Covers of the High and Low: Attractions and Reflections Essay -- Book

Covers of the High and Low Attractions and Reflections When preparing a book for publishing, companies surely convene to agree upon a suitable cover - its design, size, color, texture, print size and design, and so on. Not one of these ingredients would be arbitrary, but each seems to perform two functions - attracting the appropriate reading audience, and reflecting the texts matter in an intriguing manner. In short, the bestseller cover seems to work to create a certain aura which acts as a stylized extension, and/or abbreviated compact of the atmosphere produced by the words within. Often a picture appears centralized on the cover - an image to catch the eye more quickly than pure printed words would. At a moments glance, the passer-by has already noticed an image, and then continues to process its meaning, aided by the ensuing title and perhaps authors name. Certain expectations and questions be inspired, as techniques of the cover take effect in the mind of the potential read er. The meaning derived from the covers collaborating external signifiers is often fulfilled within the internal text. Because the cover is ruminative of the novels internal workings, and often its high/ secondary cultural classification, the first reader/cover encounter could both determine a readers initial acceptance or rejection of the book, and be somewhat prophetic of his/her subsequent reading experience. In this substance, the bestseller cover is effective in reflecting the inner substance of the writing (including high or humbled cultural quality) in an intriguing manner which attracts appropriate readers. Danielle Steeles Vanished portrays a small picture - an almost outlined (rather iconic) suggestion really - of a young male child in what ... ...s traits of the low cultural bestseller converge together in the compact, physical realm of the cover to reflect the contents most popular strengths in a way that is provoking, and often enigmatic. The use of image and other signifiers of the cover is handled differently by high cultural bestsellers, as their literary self-perceptions are different. Hence, although both high and low cultural bestsellers use similar methods of content reflection, their covers are remarkably dissimilar, owing to 1.The difference in the publishers perception of the books strengths (such as art, or entertainment), and 2.The buns audience the publisher wishes to attract, based upon these perceptions. All bestsellers are popular, and their charismatic covers, when channeled to the appropriate audience, must be imperative in their achievement of such immense popularity.