Category Archives: Lynn’s Book Blog

Jul2

Friday Faceoff – I’ll take the high road and you take the low road… #Brainfluffbookblog #FridayFaceofflandscapecovers

Posted on July 2, 2021 by sjhigbee

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are looking at covers featuring LANDSCAPES WE’D LIKE TO VISIT. My father was a Scot and I’ve always wanted to visit the Scottish Highlands, so I’ve selected Dragonfly in Amber – Book 2 of the Outlander series by Diana Gabaldon.

This Portuguese edition was produced by Nemira in May 2016, and shows the wonderful Scottish landscape stretching out behind Jamie Fraser – who is also somewhat easy on the eye… I love the quality of the light suffusing the backdrop, with the sun low in the sky seeming to explode across the mountaintops, also throwing the character into a partial silhouette. It’s nicely done and this one is my favourite.

Published in March 1994 by Arrow Books, this offering also features the distant mountains and the edge of a loch – this time with Brianna as the main character. But then they plonk a grey textbox right across the middle of the vista and wreck the mood and feel of the cover. What a shame – this could have been a contender, otherwise.

Also produced in March 1994 by Arrow Books, this offering is far more successful. I love the sweeping vista of the Scottish landscape, with the small figures giving a sense of the epic scale of their surroundings. This one is so very nearly my favourite – my niggle is that the colour is too hectic for my taste and I find it offputting.

**Portuguese edition – 2, November 2014**

This is another classy effort by a Portuguese publisher, produced by Saída de Emergência in November 2014. It is a variation on the first cover – and the deciding factor for me, is that I prefer the position and body language of Jamie on the first cover. I think this one looks a bit posed – but I’m aware that’s a personal niggle and I still think it’s a fine offering. It certainly makes me want to be there, roaming around the Scottish hills…

This Spanish edition, published by Salamandra in 1995, features a castle stronghold – though the fortifications on top of the mountain are largely hidden behind the author font. It is certainly a dramatic rendering of the Scottish landscape, reminding me of the 19th century paintings of Scotland that became so fashionable – and aptly captures the historical tone of the book. However, I don’t like the positioning or styling of the title and author fonts. Which is your favourite, and have you ever visited the Scottish Highlands?

Jun18

Friday Faceoff – I’m so dizzy… #Brainfluffbookblog #FridayFaceoffdizzycovers

Posted on June 18, 2021 by sjhigbee

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This edition was produced by Fourth Estate in December 2019 and it’s certainly eye-catching. And has the sense of surrealism and power that runs through VanderMeer’s writing. I love the swirling colour and glorious difference – I just wish the title and author fonts were less wussy and more visible.

Published in December 2019 by MCD, someone must have heard my grizzle about the previous cover. Because this time around, we get the psychedelic colours AND the emphatic title and text – in eye-blurring detail, actually. But you certainly can’t miss them… And I take my hat off in tribute to the cover art designers – this book pushes all sorts of boundaries in regards to narrative, use of language and story conventions. New Weird aptly sums it up. And it’s a testament to the skill and imagination of the designers that this offering and the previous cover gives the potential reader a very strong clue as to what they’re getting into.

This edition was published in 2020 by Subterranean. It couldn’t be more different to the other offerings for this book – but is still beautiful, for all that. My main reservation is that I’m not sure it adequately conveys the sheer oddness of the book.

This Turkish edition, produced by Alfa Yayınları in March 2021, is my favourite. I love the Mandelbrot fractal designs – a strong clue to the challenging nature of the book, as well as being beautiful and very easy on the eye. And the addition of the fox outline introduces another main character who features in the book, which is always a plus for me. Which is your favourite?

Jun11

Friday Faceoff – The chains on my mood swing just snapped – RUN! #Brainfluffbookblog #FridayFaceoffcoversthatannoyme

Posted on June 11, 2021 by sjhigbee

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This edition was produced by Tin House Books in March 2015. I believe that as well as being attractive to attract readers, a successful book cover should provide an accurate clue as to what sort of story it represents. However this one – and the covers below – lamentably fail in that vital task. The girl in this story simply looks quirky, while the design and very simple, pared-back artwork have a light-hearted feel. Nothing could be further from the truth. While the prose is often beautiful, the story is a dark one and has haunted me since I read it. And the cover doesn’t give any inkling of that – other than a figure made up of dots looming over her, who could merely be her imaginary friend.

