The cover design of Fever Pitch was by Ian Craig. And jolly good it was too.
My involvement was in the late 90s, with Nick Hornby’s editor Liz Knights, as a client at Gollancz and the cover of High Fidelity in particular. The hardback jacket had a blue high-contast face on it. It wasn’t too hot, to be honest, but it had a high recognition factor and my task was to use it but bring more to the party for the paperback. I spent much of my youth in record shops and loved Nick’s account and his personal writing style (Sweet man to meet though we didn’t get to know each other well). I added a vinyl record, dub-stylee, and played with the type, adding selective varnishes. Little more to say except that was liked and sold very well. A happy tale thus far . .
I worked with Liz on trying to establish the Indigo imprint of Gollancz, with Hornby as the flagship. We worked together through her battle with that foul stalker, cancer. Despite extraordinary valiance, the malign disease claimed her. Without Liz the imprint struggled on for a while. Hornby’s new novel was delivered yet I was hearing nothing about the crucial jacket design briefing. Concerned, I asked for a meeting to discuss it. O Dear. Through the glass security door I saw the brief being hurriedly written en route to the meeting. It read ‘Hornbyesque’.
With a working title of Father & Son it tells of the relationship of an adult playing down his age and a rather grown up boy ~ hence my proposed design motif:
Sadly, it was rejected. So it goes, as Kurt Vonnegut would say. They went with another design group and the book’s final title was About a Boy. Now retired art director, George Sharpe, called to express concern when a remarkably similar idea coincidentally turned up from the same stable on Tony Parson’s first novel. I just let it go, it’s just an idea, right . . ?
A tale of former glories and ‘We wuz robbed‘. But, as Arsene Wenger might say, ‘You can’t win them all, even if you play your best game‘.