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A Tale of Two Covers: Neal Asher’s Infinity Engine

A Tale of Two Covers: Neal Asher’s Infinity Engine

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Neal Asher Infinity Engine-small Neal Asher Infinity Engine UK-small

Last year we talked about War Factory, the second novel in Neal Asher’s Transformation series. So I kept my eye out for the third volume, Infinity Engine, which arrived in hardcover in March.

Infinity Engine was simultaneously published in the US by Night Shade (above left; cover by Adam Burn) and in the UK by Tor (above right, cover by Steve Stone). Over at Worlds in Ink, KJ Mulder expresses his enthusiasm for the US version.

I’m a huge fan of Neal Asher’s work and the covers for his novels are always something special. The covers for Infinity Engine, the conclusion to the Transformation trilogy, [are] no exception. This time round the folks at Night Shade Books have pulled out all the stops for the US edition that simply blows their UK counterpart out of the water. The artwork by Adam Burn is absolutely stunning. I think he might have just dethroned Jon Sullivan as my favourite cover artist.

With all due respect to my South African colleague Mulder, I think he’s way off base here. The Adam Burn’s cover, with its cataclysmic energy and vibrant yellows, is certainly eye-catching. But if these two books were side by side in Barnes & Noble, it would be Steve Stone’s cover, depicting a starship plunging at full speed into the churning, cold blue maelstrom of deep space, that I would reach for.

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Why You Should Go to Conventions

Why You Should Go to Conventions

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The Dray Prescot series 3-small

The Dray Prescot series, by Alan Burt Akers

Last month, I posted in a couple of Facebook groups a piece of new art that Deb and I had bought. In response to the post, one person asked how to go about acquiring illustration art, and I mentioned that one good venue was going to conventions such as The Windy City Pulp and Paper Convention (shameless plug) or PulpFest for vintage art, or IX or Spectrum Fantastic Art Live for new stuff. And many of the larger comic conventions also have some dealers who specialize in vintage illustration art, or artist attendees doing current work. And several SF/fantasy conventions, such as World Fantasy, Boskone or Worldcon still have good art rooms (and Boskone in particular has strong vintage art components to their art shows), though in most cases SF cons are not what they used to be when it comes to art. In addition to conventions, I also mentioned various auction houses, eBay and dealers, which are more typical day-to-day places to find illustration art, as cons are scattered throughout the year and most of us can’t attend all of them.

Of course, this is only my opinion, and others may have different experiences, particularly when it comes to collecting newer illustration art. Our focus is on older illustration art, and while we do have several pieces that have been created in the past few years, the bulk of our collection is illustration art that’s at least 30 years old, with the majority of it at least 60 years old and some over 100 years old.

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I’ve Got You Covered

I’ve Got You Covered

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Frank Frazetta The Death Dealer

In my last post I took a look at SF cover art, and how the fashion in covers changes over the decades. As with fashion in clothing or hairstyles, you can make a pretty accurate guess about time periods and genres just from a book’s cover. Whether you’re influenced in your purchases by that cover is a personal thing. In the spirit of leaving no stone unturned, today I’m looking at Fantasy cover art.

Since I’m a writer and not an art critic, I avoided discussing the work of any particular SF artist – I was looking at how covers change, not how an artist evolves. However, I don’t think we can talk about Fantasy cover art without at least a brief look at Frank Frazetta. In a way, his covers are the perfect example of what I’m talking about. When you look at a Frazetta cover, you know what time period, and what genre you’re looking at.

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Mastabas: Early Tombs of Ancient Egypt

Mastabas: Early Tombs of Ancient Egypt

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Interior of the mastaba of Meresankh III. The row of
statues shows the queen and female members of her family

Not everyone gets a pyramid when they die.

As nice as it would be for everyone to get their own massive stone monument that lasts for all time, it’s really expensive and the one percenters want to have something of their own that makes them feel special.

