English / 한국어
In fact, the author’s signature was also used on the covers of an earlier edition of a Kafka collection published by the same German publisher in the 1970s. A main difference is that now a full signature is printed across the twelve volumes, while in the previous edition a single word “Kafka” in the author’s handwriting appears on each cover, reversed out on black background. The implication would seem that the 1970s edition treats each volume as a self-contained work, while the recent publication emphasizes continuity within the body of work, a single volume being a fragment, a piece of a whole. Furthermore, the signature on the 2008 collection is cropped in such a way that it is not immediately recognizable on an individual cover: you need the full set to get to know the author.
On each cover, the almost abstract, stark black strokes on white background are counterpointed by the publisher’s small logo in color. The text is arranged differently each time, finding its place according to the composition determined by the cropping of the signature. As a result, the typography creates a lyrical flow over the twelve volumes—provided that they are arranged in right order! With much white space around the elements, the overall atmosphere is lighter and airier than the dark and somber earlier covers. It is not clear if this reflects a changed perception of the author’s work, but it does feel liberating.
