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.
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