I can’t wait to see the back of you

I used to read a lot of Irish literature, and I love that phrase, ‘the back of you.’  Although I think in this recent New York Times article, it takes on a different connotation:

A plague of women’s backs is upon us in the book cover world. We’ve recently seen “Finding Casey,” by Jo-Ann Mapson; “The Unruly Passion of Eugénie R.,” by Carole DeSanti; and “The Headmaster’s Wager,” by Vincent Lam, all showcasing a nape-and-shoulder combo on the jacket. “The Pretty One,” by Lucinda Rosenfeld, features three women with their backs turned; “The Smart One,” by Jennifer Close, has its heroine turned away, undoing her wrap dress; and a bride stands facing a beach on “Beautiful Day,” by Elin Hilderbrand.

This cover cliché is not confined to pulp fiction or books that might be described as chick-lit.

Why is the faceless woman so ubiquitous?

I have no idea why this kind of cover is so popular, but Interestingly, this is a trend I like.  For me, it leaves a little something to the imagination. Rather than showing us the face of someone who nine times out

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of ten isn’t going to match the protagonist as we envision her or as the author describes there, this gives everyone an out.

Although I associate the trend with modern Regency era romances, it’s cropping up everywhere.  Even I was subconsciously infected by its popularity.  It was the basis of my idea for the cover of In the Nick of Time.  The more I read, the more I look for subtlety in book covers and I think this is a trend in the right direction.