Judging Books by Their Covers – BTBA Judge Katrine 脴gaard Jensen
Katrine 脴gaard Jensen is an editor-at-large for and the editor-in-chief for .
Since I am the youngest, the least knowledgeable, and by far the most superficial judge in the BTBA, it鈥檚 only appropriate that I make my first blog post about something sexy. As a judge in the much-fun World Cup of Literature this summer, also hosted by Three Percent, my write up for Croatia vs. Mexico accidentally ended up referencing my sexual mischief in June. So yeah, I鈥檓 not going to bore anyone with that again. Instead, I believe it would be appropriately disgraceful of me to dedicate this post to: not the authors, not the translators, but the book designers.
That鈥檚 right. I鈥檓 judging books by their covers.
In appreciation of the , presented by the nonprofit (provider of artists鈥 book awesomeness since 1976), I would like to acknowledge some of my favorite covers in the BTBA so far. I feel particularly compelled to do so after witnessing an inspiring talk last week about cover design and the visual enactment of literature, as a part of the at Columbia University. The talk was given by one of my favorite contemporary book designers, Peter Mendelsund, whose new Kafka covers you might have noticed (the series with the eyes). Mendelsund studied philosophy and literature, went on to become a classical pianist, and then suddenly decided to learn book design on his own. His appreciation for immediacy inspired me to go ahead and blog about something I have absolutely no knowledge of. Also, he claimed that developing a taste in design was super easy. Basically, you just ask yourself what looks good. So there.
First up is : a novel, cover illustration by Joel Holland (written by Juan Pablo Villalobos, translated from the Spanish by Rosalind Harvey, published by Farrar, Straus and Giroux).
I immediately noticed this light paperback when it came in the mail, despite the fact that it chose to arrive with books from five different publishers. The black-on-lime green cover claimed my attention, along with the cow-on-UFO illustration. What鈥檚 not to like? I started reading Quesadillas the following day, solely due to its cover.
Another well-designed delicacy I devoured because of its cover was (written by Takashi Hiraide, translated from the Japanese by Eric Selland, published by New Directions). Erik Rieselbach is behind this intriguing design (more honorable mention for him later), although the cover art is actually an oil painting by L茅onard Tsugouharu Foujita from 1927.
According to , this piece of oil on canvas, entitled 鈥淐hat Couturier鈥, is worth $60,000-$80,000. I鈥檓 not sure if I would ever want that thing on my wall 鈥 a cat in any kind of artwork makes me uncomfortable 鈥 but as a book cover it definitely works. That stare would make anyone open anything, be it a book, a safe, or an anchovy sandwich.
Next up is (written by Naja Marie Aidt, translated from the Danish by Denise Newman, published by Two Lines Press). Although broken flowers make me think of Bill Murray by default, Gabriele Wilson鈥檚 cover art mercifully exceeds my previous notions. There鈥檚 something haunting about the shadows on the petals, something stunning about this terrible flower on a pale background. I鈥檓 a fan.
Lastly, I have to dedicate a final paragraph to some books that have already been mentioned by my fellow judge, Madeleine LaRue. I will not waste your time with even more praise to these publications, but simply point out that their covers are among my favorites as well:
, cover art by Amedeo Modigliani (written by Scholastique Mukasonga, translated from the French by Melanie Mauthner, published by Archipelago Books).
, cover design by N. J. Furl (an anthology of Spanish-language fiction curated by Valerie Miles, published by Open Letter Books).
, cover design 鈥 yet again – by Erik Rieselbach (written by Jenny Erpenbeck, translated from the German by Susan Bernofsky, published by New Directions).
That will be all.
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