In January 2020, John Hendrickson wrote an article for The Atlantic about Joe Biden’s stutter…and his own. Hendrickson has written a memoir about his “lifelong struggle to speak”: Life on Delay: Making Peace with a Stutter.
In Life on Delay, Hendrickson writes candidly about bullying, substance abuse, depression, isolation, and other issues stutterers like him face daily. He explores the intricate family dynamics surrounding his own stutter and revisits key people from his past in unguarded interviews. Readers get an over-the-shoulder view of his childhood; his career as a journalist, which once seemed impossible; and his search for a romantic partner. Along the way, Hendrickson guides us through the evolution of speech therapy, the controversial quest for a “magic pill” to end stuttering, and the burgeoning self-help movement within the stuttering community. Beyond his own experiences, he shares portraits of fellow stutterers who have changed his life, and he writes about a pioneering doctor who is upending the field of speech therapy.
Sounds fascinating and the cover is fantastic (who designed it?):
See also Austin Kleon’s Our Stutter:
Around Christmastime, my son started stuttering differently and more frequently.
“Why are you so glitchy?” my 5-year-old asked him. “I’m worried about you.”
We might’ve been worried, too, except that we’d been through it before. The previous Christmas, we’d called Dr. Courtney Byrd at the Lang Stuttering Institute here in Austin, Texas, and she assured us that it was perfectly normal for stuttering to change during the holidays and that even good, exciting events can cause changes in stuttering.
So now, when Our Stutter changes, our listening changes.
We listen with more love.
The segment he references from This American Life featuring JJJJJerome Ellis is fantastic and a must-listen if you’ve never heard it before.
Update: Hendrickson reports that the cover is by Oliver Munday, whose work I admire greatly.
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I only read ebooks these days and don’t make it to the one decent bookstore within a 60-minute drive from my house that often, but I still love love book covers. As I do every year, I’ve perused the end-of-year lists of the best covers and pulled out some favorites, which I’ve embedded above.
From top to bottom: Outlawed by Anna North, designed by Rachel Willey; Dead Souls by Sam Riviere, designed by Jamie Keenan; Foucault in Warsaw by Remigiusz Ryzinski, designed by Daniel Benneworth-Gray; Orwell’s Roses by Rebecca Solnit, designed by Gray318; Laserwriter II by Tamara Shopsin, designed by Tamara Shopsin;1Pure Gold by John Patrick McHugh, designed by Jack Smyth; and Nectarine by Chad Campbell, designed by by Dave Drummond.
You can find many more great covers in these lists: The 50 Best Book Covers of 2021 (Print), The Best Book Covers of 2021 (NY Times), The 101 Best Book Covers of 2021 (Literary Hub), Notable Book Covers of 2021 (The Casual Optimist), 8 of the Best Book Covers of 2021 (AIGA Eye on Design), The best book covers of the year 2021 (Creative Review), and The Best Book Covers of 2021 (Book Riot).
See also my lists from past years: 2020, 2019, 2018, 2015, 2014, and 2013.
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In her new book Library of Misremembered Books, Marina Luz creates new book covers from the vague and hilarious ways in which people can’t recall the exact names of books.
Anyone who has worked in a bookstore knows only too well that moment when a customer approaches by saying, “So I don’t remember the title, or the author, but-.” And we’ve all been on the other side of the counter, trying to pinpoint something we can’t quite describe at a bookstore (“It’s a murder mystery, but also quite funny”), or at a video store (“Could be subtitled, but then again, now that I think about it, maybe it wasn’t”), or at a mechanic (“The car is kind of going gu-chunk, gu-chunk; except on hills, when it’s more of a clickety-tickety”). We are usually left not only without an answer, but also with the overwhelming sense that we have lost some small piece of our dignity in the attempt.
See also (via this thread) a list of misremembered titles from the Fukui Prefectural Library in Japan. (via literary hub)
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For his new book, The Every, Dave Eggers and art director Sunra Thompson are doing 32 separate covers, with more to come “in perpetuity”.
Never one to shy away from pushing boundaries, Eggers teamed up with art director Sunra Thompson for the project, who discovered that the dust jacket printer they were using could run several cover designs on one sheet of paper at once, providing the means to print dozens of different versions at the same time. Thompson decided to exploit this printing feature, enlisting a boatload of artists to design a completely new version of The Every cover.
The hardcover version of the book featuring the 32+ designs will only be available on the McSweeney’s website and in independent bookstores, which doesn’t seem to include Bookshop.org. Amazon, says Eggers, can go pound sand.
“I don’t like bullies,” Eggers wrote in an email. “Amazon has been kicking sand in the face of independent bookstores for decades now.”
The novel follows a former forest ranger and tech skeptic, Delaney Wells, as she tries to take down a dangerous monopoly from the inside: a company called The Every, formed when the world’s most powerful e-commerce site merged with the biggest social media company/search engine.
“One of the themes of the book is the power of monopolies to dictate our choices, so it seemed a good opportunity to push back a bit against the monopoly, Amazon, that currently rules the book world,” he said. “So we started looking into how feasible it would be to make the hardcover available only through independent bookstores. Turns out it is very, very hard.”
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At The Art of the Book event last week, the panel was asked why there were so few female superstar designers. Milton Glaser took a shot at answering the question (many women choose family over work during the crucial superstar career development years) but judging by the reaction afterwards online, his comments were not appreciated by some. To be fair, Glaser’s comments were taken out of context, I think, and what he said is a part of the overall answer to the question. On Design Observer, Michael Beirut, who was the moderator for that evening’s event, takes a closer look at the issue. “The real question was the unspoken one: ‘Why is it that you guys up there are always…guys?’” Oh, and here’s a list of women speakers for your conference.
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Took in The Art of the Book lecture at the 92nd Street Y last night. Milton Glaser, Chip Kidd (“a modern day Truman Capote” I heard him described as afterward), Dave Eggers, with Michael Beirut moderating. One of the most interesting comments came late in the proceedings from Dave Eggers, who described one of the main goals of the McSweeney’s design staff as attempting to design the books as well and as beautifully as they could as objects so that people would be compelled to save them. That way, even if people didn’t have time to read them soon after purchase, they couldn’t bear to throw/give the book away and would instead put it on their shelf in the hopes — McSweeney’s hopes, that is — that the buyer would at some point pull it down off the shelf and give it another try.
This design goal runs counter to the design process behind most contemporary book jackets, which are engineered almost entirely for the purpose of eliciting in the potential buyer a “buy me” reaction within two seconds of spotting them. McSweeney’s, as a champion of authors, wants the writing to be read while most major publishing companies, as champions of their shareholders, want books to be purchased. People buying books is important to the goal of getting the writing within them read, but McSweeney’s emphasis on designing books to last in people’s homes is a clever way to pursue that goal after the sale.
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Fine gallery of well-designed book covers with an opportunity for you, the visitor, to comment on them. (via coudal)
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More and more, shoppers are judging books by their covers. “Studies show that a book on a three-for-two table has about one and a half seconds to catch a reader’s eye.”
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The evolution of book cover design. Using Robert W Chambers’ The King in Yellow as an example.
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