Like pieces of a puzzle
as yet uncompleted,
the elements of the cover of
"The Hatch and Brood of Time"
provide clues to the
mystery to be unfolded.

 

How do they all fit together in the end?

 

 

The newsprint itself not only represents Nat's profession, but provides the first and most important element of realism on the cover. The lead article is written by Ginny Chau herself, midway through the case. The small photo is of a culvert beneath the Parkway where the body was found. Other material provides local color (downtown Haworth, a tribute to the author's home town) and a touch of humor (the HAH ad).

 

...Take a closer look
at the April 2nd
"Bergen Evening Star."

The paper dolls are the suspects, or, more accurately, a group of people without distinguishing characteristics all looking at each other. They represent the question, "Who dun it?" Perhaps Nat cut them out of the "Star" while waiting restlessly for the case to break at the beginning of Chapter Thirteen.

The cross-hairs play a double role, not only indicating, by pointing at one of the paper figures, that someone has been killed, but, more importantly, suggesting that one of the paper doll suspects must be singled out from the rest.

 

The title graphic is both a little puzzle and a hint,
with the tipped over C, that violence is at work.

 

 

 

 

The gun...yes well, you did want to know it was a murder mystery, didn't you? The graphic is of the only gun (a Colt .357 magnum) that appears in the book...not the murder weapon.

 

 

The Tudor house is, of course, Castle Dow, bastion of privilege and unhappiness. As Nat discovers, shadows fall on the well-to-do as well as those who struggle, even as they fall across this picture. Here is the untinted version of the Tudor house in all its glory. By the way, don't go looking around Bergen County trying to identify the house, because you won't find it (it's another mystery....)

 

The geese put into perspective the more ominous elements of the cover, reminding us of the underlying quiet suburbia upon which the tale unfolds. For if it is true that violence strikes even the smallest and most peaceful community sometimes, it does not mean that smallness and peace are bad things.

 


The chain link fence connects the cover, linking all the other elements, while at the same time suggesting a bleak and harsh division. For Hatch is above all else a tale of outcasts, of people who live behind barriers, real or imagined, through which they think they can never pass. The lovers of authenticity among you will be pleased to know that this is indeed a photo of the fence around the Oradell reservoir, taken at the spot where Daniel was deemed to have paused and curled his fingers through the diamond-shaped holes one unhappy morning.

 

The Artist

Elhamy Naguib is an extraordinary artist whatever the medium, as at home with pixels as he is with acrylics, poster paints or mahogany. He owns a graphic design studio and art gallery called 'Graffiti.' YouÍll have to visit to Egypt to see his work, but that is not such a bad idea, since youÍll be able to squeeze in a trip to the pyramids, too.


The complexity and strength of the cover mirrors the many-layered plot of "Hatch" itself, as well as its use of visual imagery.

Ever wonder what it takes to produce such a book cover?

"Cover Genesis" continues...