Portfolio / Sukruti Anah Staneley by Sukruti Anah Staneley

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s u k r u t i

a n a h

s t a n e l e y

f$l i o sukrutianah@gmail.com 1

www.sukrutianahstaneley.com

cover design

s u k r u t i a n a h s ta n e l e y

fonts c o l o u r pa l e t t e

futura medium

assignment

To create a paperback cover for a memoir of a 75 year old woman who overcomes a rare illness.

THE BOOK OF JASMINE

THE BOOK OF JASMINE JASMINE ANAH

JASMINE ANAH

As a part of this exercise the class was asked to pre-select a flower to use as a part of the book name and in the cover imagery.

solution

For this assignment, I chose the Jasmine flower. On receiving the brief, I chose a colour scheme that was both calming and subliminal. However, the cover needed to communicate a medical aspect, so I decided to use an X-ray along with super-imposed Jasmine stems. These are the two options.

one hour

c o l o u r pa l e t t e

cover design

practice

Used QuarkXpress to create these two collages, using only images and lines in greyscale and .psd format as layers. The first piece is inspired the palette of Mughal architecture. The second is meant to be more playful and uses patterns.

two hours

s u k r u t i a n a h s ta n e l e y

fonts

gothic

std

marion std

c o l o u r pa l e t t e

letter

half an hour

assignment

Death of a Salesman is a 1949 play written by American playwright Arthur Miller. It was the recipient of the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. This is a script that explores the relationship between father and son who are forced to deal with their acheivements and expectations of each other. The brief was to NOT use an image of a salesman.

solution

I decided to use an illustration on the book cover and treated these illustrations to look like decaying flowers, the idea was to be minimalist and yet convey the delicacy of this relationship.

cover design

half an hour

c o l o u r pa l e t t e

fonts

avenir heavy

avenir heavy monotype corsiva

practice

I wanted to recreate some of the covers I was inspired by, but adapt them to different sizes and treatment. In this I used my photograph from Istanbul that I felt conveyed an essence from the book.

s u k r u t i a n a h s ta n e l e y

cover design

assignment one hour

c o l o u r pa l e t t e

Song of surrender: a centenary tribute to MS Subbulakshmi has a collection of articles on MS and her music and has been published by Sruti. The book prints rare photographs, caricatures and paintings which enrich the work. MS was one of the most popular singers of Carnatic music and its most famous face within the country and across the globe. These articles curated by Gowri Ramnarayan (her grand niece) and V Ramnarayan (the editor of Sruti) are a tribute to the phenomenon that was MS. I wanted to use one of her images that is lesser known and depicts MS in her younger years.

MODERN NO. 20

adam cg pro

fonts

MODERN NO. 20

adam cg pro

solution

This bookâ&#x20AC;&#x2122;s original cover has a very classic look to it, which I wanted to maintain. To do this, I kept the copy limited to the original cover and chose a black and white colour palette to do justice to the classic icon that MS is. I have three options here that take off from the same image but are treated slightly different in each.

s u k r u t i a n a h s ta n e l e y

c o l o u r pa l e t t e

assignment

This is a book that has three stories unravel in unexpected ways through the narrative of one man. The idea was to create an alternative cover that offered a sense of mystery and yet suggested a love affair.

caledonia

std

new

caledonia

std

fonts

new

solution

I chose an old photograph but kept the faces hidden. There is a sense of unknown that I wanted to capture and it seemed an interesting route. The typography is simple and was a lot of fun to work within a serif font.

half an hour

cover design

c o l o u r pa l e t t e

assignment

In this book, Olaf Olafsson writes an intimate yet sweeping story of a New York neurologist and the three women who change his life An overlooked pianist who finally receives fraught success after decades of disappointment. An elusive dancer whose untimely death her fiancĂŠ is desperate to untangle. A mysterious patient who is comatose after a violent accident. century gothic bold century gothic

fonts

The cover brief was to convey a sense of suspenseful drama and scientific undertones.

solution

I used an X-ray of the brain as a pattern and superimposed piano sheet music across the cover. Each of these elements draws from the various characters that make an appearance through the book. I chose to use a darker palette of colours to bring in the element of suspense.

half an hour

ST ORY BY

AND

ILL USTR ATIONS

SNEHA

SH AR MA

the

R A V E Nâ&#x20AC;&#x2122;S W A Y H O M E

pa p e r b a c k c o v e r d e s i g n

s u k r u t i a n a h s ta n e l e y

THE KID AND THE WOLF

There was once a little Kid whose growing horns made him think he was a grown-up Billy Goat and able to take care of himself. So one evening when the flock started home from the pasture and his mother called, the Kid paid no heed and kept right on nibbling the tender grass. A little later when he lifted his head, the flock was gone.

THE KID AND THE WOLF AE SO P

INR 199 CHILDRENâ&#x20AC;&#x2122;S FICTION WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

pa p e r b a c k c o v e r d e s i g n developing the series look

din condensed bold c o l o u r pa l e t t e

fonts

gill sans light

three hours

assignment

The assignment was to create a paperback cover for a favourite Aesop Fable, aimed at children between the age of 9-15 years. The idea was to maintain an intelligent design and not use ‘Disney-like’ characters.

THE PEASANT AND THE APPLE TREE

A peasant had in his garden an apple tree which bore no fruit but only served as a harbor for the sparrows and grasshoppers. He resolved to cut it down, and taking his axe in his hand, made a bold stroke at its roots. Would the tree breathe its last?

THE PEASANT AND THE APPLE TREE AESO P

INR 199 CHILDREN’S FICTION WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

solution

For this assignment, I used polygon-style illustrations, one for each character, coming in partially and large from both sides of the book cover. Most Aesop Fable covers we see tend to have a painterly visual, but with this cover, I wanted to refresh the design to attract a young child. The colour scheme is three-fold, with one colour staying constant through the series of other Aesop Fable titles. I chose to push this assignment further by looking at it as a possible series. You will see in the second cover how the style remains, but the varying colour and overall look bring the fables together. An entire series would be a lot of fun to becuase of the varied subjects and simplicity.

s u k r u t i a n a h s ta n e l e y

den subject is blown wide open. New connections are made, n e w f u t u re s a p p e a r. G h o s h i s t h a t k i n d o f w r i t e r, a n d t h i s i s t h a t k i n d o f b o o k .”

Naomi Klein, author of This Changes Everything

T H E G R E AT D E R A N G E M E N T

“On very rare occasions, a writer marshals such

searing insight and storytelling skill that even a well trod-

Are w e dera n ged?

A M I TAV G H O S H

Th e a cc la imed In dia n no ve list A mit av Gh o sh a rgu es t hat fu t ure gen erat ion s m ay we ll th in k so. H ow el se t o expl a in o ur ima gin at iv e f ail ure

assignment

in t h e f a ce of glo ba l w ar min g? In h is f ir st ma jo r bo ok of n o nf ict io n s inc e In a n An t iqu e L a n d,

The brief was to redesign the latest title from author Amitav Ghosh as a paperback. The cover needed to look classic and yet convey a sense of seriousness.

