Adaptations of old stories will frequently move them closer to the production in time and/or space, even if the original is only a couple of decades old.
Distinct from Recycled IN SPACE in that the purpose is to make the story more familiar and accessible, whereas that trope is often based around transplanting a story into a less familiar setting. Also, by its nature, a Setting Update is typically made long after the original, whereas a Recycled Premise is usually a Me Too made to cash in on hot demand. Sometimes, especially with the more radical changes, it can be a genuinely clever analogy.
Covered in characters
Above are a few of the typographically led book cover designs from the David Pearson exhibition, currently on in London.
I love the ‘redacted’ George Orwell, 1984, cover with it’s debossed title under black ink. I was also quite taken with the chilling cover for Cormac McCarthy’s The Road.
There’s a week left to go, so if you find yourself in Shoreditch, London before the 28th June, drop in.
David Pearson is an acclaimed British designer, famed for his beautiful series of Penguin book cover designs.
David studied at Central St Martins in London (1999–2002) before taking a job at Penguin Books as text designer and later, cover designer. He left to establish his own studio – Type as Image – in 2007.
David played a key role in the recent re-emergence of Penguin Books through projects such as the multi-million selling Great Ideas series, Penguin by Design and thePopular Classics series. He has won numerous awards for book design, has been listed as one of Britain’s Top 50 Designers by the Guardian and nominated for the Design Museum’s Designer of the Year Award.
OOOOOO AHHHHH….What was I saying? Oh yes…. Heeeeeeaaaaavvvven!!!*singsong voice* haha
This is soooooo SEXY.
OK this is a definite WANT!
"To expose those places where texts fissure."
"A critique of the hierarchical oppositions that have structured Western thought: inside/outside, mind/body, literal/metaphorical, speech/writing, presence/absence, nature/culture, form/meaning."
"To be haunted by the anxiety that, with deconstruction, the very possibility of a dictionary explodes.”
"Not to destroy but to give a different structure and functioning."
"To tease out warring forces of signification within a text."
"An investigation of the tension between modes of signification, as between the performative and constative dimensions of language."
"A form of writing in which the ‘I-ness’ of the self is given emphasis as both the limitation and possibility of appropriation in so far as context is concerned."
"When a text quotes and requotes, with or without quotation marks, when it is written on the brink, when you start, or indeed have already started, to lose your footing. When you lose sight of any line of demarcation between a text and what is outside it."
"Effective or active (as one says) interventions, in particular political and institutional interventions that transform contexts without limiting themselves to theoretical or constative utterances even though they must also produce such utterances.”
"To deconstruct every substantial identity, to denounce behind its solid con-sistency an interplay of symbolic overdetermination—briefly, to dissolve the substantial identity into a network of non-substantial, differential relations; the notion of symptom is the necessary counterpoint to it, the substance of enjoyment, the real kernel around which this signifying interplay is structured.”
"To be deeply concerned with the ‘other’ of language."
"A gesture in opposite directions at the same time: on the one hand to preserve a distance and suspicion with regard to the official political codes governing reality; on the other, to intervene here and now in a practical and engagé manner whenever the necessity arises.”
"What deconstruction is not? everything of course!
What is deconstruction? nothing of course!”
Michael Chabon, The Amazing Adventures of Kavalier and Clay
The True Story of the 3 Little Pigs - Jon Scieszka, illustrated by Lane Smith
Admont Abbey Library, Austria