This recursive novel is a contemporary take on the classic story-within-a-story. The book's lead character, an Iranian author, is writing the coup-de-grace of his largely censored career. He explores new territory, ditching the familiar pessemism of his previous books and instead sets to work on a story about a young romance. We not only get to read the story as he constructs it, but Mandanipour also shows us the side thoughts, the notes, the indecencies that his title character scribbles and crosses out in a process of self-censorship, knowing that for his book to make it through the Iranian publishing authorities, it has to be squeaky clean.

For the cover, Peter Mendelsund used an old electric typewriter to imitate the look of an author's manuscript. Originally blackening the redactions so that the underlying text was unreadable, Mendelsund ended up making them semi-transparent at the editor's request. This is a great example of designer and editor working together for the best result. Perhaps the editor saw some conceptual strength that Peter had missed, as the novel reveals the main character's love story as it is written, both the edited and unedited parts. The blackened areas suggest a Burkha covering the face of those provocative eyes—a perfect symbol of cultural censorship. And finally, small purple dots under specific letters in the cover's text reveal a hidden message—a nice, playful detail.

Every symbol, every metaphor on this cover is expected: typewriter-style typography for a book about an author; a shrouded face referencing cultural oppression; crossed-out sentences symbolizing censorship. But they are executed elegantly, and with subtle details that make them specifically relevant for the content of the book. I was always taught that the first idea you have is the same idea everyone else is going to have, so you might as well throw it out. But ubiquitous symbols are ubiquitous for a reason—everyone can read them. Maybe the best work isn't about coming up with baroque, abstract, never-before-seen ideas, but elegantly reworking the classics.

— Fwis , 2009-06-08 13:00:21 -0400

I saw this in person and it is one of my favorite covers of all time. In both the design and production value. What a perfect concept.

oooh. That is pretty, and so are a lot of Burton's covers. Great link. I still enjoy the rawness of this one though.

I absolutely agree that every symbol and metaphor on the cover is expected. I think it would be interesting to mention the Milton Glaser "gap" mentioned at last cover here as well. For me, this cover is not that nicely balanced in terms of the "gap" and the result is that its a bit boring. Especially compared to Mendelsund's other covers, which I've always found creative and exciting.

Not Mendelsunds best- quite an obvious concept. And kind of ugly for a love story too, though I know that may be the point. Looks a littl e like an abandoned sketch. The link that ian posted- Nathan Burton's cover- it kicks this one in the pants.
You should post more of his stuff- its v. good.

nice pick, considering the Iranian elections this week, and Time's article on the "marriage crisis" in Tehran in particular:
http://www.time.com/time/world/article/0,8599,1903420,00.html?cnn=yes

i think if i saw this in the store i would not like that the black-out words are still legible-- seems half-hearted and i would suspect an editorial compromise. BUT since you explained the complexity of the story, i think it works well.

don't love a plain vanilla background-- should be cheap paper pulp textured or white. But I bet this jpg is not doing it justice.

I think that the fact that some of the text shows through the black censoring adds a level of satisfaction to the reader. We all want to feel like we know what's behind those black lines. and here we are being given that entrance. in person, this cover is drool worthy...

Hand-marking actual paper would have added a lot to this. Can't say I'm very taken with it as it is.

Ian says it looks better in person, so I'll take his word for it. But from here it's aesthetically a mess.

This site is becoming a cult of the ugly!- come on guys how about something beautiful that the punters might like rather than all these designer friendly covers that don't elicit much more than back patting.

Jesus. Go to the damn bookstore and look for yourself. This is not mickey mouse cover. The design, coupled with the production makes for a cover worthy of mention. There is nothing ordinary about it. It's cleverly unexpected and makes you want to pick it up. It's engaging because of all the text which can be read and thus adds another dimension to besides just being an interesting image with a title laid over it. Even if joe peanut designed this, it would be worthy of a discussion.

All opinions aside and subjectivity, what this book does very effectively is that it is in the category of tactile object. It is fun to touch and look at (and isn't that what books should do?). And above all, it took some thought and time to get it just right. Ugly is not bad when it comes to book cover design. There is something ugly about love being censored. Something almost sinister about it. And this cover communicates to that end.

aesthetically interesting if it had nothing to do with iran. not one iranian wears a burkha anything resembling the covering of the face so some cutural sensitivities needs to come into the play

It´s almost the same cover: a brasilian book from the last year (2008); a collection of novels about a "second-vision" about erotism classics, like Satyricon, Casanova and Sade.

Censoring an Iranian Love Story

One that really needs to be seen in person.

— Anonymous Coward , 2009-06-08 14:01:41 -0400

— Ian B. Shimkoviak , 2009-06-08 15:46:51 -0400

Peter's is tight, but this!!!: http://www.nathanburtondesign.com/fiction/Resources/censoring.jpg

Gold foil on vellum with the photo printed on the case.

Am I right, Mr. Mendelsund?

— Anonymous Coward , 2009-06-08 16:22:48 -0400

— Ian B. Shimkoviak , 2009-06-08 17:49:37 -0400

— Anonymous Coward , 2009-06-09 05:38:01 -0400

— Anonymous Coward , 2009-06-09 09:53:11 -0400

— , 2009-06-09 10:37:33 -0400

— Ian B. Shimkoviak , 2009-06-09 17:32:44 -0400

— Anonymous Coward , 2009-06-10 05:59:13 -0400

C-Dog

— Anonymous Coward , 2009-06-10 23:07:46 -0400

— Anonymous Coward , 2009-06-11 00:46:12 -0400

— Ian B. Shimkoviak , 2009-06-12 00:12:41 -0400

So you love it Ian- thats fine- not all of us do is all.

— Anonymous Coward , 2009-06-12 05:21:02 -0400

true. to each their own.

— Ian B. Shimkoviak , 2009-06-12 13:21:23 -0400

Cool cover. and a fiddy fiddy winna.

Ian, chill.

— , 2009-07-08 18:21:07 -0400

— Anonymous Coward , 2009-07-17 11:15:21 -0400

http://www.primeirocapitulorecord.com.br/images/livros/8576842505.jpg

— Anonymous Coward , 2009-10-06 17:10:50 -0400

güzel manitaym?? patron :D

— yapay havuz , 2009-12-03 09:07:47 -0500

turkiyem

— garlica , 2010-01-20 07:20:50 -0500

biber hapi
fx15
lida
rent a car
magna rx
penis büyütücü
elektronik sigara

— red pepper , 2010-01-28 06:07:31 -0500