Check out an excerpt below, and read the full article at the link.
With its fetishization of social hierarchies, at first blush mannerpunk, more commonly known as “fantasy of manners” fiction, seems incompatible with a punk aesthetic. One online reviewer writes: “Basically, if you can stick ‘Jane Austen meets X’ in front of your story proposal, it’s got a good chance of being Mannerpunk” (Romano, 2016). Grouping her writings together with the wildly diverse work of Gail Carriger, Cherie Priest, and Sherwood Smith, M.K. Hobson identifies the genre as “[p]aranormal romantic historical fantasy tinged with the Victorian” (Hobson, 2009). Although many mannerpunk novels contain little romance, melodrama, or physical description (Priest’s work is a key example), in the comments Sherwood Smith suggests that Hobson is in fact “describing […] what was called Mannerpunk ten years ago” (Hobson, 2009).
Given the incredibly varied body of texts labelled “mannerpunk”, it would be unfair to claim any description of the genre is definitive. In fact the very diversity of mannerpunk, and the dismissive way this label is often used by authors and critics, raises some interesting questions. From Ellen Kushner’s Swordspoint(1987) to Naomi Novik’s Temeraireseries (2006–2016), this essay briefly explores how mannerpunk plays with the tropes of speculative punk. Can a literature grounded in protocols, etiquette, and social hierarchies even be “punk”? If so, what is it punking?
The 2016 British Association for Victorian Studies annual conference, ‘Consuming (the) Victorians’, officially closed at Cardiff University on Friday. Today, I finally put in a full and productive day of work again after a long weekend of post-conference recovery. It’s one thing attending a three-day international conference. It’s a whole different thing organising one. Despite a fantastic organising team – and an equally fantastic bunch of delegates – four days of conference mode (preceded by a year’s worth of planning) takes its tole. Fortunately, it was still an amazing experience overall, and one I would gladly repeat… though perhaps not immediately.
Today I spent several hours putting together Storify threads of all the Twitter highlights from each day of BAVS 2016, and got to re-live the moments that made it special. I was also overwhelmed by just how many tweets there were. Just counting those I retweeted from the official @BAVS2016 account, there were more than 3000 tweets between 31 August and 2 September. On the first day, the #BAVS2016 hashtag was among the top fifty Twitter trends in the UK. Not bad for a group of 350 Victorianists – especially given that their presence on Twitter mostly consisted of PhD students and early-career scholars.
Without further ado, then, the Storify feeds for BAVS 2016:
We couldn’t have achieved all this without our team of bursary tweeters, who volunteered their skills in exchange for a small subsidy (which in turn was graciously provided by BAVS and Cardiff University). They produced around a third of the live tweets during the conference.
It was a fantastic three days, but now it’s time to turn my thoughts back to all the projects I’ve been neglecting in the run-up to the conference – and to BAVS 2017: ‘Victorians Unbound’!
Today I won’t be posting a new research blog, because I’m busy running the international Victorianist conference ‘Consuming (the) Victorians’ (BAVS 2016). In addition to being a co-organiser, I’m behind all the conference website and social media for the event.
This week’s guest post was written by Daný van Dam, who recently submitted her PhD on postcolonial neo-Victorian fiction at Cardiff University.
Together with Megen and with Akira Suwa, she is putting together a special issue of the online journal Assuming Gender on the theme of ‘Consuming Gender’ (submission deadline 16 October 2016, see here). At present, Daný is setting up a new research project on non-English-language neo-Victorian writing.
Five women are missing. One was last seen when visiting a travelling circus. A well-off family notified the police when their daughter went missing after meeting someone in town – not long after, the girl’s mother also disappeared. A fourth woman, struggling with mental health issues, hasn’t been heard from since her first visit to a psychiatrist. Considering her state, the police are concerned about suicide. The fifth woman disappeared close to an old cemetery – people in the neighbourhood claim the cemetery is used for dark and satanic rituals. The police are looking for clues. The only name that links all five women is Dr. M…
A few weeks ago, we went to the theatre for my birthday present – a performance. At this point, my birthday was long past, but due to a bout of the flu, I’d missed my original gift. I chose to drag my partner, who’s less of a classical music buff than I am, along to a performance of Dr. Miracle’s Last Illusion by the Dutch, The Hague-based company OPERA2DAY. This blog provides some details about the show as well as my opinion about it.
