The Turn of the Screw by Anthony Blake

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Each poster is hand-printed and handled, to make sure that only the highest quality is offered and sent out. The matte paper and high quality of inks make for a vibrant image which looks great both framed, and au-naturel. Printed in Los Angeles, CA, on Epson Enhanced Matte Paper, heavyweight stock, high color gamut, using Epson UltraChrome HDR ink-jet technology. Framed posters offer the same, museum-quality printed poster, but wrapped in a protective black frame. The frame is lightweight and includes a shatter-resistant acrylite front protector, so it won't break in the mail. International orders may be subject to customs duties & taxes.

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The Digital Public Library of America amplifies the value of libraries as Americans’ most trusted sources of shared knowledge. They do this by proactively collaborating with partners in the field to accelerate innovative tools and ideas that empower and equip libraries to broaden digital access to information. Recovering The Classics is a crowdsourced collection of original book covers for some of the greatest works in the public domain, where anyone can contribute.

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Design By: Anthony Blake

Anthony Blake is a poet and designer from Louisville, Kentucky. He is currently pursuing a Master of Fine Arts in poetry at the University of Arkansas and is managing editor and designer for The Arkansas International, a literary journal interested in the intersections between international and American writing.

 

Design By: Anthony Blake

Anthony Blake is a poet and designer from Louisville, Kentucky. He is currently pursuing a Master of Fine Arts in poetry at the University of Arkansas and is managing editor and designer for The Arkansas International, a literary journal interested in the intersections between international and American writing.

 

Artist Statement

I chose Henry James' The Turn of the Screw because it seems to particularly languish in poorly-designed tropes, particularly the trope of a stock image of a governess. There is even one dreadful cover that has a literal screw turning. I wanted to push again these ideas, to think about how the sense of place affected the inner psychology of the characters (in much of James' work, houses are meant to reflect the lives of their inhabitants). The image traced on the cover is from a photograph I took while in Reading, England of a university administrative building that had a similar feeling of dread for me that Bly does in the novella. The large, bold typography is also a reaction to other covers that rely on script typefaces and delicacy. The overwhelming feeling of the novella seems to call for something more imposing, and I managed to work in the theme of turning in a more subtle way with the typography as well. — Anthony Blake