G h os h exa min es ou r in a bilit y—at

AMITAV GHOSH T H E G R E AT D E R A N G E M E N T C L I M AT E C H A N G E A N D T H E U N T H I N KA B L E

t h e lev el o f lit erat u re , h ist or y, a n d p olit ic s—t o gras p th e sca le a n d vio len c e o f climat e c h a ng e. Gh o sh en ds by su ggest in g t hat p ol itic s, m uc h like lit eratu re, h a s be co me a matt er o f pe rs on a l mo ra l recko n ing rath er t h an a n aren a o f c o llec t ive a c -

solution

Here are the two options I created based on the book’s content, using a palette of colours that offer a sense of fear and ruin. It was also necessary to organise the text heirarchy prioritising the author’s name, followed by the title and subtitle of the book.

t ion . Bu t t o lim it f ic tio n an d p ol -

INR 250

it ic s t o in dividu a l mo ra l

NON-FICTION

a dve nt u re c ome s at great co st .

WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

“ C a p t i v a t i n g . . .T h e l i g h t n e s s a n d a g i l i t y o f G h o s h ’ s w r i t i n g succeeds in keeping all the urgency and the shadows of s o m e t h i n g w e c a n n o t r e a l l y l o o k a t : t h e d e s t i n y o f m a n k i n d .” Giorgio Agamben

pa p e r b a c k c o v e r d e s i g n

subject is blown wide open. New connections are made, new f u t u re s a p p e a r. G h o s h i s t h a t k i n d o f w r i t e r, a n d t h i s i s t h a t k i n d o f b o o k .” Naomi Klein, author of This Changes Everything

A re w e d e ran g e d ? Th e ac cl a i m e d I n di a n n ov el i s t A m i t a v Gh o sh

AMITAV GHOSH

avenir heavy

avenir next regular

exp la in o ur i m ag i n at i ve fa i l u re i n t h e f ac e o f gl o b a l w ar mi ng? In h is f i rs t m a j or b o ok of n o nf i ct i o n s i n c e In a n A nt i qu e L an d, G hos h exa m in e s o ur i n ab i li t y— at th e l e v e l of l i t e rat u re, h i s t or y, a n d p o l it ic s — t o gra s p t h e s ca l e a n d v i ol e n ce of c li m at e ch an g e.

fonts

a rg u es th at f ut u re ge n e rati o n s m a y w e ll th i n k s o. H ow e l se to

T H E G R E AT D E R A N G E M E N T

“On very rare occasions, a writer marshals such searing insight and storytelling skill that even a well trodden

to view the jacket, j u m p t o pa g e 28

Gh o s h e nd s b y s ug g e s t i ng t h at p o l i ti c s , m uc h l i ke l i t e ratu re, h a s aren a o f co l le ct i v e a ct i on . B u t t o l i m i t fi c ti on a n d p ol i t i cs t o i n div id u a l m ora l ad v e n tu re c om e s x at g reat c os t. Th e c l i m at e c r is is wh i ch f ic t i on , G h os h a rg u e s , i s t h e b e s t s u i t e d of al l cu lt u ra l f o r m s . H i s b o ok s e r v e s a s a g reat wr i t e r ’s s um m o ns to c o nf ron t t h e m o s t urge n t t a s k of ou r ti m e .

T H E G R E AT DERANGEMENT

c o l o u r pa l e t t e

a s ks u s to i m ag i n e ot h e r fo r m s o f h um a n ex i s t en c e — a t as k t o

A M I TAV G H O S H

b e co m e a m att e r of pe r s on a l m ora l re ckon i n g rat h e r th a n a n

C L I M AT E C H A N G E A N D T H E U N T H I N KA B L E

INR 250 NON-FICTION WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

s u k r u t i a n a h s ta n e l e y

D E AT H TOURISM

D E AT H T O U R I S M

A timely volume on an irresistible subject, this inquiry exposes the intersection of leisure with the inhumane, giving insight into how people respectfully share a public space that is both free and sacred, compelling and tragic.

BRIGITTE SION is a fellow at the Center for International Research in the humanities and social sciences, a joint initiative of the French National Center for Scientific Research and New York University. She is also author of the forthcoming Absent Bodies, Uncertain Memorials: Performing Memory in Berlin and Buenos Aires.

Auschwitz. Hiroshima. Cambodiaâ&#x20AC;&#x2122;s killing fields. The World Trade Center. The mass graves of Rwanda. These places of violent death have become part of the recreational landscape of tourism, an industry that is otherwise dedicated to pleasure and escape. In dark places like concentration camps, prisons, battlegrounds, and the sites of natural disasters, how are memory and trauma mediated by thanotourism, or tourism of death? In Death Tourism, Brigitte Sion brings together essays by some of the most trenchant voices in the field to look at the tensions created by the juxtaposition of human remains and food stands, political agendas and educational programs, economic development and architectural ambition. How does a state redefine its national identity after catastrophic trauma? And what is the role of this kind of tourism in defining their new identity? A timely volume on an irresistible subject, this inquiry exposes the intersection of leisure with the inhumane, giving insight into how people respectfully share a public space that is both free and sacred, compelling and tragic.

INR 250 CULTURE STUDIES | PERFORMANCE STUDIES WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

EDITED BY

BRIGITTE SION

assignment

To break away from the traditional academic book covers by creating a beautiful composition to convey the weight of an academic title. This book also explores a very serious phenomenen but enters with a refreshing argument.

INR 250 CULTURE STUDIES | PERFORMANCE STUDIES WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

DISASTER SITES AS RECREATIONAL LANDSCAPES D E AT H TO U R I S M

In Death Tourism, Brigitte Sion brings together essays by some of the most trenchant voices in the field to look at the tensions created by the juxtaposition of human remains and food stands, political agendas and educational programs, economic development and architectural ambition. How does a state redefine its national identity after catastrophic trauma? And what is the role of this kind of tourism in defining their new identity?

DISASTER SITES AS RECREATIONAL LANDSCAPES

D E AT H T O U R I S M

EDITED BY

BRIGITTE SION

pa p e r b a c k c o v e r d e s i g n

gill sans bold

gill sans light

D E AT H TO U R I S M

D E AT H TOURISM

BRIGITTE SION is a fellow at the Center for International Research in the humanities and social sciences, ajoint initiative of the French National Center for Scientific Research and New York University. She is also author of the forthcoming Absent Bodies, Uncertain Memorials: Performing Memory in Berlin and Buenos Aires.

DISASTER SITES AS RECREATIONAL LANDSCAPES EDITED BY

INR 250

BRIGITTE SION

CULTURE STUDIES | PERFOR MANCE STUDIES WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

c o l o u r pa l e t t e

solution

I created three options for this brief, each is photographic in nature and uses images in flush. The strongest cover came in shades of brown and a deep blue-grey which used the remains of a dress placed at a museum in Germany. The textures recreated the landscape through their wrinkles and was powerful in this context.

three hours

fonts

gill sans semi bold

s u k r u t i a n a h s ta n e l e y

THE WITCHES

Gra n dm a mma love s t o t e ll a b o ut wi tch e s .

THE WITCHES

R ea l w i tche s a re the m o st d a nge ro u s o f all l i v in g c r e a tu re s o n e a rt h . The r e ' s no t hin g t h ey ha te s o m uch a s ch i ld r e n, a n d th ey wo r k a l l k ind s of t e rr if y ing s p e ll s to g et r i d o f t he m . H e r gra n ds o n l is te n s cl o se l y t o G ran d ma mma 's s t o rie s â&#x20AC;&#x201D;b u t no t hin g c an pr e pa re him fo r th e day he c o me s f a c e- t o - fa c e w it h T he G ra n d Hig h Wit ch h e r s e lf !

c o l o u r pa l e t t e

T h i s i s ab out re a l wi tch e s.