OPERA2DAY are known for their alternative approaches to classical performances – in 2012 and 2013, they performed a collection of ‘lamenti’ – melancholic songs – by different composers in an old and empty hospital building in The Hague under the title Dolhuys Kermis. The title, which can be translated as ‘madhouse fair’, refers to asylums and madhouses in earlier centuries being open to the (paying) public for visiting, so people could gape at the supposed madness within.
Dr. Miracle’s Last Illusion was performed in the Royal Theatre in The Hague, but here, too, OPERA2DAY didn’t limit themselves to the stage. The performance was preceded by a selection of ‘side programmes’ in the different foyers of the theatre. The indefinability and repetitiveness of these mini-performances pointed back to the madness of Dolhuys Kermis – and of course, the theme of madness returns in Dr. Miracle, with one of the five women disappearing after a visit to a psychiatrist.
Dr. Miracle’s potential victim is not the only one in the performance who may be mad – another candidate is the good doctor himself. Dr. Miracle is a travelling illusionist. During one of his shows, he makes a mistake, leading to the death of an unknown young woman he asked to participate in the act. As she dies, Dr. Miracle catches a glimpse of what he thinks is the eternal light of the hereafter. Inspired by this experience, Dr. Miracle continues to experiment in an attempt to capture the moment of transition between life and death, but his attempts become increasingly cruel. As he becomes more and more willing to risk the lives of others, Dr. Miracle loses his own grip on life and the everyday world, no longer able to distinguish between the real and the illusionary.
With Dr. Miracle’s Last Illusion, OPERA2DAY wants to bring to life the period from the fin de siècle to the early twentieth century. While spiritualism was still a popular form of entertainment at this time (and taken seriously by many of its followers), scientific developments also rationalised what was before seen as mysterious and magical. Illusionism and spiritualism became increasingly close, with illusionists seemingly knowing things beyond what was normally possible and offering communications with the dead.
Dr. Miracle is played by Woedy Woet, a prize-winning Dutch illusionist who performs the tricks taking place on stage. His role is a silent one, though Tom Jansen provides a voice-over representing the doctor’s thoughts. In the programme booklet of Dr. Miracle’s Last Illusion, director Serge van Veggel provides a historical background for the performance. Writing about opera, he states that, like many things, operas mirrored the concerns of their age. Magic, psychology and spiritualism, as well as a touch of horror, played a large role in nineteenth and early twentieth-century opera. The pieces sung and performed in Dr. Miracle do not come from one opera. Instead, the performance can be considered a ‘pasticcio’ – the Italian word for pasty, in which various elements become one coherent dish. Pieces from operas and ballets from, among others, Bellini, Offenbach, Verdi, Wagner and Stravinsky are brought together to create a new narrative with different meanings. At the same time, the familiar pieces evoke their original contexts, providing the performance with additional layers.
Director Van Veggel also engages with performance history, seeing nineteenth and twentieth-century developments in recording imagery and sound as a way for performers to be given a life beyond death. The three sopranos taking the roles of three of Dr. Miracle’s victims perform in the ‘bel canto’ singing tradition, which focused on refinement and elegance, singing in the service of the text and the performance as a whole. They provide an homage to legendary opera singers from Dr. Miracle’s age, especially Nellie Melba, Lilli Lehmann and Adelina Patti.
While Dr. Miracle’s Last Illusion is a wonderful piece of work, the performance itself (the actual opera and dance pieces, taking place on stage) did not live up to the standard set by the larger whole around it. To be fair, this may have been because my expectations were very high. Nevertheless, the show as a whole was definitely worth visiting.
If you happen to read this from the Netherlands and are willing to invest a few hours of your time: for each performance, OPERA2DAY needs several volunteers for a moment of audience-participation. These volunteers get to attend the performance for free. For more information, see here (in Dutch).
It’s been a rough couple of weeks in the world. You deserve something light and playful to take your mind off it all.
