Niezależnie od tego, skąd uciekali, dokąd zmierzali i z jakich powodów. Niedokończona powieść Remarque’a „Na ziemi obiecanej” nigdy nie zyskała takiej sławy, jak „Na Zachodzie bez zmian” czy „Łuk triumfalny”. Mimo to również ona jest wciąż wznawiana i znajduje nowych czytelników. Opowiada o losach niemieckich uchodźców, głównie Żydów, którzy przybyli do Stanów Zjednoczonych. Zdarzyło mi się, że dwukrotnie zaprojektowałam okładki do tej książki. Pole manewru było stosunkowo niewielkie. Z góry było wiadomo, że muszę wykorzystać wizerunek Nowego Jorku. Ponadto jedno z wydań musiało zachować layout właściwy całej serii Perły literatury. Może właśnie dlatego mam większe przekonanie do tej monochromatycznej, utrzymanej w tonacji sepii, troszkę zasnutej mgiełką. Bo jest w niej odczuwalny ogrom Wielkiego Jabłka, ale zarazem smutek i nostalgia, które towarzyszyły tym, którzy schodzili z trapów przy brzegu Ellis Island.
No matter where they have fled from, where they are headed, and for what reasons. Although Remarque’s unfinished novel "The Promised Land" could never match "All Quiet on the Western Front" nor "Arch of Triumph" in terms of fame, it is still reprinted to this day and still finds new readers. It tells the story of refugees from Germany, mainly Jews, who arrived in the United States. I happen to have designed two cover arts for this book. There was relatively little room for experimentation. I knew from the start that I had to use an image of New York City. Moreover, one of the editions had to have the trademark layout of the entire "Pearls of Literature" series. I guess that is why I’m more in favour of the monochrome, sepia-tone, slightly foggy cover. This is because it projects a sense not only of the vastness of the Big Apple, but also the melancholy and nostalgia that accompanied those who were stepping down the gangway onto the coast of Ellis Island.
No matter where they have fled from, where they are headed, and for what reasons. Although Remarque’s unfinished novel "The Promised Land" could never match "All Quiet on the Western Front" nor "Arch of Triumph" in terms of fame, it is still reprinted to this day and still finds new readers. It tells the story of refugees from Germany, mainly Jews, who arrived in the United States. I happen to have designed two cover arts for this book. There was relatively little room for experimentation. I knew from the start that I had to use an image of New York City. Moreover, one of the editions had to have the trademark layout of the entire "Pearls of Literature" series. I guess that is why I’m more in favour of the monochrome, sepia-tone, slightly foggy cover. This is because it projects a sense not only of the vastness of the Big Apple, but also the melancholy and nostalgia that accompanied those who were stepping down the gangway onto the coast of Ellis Island.
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