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I could relate so much I hope to get married to him one day One person found this helpful 2 people found this helpful. The condition of the book was excellent and the delivery was before promised. If you like deep-resounding romantic books then do read this.

Don't watch the movie.

Vintage Contemporaries Series

In parts brilliant, in others lugubrious. It made me cry and laugh and everything in between. David Nicholls is such an amazing writer. Told in a real simple way.. The characters and the story will remain with you forever. It is fun to get to know a character through a book and feel every thing for them.

The books, however, kept piling up. Fiction, nonfiction, poetry, and coffee-table books filled the living room, stacked on shelves and on the floor instead of on bookcases. I kept on reading, but I felt aimless. My grandfather, who kept a number of click pens from different restaurants and hotels on his desk as do I , as well as collections of matchbooks, and magazines, started me down the path when he bought me my first baseball cards.

One of my clearest memories is him taking me to the kind of a trading card shop that seemed ubiquitous during my childhood, and buying me a ten dollar Donruss Mark Grace rookie card.

Top 10 Movies You Didn't Know Were Based on Books

I would go on to handle all my cards that way. I mostly judged the books by their covers, but there was one in particular I became obsessed with, inside and out — a book and a cover that I think sum up so much of my taste: Eventually, baseball cards gave way to comics, comics gave way to rocks and fossils I found on solitary walks. As I got older, records, old LPs and 45s, mostly blues, soul, garage rock, and other weird and wild post-war American sounds, became my obsession.

At some point, my stays in apartments stretched from months to years. My book collection started to grow, bookshelves were purchased, and my focus as a collector switched. I had some new books, but with estate sales and thrift stores routinely picked over by professionals who turned around and resold dollar concert T-shirts and vintage denim for two-to-three hundred times what they paid, I put almost all of my attention on books.

This is the childlike element which a collector mingles with the element of old age. At some point, my primary obsession turned to collecting Vintage Contemporaries from the s.

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Most people discarded their Vintage Contemporaries somewhere between the Bush and Clinton administrations, along with their giant block cell phones and Oingo Boingo cassettes. That was the fate of so much from the s: By the end of the decade, we wanted nothing to do with any of it. For the most part, people seem to be sharply divided as to how they feel about Vintage Contemporaries.


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As one Chicago bookseller put it as I strolled up to the counter with six different editions: The titles came in different colors, but always the same font: It is, admittedly, a lot to take in. You could pick out any cover as an example of everything people considered good and horrible about s design. What everybody can agree on is the quality of the titles and the lingering influence of their authors: My grandfather started me down the path when he bought me my first baseball cards.

Judging Books By Their Covers

Numerous current authors say they attended MFA programs from Syracuse to the Iowa Writers Workshop so that they could learn from various Vintage Contemporaries authors. I wonder how many of these young authors picked up the old paperbacks in thrift stores and discovered an early influence.

I dreamed of having the work framed on my wall. Today, book cover illustrations are splashed across T-shirts, mugs, and just about anything that can be sold in an Etsy shop. I wanted to understand why, if any reason existed in the first place, the art was picked for the particular title.

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I had to find out what connection, if any, these images had with their books. More straight-forward now, sometimes the covers were still pretty, but often times nowhere near as interesting to me as that first generation. And even without the dot matrix and white background, the cover of the V.

That, maybe more than anything else, might help begin to explain my fondness for the covers. In the mids, when I was 5 or 6, I visited the Art Institute of Chicago for the first time on a field trip from my school in Skokie, Illinois. You probably know it: Even as a young child on my first ever visit to an art museum, I remember looking at that one work of art and not understanding what I was feeling.

There was something unsettling about it, something lonely, but also something beautiful and maybe familiar. I can go back to that moment, a little sliver of time wedged between years of family trauma. I can recall standing there and looking at the painting, some strange, uneasy feeling washing over me. Did somebody say something awkward? Is it a holdup? Is there about to be a holdup? Do these people all know each other? Those seeds planted in my brain early on, images from my childhood that affected me then have stuck with me to this day. My senses often overwhelm me and I rarely ask why or what the root of my feeling is.

I believe there is a reason certain tastes, scents, sounds, and sights move me the way they do; part of it is conditioning, the other is deeper. For instance, I have no connection to the church, but I have grown to love gospel music and feel myself moved by the passion. Those roots run deep. That probably begins to explain my obsession with Vintage Contemporaries. The covers beg me to try and understand the story the way I tried to understand that painting.