Cover story: Shadow Worlds: A history of the occult and esoteric in New Zealand
Author:
Andrew Paul Wood
Publisher:
Massey University Press
ISBN:
9781991016379
Date published:
13 July 2023
Pages:
424
Format:
Paperback
RRP:
$55.00
When one of Aotearoa New Zealand’s leading photographic artists provides an image for the cover of a book, it’s bound to be striking; when that book is called Shadow Worlds: A history of the occult and esoteric in New Zealand, it opens the door on a range of intriguing and eye-catching possibilities.
Despite the idiom to never judge a book by its cover, each month (Ed’s note: Yes, I am a bit behind but will catch up) Kete takes a look at the raft of recently released local books with compelling or beautiful covers and (without any science or specific design criteria — but with the eye of an enthusiastic reader) selects one we love for our Cover Story.
Then we talk to the people involved in creating and designing the book: authors, illustrators, editors, publishers and designers about the processes they go through to create a cover, and about the decisions that are made and why — what they might be trying to communicate to a potential reader about a book. July’s best cover, according to us, was Andrew Paul Wood’s Shadow Worlds. Here’s what photographer Fiona Pardington, designer Megan van Staden and Wood say about the ever-so-slightly spooky cover.
First, Fiona Pardington on the image:
How did you come to be supplying an image for Andrew’s book?
I adore Andrew, my darkling, my confidante and muse. I was honoured and delighted to be able to come to the crossroads this important publication represents. There’s plenty of occult practitioners out there dying to be included in any future publication. I wouldn’t stop short in saying they are beating the door down. Fabulous!
Why do you think this image is so good for a book like Shadow Worlds?
It was my intent to create an enthralling journey around the viewer’s imagination. A supernatural morsel. A wee peek in to the ineffable. Nudging the numinous.
My photograph is a bespoke still life carefully devised to mirror, evoke and invoke some of the historic esoteric themes Andrew so deftly navigates within the pages of Shadow Worlds.
It was drawn out of the etheric to both honour and please him. Now it is in the hands of the public, doing its gig. The task I created it to diligently perform is in full operation.
What was the process of creating this artwork i.e. what themes/ideas were you trying to communicate?
The objects within the still life (mine, and his) give a sweet nod to the arcane denizens of the Old and New World blown to Aotearoa on the gilded wings of chance. The cover photograph is executed in the signature style of my still life practice. I had license to bring to light snippets of our respective magickal practices.
Shrouded within the miasma there are Austin Osman Spare-ian sigils at work. A sinuous wreath of pōānanga from the Mānuka on my whenua makes itself known. If you look carefully you will see the bottle of Van-Van oil Andrew made and gifted me. In the cover’s velvety SMR darkness our reader can languidly undress an enigma.
The seeding practitioners Andrew writes of were smart-as-a-whip mediums, quacks, artful dodgers, ceremonial magicians and self-appointed visionaries who either blew in, set down roots or were busted in one way or another only to hurriedly translocate. My cover’s vocation is to remain in hushed conversation with this clutch of wild-card spirits.
We're told that we should never judge a book by its cover but we all do. Is there a book that you've bought or picked up to read solely because of the cover?
My opinion is that it will make or break a book and I must say I do find it difficult to pick up a book with a creatively impoverished cover. Ultimately, a noteworthy cover is utterly wasted on inferior content.
Designer Megan van Staden:
How did you come to design Shadow Worlds – and what was attractive about the opportunity?
Nicola Legat from Massey University Press contacted me for this project and it sounded interesting, an opportunity for some occult creativity.
Whose concept was the cover for Shadow Worlds?
The cover concept is by Fiona Pardington, who creates hypersigil still-life artworks. Nicola commissioned her to create the artwork.
What was the process for bringing it all together?
I worked on typographic arrangements for the cover, inspired by 1970s’ occult revival fonts and Fiona’s photography. Inside the book I paired the classical serif Heldane, designed by New Zealander Kris Sowersby, with Neue Kabel, a geometric sans serif font with art deco elements.
Make it stand out
Whatever it is, the way you tell your story online can make all the difference.
What other book covers, or artworks, inspired you or fed into the creation of this cover?
I started off super kooky with the fonts, inspired by the likes of The Necromancers by Peter Haining, Stars, Spells, Secrets and Sorcery by Barbara Haislip, The Black Arts by Richard Cavendish, Man, Myth and Magic magazine (with a cover by English artist and occultist Austin Osman Spare), a McCall’s [an American women’s magazine] cover entitled Occult Explosion, The Magical Revival by Kenneth Grant and a Time Magazine cover, The Occult Revival. But then I pared it back quite a bit to complement the delicate photography.
Author Andrew Paul Wood on Shadow World’s cover:
Whose idea was it to use Fiona Pardington’s stunning image for Shadow Worlds?
Fiona is a very dear friend and having that privilege and knowing her work would be perfect, I said “pretty please.”
Was this image a clear ‘stand out’ or were there others that you considered?
I had complete trust and faith and just left Fiona to channel the whole thing. I think the only specification I made was that I wanted a native plant in the image to anchor it to Aotearoa, hence the generous sprays of pōānanga. I stayed completely hands off and let the genius do her thing.
Not only did Fiona provide the cover shot, but your book is also dedicated to her. You’ve said: “I would like to acknowledge and thank the many people who directly and indirectly made this book possible. First, my muse, Fiona Pardington, who created the amazing and inspiring cover.” So, what other role(s) did she play as you worked on the book?
Fiona is always an inspiration, through her art, her friendship, and her interest and knowledge of esoteric matters. Her encouragement and reassurance got me through some very difficult parts of the creative process. It’s a symbiosis – I do a lot of background research for her in return, tracking down interesting things to photograph.
How did you feel when you saw the finished product?
Blown away almost to the point of being completely overwhelmed.
