“In the beginning it is always dark." — The Childlike Empress, "The NeverEnding Story”
I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime.
Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
Edward Gorey’s covers for Doubleday Anchor Paperbacks
In April 1953, Anchor opened up a new market for paperbacks: the “serious” or academic book. They were the brainchild of twenty-five year old Jason Epstein who convinced Doubleday of the market need for such books in paper editions particularly suited for college use. Epstein’s research so impressed the Doubleday executives that they created such a line and made him editor. The format was the same as the taller mass market size (Signet, Ballantine, etc.), but higher in price: 65¢ to $1.45. Anchor was well received from the start, reaching a mass audience through trade book outlets, campus bookstores and some drugstores. And they had Edward Gorey in charge of the covers.
As art editor, Gorey was responsible for the total cover package, supplying the lettering, typography and design layouts. Often other artist contributed the actual illustration: Leonard Baskin, Milton Glaser, Philippe Julian and even Andy Warhol; but Gorey then designed the finished product lending a uniform appearance to the whole line.
Gorey worked in this capacity from 1953 until 1960, a period which roughly corresponds with Anchor’s first two hundred titles. About a fourth of these have line drawn covers by Gorey. He also designed various covers for Vintage, Capricorn, Compass and other publications that followed Anchor’s lead.
Filed under: Edward Gorey