Published in March 2015 by Anansi International, this beautiful cover is eye-catching and tempting – but there isn’t so much as a hint of what a harrowing read this is. And yes – I’m really angry about it. For once, straplines that regularly are plastered across a cover would be helpful – so where are they? In an ideal world, there wouldn’t be any harm in being plunged into a book that takes us completely out of our comfort zone. But this story encompasses kidnapping, coercion, mental, physical and sexual abuse – and just because it is wrapped up in stunning prose and happens in the heart of a beautiful wilderness doesn’t lessen the impact for an unwary reader who might be triggered.

This Czech edition, published in February 2017 by Argo, has also decided to go for a simple design, without giving any of its readers any clue as to the content. There isn’t anything on that cover except the title and author’s name. And, that isn’t sufficient information to safeguard a reader, who thinks they are getting a book about a rustic idyll.

This Italian edition, produced by Mondadori in February 2016, is even more misleading. It depicts young Peggy, well wrapped up, playing in the snow. And yes… the book does describes the beauty of the woods in winter in poetical terms. But that doesn’t hide the fact that the child is having to cope with losing everyone she knows and loves, other than her father. And spend large tracts of time foraging just to survive in freezing conditions with an increasingly delusional man.

This edition, published by Penguin in February 2015, is perhaps the closest cover of my selection to hinting at the darker side of this book. The black backdrop with the white scratched drawing and title is full of impact, as well as literally depicting the tone. But even so, I looked at that ‘little house on the Prairie’ hut and wasn’t fully aware of how disturbing I would find this offering. Luckily, while I found it shocking and it is etched on my memory – it hasn’t caused me any harm. But there are readers who shouldn’t touch this one with a bargepole. And I’m frankly disgusted that there isn’t any warning whatsoever on the cover to prevent them from unknowingly picking this book up. What about you – have you ever picked up a book whose cover suggested one story, only to discover that you’re reading something completely different?

Jun4

Friday Faceoff – Instinct is the nose of the mind… #Brainfluffbookblog #FridayFaceoffnosecovers

Posted on June 4, 2021 by sjhigbee

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This edition was produced by Corgi in 2000, and I love it. It has the zany chaos that features within the Discworld stories, and the joyful expression on the elephant’s face as it blazes across the sky is a delight. Though I could do without that ugly textbox plopped across that glorious artwork…

Published in April 2001 by HarperCollins, this offering isn’t my favourite – but I don’t hate it either. Which is a plus, as I generally loathe most of the Discworld covers that don’t feature the artwork of Josh Kirby and Paul Kidby. But the image of the elephant balancing on a flaming ball is quite quirky – and I really like the uneven font in acidic green. It packs a visual punch and signals that the book is humorous.

This edition is my favourite. First published in November 1999 by Doubleday, this is the full image of the first offering and variants of it tend to be the default cover for the book. Quite right, too. It’s fabulous. The roiling red cloud pluming behind the elephant against the blue sky is just gorgeous – and there’s no textbox disfiguring this cover, either😊.

This Russian edition, produced by Эксмо in 2007 is interesting. It shows the elephant plummeting through space towards the Discworld. At first, I didn’t think much of it, as it lacks the fun and impact of the original cover. But it has grown on me – that pop of life and colour within a largely black cover is effective. My main grumble is that the title and author fonts are far too underwhelming and simply disappear in thumbnail mode.

This French edition, published by Pocket in September 2011, is another strong offering. While I don’t like it as much as the original, nonetheless it depicts the action with plenty of chaos and colour – and that gives a solid visual clue as to what lies between the cover. And the lack of textbox is always a major plus for me. Which is your favourite?

Apr16

Friday Faceoff – If you want something in Life – reach out and grab it… #Brainfluffbookblog #FridayFaceoffgrabbycovers

Posted on April 16, 2021 by sjhigbee

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers that made us want to grab the book. I’ve selected The Mirror and the Light – Book 3 of the Thomas Cromwell series by Hilary Mantel, which I loved – see my review.

This edition was produced by Henry Holt and Co in March 2020, and is attractive and appropriate. I really like the simplicity of the design, with the thorny branches roaming through the title font and the single Tudor rose featured in the middle of the cover. If I hadn’t already immediately lost my heart to another particular cover, then this would have been my favourite. My main niggle with this one is that although Wolf Hall and Bring Up the Bodies are both mentioned, nowhere on this cover does it tell us that this is the third book in the series – which I think is vital information that readers need to know.

