Tag Archives: 1q84

1Q84 Cover Unveiled

As you can see above, Knopf has unveiled the cover of Haruki Murakami’s forthcoming, massive novel, 1Q84. It’s quite a pretty cover.

To mark the occasion, Knopf’s blog has an informative conversation with uber-designer Chip Kidd on how he built the cover:

Logistically the title is a book designer’s dream, because its unique four characters so easily adapt it to a very strong, iconic treatment . . .

Upon reading the manuscript, it soon occurred to me that the duality of Aomame’s situation could be represented by an interaction of the book’s jacket with the binding/cover underneath. By using a semi-transparent vellum for the jacket, and printing the woman’s image in a positive/negative scheme with the title on the outside layer and the rest of her on the binding, once the jacket is wrapped around the book it ‘completes’ the picture of her face.

If you head on over to the Knopf blog, they have images where you can see exactly what Kidd means.

1Q84 Street Date

If you’re one of the Murakami people out there, Amazon now lists 1Q84 for Oct 25 (though sans cover).

The page count is 928, compared to 1662 for the Japanese trilogy, so looks like this is only volumes 1 and 2, as I suspected.

It’ll be interesting to see how this one stacks up. Murakami can do some interesting stuff when he’s on, but pretty much everything since The Wind-Up Bird Chronicle has been bland. Hope this one is good!

THE SURRENDER

The Surrender is Scott Esposito’s “collection of facts” concerning his lifelong desire to be a woman.


LADY CHATTERLEY'S BROTHER

Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


THE LATIN AMERICAN MIXTAPE

5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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