- Paperback: 448 pages
- Publisher: Vintage (August 5, 2014)
- Language: English
- ISBN-10: 0804171637
- ISBN-13: 978-0804171632
- Product Dimensions: 5.4 x 0.9 x 8 inches
- Shipping Weight: 15.5 ounces (View shipping rates and policies)
- Average Customer Review: 57 customer reviews
- Amazon Best Sellers Rank: #56,574 in Books (See Top 100 in Books)
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What We See When We Read Paperback – August 5, 2014
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Praise for What We See When We Read:
“A playful, illustrated treatise on how words give rise to mental images. . . . Mendelsund argues that reading is an act of co-creation, and that our impressions of characters and places owe as much to our own memory and experience as to the descriptive powers of authors. . . . [What We See When We Read] explore[s] the peculiar challenges of transforming words into images, and blend[s] illustrations with philosophy, literary criticism and design theory.” —Alexandra Alter, The New York Times
“Mendelsund, throughout this thought-provoking book, helps the lay reader contemplate text in ways you hadn’t thought about previously.” —Los Angeles Times
“A conversation piece, created to entice repeated thumb-throughs. . . . [The author is] a highly regarded book-jacket designer. . . . Reading is often considered (especially by those who don’t love to do it) a passive activity. But Cambridge native Mendelsund . . . makes a nice case that it is, in fact, a kind of active collaboration. . . . What We See When We Read, itself a work of conceptual design, unfolds the author’s ideas about what makes reading a creative, visual act all its own on pages—some packed with text, others just a line or two—that incorporate sketches, clip art, images of classic book covers and more.” —The Boston Globe
"A welcome and fascinating new book." —The New York Review of Books
“The liveliest, most entertaining and best illustrated work of phenomenology you'll pick up this year. An acclaimed book-jacket designer and art director, Mendelsund investigates, through words and pictures, what we see when we read text and where those images come from. His breakdown of the reading and visualizing processes yields many insights. . . . Playfully, he offers us a police composite sketch of Anna, based on the description in Tolstoy's novel.” —Milwaukee Journal-Sentinel
"Wow. . . . Mendelsund has changed the way I think about reading. Like the Wizard of Oz tornado, Mendelsund's lucid, questing prose and his surprising, joyful visuals collide to create a similar weather system inside the reader. Not only are you carried off to Oz, but you're aware at every moment of the cyclonic action of your reader's mind and your reader's imagination. It's so smart, so totally original, so beautiful. This is the perfect gift for anyone who has ever blinked awake inside a book." —Karen Russell, author of Swamplandia!
“[Mendelsund] produces a kaleidoscopic, immersive experience that successfully combines text, graphics, illustrations, cover images and more into a cohesive whole. It’s a book to be read, reread, shown to perspective graphic designers and shared.” —Kirkus
“[A] sort of epistemological exercise that, at its best, calls all sorts of associations to mind. It summons a mental flood. . . . Mendelsund is an adept memoirist; the personal material in this book resonates. He notes that we can read novels quickly, as if driving through them, or slowly, as if walking, and have distinct experiences. . . . [He] keeps his tone light while thinking deliberately about fundamental things.” —Dwight Garner, The New York Times
“Mendelsund, one of the truly great book-cover designers, explores what we see when we read, in a volume packed with stunning visuals. It’s a fascinating and enlightening look at something we might not actually realize we’re thinking about with every word we read.” —Flavorwire
"A deconstruction of the visual experience of reading, a heady mixture of philosophy and neuropsychology. . . . Peter Mendelsund is astonishingly good at what he does." —The Rumpus
"Amazing. . . . Sparkling with verbal as well as visual wit and the personable exhilaration of one of the best conversations you've ever had, What We See When We Read opens one's eyes to that special brand of blindness which makes the vividness of fiction possible. It reads as if the ghost of Italo Calvino audited Vladimir Nabokov's literature class and wrote his final paper with the help of Alvin Lustig and the Radiolab guys." —Chris Ware, author of Building Stories
“Quirky and fascinating. . . . Mendelsund draws our attention to things we may not be fully conscious of when we immerse ourselves in a narrative. . . . We See When We Read will make passionate readers think about things they may largely take for granted when absorbed in a book and spark further thoughts about what the pleasurable experience of reading is all about.” —BookPage
“Intriguing. . . . A truly remarkable book.” —Coolhunting.com
“In this brilliant amalgam of philosophy, psychology, literary theory and visual art, Knopf associate art director and cover designer Mendelsund inquires about the complex process of reading. . . . The book exemplifies the idea that reading is not a linear process. Even if readers follow consecutive words, they incorporate into reading memories, distractions, predispositions, desires and expectations. . . . In 19 brief, zesty chapters, the author considers such topics as the relationship of reading to time, skill, visual acuity, fantasy, synesthesia and belief.... Mendelsund amply attains his goal to produce a quirky, fresh and altogether delightful meditation on the miraculous act of reading. —Kirkus (starred)
