|Lucifer at the Starlight: Poems by Kim Addonizio|
|The Crack between the Worlds: Memoir|
Fomite Press, and Donna Bister, half of the Press' partnership, has asked for photos that represent the novel's three locations: Chicago, Alabama and New Mexico, as well as its time period, 1930. A central event is the protagonist's trip to Scottsboro, Alabama, to protest the unfair conviction of the nine so-called Scottsboro Boys.
I'm looking at photos, but I fear clutter and confusion. I was blessed with the cover of my memoir, above, a photo of myself at thirteen. It speaks to the child that every viewer once was as well as a sense of movement shared by many. For my novel, I hope to find something equally simple and compelling. So I search among book-cover websites and try to define what I like. The best ones, to me, function as two-way icons. They represent the book to the viewer but also speak to something in the viewer, inviting him or her into the book.
In Praise of Melancholy
|The Disappointment Artist: Essays|
Meg Wollitzer, in her essay "Second Shelf," wrote about the tendency to relegate so-called women's fiction to that lower shelf, and she talked about that genre's typical covers: "Laundry hanging on a line. A little girl in a field of wildflowers. A pair of shoes on a beach. An empty swing on the porch of an old yellow house." But I would not exclude any of those images or demand the big, bold type face often reserved for novels by well-known men, as long as I can find the right face to put on the body of my work.