Expected in May this year by Picador, I have found that this cover has grown on me. Initially I didn’t like it much – turning half the cover into a textbox is never going to find favour with me as I don’t like them. But I appreciate that this cover gives the reader all the necessary details, while that image of Thomas Cromwell, reproduced from the famous portrait by Hans Holbein the Younger, is surprisingly effective. Fracturing it like that gives a sense of a distorted reflection – and a sober foreshadowing of Cromwell’s fate.

This edition, published by Fourth Estate in March 2020, is my favourite. Yes… I know there is nothing in this design that remotely references the life and times of Thomas Cromwell in any way. And I know that this cover doesn’t bother to tell the read that this is the third book in the series… And that while the author and title fonts are wonderfully clear – rather oddly, they have right-hand justification, rather than being centred. But the minute I laid eyes on this particular design, I yearned to have this book.

This edition, produced by HarperCollins in March 2020, is overwhelmingly dreary. That gradation from funereal black around the edges through to misery blue in the middle gives no sense of the vividness of the prose and the three-dimensional depiction of a cast of extraordinary characters during one of the most interesting and tumultuous periods in English history.

This Turkish edition, published by Alfa Yayınları in January 2021, is another strong offering. I like the fact the artwork features part of a family portrait by Holbein which includes Henry VIII and Jane Seymour. Because in the latter part of his reign, apart from indulging in disastrous and expensive wars, Henry was obsessed with the question of his succession. It shaped both the foreign and domestic policy of the country and ultimately brought about the downfall of Cromwell, though there were also other factors as this book makes clear. I also like the textbox being in the shape of the Tudor rose. Which is your favourite?

Apr9

Friday Faceoff – Don’t care how old I am – I still love cartoons… #Brainfluffbookblog #FridayFaceoffcartooncovers

Posted on April 9, 2021 by sjhigbee

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This edition was produced by Harper in April 2008, and while I think many of the cover designs they came up with for the Discworld novels are underwhelming – I actually like this one. It has the playfulness and slight sense of mayhem that should always feature on Discworld cover. But whoever thought it was then a good idea to slap a round red label across the design needs to be frogmarched to an optician for an eye test. It wrecks the balance of the whole cover, because of the way it pulls your attention across to it. Grrr!

Published in July 1989 by Corgi, very unusually, this original cover design isn’t my favourite. I normally love Josh Kirby’s covers, but I’m not a fan of his depiction of Conina in this one. A bit too much bosom and hips – and yes, I’m aware that it is probably a swipe at the tendency for fantasy heroines to be over-endowed and under-dressed on book covers. But given that Pratchett’s writing doesn’t ever cross a line into any sexiness, I think it is sending the wrong message about the book.

This edition, published by Gollancz in February 2014, is part of a re-release of the series for collectors. Apparently. Why anyone would want to clutter up their bookshelves with a book so brimful of life and colourful characters encased in such a miserably monochrome effort is beyond me. But that’s because I loathe this cover.

This edition, produced by the New American Library in 1989 is more like it! There is the Librarian and Rincewind both looking suitably befuddled at the exodus of various creatures from the Unseen University. The flavour of the book is nicely caught and the artwork is well done and eye-catching. And not a nasty sticker in sight😊. This one is so very nearly my favourite…

This French edition, published by Pocket in November 2010, nails it as far as I’m concerned. I love that awesome explosion and the wonderful image of a wizard flying across the cover in mid-air. I have to say, that next to the originals which will always have a place in my heart as we own most of them, it’s the Pocket covers that I think manage to get the sense of barely contained chaos that tends to run through all the Discworld books. And they achieve this while still producing a visually appealing effort, which is a huge achievement, given what a tricky task that is. Which is your favourite?

Apr2

Friday Faceoff – On the right track but on the wrong train… #Brainfluffbookblog #FridayFaceofftraincovers

Posted on April 2, 2021 by sjhigbee

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers with images of TRAINS. I’ve selected Trains and Lovers by Alexander McCall Smith of The Ladies’ No 1 Detective Agency fame. And in case you haven’t encountered this little gem, I wrote a review of it back in 2014 – see my review of Trains and Lovers.

