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Product Description
How do books attract their readers? This collection takes a closer look at book covers and their role in promoting sales and shaping readers' responses. "Judging a Book by Its Cover" brings together leading scholars, many with experience in the publishing industry, who examine the marketing of popular fiction across the twentieth century and beyond. Using case studies, and grounding their discussions historically and methodologically, the contributors address key themes in contemporary media, literary, publishing, and business studies related to globalisation, the correlation between text and image, identity politics, and reader reception.Topics include book covers and the internet bookstore; the links between books, the music industry, and film; literary prizes and the selling of books; subcultures and sales of young adult fiction; the cover as a signifier of literary value; and the marketing of ethnicity and lesbian pulp fiction. This exciting collection opens a new field of enquiry for scholars of book history, literature, media and communication studies, marketing, and cultural studies.
About the Author
Nicole Matthews is a Lecturer and Nickianne Moody is Principal Lecturer and Head of Media and Cultural Studies at Liverpool John Moores University, UK.
Inside This Book
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First Sentence
When the Beatles sang these words from 'Paperback Writer' (and John Lennon was, indeed, published by Penguin), this aspiration caught the mood of a period in the 1960s when the paperback was both a key vehicle for cultural transmission and an aesthetic object in itself. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
When the Beatles sang these words from 'Paperback Writer' (and John Lennon was, indeed, published by Penguin), this aspiration caught the mood of a period in the 1960s when the paperback was both a key vehicle for cultural transmission and an aesthetic object in itself. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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1 review
Disappointing.
23 Dec 2008
Format:Hardcover
This book suffers from want of a unifying point of view or central argument. Some of the chapter contributors offer interesting specifics but they are treating such different subjects -- for example, the books of Jerome K. Jerome, Ann Bannon, and Francesca Lia Block -- that what's needed most (supplied least) is some connective tissue. How are these authors' books alike, how different? What's the norm, what the exception? What worked, what didn't?
Most of the examples and case studies are from British editions, British publishers, British bookstore operations. Some American readers will wish for more familiar landmarks.
Finally, for a book on book covers, this title is shockingly short of artwork -- just eighteen black-and-white reproductions, all smaller than actual size. Nothing in color. Most are paperback fronts; not a single book is shown front and back. Four chapters are entirely without illustrations. Editor Matthews begins to distinguish between paperback covers and hardcover jackets in her introduction but doesn't finish the thought, certainly doesn't illustrate it, and none of the contributors even acknowledges the difference.
(The book's own cover, featuring alternate versions of Philip K. Dick's Eye in the Sky, is (perhaps emblematically) unconnected with its contents. The back flap admits the "editors were unable to locate and acknowledge the copyright holders of the illustrations on the covers." More problematically, this reader couldn't locate or acknowledge any reason that artwork was selected ... except that it put a popular American author's name on the cover of a book he had nothing to do with and which has nothing to do with him.)
Most of the examples and case studies are from British editions, British publishers, British bookstore operations. Some American readers will wish for more familiar landmarks.
Finally, for a book on book covers, this title is shockingly short of artwork -- just eighteen black-and-white reproductions, all smaller than actual size. Nothing in color. Most are paperback fronts; not a single book is shown front and back. Four chapters are entirely without illustrations. Editor Matthews begins to distinguish between paperback covers and hardcover jackets in her introduction but doesn't finish the thought, certainly doesn't illustrate it, and none of the contributors even acknowledges the difference.
(The book's own cover, featuring alternate versions of Philip K. Dick's Eye in the Sky, is (perhaps emblematically) unconnected with its contents. The back flap admits the "editors were unable to locate and acknowledge the copyright holders of the illustrations on the covers." More problematically, this reader couldn't locate or acknowledge any reason that artwork was selected ... except that it put a popular American author's name on the cover of a book he had nothing to do with and which has nothing to do with him.)
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