think that editors are there to read things and tell people “no.” Saying “no” is a tiny part of the job. Editors are first and foremost there to ship the product without getting sued… This is not to imply that you hit every sub-deadline, that certain projects don’t fail, that things don’t suck. I failed plenty, myself. It just means that you ship…

Editors are really valuable, and, the way things are going, undervalued. These are people who are good at process. They think about calendars, schedules, checklists, and get freaked out when schedules slip. Their jobs are to aggregate information, parse it, restructure it, and make sure it meets standards. They are basically QA for language and meaning.

The Fine art of Recommending Books — Laura Miller at Salon:

Amazon and other online merchants have harnessed mighty algorithms to run their “If you enjoyed that, you might like this…” suggestion engines, but these are still crude instruments. Practically any novel you plug into Amazon’s search engines at the moment returns the robotic announcement that people who bought it also bought one of Stieg Larsson’s “Girl” thrillers — because seemingly everybody in America is buying those books. It’s not like you need the world’s most sophisticate e-commerce servers to tell you that.

And finally…

Steranko! — Jonathan Ross interviews comics legend Jim Steranko, inspiration for Josef Kavalier in Michael Chabon’s The Amazing Adventures of Kavalier and Clay,  for The Guardian:

Spend an hour with Jim Steranko and, if he’s in the mood, he’ll regale you with the most extraordinary tales. Are they true, I have asked myself more than once, or is he a fantasist? Has his love of storytelling and the creation of modern myths bled into his own life story until he can no longer tell the two apart? Well, now that I’ve met him, I believe them all to be true, just as I believe it when he tells me he still runs miles every day, pumps iron, and fornicates blissfully like a man a third his age. He is unique. He is Steranko. He is the greatest.

A slideshow of Steranko’s work is here.

Have a good weekend…

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