This edition was produced by Pantheon in June 2013, and is the original cover design, so has set the tone for the subsequent covers. I actually like it very much. It’s clever and to the point – we see the train speeding past with a series of ardent couples all engaged in various stages of courtship. I like the contrast of the beige background colour and the grey train, which ought to be boring but somehow is not. I also like the title font, particularly the colouring of it, though I would have preferred that it was just a little more bolded to give a bit of extra heft for when it is in thumbnail.

Published in November 2012 by Polygon, I think this cover is trying just a tad too hard. Heart-shaped clouds if you must, with the sun peeping out – but flowers bouncing around the train wheels and a fluttering in the air. Really?? Apart from anything else, this is giving the completely wrong idea of the overall tone of this book, which is far more nuanced and ambivalent about the business of falling in love and what happens next. So, while I’ll agree that it is an attractive cover, I don’t like it as I think it tips into sentimentality which I LOATHE.

This edition, published by Anchor in December 2013 is far more sombre in tone, despite the bright red colouring. The seat facing the track with two single people sitting alone gives a sense of loneliness – and the randomness of encountering someone that you bond sufficiently well that you fall in love. This cover is certainly a contender.

This Italian edition, produced by Tre60 in April 2014 is back to the theme of the love train. The punchy blue backdrop and high bridge makes the train with its trail of hearts look small and rather fragile. I also like the treatment of the font, which really grabs the eye and stands out well in thumbnail.

This edition, published by Polygon in August 2017, is my favourite. I love the station scene and the punchy contrast between that saturated blue, which works well as a backdrop to the title font, and the yellow arches. The station clock and flowers act as a pleasing set for the lovers meeting on the station platform. It’s very simple and pared back, as are all the cover designs for this book, but this is the most visually pleasing and works well for this particular book, I think. Which is your favourite?

Feb26

Friday Faceoff – Sometimes we need a little magic… #Brainfluffbookblog #FridayFaceoffcoverswithmagicinthetitle

Posted on February 26, 2021 by sjhigbee

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers with the word MAGIC in the title. I’ve selected Industrial Magic – Book 4 of the Otherworld series by Kelley Armstrong.

This edition was produced by Bantam in October 2004, and is the default cover design for this book. While I like the colour tones and I think the image is quite intriguing, I think the very boring title and author font really lets the design down. It is such a cool title and they could have had a lot of fun playing around with it appearing out of the smoke. That said, I don’t dislike it, I just think a bit more thought could have gone into it.

Published in September 2004 by Orbit, I far prefer this cover. But that might be because it’s the one that I own. I love the slightly grungy reddish background with that heavy-looking metal door, which looks quite ominous – partly because the lighting around it gives the impression there is something powerful and not particularly friendly on the other side of it. This time around, I think that rather official, business-like font works – because it is… industrial. This one is so very nearly my favourite.

This edition, published by Vintage Canada in January 2010, is frankly bizarre. I get that the chequered tights with the chess pieces are supposed to denote that young Paige is a clever strategist (I think!). It’s a while since I read the book, but I don’t recall her playing chess using her legs for a board… I feel these muted colours and the use of red in the title gives this book a horror vibe, which it didn’t have. This is the design I like least – I think it’s gimmicky and misleading.

This edition, produced by Hatchette Digital in September 2008, is my favourite. I love the intense blue that really draws the eye, particularly in thumbnail. The skyscrapers give a good indication of the modern, streamlined world, while those ominous clouds swirling across the top of them give a sense that all is not well. And what a clever touch to have that pop of magic playing across the building and running into the title font! What a shame that Bantam couldn’t have thought of something similar with that original cover… This one is my favourite.

This French edition, published by Bragelonne in August 2009, is an attractive, well-crafted cover. I like that we cannot see the girl’s face, although she is clearly young, which gives a sense of mystery. And I also like the cityscape in the background with the full moon looming in the sky. And that funky, uneven font for the title nicely sets this cover off. While it is a tad generic, I feel some care has gone into it and I particularly love the red dress and the way it diffuses into a cloud of… magical energy? Which is your favourite?

Feb19

Friday Faceoff – Every great story seems to begin with a snake… #Brainfluffbookblog #FridayFaceoffserpentinecovers

Posted on February 19, 2021 by sjhigbee

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers with serpentine images. I’ve selected The Reptile Room – Book 2 of A Series of Unfortunate Events by Lemony Snickett.

