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The Book Covers of Catcher in the Rye
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Transcript
Fanmade Covers
- Usually depict what the reader sees as the most important part of the book
- there's no intention to market this so its raw
Russian Covers
Eaun Cook
Wilbur Dawburn
- Front cover: Scene where Holden hallucinates Allie
- Back cover: the apartments Holden sees from his hotel room
Martin Lye
- 1st: shows inner turmoil, abstract
- 2nd: art piece by Rene Margitte called "The Human Condition"
- scene shows Holden waiting in the field of rye
- no published covers depict this scene, despite its importance
- Clearly depicts the setting
- draws attention from the busy background with Holden's red hat
Adrian Salmon
- staring at the carousel, a symbol of childhood
- shows a different aspect of Holden which contradicts what he acts like in the novel
Japanese
- 1st: 1971, abstract
- 2nd: modern, concise and simple
Korean
- simple center image of Holden with his red hat
- also uses red like the American publishers did
Chinese
- Holden is in traditional Chinese clothing, and has a red hat with rye growing out of it
- mixed with the Chinese culture to attract the audience
The Book Covers of "Catcher in the Rye"
Conclusion
By: Caroline Bokoch
- covers are meant to catch the reader's attention and provoke thought on the story
- published covers went through different phases
- foreign covers show the different interpretations
- fan mande covers generally use wider range of wymbols and scenes
- all covers are unique in style and in what they are communicating to the reader
1951, Little Brown
Salinger's views
- Michael Mitchell
- carousel symbol in abstract format
- marks Holden's development
- Wanted no visuals, simply the title and his name
- due to an earlier problem with a publisher where one of his character was portrayed wrongly
1951, Hamish Hamilton
- British edition
- Realistic style of carousel scene
- contrasts to the chaos in the other version
1953, Signet
1958, Penguin
- New artist, James Avoti
- No specific scene, but clearly identifies Holden and where he is
- contains a warning on the front
- no visuals
- does have the same color scheme as previous covers
1969, Penguin Modern Classics
1966, Bantam
- very different from previous covers
- simply adds a classy touch
- follows same color scheme
- abides to Salinger's wish for covers to have no visuals
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