Covers too (WasRE: titles...)

Tanaquil2 at Tanaquil2 at
Tue Aug 3 16:51:45 EDT 1999

In a message dated 8/3/99 12:20:59 PM Eastern Daylight Time, 
Melissa at writes:

 >>I don't know the name of that illustrator who does those wonderful
 >>fantasy illustrations.  I've seen his/her work on the Year's Best
 >>Fantasy & Sci-fi anthologies, the Keneally Morrison books, all over the
 >>place.  The work is very High Fantasy. 
 >I did know this name.  Now I can't remember.  I don't think I have any books
 >with his covers...don't like Celts-in-space, don't have Kushner's
 >_Swordspoint_ or _Thomas the Rhymer_...but I remember that his name always
 >conjures up images of Celtic fantasy, for some reason.  In fact, I'd
 >nominate his cover art as an example of tying text and cover together
 >closely, because as I think about it, almost all the stuff he's done has
 >been of those Celtic high fantasy things.  He does a lot of Diana Paxson's
 >books too.

        Tom Canty I think

 >Tepid title and yick-covers can hinder but they won't stop, though.
 >Sometimes I get very finicky over the cover illustrations to dwj books,
 >but I know I'll be thrilled with the contents.

        I get finicky over the Narnia stories with the covers illustrated by 
Pauline Baynes.  For me part of the magic of the stories was those 
jewel-coloured covers and the illustrations inside.  I find it very hard to 
read the stories in other but those Puffin editions.  (and speaking of 
unreadable, I have even come across an abridged edition of the Narnia 
chronicles, if you can believe it--don't know who published those, but 
really, is nothing sacred?)
        I am very fond of the old Puffin covers in general esp those edited 
by Kaye Webb.  Yes, those were the days....  I was mildly horrified by the 
Puffin US paperback edition of  DWJ's "Stopping for a Spell." (by David Gaadt 
'96)  Perhaps it's just personal taste but I prefer illustrations that look 
like illustrations not ones that sort of look like photographs. (in the same 
way that I tend to prefer fantasy stories to so-called 'realistic' fiction.  
Reality I can get by looking out the window.  In a story I want to escape, 
and I think a good cover illustration just ties into that sort of mood you 
get into when you're drawn inside a book.
        Someone mentioned the "Archer's Goon" covers.  Did you mean the one 
where the Goon's speared a piece of chocolate cake on his knife (that knife) 
and he just looks too large for the room?  I liked that cover, and I also 
have a hardcover where the Goon and Howard are holding hands.  I found that 
one a little sparse and chilly, not really matched to the crowded domestic 
feel of the book.  I think you can get into get into a book even if the cover 
isn't that great, but when it's good, when it really matches the feel of the 
book, it makes such a difference, so why not make great covers, instead of 
sticking them on like an afterthought from the guys in marketing or accounts?
        Well that's my rant for the day....
        No, wait a minute.  Wasn't someone else talking at one time about 
casting "Howl's Moving Castle" ?  Well, don't laugh, but how about Rupert 
Everett and Minnie Driver?  Unlikely, I know, but I just saw "An Ideal 
Husband" recently and the characters kept going on about how "heartless" the 
Rupert Everett character was.  And naturally it made me think of Howl.  And I 
thought "Hmm. This Rupert Everett person would make quite a creditable Howl, 
you know.  And Minnie Driver might be quite good as Sophie."  There did seem 
to be a good chemistry between them.  Anyone see the movie?  What do you 
think?  Who would you like to see as Howl and Sophie?  Or Thomas Lynn and 
Polly?  I think Daniel Day Lewis might make a good Chrestomanci if he'd stop 
taking those depressing Laurence Olivier-cum-Dustin 
Hoffman-look-at-me-I'm-acting roles.  Anyone who could follow Johnny in "My 
Beautiful Laundrette" with Cecil in "A Room With a View" could have a lot of 
fun with Chrestomanci.
        But you don't have to take my word for it....

        So long,  Max
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