So for those of us who don’t get to rule over Ancient Egypt with an iron fist, but aren’t so poor that we’re stuck in a shallow pit in the desert, there’s the mastaba, a home away home where we can spend the afterlife.

Mastabas were rectangular buildings made of mud brick or stone containing a few rooms and a burial chamber beneath it reached via a vertical shaft. They were wonderfully decorated on the inside and had a place for making offerings to the dead.

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A Tale of Two Covers: The Loney by Andrew Michael Hurley

A Tale of Two Covers: The Loney by Andrew Michael Hurley

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The Loney UK-small The Loney-small

Andrew Michael Hurley self-published his first collection Cages and Other Stories (2006), and released his second, The Unusual Death of Julie Christie and Other Stories (2008) through tiny Lime Tree Press. However, those days are over. His debut novel Loney, released in the UK in trade paperback by John Murray last year (cover above left) won the Costa First Novel Award, was listed as a Best Book of the Year by the London Times and Daily Mail, ranked a Best Summer Book by Publishers Weekly, won Best Book of the Year in the British Book Industry Awards, and was a Sunday Times Top Ten bestseller.

It was published in the US by Houghton Mifflin Harcourt last May with a new cover (above right), and the buzz on this side of the pond was just as stellar. The New York Times Book Review said “The terrors of this novel feel timeless… There are abominations here, and miracles.” Jeff VanderMeer called it “Stunning,” and Stephen King said, “It’s not just good, it’s great. An amazing piece of fiction.”

Here’s the description.

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Vintage Treasures: Famous Fantastic Mysteries, edited by Stefan R. Dziemianowicz, Robert Weinberg, and Martin H. Greenberg

Vintage Treasures: Famous Fantastic Mysteries, edited by Stefan R. Dziemianowicz, Robert Weinberg, and Martin H. Greenberg

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Famous Fantastic Mysteries Weinberg-smallI spent yesterday and Friday at the Windy City Pulp and Paperback show in Lombard, Illinois, about 30 minutes from my house. And as soon as I finish this article, I’m going to scoot over there again.

I found a great many treasures at this show this year. More than usual, even. And I’m looking forward to reporting on them here. One of the more interesting was a copy of Famous Fantastic Mysteries, a 1991 pulp reprint anthology from Gramercy edited by Stefan R. Dziemianowicz, Robert Weinberg, and Martin H. Greenberg, in terrific shape, which I bought for just $5.

Famous Fantastic Mysteries was a much-beloved fantasy pulp which ran from 1939 to 1953. The publisher was Frank A. Munsey, a name well known to pulp fans. The first bi-monthly issue was cover-dated September-October 1939, and contained A. Merritt’s “The Moon Pool,” Ray Cummings’ “The Girl in the Golden Atom,” and stories by Manly Wade Wellman, Donald Wandrei, and many others. The magazine was a success, and it quickly switched from bi-monthly to monthly.

While the magazine relied chiefly on reprints, especially in the early days, it commissioned original art from many of the top artists of the day, especially Virgil Finlay and Lawrence Sterne Sevens, and today is treasured as much for the fabulous covers and interior art as the fiction.

In its 81 issues, Famous Fantastic Mysteries offered reprints of SF and fantasy pulp stories by Max Brand, E. F. Benson, Robert W. Chambers, William Hope Hodgson, Lord Dunsany, Bram Stoker, H. P. Lovecraft, Robert E. Howard, Arthur Conan Doyle, Jack London, and countless others, as well as brand new fiction from Henry Kuttner, C. L. Moore, Murray Leinster, Theodore Sturgeon, William Tenn, Margaret St. Clair, Arthur C. Clarke, Donald A. Wollheim, Robert Bloch, Ray Bradbury, and many more. See the complete issue checklist at Galactic Central.

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Shabtis: Servants in the Ancient Egyptian Afterlife

Shabtis: Servants in the Ancient Egyptian Afterlife

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Some very bling shabtis from the 18th dynasty tomb of Yuya and Thuya

We all know the ancient Egyptians were obsessed with death. What with their elaborate spells, mummification, and tomb preparations, you’d think that the Egyptian afterlife would be one big vacation. After all that preparation they deserved a bit of rest.