ROALD DAHL

T h i s i s n o t a f a ir y t a le .

ROALD DAHL assignment

The challenge that came with redesigning the cover of a Roald Dahl book, was to present something new and less Quentin-Blaquesque (taking some liberty with word inventing here). Newer editions have always been aimed at children, so the brief suggested working with a design that was irresistable to both the targeted readership, but also to keep in mind a slightly wider audience including the young adult sphere.

solution

INR 250 SCIENCE FICTION AND FANTASY PENGUIN BOOKS COVER DESIGN SUKRUTI ANAH STANELEY

I L L U S T R AT E D B Y Q U E N T I N B L A K E

Apart from being one of my most favourite books, I was excited about the brief to depart from the quintessential Dahl book cover. As a collector of the Dahl book series, I knew that I would want any new edition that was unique. From that perspective, I made a choice to consiously step away from the illustrated approach, and use photographs. I focused on image research that threw-up creepy yet comical references of women who were similar to the description of the witches from this book. The second option uses a collage I created and large typography for the blurb to be playful.

pa p e r b a c k c o v e r d e s i g n

fonts

din condensed bold avenir next heavy

THE WITCHES

They have bald heads that they hide with wigs, clawed hands

ROALD DAHL

that they usually hide with gloves, blue spit, large nostrils,

and masked human faces to cover their hideous face. T HI S IS NOT A FA IRY TA L E . T HI S I S ABO U T R E A L W I TCH E S .

THE WITCHES

toe-less feet that make it extremely painful to wear pretty shoes

THE WITCHES

TH IS IS NOT A FAI RY TALE .

ROALD DAHL

They have bald heads that they hide with wigs, clawed hands that they usually hide with gloves, blue spit, large nostrils, toe-less feet that make it extremely painful to wear pretty shoes and masked human faces to cover their hideous face. THIS IS A BOUT REAL WI TCHES .

INR 250 SCIENCE FICTION AND FANTASY PENGUIN BOOKS COVER DESIGN SUKRUTI ANAH STANELEY

INR 250 SCIENCE FICTION AND FANTASY PENGUIN BOOKS

THE WITCHES

COVER DESIGN SUKRUTI ANAH STANELEY

I L LU ST R AT E D B Y Q U E N T I N B L A K E

ILLUSTRATED BY QUENTIN BLAKE

three hours

s u k r u t i a n a h s ta n e l e y

humour. A touching book; and so funny, so likeable. TRUMAN CAPOTE INR 250

WINNER

OF THE P

ULITZER

A PENGUIN BOOK

CRIME LITERATURE PENGUIN BOOKS COVER DESIGN SUKRUTI ANAH STANELEY

No one ever forgets this book INDEPENDENT

PRIZE

trattatello

at h e l as r eg

fonts

Someone rare has written this very fine novel, a writer with the liveliest sense of life and the warmest, most authentic

HARPER LEE

TO K

HARPER LEE

One of the best novels I remember ... uniquely unsentimental THE GUARDIAN

ILL A

BIRD

ING MOCK

c o l o u r pa l e t t e

A lawyer's advice to his children as he defends the real mockingbird of Harper Lee's classic novel - a black man charged with the rape of a white girl. Through the young eyes of Scout and Jem Finch, Harper Lee explores with exuberant humour the irrationality of adult attitudes to race and class in the Deep South of the 1930s. The conscience of a town steeped in prejudice, violence and hypocrisy is pricked by the stamina of one man's struggle for justice. But the weight of history will only tolerate so much.

TO KILL A MOCKINGBIRD

'Shoot all the bluejays you want, if you can hit 'em, but remember it's a sin to kill a mockingbird.'

assignment

This was a particularly interesting cover redesign brief, for one of the most popular books in English literature. I had to try and create a unique cover, and this was realtively tough considering the many versions already in print.

pa p e r b a c k c o v e r d e s i g n

solution

I chose a complementary colour scheme that would not generally be associated with this book. Contrasting the dark and gothic nature of the book, I wanted the design to break away from the black and white covers. Since the dual occurence of this popular title, both as the book and the film, I chose to use images from the original film. The characters appear inside oblong rectangles, a shape that travels across the cover, but the only part you see is their eyes. The second cover is a striking graphic, however, it doesn't work as strongly as the first for a few reasons. The image of the dead bird pushes the plot too far and may suggest a story arc that is not true to the novel. It is possibly not recognisable and can be less effective on stands. Eitherway, the two options were great fun in creating.

three hours

s u k r u t i a n a h s ta n e l e y

c o l o u r pa l e t t e

wide palette and the largely untapped canvas of India’s North East. His new book, Time’s Barter, a collection of two prominent waka forms - haiku and senryu - transports us to the same kind of metaphorical spaces as these classical verse-

didot bold d i d o t i ta l i c

fonts

tender, sincere and uncompromisingly uses a

TIME’S BARTER

observational, descriptive, political, and by turns

didot

HAIKU AND SENRYU

narrative free verse to the succinct oriental structures, Kynpham Sing Nongkynrih’s poetry is

KYNPHAM SING NONGKYNRIH

Employing a variety of forms ranging from the

avenir book

HAIKU AND SENRYU

KYNPHAM SING NONGKYNRIH

forms would have in ancient Japan.

assignment

For this book of poetry, the brief was to bring together the beautiful landscape of Meghalaya -- the hometown of the poet -- and the style of the haiku prevalent in the work.

INR 250 CRIME LITERATURE WWW.BLACKBALLOONPUBLISHIN G.COM COVER DESIGN SUKRUTI ANAH STANELEY

solution

For this assignment, I used a photograph I made from the mountains in Upper Shillong for the background, tinted in a deep blue tint with overlays of the cherry blossom. To bring out the rain, I used thin lines across the cover.

three hours

pa p e r b a c k c o v e r d e s i g n

c o l o u r pa l e t t e

war a number of accounts

antique book cover fonts

war

Rerepudisquat pro blanďż˝ mus expero blaccae porro dit ant. Itatur Ciumquo exerum del in paris nonsequis aniďż˝ hilit pre nissima ximolum asima si berovitas sit most nonsequatur minulpa dolupta nia dit

a collection of stories 1912 TO 1984

practice

Part of an assignment to use InDesign to create a cover, making use of the line tool, pen tool and one image. This is a mock cover for a book on collected essays that surround the Hiroshima nuclear tragedy and what their lives are like now.

one hour

a family portrait

jacket design

s u k r u t i a n a h s ta n e l e y

T H E G R E AT D E R A N G E M E N T

A mit a v Gho s h wa s bo r n in Ca lc u tt a a nd grew u p i n In di a , Ba ng la de sh a nd Sr i L an ka. He s t ud ie d in D el hi , O xf ord a nd A lexan dri a and i s th e a u th or of The C i rc le o f Reas on, Th e S ha d ow Li ne s , I n A n A nt iqu e La nd , Da nc i ng i n Ca m bod i a , The Cal cu tt a C h ro m os ome , The G la s s Pal ace, Th e H ung r y Ti de , a n d t he fi rs t t wo vo lu mes of Th e Ib i s Tr i log y; S ea of Pop p ie s, a nd Ri v e r of S m oke .

