T is for Tan. In 1949 four Chinese women, recent immigrants to San Francisco, begin meeting to eat dim sum, play mahjong, and talk. United in shared unspeakable loss and hope, they call themselves the Joy Luck Club.
AMY TAN is the author of The Joy Luck Club, The Kitchen
God’s Wife, The Hundred Secret Senses, The Bonesetter's Daughter,
and Saving Fish from Drowning, all New York Times bestsellers. She
has published two children’s books, The Moon Lady and The Chinese
Siamese Cat and a memoir, The Opposite of Fate. She was the co-
producer and co-screenwriter of the film version of The Joy Luck
Club. Her essays and stories have appeared in numerous magazines
and anthologies and her work has been translated into thirty-five
languages.
JESSICA HISCHE is a letterer, illustrator, typographer, and
web designer. She currently serves on the Type Directors Club board
of directors, has been named a Forbes Magazine "30 under 30" in art
and design as well as an ADC Young Gun and one of Print Magazine’s
"New Visual Artists". She has designed for Wes Anderson,
McSweeney's, Tiffany & Co., Penguin Books and many others. She
resides primarily in San Francisco, occasionally in Brooklyn.
Winner of the 2012 Fifty Books/Fifty Covers show, organized by
Design Observer in association with AIGA and Designers & Books
Winner of the 2014 Type Directors Club Communication Design
Award
Praise for Joy Luck Club:
"Honest, moving, and beautifully courageous. Amy Tan shows us
China, Chinese-American women and their families, and the mystery
of the mother-daughter bond in ways that we have not experienced
before."
—Alice Walker
"Tracing the poignant destinies of two generations of tough,
intelligent women, each gorgeously written page welcomes the reader
and leads to an enlightenment that, like all true wisdom, sometimes
brings pleasure and sometimes sadness."
—Chicago Tribune
“Reading it really changed the way I thought about Asian-American
history. Our heritage has a lot of difficult stuff in it — a lot of
misogyny, a lot of fear and rage and death. It showed me a past
that reached beyond borders and languages and cultures to bring
together these disparate elements of who we are. I hadn’t seen our
history like that before. At that time, we hadn’t seen a lot of
Asian-American representations anywhere, so it was a big deal that
it even existed. It made me feel validated and seen. That’s
what’s so important about books like that. You feel like, Oh
my god, I exist here. I exist in this landscape of literature and
memoir. I’m here, and I have a story to tell, and it’s among the
canon of Asian-American stories that are feminist and that are true
to our being. It’s a book that has stayed with me and lived in
me.”
—Margaret Cho
Praise for Penguin Drop Caps:
"[Penguin Drop Caps] convey a sense of nostalgia for the tactility
and aesthetic power of a physical book and for a centuries-old
tradition of beautiful lettering."
—Fast Company
“Vibrant, minimalist new typographic covers…. Bonus points for the
heartening gender balance of the initial selections.”
—Maria Popova, Brain Pickings
"The Penguin Drop Caps series is a great example of the power of
design. Why buy these particular classics when there are less
expensive, even free editions of Great Expectations? Because
they’re beautiful objects. Paul Buckley and Jessica Hische’s fresh
approach to the literary classics reduces the design down to
typography and color. Each cover is foil-stamped with a cleverly
illustrated letterform that reveals an element of the story. Jane
Austen’s A (Pride and Prejudice) is formed by opulent peacock
feathers and Charlotte Bronte’s B (Jane Eyre) is surrounded by
flames. The complete set forms a rainbow spectrum prettier than
anything else on your bookshelf."
—Rex Bonomelli, The New York Times
"Drool-inducing."
—Flavorwire
"Classic reads in stunning covers—your book club will be
dying."
—Redbook
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