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Re: Cover Art on VN Paperbacks (fwd)
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From: Vladimir Mylnikov <mylnikov@public.hh.nm.cn>
I would like to renew for a bit the discussion dealing with the covers of
VN books. But first, I'd like to ask one question: What should a cover
represent? The main idea? Or, should it illustrate the book in general?
If yes, I'd like to know what exactly it should illustrate.
I think, probably the closest connection the cover should have is with
the title of the book and if so, -- again -- must the cover represent it?
Sometimes a title of the book enters into a relationship with the contents
of the work in a very complex way (for example, 'Pale Fire' or 'Bend
Sinister'). This connection is not direct and obvious. So, this is,
apparently, one of the reasons why VN suggested to the editor that the
cover of 'Pale Fire' should be abstract.
In a sense, I think, the best covers should represent HOW books are made
and not WHAT was made there. Of course, I do understand, in terms of a
commercial perspective, this approach is not the best one. Because,
readers need to be told first what they are going to read and only after
they have read the book might they understand and appreciate how the book
was made. But there are a few happy exceptions from this scheme. The best
recent example is the cover of a newly published book entitled 'The
Stories of Vladimir Nabokov'. Alfried A. Knopf, New York 1995.
In my opinion this cover is a triumph of taste, exactness, and clarity
which is marked by an elegant economy of visual stimulation. Two main
colors - white and blue serve as the background and highlight the central
ideas. The letters and their shadows represent the two main aspects of
this work. The translation and the tension between the two languages is
one aspect of the book and the stories themselves is the other. The white
letters - Vladimir Nabokov - which are, of course, directly connected with
the contents of the book are pinned to the cover, and the color which has
been chosen is absolutely correct, because the letter N was viewed by
Nabokov as being an off-white color. The letters are pinned with the type
of pins which are used for the pinning of butterflies. Another peculiarity
is that these letters are fastened in the way that their reflection "pins"
the blue shadow of the letters as well. Thus, the way the letters are
put convey perfectly and represent the nature of the translation - it is
exact and precise. Moreover, the pins are, of course, also the sign of
Nabokov's art in general and instantly bring to mind one of his major
themes - the collection and scientific study of butterflies - which was
one of the writer's passions. So, on the spine of the cover one can see
the 'real', unpinned butterfly (I think it is Plebejus(Lysandra) cormion
Nabokov ) and finally, on the back-of-jacket, the master is presented
himself in a photograph by P. Halsman.
I don't know, but if one day covers get their status as independent pieces
of Art (as happened with overtures to operas ) this cover could be a
masterpiece.
Also , I think, another absolutely wonderful cover is 'The Nabokovian'.
Vladimir Mylnikov
I would like to renew for a bit the discussion dealing with the covers of
VN books. But first, I'd like to ask one question: What should a cover
represent? The main idea? Or, should it illustrate the book in general?
If yes, I'd like to know what exactly it should illustrate.
I think, probably the closest connection the cover should have is with
the title of the book and if so, -- again -- must the cover represent it?
Sometimes a title of the book enters into a relationship with the contents
of the work in a very complex way (for example, 'Pale Fire' or 'Bend
Sinister'). This connection is not direct and obvious. So, this is,
apparently, one of the reasons why VN suggested to the editor that the
cover of 'Pale Fire' should be abstract.
In a sense, I think, the best covers should represent HOW books are made
and not WHAT was made there. Of course, I do understand, in terms of a
commercial perspective, this approach is not the best one. Because,
readers need to be told first what they are going to read and only after
they have read the book might they understand and appreciate how the book
was made. But there are a few happy exceptions from this scheme. The best
recent example is the cover of a newly published book entitled 'The
Stories of Vladimir Nabokov'. Alfried A. Knopf, New York 1995.
In my opinion this cover is a triumph of taste, exactness, and clarity
which is marked by an elegant economy of visual stimulation. Two main
colors - white and blue serve as the background and highlight the central
ideas. The letters and their shadows represent the two main aspects of
this work. The translation and the tension between the two languages is
one aspect of the book and the stories themselves is the other. The white
letters - Vladimir Nabokov - which are, of course, directly connected with
the contents of the book are pinned to the cover, and the color which has
been chosen is absolutely correct, because the letter N was viewed by
Nabokov as being an off-white color. The letters are pinned with the type
of pins which are used for the pinning of butterflies. Another peculiarity
is that these letters are fastened in the way that their reflection "pins"
the blue shadow of the letters as well. Thus, the way the letters are
put convey perfectly and represent the nature of the translation - it is
exact and precise. Moreover, the pins are, of course, also the sign of
Nabokov's art in general and instantly bring to mind one of his major
themes - the collection and scientific study of butterflies - which was
one of the writer's passions. So, on the spine of the cover one can see
the 'real', unpinned butterfly (I think it is Plebejus(Lysandra) cormion
Nabokov ) and finally, on the back-of-jacket, the master is presented
himself in a photograph by P. Halsman.
I don't know, but if one day covers get their status as independent pieces
of Art (as happened with overtures to operas ) this cover could be a
masterpiece.
Also , I think, another absolutely wonderful cover is 'The Nabokovian'.
Vladimir Mylnikov