Further to my recent post on poetry and cultural appropriation, I though I would gift you with one of the most bizarre and wonderful things I have seen this month – Katherine Stewart’s ‘Lady Got Bustle’, the steampunk parody of Sir Mix-a-Lot’s 1992 hit ‘Baby Got Back’.
In this video, a group of (mostly) white people sing about how ‘when a lady slips by with her cage in the sky / Then you don’t need to ask why / You just swoon’. Is this a case of cultural appropriation? Why or why not? This certainly isn’t the first music video to appropriate Sir Mix-A-Lot’s well-known ‘Baby Got Back’, but it is the only one I know from steampunk, which may be one of the whitest subcultural trends ever (with some very noteworthy exceptions).
Here’s a definition of cultural appropriation from actress Amandla Stenberg (appropriately, on a website called Bustle):
Appropriation occurs when a style leads to racist generalizations or stereotypes where it originated but is deemed as high-fashion, cool, or funny when the privileged take it for themselves. Appropriation occurs when the appropriator is not aware of the deep significance of the culture they are partaking in.
With that definition in mind, have a look at the video below (lyrics pasted beneath for your reading pleasure).
Oh good heavens, Rebecca! Gaze upon her posterior. It is vulgar in the extreme. She resembles one of those airship-captain’s doxies! But honestly, who can comprehend those roguish adventurers? Certainly, they only associate with her because she bears the common stamp of a draggle-tailed guttersnipe. It strains credibility how very – noticeable, how prominent – I say! – it’s deplorable! She’s quite simply… Steampunk!
Men favor large bustles and I cannot fib
You gentlemen may find me glib
But when a lady slips by with her cage in the sky
Then you don’t need to ask why
You just swoon, take out your salts
Now claim her for the next waltz
She’s bold and her fashion’s daring
You know that you can’t stop staring
These ladies are worth the hype
So take their daguerreotype
Those old boys try to counsel you
But that bustle creates such voodoo
Ooh, handsome bounder
Don’t be tempted to try to hound her
Just woo her, woo her
Don’t you even think of trying to fool her
You see her dancing
She’d appreciate some romancing
For she’s sweet, neat
And that bustle is packing heat
She’s tired of being told
That her fashion sense is old
Take a roguish man and see him smirk
She has to wear a skirt
So gents! (Yes?) Gents! (Yes?)
Has your lady a bustle dress? (Oh yes!)
Tell her to twirl it! (Twirl it!) Twirl it! (Twirl it!)
Twirl that party dress!
Lady has bustle!
(Tea-party face with an airship ruffle)
Lady has bustle!
They like them flounced, and long
And made of fabric strong
And when she goes up stairs, you must be careful sir
That you don’t step on her
For she’ll box your ears
Oh my! and again, Oh! My!
I shan’t tell you again sir
For that behavior is for the birds
You like a challenge?
Then chivalry’s a must sir
Find a girl with bustle
And then you’re in for a tussle
You may watch a kinetiscope
And see scrawny women thin as a rope
A real man wants ruffles
They know they need a bustle
A word to the genteel fellow, you know we like you
We won’t ever spite you
But we must be quite frank when we say that we want
A debonair man
Steampunk is most sublime
A lot of punks won’t like this rhyme
For they’re too busy trying to define it
While the rest of us want to play
For we’re here from far and near
And we wish to have a lovely time, dear
So, Darlings! (Yes?) Darlings! (Yes?)
Have we made our point at last? (Oh yes!)
Then turn around! Show it off!
And no one will dare to scoff!
Lady has bustle!
Lady has bustle!
[Director: Katherine Stewart
DP and Editor: Christopher Sheffield
from an idea by Katherine Stewart and Sue Kaff]
You’re welcome, internet.
This parody is certainly funny, but I don’t think it’s a case of appropriation. It’s not taking something negatively associated with Black culture and using it to try and be cool (unless the definition of that word has changed since I was a kid). It also definitely understands the significance of the symbol it’s appropriating (booty) and how to humorously translate this to steampunk culture (bustle) without being mocking or condescending. As always, you are welcome to disagree with me in the comments.
While I was researching this question, though, I did turn up some very interesting facts about bustles and booty.
