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Oodles of Doodles: McSweeney’s first novel

By Amy Armstrong

The McSweeney’s archive, which the Ransom Center acquired in 2013, is now open for research. Founded in 1998 by Dave Eggers, McSweeney’s Quarterly Concern is considered one of the most influential literary journals and publishing houses of its time. McSweeney’s publishes books, Timothy McSweeney’s Quarterly Concern, The Believer magazine, the food journal Lucky Peach, and the DVD-journal Wholphin. This is the second in a four-part series of blog posts highlighting items from this dynamic and diverse collection.

 

It’s the year 2000. McSweeney’s and the rest of the world came through the threat of Y2K unscathed. It’s a new millennium, and new millennium readers want to experiment, take chances, and conquer new frontiers in reading. In 2000, McSweeney’s published its first novel: Lawrence Krauser’s Lemon, which tells the story of a corporate memo writer who begins an intimate friendship with a lemon after his girlfriend breaks up with him. Lemon perhaps set the tone for McSweeney’s books, as one reviewer called it “handsome, smartly written and deeply eccentric.”

 

A unique love story deserves a unique cover, but one unique cover would simply not do. How about 10,000 unique covers? This line of thinking inspired Dave Eggers’s and Lawrence Krauser’s “Oodles of Doodles” cover idea. The first 10,000 books were wrapped in a blank dust jacket containing only the title and author rubberstamped in various places on each cover—Krauser’s blank canvas. Over a period of about three months, for about three hours a day, Krauser drew unique doodles on 9,812 Lemon dust jackets, making each copy a unique, one-of-a-kind original. Krauser didn’t quite make it through the 10,000 print run, but illustrated an additional 1,000 covers for the Dutch translation, for a grand total of 10,812 unique books.

 

The Ransom Center currently holds three copies of Lemon: one blank copy and two with unique doodle covers.

 

Since publishing Lemon, McSweeney’s book publishing division has grown into McSweeney’s Books, which publishes nonfiction biographies, memoirs, and criticism; a long list of humor books including the “Baby, Be of Use” series by Lisa Brown and the popular Haggis-on-Whey encyclopedias; art books with portfolios by Marcel Dzama, Dave Eggers, and Art Spiegelman; and Beck’s Song Reader, a music album that exists only as richly illustrated individual pieces of sheet music.

 

McSweeney’s other book imprints include McSweeney’s Rectangulars; Believer Books, collecting writing from the magazine’s contributors; McSweeney’s McMullens, which publishes books for young children and young adults; Voice of Witness, a nonprofit series of oral histories documenting contemporary social injustices around the world; Collins Library, reprints of forgotten classics edited by Paul Collins; McSweeney’s Poetry Series; and McSweeney’s Insatiables, a food and cooking imprint.

 

Related content:

Unpacking the McSweeney’s archive

When is a Comb not a Comb? McSweeney’s Quarterly Concern, Issue 16 (May 2005)

Materials in McSweeney’s archive offer behind-the-scenes glimpse at “The Believer” magazine

Keep Austin Weird: McSweeney’s McMullens and everything else

Meet the Staff: Q&A with archivist Amy Armstrong

 

Please click on the thumbnails below to view larger images.

When is a Comb not a Comb? McSweeney’s Quarterly Concern, Issue 16 (May 2005)

By Amy Armstrong

The McSweeney’s archive, which the Ransom Center acquired in 2013, is now open for research. Founded in 1998 by Dave Eggers, McSweeney’s Quarterly Concern is considered one of the most influential literary journals and publishing houses of its time. McSweeney’s publishes books, Timothy McSweeney’s Quarterly Concern, The Believer magazine, the food journal Lucky Peach and the DVD-journal Wholphin. This is the first in a series of blog posts highlighting items from this dynamic and diverse collection.

 

It’s 1997. Dave Eggers is working at Esquire magazine. From his Brooklyn apartment at 394A Ninth Street, Eggers sends an email (a pretty new technology, by the way) to all his friends and writers he knows soliciting their unpublished work for a new literary quarterly. Eggers explains the publication will be called McSweeney’s, named after a man claiming to be a relative who wrote “long, tortured, and often incomprehensible letters” to the Eggers family. The email, which was forwarded extensively to other friends and writers, notes: “There will be an emphasis on experimentation. If you have a story that’s good, but conventional, you’d be better off sending it somewhere legitimate. This thing will be more about trying new and almost certainly misguided ideas.” Rejected works, unfinished stories, and cartoons without pictures had found their home.

 

Expecting to be around for only a few years, McSweeney’s is still going strong 15 years later and still publishes the flagship McSweeney’s Quarterly Concern, the monthly magazine The Believer, and an ever-expanding catalog of books published under various imprints.

 

Each issue of the Quarterly Concern is completely redesigned, but the McSweeney’s house style is immediately recognizable, often influenced by vintage typography and a distinct design aesthetic that honors the craft of bookmaking. Always willing to experiment, McSweeney’s has published issues with two spines, a magnetized binding, and a cigar box housing. They’ve also published an issue that resembles a bundle of mail, an issue printed as a complete daily newspaper, and an issue that gave readers a look inside the head of one sweaty man. Many issues focus on a theme, and selected issues have paid tribute to Donald Barthelme; acquainted readers with the art of comics and modern forms of extinct literary genres; introduced international voices by featuring contemporary writing from Icelandic, South Sudanese, and Australian Aboriginal writers; and provided thoughtful non-fiction essays.

 

Issue 16 was the first edition designed by former editor Eli Horowitz and can be considered the first to really experiment with book form and function. Horowitz wanted “something that could sit on a shelf, pretend to be a normal book, but then unfurl into something else entirely.” The jacket unfolds three times, resembling a pair of pants when completely unfolded, and contains four pockets. One pocket holds the novella Mr. Nobody at All by Ann Beattie, another holds a book of short stories, the third holds Robert Coover’s story “Heart Suit” presented as a deck of 15 playing cards, and the final holds an object: a comb. Horowitz noted that they wanted the fourth pocket to hold an item, but it had to be something long and thin. McSweeney’s considered a ruler and magnifying glass but didn’t want readers to ascribe a meaning to the item or think they were supposed to use it in a certain way. Horowitz decided on a comb. McSweeney’s printer in Singapore subcontracted with a comb maker, and they considered various samples, which can be found in box 17, folder 5 of the archive.

 

The bulk of the McSweeney’s archive comprises mock-ups, dummies, art, and proofs used to produce McSweeney’s publications, but every publication isn’t fully documented. The materials related to issue 16 provide a good look at the publishing process. The archive contains Beattie’s and Adam Levin’s manuscripts with edits by Horowitz, partial proofs with copy-edits, color swatches, the comb samples, and an early homemade design mockup.

 

Related content:

Unpacking the McSweeney’s archive

Oodles of Doodles: McSweeney’s first novel

Materials in McSweeney’s archive offer behind-the-scenes glimpse at “The Believer” magazine

Keep Austin Weird: McSweeney’s McMullens and everything else

Meet the Staff: Q&A with archivist Amy Armstrong

 

Please click on the thumbnails below to view larger images.