“On very rare occasions, a writer marshals such searing insight and storytelling skill that even a well trodden subject is blown wide open. New connections a re m a d e , n e w f u t u re s a p p e a r. G h o s h i s t h a t k i n d o f w r i t e r , a n d t h i s i s t h a t k i n d o f b o o k .” Naomi Klein, author of This Changes Everything

A M I TAV G H O S H

The Ci rcl e o f Rea so n wa s a wa rd ed Fra nc e ’s Pr i x M é di c i s i n 1 9 9 0 , a nd Th e Sh a dow Li nes wo n t wo p re s ti gi o us In di a n p r i ze s th e s ame y ear, t he S a h i t ya Aka de m i Aw a rd an d the A n a nd a Pu ra ska r. The Ca l c utta Chrom os o me wo n t he Art h ur C . C la r ke award fo r 199 7 a nd Th e G la s s Pa la c e wo n t he In te r nat io na l e - Boo k Aw a rd at t he Fran k furt b ook f a i r i n 2 0 0 1 . In Ja nu a r y 2005 The Hu ngr y Tid e wa s a wa rde d t h e C ro ss wo rd B oo k Pr i ze , a ma j o r Indi a n a ward. Hi s nov e l, Sea of Pop p ie s ( 2 0 08 ) was s ho rtl is te d for t h e M a n Bo oke r Pr i z e, 2008 an d wa s a wa rde d th e C ros s word B oo k Pr i ze a nd t h e Ind ia P l a za G ol de n Qui ll Awa rd.

AM ITAV GH OS H T H E G R E AT DERANGEMENT

C L I M AT E C H A N G E A N D T H E U N T H I N KA B L E

INR 250 NON-FICTION COVER DESIGN SUKRUTI ANAH STANELEY

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“ C a p t i v a t i n g . . .T h e l i g h t n e s s a n d a g i l i t y o f G h o s h ’ s w r i t i n g s u c c e e d s i n keeping all the urgency and the shadows of something we cannot r e a l l y l o o k a t : t h e d e s t i n y o f m a n k i n d .” Giorgio Agamben

A re w e d era n g ed ? Th e a cc la i m ed I n d i an n o v e l i st A m i t a v G h o s h a rg u es th at f u t u re g e n erati o n s m a y w el l t h i n k s o. H o w el s e to exp l a i n o u r i ma g i n at i ve f a i l u re i n t he f ace o f g l o b a l w a r mi n g ? I n h i s f i r s t m a j o r b o o k o f n o n f i cti o n s i n ce I n a n A n ti q u e L an d , G h o s h ex a mi n e s o u r i n a b i li ty —at th e l e ve l o f l i t eratu re , h i s to r y, a n d po li ti c s —t o g ra s p th e s ca l e a n d v i o l e n ce o f cl i m ate c ha n g e. Th e ext rem e n atu re o f t o d a y’s c l i m at e e ve n t s , G h o s h a s s e rt s , m a ke t he m p ec u l i a r l y res i s ta n t t o c o n te m po ra r y m o d es o f th i n k i n g a n d i m a g i n i n g . Th i s i s p a rti c u l a r l y tr u e o f s e r i o u s l i t e ra r y f i c ti o n : hu n d red y ea r s t o r m s a n d frea k i s h to r n a d o es s i m pl y f e el t o o i m p ro b a b l e f o r th e n o v e l ; th ey a re a u to mat i ca l l y co n s i g n ed to o t he r g e n re s . I n th e w r i ti n g o f hi s to r y, to o, t he c l i mat e c r i s i s h a s s o m e ti m e s l e d t o g ro s s s i m p l i f i cat i o n s ; G h o s h s ho ws th at t he h i s t o r y o f th e ca r b o n ec o n o my i s a ta n g le d g l o b a l s t o r y w i th m a n y co n tra d i c to r y a n d c o u n t e ri n tu i t i v e el e m e n t s . G ho s h en d s b y s u g g e s t i n g th at p o l i t i c s , mu c h l i ke l i t e ratu re , h a s b e co m e a m att e r o f pe r s o n a l m o ra l re cko n i n g rath e r t ha n a n a re n a o f co ll e c ti ve a c ti o n . B u t t o l i m i t fi c ti o n a n d po l i ti cs t o i n d i v i d u a l m o ra l a d v e n tu re c o m e s at g reat co s t. Th e c li mate c r i s i s a s ks u s to i ma g i n e o t he r fo r m s o f h u ma n exi s te n ce —a ta s k t o w hi ch fi ct i o n , G ho s h a rg u es , i s t h e b e s t s u i te d o f a l l c u l t u ra l f o r ms . H i s b o o k s e r v e s a s a g reat wr i te r ’s s u mm o n s t o c o n f ro n t t h e mo s t u rg en t ta s k o f o u r ti m e .

jacket cover design

T H E G R E AT D E R A N G E M E N T

A M I TAV G H O S H

AM ITAV GH OS H T H E G R E AT DERANGEMENT

C L I M AT E C H A N G E A N D T H E U N T H I N KA B L E

INR 250 NON-FICTION COVER DESIGN SUKRUTI ANAH STANELEY

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“ C a p t i v a t i n g . . .T h e l i g h t n e s s a n d a g i l i t y o f G h o s h ’ s w r i t i n g s u c c e e d s i n keeping all the urgency and the shadows of something we cannot r e a l l y l o o k a t : t h e d e s t i n y o f m a n k i n d .”

Giorgio Agamben

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assignment

This asssignment wanted to explore design options for a new look of the Sherlock Holmes series but set the scene using colours and themes right from the cover.

Many of the covers that are already in print utilise the familiar silhouette of Sherlock Holmes with the pipe. As someone who has loved reading Holmes, I felt that the iconic silhouette must be retained, though not as a central point. Instead, I used images, but chose not show complete faces. Character descriptions were crucial to the picture research and I used Quarkâ&#x20AC;&#x2122;s greyscale feature to overlay images on the cover in deep shades of red and grey.

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assignment

The Red Sofa is a slim piece of translated literary fiction that brings together the various elements of a lost love, trans Siberian journey and of course, a red sofa. I wanted to recreate a design that transferred some of that atmosphere to the cover.

For this cover, I used an image in one option, and created a pattern for the second option. Both of these were inspired by the red sofa that is central to the narrative. The freedom to be experimental with the art on the cover came from the literary fiction genre that allows for this.

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about the author As well as being the international bestselling author of Crabby Carrot, Anuradha Sen is also an online developer and designer. She is the creator of the children’s virtual world, Wiggletown. Sen has been named one of TIME magazine’s most influential people in the world.

the

h e l e f t h i s ba s k e t h o m e l at e t h at morning and rolled over to his

the and his

fat h e r . t h e y n e e d e d to ta l k a b o u t t h e

lumpy ter ribl y a wful

big decision. there was going to be

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an overthrow on aisle four.

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this made him grumpier than ever.

sto r y and

anuradha

childrens illustrated literature

In the latest installment of the phenomenally bestselling Vegetables Have Feelings series, author-illustrator Anuradha Sen brings the series back to its roots, as Potty Potatoe starts a new election year and faces a challenge he never could have imagined.

lumpy ter ribl y a w ful

The underlying feature of this book is the insecurity faced by Potty’s father when he sees other rooters. He tends to compare Potty with them, often feeling a sense of disappointment. Life for Potty is already harsh as their aisle has been re-zoned and he has to walk all the way to the cash counter. To add to the worries, Potty’s father decides that his son must become a spud and hence pushes him to do thing against his will.