[White women] themselves were regarded as “prostitutes” in the late nineteenth century if they exhibited this feature (Gilman, 1985, 94–101). Thus, white men and women both, when labeled “deviant,” were paralleled with “black” sexuality. Such associations, however, did not prevent middle-class white women of the period from donning bustles. This appropriation of a “big behind”—a sign of grotesquerie, later connoting a sign of luxurious beauty in the bustle—illustrates the complexities of white responses to racial and sexual difference, which elicit both repulsion and desire. (p. 101, emphasis mine)
So, it seems as though Katherine Stewart isn’t the first to make the connexion between the booty and the bustle. The Victorians (as always) were way ahead of everyone in cultural appropriations of Black bodies and fashions. If any of you Victorianists out there happen to know more about the parallels between these two beauty icons, please – let me know in the comments.
This post is a teaser for my weekly review series on Penny Dreadful season 3, starting this Friday (6 May) and featured over at the Victorianist. [UPDATE: You can now find my first review in all its glory at this link.]
When the first season of Penny Dreadful was announced in 2013, we were unsure what to expect. Initially, it drew comparisons to Alan Moore and Kevin O’Neil’s The League of Extraordinary Gentlemen comics, which also weave characters from classic literature into an original story. The similarity soon proved to end there, however. Trace Thurman of Bloody Disgusting recently called Penny Dreadful‘one of the best horror shows currently airing on television’, and it’s hard to argue with this assessment.
Wonderfully atmospheric and deeply unsettling, Penny Dreadful delivers its horror without straying too far into the camp and gore that have become staples of contemporary horror (though the first few episodes are relatively gruesome). This is not to say that camp and gore don’t have their place – I’ve enjoyed few shows more than Ash vs Evil Dead this year – but it’s been difficult to find a good example of finely balanced terror and suspense.
The first season draws its plot indirectly from Bram Stoker’s Dracula. Mina Murray has gone missing and her father assembles a team to search for her. As this tangential relationship might suggest, Penny Dreadful is often more interested in exploring where characters have been than where they are going. Both superficially and fundamentally, this is a show about the past, and its central characters are all running from it. Sir Malcolm Murray (Timothy Dalton) – Mina’s father – and his manservant Sembene (Danny Sapani) are scarred by their colonial experiences in Africa. Their colleague Vanessa Ives (Eva Green) has committed a terrible transgression, by which she is haunted literally, as well as metaphorically.
American gunman Ethan Chandler (Josh Hartnett) is running from his family, and naturally carries another dark secret as well. Dorian Gray (Reeve Carney) and Victor Frankenstein (Harry Treadaway) are … well … Dorian Gray and Victor Frankenstein (I won’t spoil the reveals for you). Some additional characters come and go over the course of the series’ first two seasons, all with similar stories. Will any of them be able to come to terms with who they are, and what they have done?
In the ‘last season on Penny Dreadful’ segment this week, we were reminded of the centrality of this question to the show’s overall message. ‘Do you believe the past can return?’ asks Miss Ives. ‘It never leaves us,’ replies Sembene. ‘It is who we are’. So, with the first episode of season 3 fresh off the airwaves, will the third season demonstrate a similar historical awareness? Will it continue what we loved about the first two, while also correcting some of their flaws? And to what extent can it be labelled ‘neo-Victorian’? I will be exploring these questions with each new episode, and sharing my thoughts with you on the Victorianist, starting this Friday (6 May, 2016).
In the meantime, if you’re eager for more Penny Dreadful, I highly recommend the show’s YouTube channel and production blog. Both are chock-full of engaging and informative material. Depending on your location, you can even watch the season 3 premiere for free right here.
Are you a Victorianist, or do you just love all things Victorian?
Then feast your eyes on the 2016 British Association for Victorian Studies’ Call for Papers: ‘Consuming (the) Victorians’, brought to you with the help of the invaluable Tom de Bruin! At this 3-day conference, hosted by Cardiff University, we’ll be looking at Victorians practices of consumption, as well as how the Victorians are consumed today. Send your proposal to BAVS2016@cardiff.ac.uk by 1 March, 2016:
The Victorian age saw the emergence of ‘modern’ consumer culture: in urban life, commerce, literature, art, science and medicine, entertainment, the leisure and tourist industries. The expansion and proliferation of new mass markets and inessential goods opened up pleasurable and democratising forms of consumption while also raising anxieties about urban space, the collapse of social and gendered boundaries, the pollution of domestic and public life, the degeneration of the moral and social health of the nation. This conference is concerned with the complexity and diversity of Victorian consumer cultures and also seeks to consider our contemporary consumption of the Victorian/s.
