This has been a particularly exciting week in the life of my novel, Blind Spot. The super-talented Michel Vrana, who also created covers for Esi Edugyan’s Half-Blood Blues and for Jian Ghomeshi’s 1982, has produced what is in my opinion a fabulous design.
I’d always felt that the cover should depict a car crash, and furthermore, that it should be pretty clear that the crash was the result of a collision with a train. So I hope I’m not being hyperbolic when I say it was a stroke of genius for Vrana to take the railway crossing sign and blow it up like a giant X — symbolic of a warning, an error, or even an overturned cross.
For obvious reasons (!) I’ve been thinking a lot about covers lately… My personal favourite book cover of all time is the one for The Great Gatsby. I can’t think of any cover quite like it, having the power to live on in a reader’s memory forever. Those eyes and lips, seemingly floating in an early night-time sky, are forever entwined in my mind with the novel itself. This Atlantic article makes it pretty clear that F. Scott Fitzgerald himself felt similarly. “For Christ’s sake don’t give anyone that jacket you’re saving for me,” Fitzgerald wrote to his publisher. “I’ve written it into the book.”
It’s perhaps fitting that Gatsby’s cover remains the most iconic, born as it was when mass marketing was hitting its stride. Many other famous books, Lolita, for example, have been approached in numerous different ways by designers with very different sensibilities. This is probably more the norm for the book world. A story is as open to as many different visual “identities” as there are people reading it. Here are a few modern takes on Nabokov’s controversial classic. I like the way the designers feel in no way encumbered by the story’s most obvious thematic.
Besides Gatsby, the other covers that are most memorable to me are the ones for J.M. Coetzee’s Disgrace, Michel Houellebecq’s The Elementary Particles, and Sue Townsend’s The Secret Diary of Adrian Mole.