“A delightful treat for the avid reader. . . . [A] topsy-turvily illustrated marvel. . . . [Mendelsund] maps the dreamscape of reading to show us how the mirage dissolves under close scrutiny but its memory still burns brilliant. What a tangible magic books are!” —Shelf Awareness
“Offhandedly brilliant, witty, and fluent in the works of Tolstoy, Melville, Joyce, and Woolf, Mendelsund guides us through an intricate and enlivening analysis of why literature and reading are essential to our understanding of ourselves, each
other, and the spinning world.” —Booklist
“This examination of how words on a page become pictures in our brains is blowing my mind a little in the best possible way.” —BookRiot
"This is not a book, this is a sacred text. It inspires, it expands the mind, it proves that Mendelsund is a total freaking genius." —Heidi Julavits, author of The Vanishers
"Brilliant. Peter Mendelsund has peered into our messy heads and produced an illuminating, kaleidoscopic meditation on reading. Also on seeing. And understanding." —Jim Gleick, bestselling author of The Information
"Peter Mendelsund is to the art of book design what Walter Murch is to the art of film-editing. That, of course, is the highest praise imaginable." —Geoff Dyer, author of Another Great Day at Sea
Praise for Peter Mendelsund's work:
"He's the exact visual correlative of what I think contemporary literature should be, but usually isn't doing." —Tom McCarthy
"Peter Mendelsund pushes the visual and the verbal into unforeseen alliances. These alliances feel inevitable, establishing exactly the right balance between the timely and the timeless." —Jed Perl
"When I first spoke with Peter, after he'd begun work on the jacket for The Flame Alphabet, I was struck by how carefully he'd read the book. . . . To have it from a designer is unnerving and, of course, a piece of very good luck. When he asked me if there was anything I had in mind for the jacket, I knew by that point that I did not want to get in his way or even to put my voice in his head. I wanted an original Mendelsund." —Ben Marcus
"Once in a while I'm presented with design that crosses the barriers of cultural references and visual language—that feels universal—that feels like the perfect start to the story; design that I don't want to reader to forget, but to carry with them. These designs are Peter Mendelsund's." —Jo Nesbø
"All of Peter's covers are funny, smart, and beautiful. And all of them say something about the visual nature of reading, writing, and perception. Each one is a poem. Look at them closely." —Jane Mendelsohn
About the Author
Peter Mendelsund is the associate art director of Alfred A. Knopf and a recovering classical pianist. His designs have been described by The Wall Street Journal as being “the most instantly recognizable and iconic book covers in contemporary fiction.” He lives in New York.
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As I read this amusing work, I found myself thinking of individual friends who read: Oh, so-and-so would love this insight. Gosh, this reminds of what that friend said about that text. Wouldn't whatshisname love that line and picture. By the time I finished, I thought I should buy a whole case of these books, one for every reading friend I have. And a case certainly would not be enough.
Not only that, but I marked it like someone might test me on the contents. There were so many points that I agreed with, so many I hadn't even considered, and some that simply opened my eyes to what I do see when I read that I fell in love with this book. From the cover to the final line, What We See When We Read charmed me.
It’s unlike any book I’ve read before in that almost every other page is illustrated. I found this both interesting and distracting, if not overwhelming at times. However, the points Mendelsund makes are equally interesting and original for their insight. In one chapter about the co-creative process of reading, he states, “These images we ‘see’ when we read are personal: what we do not see is what the author pictured when writing a particular book. That is to say: Every narrative is meant to be transposed; imaginatively translated. Associatively translated. It is ours.”
Mendelsund’s examples from classic books are well chosen, among them Tolstoy’s Anna Karenina. Several decades after having read Anna Karenina, I still remember what she looks like. However, through the author’s careful analysis, I realize that my representation of Anna is based on how I characterized her in my mind, how I have imaginatively constructed her, rather than the scant details given of her physical appearance.
The author delves beyond the concrete when he compares reading to listening to music. “If we don’t have pictures in our minds when we read, then it is the interaction of ideas—the intermingling of abstract relationships—that catalyzes feeling in us readers. […] This relational, nonrepresentational calculus is where some of the deepest beauty in art is found. Not in mental pictures of things, but in the play of elements…”
This book offers much to consider when we think about how we read. I’ve come away with a new awareness that will help me in my future writing, as well. I recommend this book for anyone interested in how we see what we read, and how what we write impacts our readers.
I got about 1/2 way through before I have up. It's a good book with interesting observations, but I wouldn't take it as gospil