We welcome proposals for individual papers, and encourage proposals for panels (3-paper sessions), on, but not limited to, the following topics:
Urban spaces and city life: the flâneur/flâneuse, the steam/trolley bus, the rise of suburbia, street cultures
Transformations of the countryside: the Victorian pastoral, the country retreat, the farm, garden cities and model villages, alternative communities
Commerce: the department store, fashion, retail and advertising
Politics: new political mass movements, Chartism, feminism, Fabianism, ‘Victorian values’ in the present
Art: Pre-Raphaelitism, Impressionism, arts and crafts, photography, illustration
Science and technology: the railway, the Great Exhibition and exhibition cultures, the lecture, the gramophone, physics, biology
Science, spectacle and performance: taxidermy, the magic lantern, the diorama, the cinematograph
Literature: the magazine, newspaper, sensation, railway, crime and other popular fiction markets, self-help, religious tracts
Consuming life styles: the Girl of the Period, the Aesthete, the Dandy, the Decadent, the New Woman, the Lion/ess, the fashionable author, interview cultures
Cultures of entertainment and leisure: oper(ett)a, theatre and melodrama, the recital, music halls and concert halls, sheet music and instrument manufacture, the amateur, the club and associational culture, the bicycle, sports, boating
The tourist industry: sightseeing, the preservation of and popular attraction to historical buildings (e.g. National Trust), Baedeker, new (imperial) travel cultures
Medicine and the market place: medical treatments and therapeutics, medical advertising, professional practices, public and private treatment practices, institutional medicine, alternative therapies
The pleasures and perils of consumption: music, food cultures, cooking, chocolate, alcohol, addiction, opium, fashion, smoking, sex
Consuming bodies, moral contagion, social reform and the law: the city at night, prostitution, homosexuality, pornography, the ‘Maiden Tribute’ and trafficking; censorship, temperance, Obscene Publications Acts, Contagious Diseases Acts, National Purity Association, social purity activism, feminism, social welfare movements
The ‘other’ Victorians: the Victorians through the lens of their 19th-century contemporaries; the Victorians and 19th-century Europe; European Victorians
The Victorians and their pasts/Victorian consumption of earlier periods: Victorian medievalism in art and architecture, the Victorian Renaissance
Victorian afterlives: how the Victorian/s have been consumed by subsequent periods, such as the Modernists, Leavisites, faux/retro/post- and neo-Victorianism, heritage film and costume drama, the Victorians in contemporary architecture, art, interior decoration, music
Reception in the Impressionist galleries, with access to the Victorian art gallery, followed by an organ recital and conference dinner, National Museum Cardiff.
House tour of Cardiff Castle, with interior decoration by Victorian architect William Burges.
All conference presenters are required to be members of BAVS or an affiliated organisation (e.g. AVSA, NAVSA).
Please submit an individual proposal of 250-300 words OR a 3-4 page outline for a 3 paper panel proposal (including panel title, abstracts with titles, affiliations and all contact details, identifying the panel chair), to BAVS2016@cardiff.ac.uk by the deadline of 1 March 2016. Papers will be limited to 20 minutes. All proposals should include your name, academic affiliation (if applicable) and email address.
Conference organisers Megen de Bruin-Molé (PGR, Cardiff), Rachel Cowgill (Music, Huddersfield), Daný van Dam (PGR, Cardiff), Holly Furneaux (English, Cardiff), Kate Griffiths (French, Cardiff), Catherine Han (PGR, Cardiff), Ann Heilmann (English, Cardiff), Anthony Mandal (English, Cardiff), Akira Suwa (PGR, Cardiff), Julia Thomas (English, Cardiff), Keir Waddington (History, Cardiff), Martin Willis (English, Cardiff)
Things are happening in the world of popular (neo-)Victorianism! This week not one, but two calls for papers graced my inbox. The first is for a symposium (a.k.a. a one-day conference) in Amsterdam on historical and neo-historical fiction, and the second is for a symposium in Portsmouth on Victorian materiality and the material object. If you’re interested in alternate history, material culture, steampunk, period drama, retrofuturism, nostalgia, or just the past (or the present) in general, do submit an abstract.