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First, he signs him up for aisle league soccer and expects him to become a good player in no time. But, the story takes a turn for the worst as Potty concedes a goal and ends his team’s perfect season.

st o r y and i l l ust rat i on

anuradha sen

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The colour palette for this book came was inspired by the illustration that became the protagonist of this book, part of a fictional series. The emphasis is on the type as the illustration does half the work for me. I’d love to do a series look.

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This assignment was great fun, I was given the title ‘The Lumpy Grumpy Potato’ with no further information. I developed the subtitle, inside blurb and author bio on a whimsy. aimed at a children as literary fiction, with illustrations.

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solution

For this assignment, cloth specific to the Bodo weave was scanned and used. The only material was the border on a skirt which was the challenge, so the material to work with was relatively less.

With the given material, it was challenging to use the swatch in a large size. I instead decided to make a grid and use the original TIFF along with imposed greyscales in Quark. The map was saved for the background as a surprise element. This colour palette was drawn from the material.

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assignment I.

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This assignment introduced me to typesetting on Quark Xpress and pushed me to explore the layout of a serious book using pictures. This chapter is a part of a larger book and needed to be aware of the character and paragraph styles to be used. It was important to pay attention to caption style and section numbers.

M E M O R Y A N D D I S TA N C E on a gilded silver vase

(Antwerp, c.1530)

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1. in 1929, a few months before his death, aby Warburg wrote an introduction to his last intellectual project: the ‘Picture atlas’ (Bilderatlas) which he dedicated to Mnemosyne, the greek goddess of memory, whose name was inscribed on the front door of the Kulturwissenschaftliche Bibliothek he had founded. The opening sentences of Warburg’s introduction, first published 70 years after his death in italian translation, read: ‘The conscious creation of distance between the self and the external world may be called the fundamental act of civilization. Where this gap conditions artistic creativity, this awareness of distance can achieve a lasting social function.’1

From Word, the text was imported into Quark where a universal set of changes were applied. A Master Page was also constructed to includer headers, footers or folios. Manual crop marks were added and the text flowed through the pages. The next step was to add and layout the images in an aesthetic manner. Owing to the nature of the book, the text had space to breathe and I wanted to have sufficient space for the images.

Why was memory in Warburg’s mind so closely connected to distance? in commenting on this passage, ernst gombrich wrote: ‘not that memory can create “distance”, but it can widen the interval between the two poles of calm contemplation or orgiastic surrender to emotion, by providing models for either attitude.’2 Models, that is, visual (and verbal) formulae, retrieved from greek and roman antiquity, which in the renaissance served as a filter to interpret the present, overcoming cultural and geographical distances. 2. sometimes, as in the european encounter with the new World, these distances came to be entangled. ‘We discovered innumerable lands, we saw

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CARLO GINZBURG

M E M O R Y A N D D I S TA N C E

innumerable people and different languages, and all were naked’ (Discoprimo infinita terra e vedemo infinitissima gente e varie lingue, e tutti disnudi), Amerigo Vespucci wrote in 1500 to Lorenzo di Pierfrancesco de’ Medici.3 This nakedness, stressed by all European travellers, was regarded as indisputable evidence of a lack of civilization. ‘They have no faith, no law. They live according to nature. They are not aware of the soul’s immortality,’ Vespucci wrote.4 But in his extremely influential account De orbe novo Decades (1516), Peter Martyr d’Anghiera turned this scornful judgement into its opposite: those people, he wrote as a comment on a dialogue with a ‘naked philosopher’, have no property, no laws, no books, no judges— ‘they have the golden age’.5

FIG. 1 Piero di Cosimo, The Discovery of Honey by Bacchus, tempera on panel, c. 1499, Worcester Art

It was a momentous event: the birth of the myth of the noble savage. Ancient texts and ancient images provided an appropriate framework to approach the inhabitants of the New World— a visual or textual idiom based on Greek and Roman mythology, which ultimately turned nakedness into nudity. To quote a well-known example: Piero di Cosimo’s two panels representing episodes of Bacchus’ life—The Discovery of Honey by Bacchis and The Misfortunes of Silenus (Fig. 1 and 2)—have been compellingly interpreted by Erwin Panofsky as visual commentaries on ‘the early history of man’.6 But, strangely enough, Panofsky failed to notice that Piero di Cosimo’s several paintings on this subject had been clearly inspired by the discovery of the New World, a topic made familiar to a Florentine audience by two accounts published in 1504–05 by Amerigo Vespucci, a Florentine: Mundus novus and Sommario . . . di due sue navigazioni

Museum, Worcester (Massachusetts).

al magnifico messer Pietro Soderini.7 (It may be noted that Federico Zeri, on purely stylistic evidence, dated this group of paintings by Piero di Cosimo between 1505 and 1507.8) As we learn from Vasari, Piero di Cosimo painted his storie baccanarie, stories involving Bacchus, for Giovanni Vespucci, or more likely for the latter’s father, Guidantonio, a former ambassador to the court of Louis XI, King of France, and a prominent politician who had spent two years in Paris with a distant relative, his young protégé Amerigo Vespucci.9 Piero di Cosimo’s panels obviously meant to be an indirect celebration of Amerigo’s discoveries. Having missed this contextual evidence, Panofsky concluded that Piero di Cosimo’s pictures on the early history of humankind had to be interpreted as the ‘subconscious recollection of a

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CARLO GINZBURG

M E M O R Y A N D D I S TA N C E

most naive populations of the New World were exactly like those of the Golden Age—quoting, as authorities, Thomas More’s Utopia and Lucian’s Saturnalia.12 Relying upon a Greek and Roman legacy, both textual and visual, European writers, antiquarians, painters and sculptors tried to make sense of new lands and populations of which Greek and Roman geographers had never suspected the existence. 3. The case study I present here will focus on a gilded silver beaker which is on display in the Schatzkammer of the Residenz, Munich (Fig. 3).13 Due to its extraordinary quality and its unusual iconography, this imposing object—47.5 cm high, 24.5 cm wide—has been mentioned and reproduced many times. To my knowledge, it has never been analysed in depth.

FIG. 2 Piero di Cosimo, The Misfortunes of Silenus, oil and tempera on panel, c. 1500, Fogg Art

Museum (Massachusetts).

primitive who happened to live in a period of sophisticated civilization’.10 But Piero di Cosimo was, pace Panofsky, neither a ‘primitive’ nor an ‘atavistic phenomenon’; he did not approach the newly discovered populations through a ‘subconscious recollection’ but, rather, through a conscious memory, deliberately inspired by antiquity. Nor was his approach exceptional. In 1521, Cesare Cesariano framed his illustration of Vitruvius’s passage on the discovery of fire (De Architectura II, 1, 1–4) with a comment mentioning the ‘golden age’ as well as the ‘new populations’ (novi popoli) discovered by the fleets of the kings of Spain and of Portugal.11 A few years later, Vasco de Quiroga, a judge, then Bishop of Michoacán, wrote that the

FIG. 3 Gilded silver cup,

c. 1530, Schatzkammer, Residenz, Munich (Germany).

