Booker Prize Bindings
Each year the authors short listed for the prestigious Mann Booker Literary Prize are presented
with an individually designed binding of their work, these are some I have created.


by Jeet Thyal

The novel begins and ends with the word Bombay and consequently the concept of circularity. I wanted to use different layers to create a tactile foundation which moves out in concentric forms from the city shich is the hub. I have extended these themes to the doublures and painted the edges to create a whole which emulates the alternate state of the drug user.

The design is created in sections and covered at different levels with goatskin, pigskin and calf. These skins are dyed using batik, crequelle and tying techniques. The doublures are tie-dyed pigskin, endpapers Korean handmade, black tooling, edges decorated with coloured pencil and ink, endbands of vellum and silver thread.

'In a Strange Room'

by Damon Galgut 

'Sea of Poppies'


by Amitav Ghosh 
A diverse group of characters are thrown together on an old slave sailing ship. The black tooling uses rigging as a frame for the inlaid area, which also makes reference to the characters’ lives crossing and interacting.
'The Good Doctor'


by Damon Galgut
'The Secret River'
by Kate Grenville
Water is the driving force for the imagery of this design, coupled with the influence of Aboriginal art.   A tie-dyed pigskin emulates the murky green-grey Thames, the spine and board edges coloured s strong ochre chosen to relate to Aboriginal art and in blood-red on the front the course of the Thames, the Hawkesbury on the back.
by Ian McEwan
The design is constructed from triangles – the A of the title and from circles which begin and end in the same place as does the narrative.  The triangle on the back features the natural landscape of the English country house, where the story is set, the front the intervening war, underlying emotions, life and knowledge.  

A rising figure bursts through reflecting the central theme – coming to terms with the past and moving on.

'English Passengers'


by Matthew Kneale
'The Restraint of Beasts'


by Magnus Mills
'Last Orders'


by Graham Swift

'Knowledge of Angels'


by Jill Patton-Walsh

'The English Patient'

by Michael Ondajji
Coloured vellum was chosen, burnt skin, which is overlaid with the hopscotch game played by the nurse late at night and also redolent of the cracked flagstones which are contrasted with areas of black the overall effect resonant of the war-damaged Italian villa.