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@nukta.bsky.social

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HERE WE GO AGAIN omg

Cover art of "I Was A Teenage Slasher" by Stephen Graham Jones. Text-forward, with the title and author name in a movie-poster style font. The words are superimposed over a figure in a hoodie, whose face cannot be seen.
Cover art of Rejection, by Tony Tulathimutte. No images, just a murky, dark, bluey-green, fuzzy background. Title and author name are in a retro, muted yellow font.
Cover art of State of Paradise by Laura Van Den Berg. Dense, lush greenery in the rain.
Cover art of God Bless You, Otis Spunkmeyer, by Joseph Earl Thomas. A muted yellow background. A graffitti-esque painted male face is in 3/4 profile. The lines and planes of the face are in brushstrokes of green, blue, orange and purple. The face is superimposed over similarly sketchy rendition of the front of a building, mostly in pink, mauve and red. Overall the whole image feels like a palimpsest.
Cover art of You Should Be So Lucky by Cat Sebastian. Bright, graphic art style. A blue background, with white line art images of New York-y and baseball-y things: the Statue of Liberty, the Brooklyn Bridge, a glove, a taxi cab. In the foreground, a baseball player and journalist stand facing each other. The baseball player is leaning insouciantly on his baseball bat, and the journalist stands with his mic at the ready.
Cover art of The Midnight Feast, by Lucy Foley. A dark background, on which can be seen tree branches, some of which bear lit lanterns.
Cover art of The Book of Love by Kelly Link. A red background on which lines of text are alternated with four rows of moons. Each row shows the moon in five phases, waxing to waning. In one gibbous moon per row, a face in profile is silhouetted.
Cover Art of Funny Story by Emily Henry. A graphic style, blues, oranges and purples. A couple is seated at a bar, tropical cocktails in hand. He is telling a story, her head is thrown back in laughter.
Cover of The Dead Cat Tail Assassins by P Djeli Clark. A dark colour scheme, photo-realistic portrait of the head and torso of a young Black woman. She wears braids, some of which are cinched with gold beads; and a gold masquerade mask that has cat ears. Her arms are crossed in front of her chest, and in each hand she carries a slim, bloodied dagger.
Cover art of Cahokia Jazz by Francis Spufford. Much of the cover is taken up by author name and title, but between the two title words is a misty, nighttime cityscape silhouette.
Cover art of The Fox Wife, by Yangsze Choo. A snowy river bank in the nighttime: colours are muted dark blues, grays and whites. A woman in traditional Chinese garb (long tunic, cropped trousers, flat shoes, bamboo hat) is walking alongside the river. Her clothes are red, making her the only spot colour in the tableau. Her reflection in the water is that of a white fox.
Cover art of Annie Blt by Sierra Grier. The title is in a large elegant font, black lettering over an amorphous, glossy pink, rippling background. It's hard to tell exactly what the material in the background is - it seems smooth and invites touch. It could be fabric, or whipped cream, or silicon.
Cover art of Twenty-four Second From Now... by Jason Reynolds. A young Black couple walking, viewed from behind. Her hand is in his back pocket, his arm slung over her shoulder. He is in a blue-and-white hoodie, cargo pants, and sneakers. Her hair is in braids and she has on a colourful overshirt, skinny blue jeans, & sneakers. Slightly ahead, a brown-&-white dog has turned to glance at them over his shoulder.
Cover art of There's Always This Year: On Basketball and Ascension by Hanif Abdurraqib A dreamy, muted photo of the top third of a basketball post - central black pillar, white headboard, red rim and white net. The viewer seems to be just below eye-level with the rim, on top of which is comfortably perched a young Black boy. His clothes are of muted and earthy tones - blue shoes, olive pants, a zipped up grey jacket. We do not see his whole face, only his chin and mouth, just about to smile.
Cover art of Magical Realism: Essays on Music, Memory, Fantasy and Borders by Vanessa Angélica Villarreal. A collage style cover composed of photorealistic elements. Colours are muted but cover all corners of the primary/secondary colour wheel: reds, yellows, oranges, blues and greens. In the lower third,a rose garden is bordered by a brown picket fence, one of whose posts is the apex of a sword that dominates the middle third of the cover. Behind the sword is a dark sphere that puts one in mind of a moon, or planet - maybe even a Death Star? In the top third of the cover, a brown hand reaches down, intending to grasp the handle of the sword.
Cover Art for Die Hot With A Vengeance: Essays on Vanity by Sable Yong. Predominantly orange cover, much of it taken up by the title and author name. Just above the title, spread across the width of the page, is a graphic of two heavily made-up eyes. From the inner corner of one, a thick black line trails to the bottom of the page - sort of like a mascara'd tear-track
Cover Art of Birding With Benefits by Sarah T Dubb. Graphic style, bright pastels. Close-up of a woman's face directed at the viewer. She is biting her lower lip and holding binoculars up to her eyes - in one lens a yellow bird is visible, in the other; the face of a bearded man. Behind the woman we see a desert scene - bright green cacti, yellow tawny sand, dark orange rock formations at the horizon.
Cover art of Adam & Evie's Matchmaking Tour by Nora Nguyen. Graphic art style, bright blues and greens. A couple in bathing suits holds holds hands on beach, facing the sea. It's a pretty place, maybe an atoll - there are tall greened rocks, sea-huts and boats visible.
Cover art of Dayspring by Anthony Oliveira. It is a composite image of two vertical halves. One half is a painting focused on the bare torso of an ethereally beautiful young man, the other a photo of 2 young unclothed male bodies, seemingly at ease in bed. The images are arranged such that there is continuity in the arms of the painted youth and whoever it is that is in the foreground of the photo, with his hand resting on his knee. He is angled towards the brightly lit figure next to him who in turn faces away from him, gazing elsewhere.
Cover Art of The Pairing by Casey McQuiston - a line art drawing of the upper torsos of an embracing couple. Their facial features are not drawn but it's clear from the angles of their heads that they're clinched in a kiss. There's a similarity to them - their haircuts are short and they're both wearing shirts, the prints of which are a map-like pattern with some Europe-themed outline illustrations: The Eiffel Tower, the Leaning Tower of Pisa, the Colosseum, a wine glass, a croissant, etc.
Cover art of A Shore Thing by Joanna Lowell. Colourscheme is blues and purples, art style is bright and just this side of cartoony. A sunny beach day, with a pale rainbow just visible in the sky because Love Wins™ 🏳️‍🌈. In the foreground a couple in old-fashioned clothes ride old-fashioned bicycles along a wooden boardwalk.
Cover art for This Summer Will Be Different by Carley Fortune. Colourscheme is dreamy, watercolour reds fading into soft yellow - sunset on a beach. A couple in bathing suits run towards the water.
Cover art of The Familiar by Leigh Bardugo, done in a painterly Renaissance sort of style. A closeup of a painted hand emerging from a close-fitting red sleeve with a ruffled lace cuff. The fabric is heavily embroidered, and on the ring finger is a gold ring with a red stone. The hand loosely holds the end of a ornamental good chain. From beneath the lacy cuff, a small black scorpion emerges.
Book cover of Someone You Can Build A Nest In by John Wiswell. Colourscheme is primarily red and black. A woman carries a lantern as a huge triangular and taentacled silhouette looms behind her. Love hearts hidden around the design suggest a whiff of romance ahead