This edition was produced by Scholastic in September 1999, and is the default cover design for this book. While I like the artwork, as you’ll know if you visit this meme regularly, I have an unreasonable dislike of textboxes. So this cover, where the artwork is squashed into a small box in the middle, bordered by a bleh-beige colour hasn’t endeared itself to me. Given how quirky this series is, that ultra-boring title font doesn’t do it justice, either. In fact, it seems to me that this cover is a study in how to transform a funny, original book into something that looks dutifully boring.

Published in May 2003 by Egmont Books, this is altogether more successful. The intention to make this cover look like one of those old-fashioned photo albums is far clearer in this iteration of the cover. The black border, contrasting with the bright green of the spine, with the red cord is both attractive and eye-catching. The styling of the font also gives a strong hint that this book is humorous, as well as an action adventure tale. I also think the choice of image, focusing on the interaction of the snake and the Baudelaire baby is far more effective. This one is definitely a contender…

This edition, published by HarperCollins in May 2007, had done away with the original cover design and opted for more artwork, which I really like. I’m not a fan of either textbox, although I’ll concede that the top one does the job of successfully featuring the author name, which is the selling point of this series, rather than the title. I certainly like this cover more than the top one.

This edition, produced by Egmont Books (UK) in 2010, is my favourite. I like the artwork that takes the original image and redesigns it to focus still further on the dramatic interaction between the deadly serpent and Sunny. I also think the treatment of the author font fits well with the overall design and the series and title information looks as if they have been considered as part of the overall look, rather than simply been plonked across the image, as so often seems to happen. Overall, this is the cover that would persuade me to pick this one off the shelves.

This German edition, published by Distribooks in May 2002, is one of the very few covers that hasn’t referenced the original artwork in some form. This one has departed from the Edwardian feel of the original image, so the colours and style are fresher and more vivid. The result is attractive and eye-catching. My only niggle is that I think the dramatic, gothic treatment of the title is at odds with the artwork, but overall I think this is a successful cover. Which is your favourite?

Feb12

Friday Faceoff – Bears are not companions of men, but children of God… #Brainfluffbookblog #FridayFaceofffurrycreaturescovers

Posted on February 12, 2021 by sjhigbee

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This edition was produced by Overlook Duckworth in November 2004, and is one of the default cover designs for this book, which originally came out in May 1974. I really like it – the fact that the bear’s head is made up of the buildings of the main city is spot on, as the story is about what the bear represents to this civilisation. I also appreciate the punchy title and author fonts, which are easily read even in thumbnail. I think this is a successful, eye-catching cover.

Published in January 1976 by Penguin books, this is the cover on the book that I owned. It’s one of my most memorable reads – along with the very disturbing The Girl in a Swing – there is something about Adams’ writing that got right under my skin, so it brings back happy memories. I love the image of this bear, huge and savage – just look at the length of those claws. But reluctantly, I don’t like it as much as the previous cover.

This edition, published by Oneworld Books in November 2014, is a reworking of the first cover – and while I like that one, this is my favourite. I think it’s because there is so much here that relates to the story. The profile of the bear in red is apt – Shardik’s appearance triggers a series of violent events. The wooden boards that act as backdrop represents his imprisonment, while I particularly love the fir trees as his teeth in his upper jaw, meeting the cityscape in his lower jaw. Which is a really clever pictorial depiction of the tension between the wilderness and what he represents to the Belden civilisation. I just wish more covers were designed with such respect for the story.

This Danish edition, produced by Gyldendals Bogklubber in 1977, also features Shardik up on his hind legs trying to outrun the fire that has destroyed the forest where he used to live. Look at the clouds of ash as he moves and the wisping, ashy remains of grass right in the foreground… Again, this is a scene right from the book and works really well as a cover. I like the fact that we are looking up at the bear, emphasising his huge size.

This Italian edition, published by Biblioteca Universale Rizzoli in 1976 is probably the most attractive of all the covers. The artwork is detailed and beautifully executed, though I don’t get the sense of Shardik’s power and size from this image, unlike the other covers. And it also features an unnecessarily large textbox, which I hate. That said, I still like it even if it isn’t my favourite. Which one do you prefer?