The brightly colored cartoony covers for the Japanese- and Serbo-Croatian-language editions impose themselves on Juster’s world, rather than bringing out different dimensions of it. The German translation has no text illustrations except for road signs, a concept that works very well. The Hebrew and German covers are in a surrealistic style, which underscores the possibility that the journey was all in Milo’s mind. All the familiar characters are there, but without making any reference to the original illustrator. Now for the covers that are completely different from Feiffer’s. Should Milo’s car be orange? Why does he have blue hair? By the way, the sea in the middle distance is actually turquoise and the sky slate blue. The color did not photograph true, so you’ll have to take my word that it’s quite dark.The cover artist for the Romanian-language edition substituted another illustration for the original one of Milo and Toc and colorized it. Some of the figures were also printed on the same shiny material and laminated to the cover just as in the Korean translation. The slate blue background is handsome, but perhaps a little dark, compared to the turquoise original. The selection of typefaces are the most noticeable change in the design for the Lithuanian-language. And the raised white characters below the banner with the English title are interesting typographically whether they are legible or not. American books almost never have a colored band that wraps around the boards, but it’s common in the packaging of Japanese books–and I assume elsewhere in Asia. They were printed on a material other than paper and applied to the dust jacket. Look carefully and you can see that the figures of Milo and Tock are shiny. The right illustration is on the turquoise background, but the shade of turquoise is not quite the same as in the original. Here’s the front board of the Korean-language version.
This one.īut when a work becomes so famous that translations in other languages are called for, covers and dust jackets have a way of changing publisher to publisher, country to country. Is Milo ever anyone but the skinny boy in a black sweater Jules Feiffer drew? And there’s only one cover design for the book. Mention Alice and some illustration of her drawn by John Tenniel probably pops into the mind. Norton Juster’s 1961 fantasy The Phantom Tollbooth is that rare classic in which the text and original illustrations are inseparable, rather like Lewis Carroll’s Alice In Wonderland.
0 kommentar(er)