If you’re not in the business of giving conference papers, you can come along and listen for free, or, since I’m likely to attend both of these events, you can follow my experience at the symposium on Twitter, and read my thoughts about the event here, after the fact.
And now the CFPs!
1. Reading the Present through the Past: from Historical to Neo-Historical Fiction
Ever since the turn of the twenty-first century, literary and cultural returns to earlier periods have become increasingly frequent and visible. Novels on past eras dominate the shortlists of literary prizes and the number of historical films and TV series has exploded. The popularity of Hilary Mantel’s books about Henry VIII’s court, the success of TV series like Sherlock and The Americans and of graphic novel series like Alan Moore and Kevin O’Neill’s The League of Extraordinary Gentlemen are cases in point. Many of these works, however, seem to relate to the past in ways that are different from earlier historical novels and films.
According to Elodie Rousselot, editor of the recent collection Exoticizing the Past in Neo-Historical Fiction (2014), literary contributions to this trend belong to a new subgenre of contemporary historical fiction, the ‘neo-historical novel’. Even though it is set in the past, ‘neo-historical’ fiction aims to discuss and mediate the concerns and occupations of our current age. In establishing overt connections to the present day, these works display an awareness of their own constructedness and open ways for a critical reflection on exoticizing approaches to the past. For this one-day symposium, we invite contributions that take up the challenge to think about the continuities and specificities of contemporary (neo)historical fiction and explore it as a literary and cultural phenomenon.
Possible topics include, but are by no means limited to:
• the neo-historical imagination as a literary movement and/or broader cultural phenomenon (literature, film, TV, art, adaptations, etc.)
• comparisons between (re)constructions of different historical periods (neo-Victorian, neo-Gothic, neo-Tudor, neo-medieval, neo-Golden Age, neo-WWI/WWII, alternate history, etc.)
• theoretical and conceptual approaches to neo-historical fiction (postmodernism and post-postmodernism, mashup, cultural memory, affect, postcolonialism, posthumanism, utopia/dystopia, etc.)
• connections within and across national and linguistic borders and communities; world literature and cosmopolitan memory
Please submit abstracts of 250 words for 20-minute papers in English, together with a short biography, to Daný van Dam at email@example.com by 18 December 2015.
2. All Things Victorian: Exploring Materiality and the Material Object
The rapid industrialisation of the nineteenth century, with its unprecedented increase in the mass-production, proliferation and consumption of machine-made material objects and things, forced a reconsideration of the relationship between the self and the physical world in Victorian culture. Since then, neo-Victorian re-imaginings of the past have recurrently appropriated Victorian materialities as both a means of re-fashioning the past for contemporary consumption and of engaging with the past through haptic communication. This interdisciplinary conference seeks to explore the material object, its invested meaning and the ways in which this has been presented and re-presented in Victorian culture and contemporary neo-Victorian re-imaginings.
We invite delegates to submit abstracts exploring Victorian materiality and the material object in literature, cultural studies, the visual arts, film, television adaptation, fashion and consumer culture. Topics of interest include, but are not limited to:
• The representation of Victorian things, objects and artefacts in: Victorian and/or neo-Victorian literature; film, television and drama adaptations; fashion and textiles; Victorian and/or contemporary consumer culture.
• The material object: Victorian clothing, jewellery, furniture, architecture, photographs, mementos, keepsakes, memorials, archives etc.
• Human interactions and engagements with materiality and the material object.
• Theories of material culture: thing theory, object theory, cultural memory theory, trace theory.
Please submit proposals of 250-300 words for papers of no more than 20 minutes along with a 50-70 word bio-note to firstname.lastname@example.org. The deadline for accepting proposals is 31 December 2015 and acceptance will be notified by 15 January 2016.