According to its hallmark, the beaker was made in Antwerp, in 1524–25.14 It was suggested some time ago that the decoration was added at a later date.15 This hypothesis tries to explain an obvious stylistic gap, one repeatedly stressed, between the late Gothic shape of the beaker and the foliage between the stem and the bowl, and the Renaissance flavour of the scenes decorating the lid, the cup and the foot.16 On the surface, the beaker resembles a stylistic hybrid. Strangely enough, it was not noticed that when seen from the inside the beaker also

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resembles a hybrid—for different reasons. Indeed, on closer inspection, a comparison between the insides of the lid, the cup and the foot of the beaker reveals a striking difference (Fig. 4). The insides of both the lid and the cup are covered with an additional layer of gilded silver which conceals the reverse of the scenes that decorate the outside. On the inside of the foot, however, the scenes are perfectly visible, in reverse (Fig. 5).

foot. The older vase was broken, for unknown reasons, at an unknown date, but certainly before the scenes decorating the exterior were created. 4. These scenes cover three zones of the beaker—the lid, the cup, the foot— with a circular frieze depicting human beings, animals, plants, buildings. The viewer is nearly overwhelmed by the amount of visual information displayed on the object; but the scenes are easily readable.

Most of the human beings (men, women, children) are either naked or wearing a loincloth; a few sport a more elaborate dress. Some men don feathered headdresses; others wear necklaces. The animals are sometimes real, sometimes imaginary. On the lid, for instance, besides an ape, we see a kynokephalos, a man with a dog’s head, riding a sea-monster with the head of a bull and a serpentine tail. The monster is tied up with a rope by two naked men who are pulling him out of a lake or a river. Two men bearing bows are shooting arrows at two animals which seem to be turkeys (a detail I will comment on later); another man is playing a musical instrument. In the background, one sees high mountains, imposing buildings facing a lake or a river, boats with rowing men. The outlines of the mountains, buildings and boats are delicately carved on the gilded silver surface.

FIG. 4-5 Gilded silver cup, c. 1530, Schatzkammer, Residenz, Munich (Germany).

How can we interpret this divergence? The only possible answer is this: in the case of the lid and the cup, the decorated layer was put over a pre-existing vase whose inside is still visible; the foot, which has no double layer inside, was made by the same goldsmith who decorated the lid and the cup. In other words, the beaker we see today at the Schatzkammer of the Residenz is made of two vases, one inside the other—except for the

The cup displays palms and other vegetation. A naked woman with a mantle flung across her shoulders attends to a baby; an embracing couple sit beside her. An ape squats on the ground facing the viewer. A naked man, his loins covered by a cloth, stands holding a child seen from the back. A man and a woman, rather elaborately attired, with prominent headdresses,

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CARLO GINZBURG

M E M O R Y A N D D I S TA N C E

look at two men blowing huge horns (Fig. 6). A man seen from behind seems about to hit a horse with a stick. A small lion is running in the foreground; a woman with a feathered headdress rides a horse wrapped in a rich cloth; behind her a man rides an elephant. Then a water scene: a man, a woman holdFIG. 6 Gilded silver cup, c. 1530, Schatzkammer, ing a child, a couple swimming in Residenz, Munich (Germany). the lake; in the background a ship, a camel on the shore, rocks, trees, buildings.

FIG. 7-8 Gilded silver cup, c. 1530, Schatzkammer, Residenz, Munich (Germany).

naked, men and women, surrounded by exotic trees and animals, and huge European-looking buildings. A reference to Europe would obviously have been absurd.18 Of the recently discovered lands, only Mexico had great cities and huge buildings.

The foot displays scenes of very different character. Two men attack a lion, one with his bare hands, another with a stick. Two men club three kynokephaloi (two of them lie lifeless on the ground). Surrounding this display of extreme violence (Fig. 7) is a sort of ceremonial procession: a couple of lovers riding a horse, children riding a camel (Fig. 8).

In Antwerp, one of the centres of international trade, news of Cortés’ extraordinary conquest arrived quickly. A French translation of Cortés’ second letter, and a Flemish version made out of his first two letters, were published in in 1522 and 1524 respectively.19 The second letter included the following passage:

These scenes have been regarded as depictions of exotic populations and, more specifically, of American Indians, notwithstanding the presence of African-looking facial features. In making this observation, Hans Thoma argued that the beaker presumably came from the time of the conquistadores.17 This suggestion sounds convincing in light of the contradictory elements displayed in the scenes that decorate the beaker: naked, or nearly

This province [of Mexico] is circular and encompassed by very high and very steep mountains, and the plain is some seventy leagues in circumference: in this plain there are two lakes which cover almost all of it, for a

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CONTENT

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LIFELINES 2

To typeset a book of poetry using minimal design elements and recognising the format of layout and paragraph styles. The priority was to be given to the authors name.

EVENING 3 THE FIGURE 4

solution

TRIXY 5

For this assignment, I chose to contrast the idea of light and use very little colour on the cover and used the prism as a central design point to appear as a common these across the book. Beginning with the title, laid out in the shape of a triangle, I repeat the shape in solid colour across the book cover and pull out a poem to the back cover, inviting the reader to interact with the book. Through the book, you will see and recognise the prism from the cover and it travels with you as a motif through the book. Typesetting poetry was a lot of fun as it allows for a more playful approach.

PENOBSCOT 6 EXILE 7 NIGHT 8 IT 9 KOZAN-JI, MYOE MEDITATING 10

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LIFELINES

And that afternoon they left the world behind. Spinifex on the roadside, animals with names like flowers. The sun was someone driving towards them, only at dusk did their will diminish, the road slinking out of the mirror, a sense of completion. Now they would find somewhere to sleep, arranging their naked bodies in a place with nothing to go by. Everything of their own invention, as lonely as a beginning, a conversation in an as yet non-existent language. Filling a room with their presence, gestures, voices, questions. As if seeing an angel for the first time and knowing he doesnâ&#x20AC;&#x2122;t exist, his wings tattered, dusty and mouldy, his feathers too old to take wing. That was what it was like when night fell, the angel combed his hair, arranged the wings he couldnâ&#x20AC;&#x2122;t remove and slept in the only bed.

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THE FIGURE

EVENING in memory of Hugo Claus

The blue chair on the terrace, coffee, evening, the euphorbia reaching for absent gods, full of longing for the coast, everything an alphabet of secret desires, the last he sees before the gloom,

The flower of the hibiscus lasts a day, star of ephemeral fire, contradiction of garden and sky, the man inside, a body that resists, like every flower. What he doesn’t know: how true this is. Is that figure real, sitting outside in the stars’ last glow, not seeing the flower, burning itself on the cold light of time-bound morning, gathering flowers from the dark earth and yielding to the violence of sunlight?

the mist in his head. He knows the shapes of words will disappear, only dregs in his cup, the lines disconnected that once were thoughts, never again a word of truth. Dismantled grammar, blurred pictures without a bridge,

The sense of grief now rampant within him is in memory of a friend, a friendship that is dwarfed by so much decay.

from the wind the sound but no longer the name, someone said it would be so and death was on the table,

What’s sitting there now, a man or a poem?

a slow servant, waiting in the hall, smiling stupidly, leafing through his newspaper of senseless items.

The postman rides to the gate in his yellow shirt, relates the world, hands over his letter to a living being, never suspecting grief or this soul. He sees the red flowers on the ground, says it will be hot today, and disappears into the light

He knows all this, the euphorbia, the blue chair, the coffee on the terrace, the day that folds around him slowly and then swims off, a gentle beast

and these lines.

with its prey. 3

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TRIXY

PENOBSCOT

Desolate species, humans. Everything needs to be conquered, a thousand Buddhas can’t reverse the stream, the stone in the middle remains unpolished.