Not so. The gods subjected the deceased to all sorts of jobs and obligations. The afterlife was just like our world, where all the usual cultivation and manufacturing had to be done. If you didn’t want to spend eternity doing manual labor, you needed to have some hired help.

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A Tale of Two Covers: Skullsworn by Brian Staveley

A Tale of Two Covers: Skullsworn by Brian Staveley

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Skullsworn-small Skullsworn UK-small

We covered the first three novels in Brian Staveley’s Chronicle of the Unhewn Throne right here last year. Skullsworn, the new standalone novel in the same world, features the adventures of a priestess-assassin for the God of Death. It will be published by Tor Books this week in both the US and the UK.

Although the US and UK editions have similar publishing dates, that’s pretty much all they have in common. The descriptions for each book are markedly different — and the covers are dramatically different. The US version by Richard Anderson (above left) has lush colors and and action scene, while the UK cover (above right), designed by Matthew Garrett, is heavily design-focused. In a guest post at Tor.com, Brian Staveley talks about the US cover.

This one hits all the right notes… it gives a feel for the city, but here Pyrre is in the shadows, close to the quotidian world of human affairs, but separate, unnoticed. She’s also motionless. Her knife is drawn, but the drama doesn’t come from the knife itself, or the imminent violence, but from what’s in her mind, from her struggle to understand her own motives and emotions, then to translate them into the life she wants to live. It’s not easy to fall in love, especially when you’re staying up late every night giving women and men to the god of death. That’s the book I’m trying to write… The final version of the cover is just perfect. The color, the claustrophobia of Dombang’s hot, narrow alleys, the fish-scale lanterns, Pyrre’s crouch, ready, predatory, but not yet committed — this cover captures everything I’d hoped about the book.

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3×3 Illustration Annual #13 Now Available

3×3 Illustration Annual #13 Now Available

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3x3magazine interior

One of my most cherished annual purchases is the Spectrum anthology of Contemporary Fantastic Art, which collects some of the finest SF, fantasy, and comic art created every year. It’s a gorgeous volume that’s well worth a leisurely browse on a Sunday morning.

Volume 23, edited by John Fleskes, was released last November. We’ve previously covered Spectrum 20, with a Donato Giancola cover that’s a companion piece to his Red Sonja cover for Black Gate 15, and Spectrum 16, which contained Malcolm McClinton’s cover to Black Gate 13.

I know that Spectrum is unique in celebrating the best fantastic art every year, but I also knew — at least theoretically — that there had to be other illustration anthologies out there. But it was still a surprise to stumble on a copy of 3×3 Illustration Annual #13 in the magazine rack at Barnes & Noble last week. It’s a thick magazine printed on heavy stock, 400 pages crammed full of full color art. And such art!

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Cover to Cover

Cover to Cover

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Heinlein Door 1 Heinlein Door 2 Heinlein Door 3

Until relatively recently, I never looked at cover art. I bought books because of a review, or, more likely, because of a personal recommendation. There was art I liked, and some I didn’t like, and some that embarrassed me for one reason or another. But, the art in and of itself didn’t influence my purchasing of any book.

It was recently brought to my attention, however, that the style of cover art comes in and out of fashion, like anything else. Many of us can tell, just looking at the clothing in a photograph, in what decade the photo was taken. Hairstyle is a great indicator, as are necklines, width and length of collars and cuffs, of hemlines and sleeves. Shoulder pads anyone? Thirty years from now, someone looking at today’s photos are going to think of the 2010’s as “the decade of the beard.”

There are many people better qualified than I to talk about cover art as art. I just want to talk about it as covers. My examples are completely arbitrary, and usually come from my own shelves. Keep in mind that in order to look at changing fashion in covers over decades, I have to look at works that have been in print for that long.

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