![]() ![]() Covers such as The Idiot, Crime and Punishment and The Double and The Gambler by Fydor Dostoevsky, House of Meetings by Martin Amis, and K. ![]() The influence of the avant-garde is often apparent in Mendelsund’s work. Unsurprisingly, recent reinterpretations of Kafka (at least the ones that have eschewed the non-design of an author photograph) have incorporated elements taken from Surrealist photography, modernist posters, and silent film. These movements - which smashed together fine art, design, typography, photography, montage, and film - burgeoned in Central and Eastern Europe in aftermath of the Russian Revolution and the First World War, a period when Kafka himself was writing (he died in Vienna in 1924). What particularly interested me, however, is that they are also a surprising direction for Mendelsund to go in.Īs Peter himself notes in his original post, the natural impulse when designing Kafka is to draw on the avant-garde art movements of the early 20th Century. The covers are exceptional designs and surprising reinterpretations of Kafka. ![]() I posted about Peter Mendelsund’s reinterpretations of Kafka for Schocken Books rather breathlessly earlier this week, and I wanted to revisit them now I’ve had some time for greater reflection. ![]()
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