Grey, however remembered, the yacht, the angry yachtsman, the admiral’s house, the colour of vanilla, tomatoes that needed bottling, mint julep, living in a fragmentary once. Storms, the poet next door, a seaman without a sea but with nautical rhymes, an old country with French names, trees bent under northern knowledge, memory, Indians, trappers, words salvaged from antique bordellos.

The teachings of the titmouse. What’s that supposed to mean? Minus ten and it’s been working all day, searching the hedge for a morsel. In the distance I see the world, in the corner, behind that car, deeply passionate music sweeps the litter into a heap.

Growing old is lethal. Once again: the autumn that precedes snow, the painting without colours, the poem without rhyme, that golden egg disappearing in the goose without a trace,

It’s here alone or more. Woe to those who have the most words. They’re up to their knees in night, their book of faces full of names and mould.

an aria of ice and hail, heavens of extreme cold, stories imagined and rejected in which the yachtsman drowns in a remembered winter and exists as a poem,

In the stable thirteen goats are born. Trixy barks at a shadow of white.

but the last thought is of her, the woman who disappeared, who everything was about, the yachtsman, the bay, the poet. The air it all breathed is the loftiest fabrication, a life possible now it’s no longer possible.

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EXILE

NIGHT

The dock, the ship sailing away over liquid glass.

At night, past buildings of cloud, and a last café of moonlight, the dream of forbidden travels, a gate, always closed, now half open, the danger of a different life, a poem

Now I am alone with Chong Er, my view, the plain, my friends, the hermits in the hills, turned almost to stone. I will remain dark from now on, far from the white deer on which we rode in fields of cloud and mist.

of an inverted existence, in which death has no scythe, but comes as a lover on hasty hooves, caressing your breasts and rolling out a carpet of stars for you to lie on,

Between this and death, a time for thoughts no one has written, white-chalked shame on a slate, my name liberated from its letters, hollow as a sound.

light everywhere, glinting on the predatory teeth, the murderer’s nails and the gleaming knife that writes the final word, fire, and then your nobody’s eyes seeing endlessly forever,

Ivory and jewels, all things I knew, my shadow disappears in a fold of time, I pass on nothing, worn down by the grit of every day, I share the fate of stones and shells,

seeing who you were.

a prince without words in a web spun of nothing.

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One poem ate the other. Now a choir is singing and slowly approaching. How many forms has invention taken? Who, being absent, is standing by the garden hedge?

When I have disappeared you will still sit there, small mouth closed, closed eyes full of celestial emptiness, your sandals under the tree.

Take the slope, the wooded slope, You know the back path and where to find the grit bin. Near the tracks of the big tractor, the fox lives with his religion.

Are you thinking about something or nothing, your very thin hands folded together, your body hidden in the black of your robes.

See everything, understand nothing, the painter’s motto. Incomprehensible trees, misunderstood slope. The fox nails his theses to the gate. It is quiet in the mist.

The cord for your prayers, the small tub for the incense dangling from a branch beside you, you don’t need them, you yourself are the prayer.

The seventh thesis is about the miracle and the fall. Count the stars. Give time back to the man with the post. Ask the fox what it is and why.

Every time I see you, a second has passed. It’s been like that for centuries, you turn years into time. The same two birds, too far to identify, the gently swaying trees, you’ve grown ever quieter, wind, rain and snow have passed over the hills with you there and elsewhere. Nothing can touch you, so lost before my eyes that I can hear myself fade.

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APRIL AUF DEM LANDE

THE CANDLE

It was summer and winter. The water by the river, how it rose. Mist between the hills. In the valley the expensive villas, shuttered, white and pink. Fox and owl hidden out of sight, a work day for herons and mice. And the man who loved women, lonely, not thinking about the birds. Dew or rain on the serrated leaves, the call of a train from the depths. How many, he thought, how many spokes in the wheel of a single day?

Him in his sailor’s suit with the long, broken candle. His white socks, his mother’s white shoes, the loop of his shoelace. Below it, ground, earth, the floor, the same as always. On it, under it. White gloves, torches and the other shoes, shining black, in mourning. Unforgettable, the break in the candle, the snapped white wax dangling from the wick, fate, still valid even now. Her hand, her gold bracelet. His sailor’s collar, blue, in the photo, black against the white of her coat. Her hand on his, her face, his other face, invisibly remembered. God, what tiny shoes! Never stopped walking.

s u k r u t i a n a h s ta n e l e y

Cooking with cannabis is a hassle-free way to enjoy weed for anyone who wants to avoid the health issues and stigma of smoking (calling all medical marijuana users!) or just plain can't roll a joint. A special section covers the different forms of cannabis, and explains how to adapt each recipe to your particular pot, so you can make sure a little goes a long way.

THE BIG BOOK OF MUNCHIES

From a breakfast of Space Muffins to Cannabis Cupcakes with lunch to after-dinner Hash Brownies, you'll fill your day with stoner snacks, plus teas, hot chocolate, and cocktails that are easy-to-make and fun to share.

And for days when you want to stay straight, these recipes are so downright yummy you will still feel happy, even without the buzz.

THE BAKED CLUB

INR 599

FOOD THE BAKED CLUB COVER DESIGN SUKRUTI ANAH STANELEY

THE BIG BOOK OF BREAKFAST THE BAKED CLUB

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T H E B I G B O O K O F B R E A K FA S T

c o l o u r pa l e t t e fonts

breamcatcher

This is part two of the cook book assignment. Using the same format, the brief is to create a more traditional but aesthetic book using styled food photography to accompany each recipe.

solution

avenir book avenir heavy

assignment

The essentials of this book remain the same, however, the colour palette draws from the food photography itself, using shades of blue, grey and brown -- not usually colours associated with an increased appetite.

breakfast two hours

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THE BAKED CLUB

GRAPEFRUIT BUTTER

PREP TIME

COOK TIME

SERVES

MINS

INGREDIENTS

CUPS ALL-PURPOSE FLOUR

3/4

TEASPOON BAKING SODA

1⁄2 1 1⁄4

In a medium bowl, whisk together the our, baking

EGGS

CUPS CHOPPED PECANS

inch loaf pan with the cooking spray. Set it aside.

soda, and salt. In a large bowl, beat together the sugar and cannabutter. Stir in the bananas, eggs, pecans, yogurt, and vanilla.

CUP CANNABUTTER, SOFTENED

Preheat the oven to 340°F and spray a 9-by-5-

CUP SUGAR

OVERRIPE BANANAS, MASHED

1/3

TEASPOON SALT (KOSHER OR SEA)

MINS

METHOD

COOKING SPRAY FOR GREASING PAN

T H E B I G B O O K O F B R E A K FA S T

Add the dry ingredients to wet ingredients, mixing

Pour the batter into the prepared pan and bake

until just combined.

until the bread is light golden brown and a toothpick inserted in the center comes out clean, 45 to 50 minutes.

CUP VANILLA YOGURT

Let cool for 10 minutes in the pan set on a wire rack before turning out to cool completely on the TIP

rack.

We recommend letting your grapefruit get ripe before churning.