We’re always told that we should never judge a book by its cover, but the truth is that a lot of work goes into making sure we do. A cover generally gives us an immediate idea of the genre, register, and target audience of a book. A good cover will also generate excitement and interest, and make a book stand out from the texts around it. Book design may even save the independent publishing industry, where according to The Independent publishers are ‘springing up to provide a certain kind of reader with what they want, more than ever: the book as beautiful, covetable, keep-able object’.
Because the cover is such an important part of selling books, often the same book will have multiple different covers for various countries and age groups. Take the ever-increasing variety of Harry Potter covers as an example. Book covers also generally get an update when they’re reprinted many years later, as was the case with the subject of today’s blog post: Kim Newman’s series of alternate-history vampire novels, Anno Dracula. You may recall that I posted a few weeks ago about the second book in this series, The Bloody Red Baron, and how it deals with the balance between entertainment and ethics in its reproduction of WWI.
These books were originally released in the ’90s, when they were marketed to a very different audience. As you can see below, the original cover for Anno Dracula (the first book in the series; 1992) has a distinct Anne Rice feel to it:
The reprinting from Titan Books, however, has a very contemporary feel, and taps into the growing neo-Victorian market. In a blog post on Titan Books, illustrator Martin Stiff of Amazing 15 talks about how they arrived at the new cover, and what was discarded along the way. Martin was kind enough to let me reprint the post for you here:
For a series of books where the characters and plot span the entire twentieth century it was always going to be tough to come up with a series design which could evoke the period while also being consistent across the range.
We tried some more traditional approaches to begin with, a half-and-half style cover with a lady vampire and an image which suggests the particular decade the book is set but these felt a little boring, like we’d seen them a million times before.
Mulling it over we struck upon the idea of a continuing series of posters, with each designed in the style of the period. The first, Anno Dracula, is set in the 1880s, so I mocked up a faux Victorian music-hall poster. This sat nicely with the adult nature and looked quite sophisticated – and the central idea of the poster fashion changing with each title was a great concept. But for some reason the idea never struck home with everyone and it got shot down. But like any good vampire it was soon to rise from the dead…
Our next round of covers used a simple framing device and an ‘object’ – a blood-stained locket on Anno Dracula, an Iron Cross on The Bloody Red Baron and so forth. For a while this was the cover Titan used for sales purposes and it seemed for a while it was going to be the final cover too. Never completely comfortable with the concept we continued to fiddle with the cover and tried some versions which combined the ‘object’ idea and the ‘poster’ idea but again, nothing really worked as well as we wanted it too.
It’s very easy, after producing so many different ideas, to get a little bogged down with the approaches you’ve already tried so we went back to the drawing board and tried some entirely new directions. The concept with these were to use a well-known building which could illustrate the plot of each book (hence Buckingham Palace for Anno Dracula). We kicked about the illustrated church cover for a while, with different logo treatments and different colour ways, but again it fell at the final fence.
Finally – and as frustrating as this may seem – we went right back to the beginning! The original music-hall poster concept seemed to have lodged into people’s imaginations and more we deviated from it with the other ideas the more we all realised how much we liked it. We brought it back to the table and continued working on it (we rejigged some of the text, added new quotes, etc. – and we actually made it look like a real poster on a wall) and suddenly we had our final cover!
Part of designing a series of book covers is ensuring any ideas you might have will work across the entire range. So, using the principle concept for Anno Dracula, we worked up the second book – The Bloody Red Baron. We were lucky enough to find an evocative (and out of copyright) WWI German propaganda poster and with a little twist (the black clouds turning into bats) we hit upon a really eye-catching cover!
As you can see below, the final cover for The Bloody Red Baron ended up being slightly different, though the overall idea is the same:
The next two books in the series, Dracula Cha Cha Cha (1998) and Johnny Alucard (2013), follow a similar pattern:
What do you think? Do these covers make you want to pick up a copy?
If you’re interested in learning more about book cover design, BBC Radio 4 has a 30-minute podcast on The Art of Book Cover Design, with John Wilson. There’s also a nice TED Talks on the subject with Chip Kidd, associate art director at Knopf, and a video from Random House where they interview some of their designers. You may also want to check out Lousy Book Covers, a Tumblr account dedicated to sharing some of the best of the worst.