Prior to the 1920s, dust jackets were functional rather than decorative—typically just simple paper wrappers that were used to protect the binding and then discarded once the book was purchased. With advancements in printing techniques in the early 20th century, publishers began to see the dust jacket as an economical tool for both decorating and marketing books. Not only were dust jackets cheaper to produce, but they also had space for advertising. By the mid-1920s colorful, graphic dust jackets saturated the market.
The Crystal Cup, by Grace Atherton (New York: A. L. Burt Company, 1925) Helen Farr Sloan Library & Archives, Delaware Art Museum
F. Scott Fitgerald’s 1920 novel, This Side of Paradise, is widely credited for popularizing the fictional flapper, and by 1925 the flapper was a regular feature in books and on their covers. In general, flapper fiction explores the dynamics of modern life through the lens of a flapper protagonist or the interactions between male and female characters. These narratives often highlight the tension between traditional and modern morals, the generational divide, and the evolution of gender roles. They delve into the experiences of women navigating the workforce and urban environment, and address themes of empowerment, class tensions, and the spectacle of female visibility.
Birds Fly South, by Ethel Hueston (New York: Grosset & Dunlap, 1930) Helen Farr Sloan Library & Archives, Delaware Art Museum
Ethel Hueston's books often featured strong female protagonists navigating themes of independence, resilience, and the evolving roles of women. The description on the dust jacket informs readers (and perhaps concerned parents) that the protagonist in this story is a modern woman who can be admired:
“P. T.” is a flapper. She wears slinky clothes with a swishy little flair of red silk at the right knee. She lies in a tepid salt bath for one hour daily to preserve youth, beauty, suppleness. She makes it a point of business to pick up strange men who pay for her luncheon. She is ready to marry a stranger on a bottle of champagne. But—if you think you are going to find her a Horrible Warning, a Terrible Example of Flaming Youth, an Appalling Instance of What-Is-the-World Coming To, read further. “P. T.” is really the most charming among Ethel Hueston’s many charming heroines, a truly good sport, a girl of grit, heart and honor.
During this era, a substantial number of films were adapted from novels, as studios sought to capitalize on the popularity and narrative depth of literary works, blending the allure of storytelling with the emerging cinematic techniques. Books were often adapted into films and then reissued as photoplay editions illustrated by scenes from the film. Our Dancing Daughters, is a rare, early example of the opposite—the film was so popular that it was published in book form.
The Plastic Age, by Percy Marks (New York: Grosset & Dunlap, 1925) Helen Farr Sloan Library & Archives, Delaware Art Museum
One of the best-selling books of 1924, The Plastic Age tells the story of college athlete Hugh Carver who falls in love with Cynthia, a flapper whose wild lifestyle jeopardizes Hugh’s grades and athletic performance. Clara Bow starred in the film adaptation in 1925, and the photoplay edition is illustrated with scenes from the movie. Every available inch of the dust jacket—even the back—is used to advertise other titles by Grosset & Dunlap.
Our Dancing Daughters, by Winifred Van Duzer (New York: Grosset & Dunlap, 1928) Helen Farr Sloan Library & Archives, Delaware Art Museum
Joan Crawford starred as “Dangerous Diana” Medford in the 1928 film Our Dancing Daughters. This was Crawford’s breakout role, described by F. Scott Fitzgerald as, “the best example of a flapper, the girl you see in smart night clubs, gowned to the apex of sophistication, toying iced glasses with a remote, faintly bitter expression, dancing deliciously, laughing a great deal, with wide, hurt eyes. Young things with a talent for living.” The hit film was immediately adapted into a book which features an illustration of Crawford on the cover.