TEASPOONS VANILLA EXTRACT

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T H E B I G B O O K O F B R E A K FA S T

THE BAKED CLUB

BAKED SAUSAGE PIE

PREP TIME

COOK TIME

READY IN

MINS

INGREDIENTS

12 1/2 1⁄2 1 1⁄4 3

EGGS, HARD BOILED AND PEELED

METHOD

TEASPOON WHITE VINEGAR

TEASPOON GROUND MUSTARD

Mash yolks with a fork.

Add CannaMayo, vinegar, ground mustard, salt

TEASPOONS BLACK PEPPER

and pepper to yolks. Mix everything together until creamy.

TEASPOON SALT

Fill egg whites with egg yolk mixture.

Sprinkle top of each deviled egg with paprika.

Cover and refrigerate up to 24 hours.

Slice eggs lengthwise in half. Remove yolks and place them in a mixing bowl.

CUP CANNAMAYO

PAPRIKA, FOR GARNISH

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MINS

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THE BAKED CLUB

AVOCADO MACAROONS

PREP TIME

COOK TIME

SERVES

MINS

INGREDIENTS

3/4

TABLESPOONS BAKING POWDER

TEASPOONS SUGAR

1/2 1 1

TEASPOON SALT

EGG, BEATEN

CUP CANNABIS MILK

1/2

CUP WATER

Preheat a griddle or frying pan on medium-high

Mix flour, baking powder, sugar and salt together

Using a separate bowl, combine mashed bananas,

CUP BLUEBERRY JAM

3/4

MINS

TIP

You can add a variety of fresh fruit jams to the batter for new flavours.

METHOD

CUP FLOUR (OR CANNA FLOUR)

T H E B I G B O O K O F B R E A K FA S T

5 6

setting.

in a large bowl.

egg, CannaMilk, water and oil, mix well. Pour the liquid mixture into the dry mixture and stir gently. Batter should appear somewhat lumpy. Grease cooking surface slightly then pour batter according to your size preference. Flip the pancakes when you see bubbles on the surface. Heat for about another minute.

TABLESPOONS VEGETABLE OIL

Top with warm blueberry jam

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THERE IS ALWAYS TIME FOR BREAKFAST

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TILL DEATH DO US PART

M A H A S W E TA D E V I

MAHASWETA DEVI’S Till Death Do Us Part is a slim collection of tales, each of them focusing on a woman who is marginal to society. The lives of these women are narrated around a single event or transformation, and they are also seen within a crucial relationship — with a husband, lover, son or friend. Deftly woven in are various social and historical realities — caste, the Partition, Muslim divorce law — none of which feels like an extraneous “issue” whose implications are being explored programmatically. These are all beautiful, moving stories, translated with restraint by Vikram Iyengar. They range across a wide span of the writer’s career, from the early Sixties to the mid-Nineties. Perhaps the most memorable are “The Saga of Kagaboga” and “Talaq”, both of which explore the inexplicable survival of long companionships in the face of personal eccentricity and severe hardship.

INR 250 FICTION

WWW.BLACKBALLOONPUBLISHIN G.COM

M A H A S W E TA D E V I TILL DEATH DO US PART

Tra n s l a t e d b y V i k ra m I y e n g a r

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assignment

c o l o u r pa l e t t e

s e r av e k b o l d

ser avek bold

fonts

s e r av e k l i g h t i ta l i c

For this assignment we were to design a cover and typeset the first chapter of Mahasweta Deviâ&#x20AC;&#x2122;s renowned work Till Death Do Us Part. This is a work of fiction and is classic literature, this was key to the design.

solution

The cover is a very simple rendering of the crane that features in one of the stories in this collection. It is used to illustrate the occurence of couples across each story and uses brighter colours that is inspired by traditional Indian attire. The same cranes make an appearance on the inside of the book, as a motifs for the fly-leaf. With a one-inch margin, the text flows in narrow columns making it easier to read.

THE SAGA OF KAGABOGA

ser avek bold

three hours

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placing a glass of tea and a small piece of bread on the

floor, Mohini said, Kagaboga,1 listen, here’s the tea. i don’t want to hear afterwards that it was cold. and also, he shouldn’t wash his vest and lungi.2 i’ll scrub them with soap. the person she was speaking to had been her husband almost from time immemorial. When Mohini was three years old, she had apparently taken off her string of beads and put it around sadananda’s neck. at the Utruni mela,3 on the banks of the river Dhaleshwari that winter morning, the scene had created quite a stir. look, look! she must have been his wife in their previous birth. she refuses to part with it, but she put it around our sada’s neck herself. see how well they match in caste and status! eight-year-old sadananda did not understand the import of what the adults were saying. He took off the string and put it back on Mohini.

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MAHASWE TA DEV I

THE SAGA OF K AGA BOGA

At this, even the old women stood amazed.

And thus they were married. The neighbours said, The bride and groom fixed the match themselves, this marriage

Look at that! They say there’s no such thing as divine

had to happen.

interference in Kolijug.4 If that’s true, then how come on a special occasion like this . . .

Mohini could still remember—the huge rolling pin and board, the utensils, clothes, kheer, 7 curd, sweets, fruits,

The women, moved to tears, told Mohini’s mother, A

vegetables—it was more than 10 men could carry.

Mitra’s daughter has garlanded a Basu’s son.5 They are well-matched in age too. You’re so lucky! Your daughter is

The zamindar sent fish to both her father and her inlaws, the best tangail 8 saris, and some money smeared

bound to marry into that house.

with sindur.9

The boy’s mother ventured to ask, Since when did we

Today, these were but stale memories. Mohini would

ﬁx alliances according to the whims of children?

say to herself while drinking water from a flimsy alu-

But the other women shouted her down—at the Utruni mela this could only be a sport of the gods. Some-

minium glass, How my arm would ache lifting a glass of

body suggested, Shower them with ﬂowers! Somebody

water! Each and every one of purest bell metal. Do they

else cried, Break a lump of sugar and let them feed each

have such glasses here? If somebody asked her, Who are you talking to?

other. Others said, We should welcome it with jokar.6 Mohini and Sadananda understood nothing.

To Kagaboga.

But much later, when Sadananda was 20 and working

Conversation between husband and wife had ceased

on the zamindar’s estate, keeping count of bales of jute,

16 years ago. They communicated through the invisible

he confronted his mother. Why do you worry about my

Kagaboga.

marriage? I’ve seen the bride of my dreams, haven’t I? I’ve

Conversation would not have stopped. Their sons left

seen her in my dreams and you’ve seen her with your own

home and this unhappiness caused Mohini to contract the

eyes. I’m talking about Mohini.

talking-to-oneself disease. This created a lot of unhappiness, many quarrels.

His father also had no objection. Mohini’s father worked for the same zamindar in another oﬃce as the es-

Sadananda had suggested, Come, I’ll take you to the

tate manager. He never had to buy a thing except salt,

doctor. You’re blabbing so much, people think you may

kerosene, sugar and clothes!

have gone mad.

His mother said, They’ll deck her up well, I presume. She’s quite pretty, though her nose is rather ﬂat. Doesn’t waste her time roaming around, doesn’t talk too much, knows how to cook . . .

Mohini had bristled with rage. Was it all her fault? Had she told him to leave home when Hindustan–Pakistan happened? Had she told him to

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S U K R U T I A N A H S TA N E L E Y I N D I A / Q ATA R sukrutianah@gmail.com www.sukrutianahstaneley.com

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LET'S WORK TOGETHER