Book Cover Round-Up: Fall 2016

“How to Set a Fire and Why” by Jesse Ball

“How to Set a Fire and Why” sparks interest with its poster-esque design: The outstretched hand holding a lit match between the index finger and thumb offers excitement and rebellion and even hints at violence. The plot, which tells the story of a group of teenage arsonists “who are fed up with wealth and property,” only justifies the overt fire references. The cover’s matchbox, the illustrated flame, and the word “fire” in the title risk being excessive, but paired with an equally daring protagonist, Ball sets an artistically audacious first impression.

By Courtesy of Simon and Schuster

“Loner” by Teddy Wayne

At first glance, the cover of “Loner” looks unpolished and even unprofessional: Its asymmetry looks more reminiscent of a first draft than of an illustration that should provide a reader’s first impression. However, upon realization that the hand-drawn, misshapen shield is a take on Harvard’s very own Veritas crest, this imperfection is almost refreshing. Like the premise of the novel itself, in which the protagonist enters Harvard as a freshman and struggles to adjust to its social scene, the cover implies that such “elite schools”—ones that enthusiastically don a crest with an obscure Latin mantra—are not as perfect as they seem. “Loner” seems to promise a relatable explanation of these social and intellectual shortcomings.

By Courtesy of New Directions

“The Last Wolf” by László Krasznahorkai

This clean, modern cover perfectly matches the book’s interior: Krasznahorkai writes this story, in which a professor tells his life story to a bartender, in one single sentence. His innovative and refreshingly complex approach to storytelling instigates intellectual inquiry, just as contemporary art elicits many various interpretations. The colors—a cool, muted gray and modest yellow—and simplicity of design also reflect a modern European aesthetic, as “The Last Wolf” was originally written in Hungarian but was recently translated to English. Overall, the cover capitalizes on the notion of literature as innovation and art, both inside and out.

By Courtesy of Viking Books

“Leaving Lucy Pear” by Anna Solomon

The serenity of the gradient ocean; the rocky, rural backdrop; and the peach-clad young woman slightly bent over her book not only create a visually stunning composition but also highlight the strengths of “Leaving Lucy Pear.” Its pastoral setting amidst a chaotic time, the elegant depiction of womanhood and femininity, and Solomon’s anapestic prose. The woman’s interaction with the script of the title suggests that she is indeed Lucy Pear, but the same ambiguity entices readers to open the novel to discover her identity (or perhaps this truth never reveals itself). Its muted color palette also invites a mood of discovery and interpretation on the part of both the protagonists and the readers.

By Courtesy of Penguin

“Nutshell” by Ian McEwan

Based on the cover alone (yes, a literary faux pas), “Nutshell” suggests pages of calculus graphs or physics problems rather than an enticing novel. The cover completely misses the mark: The novel is supposedly filled with suspenseful twists and romantic betrayals, none of which the cover reflects. Instead, it supersedes McEwan’s elegant prose. There is definitely a beauty in simplicity (which seems to be the aim here), but with such a rich plot, why not do something more than a design reminiscent of high school textbooks?