The republication of The Spook Who Sat by the Door, Sam Greenlee's seminal novel, is not just a literary event but a cultural moment.
To mark the book's 55th anniversary, a new cover design was created by the talented artist Ali 'Komikamo' Kamara. The design process, overseen by Kamillah Brandes, Editorial Manager for Fiction at Jacaranda Books, bridges the historical significance of the novel with contemporary aesthetics. In a recent conversation, Kamara and Brandes shared insights into the creative process behind the new design, offering a glimpse into how they honoured Greenlee’s legacy while making it resonate with today’s readers.
Ali 'Komikamo' Kamara, known for his bold and evocative designs with the likes of DLT, HBO and more - approached this project with a deep understanding of the novel’s themes. Reflecting on the brief he received, Kamara shared, "It was pretty clear to me. When I'm working with a client the style of collaboration varies from person to person, and that's kind of also the job of a designer or art director, whereby is to help guide him through it."
Kamara's task was to create a cover that would encapsulate the essence of the story, and the values encased within, while bringing it into the modern era. He focused on three main elements: the story’s key moments, the symbolism within the narrative, and the complex character of Dan Freeman. "These were the three things that I pulled from to piece together what the imagery would look like," Kamara explained. This approach ensured that the cover would not only be visually appealing but also deeply connected to the topics and threads running throughout the book.
While the novel itself was a primary source of inspiration, Kamara also drew from other artistic references. "There were a few references that were provided," Kamara noted. Brandes highlighted another point of interest - the influence of Colson Whitehead's book covers, which are known for their audacity and simplicity.
“There is lot of boldness in those types of covers, just in terms of how the colours are used… So there was definitely a lot of influence keeping it simple, bold, not overcomplicating it, just being as iconic as possible."
It’s also virtually impossible to ignore the hand that Blaxploitation cinema plays, as the film release fell into the early stages of the movement. The majority of editions published after its screening used imagery with a likeness to the movie, further deepening the pool of sources to inspire the cover. Its evident in the finished product, which uses a minimalist yet powerful visual language to convey the novel’s themes.
Kamara’s admiration for the work of other artists also played a role in shaping his approach. He cited the work of Noma Bar, a graphic design artist known for his editorial work on social and political issues. "His work is so witty in how simple, and he's super simple imagery to communicate a concept of just like two opposing image icons," explaining how this influenced his own approach to creating powerful, straightforward imagery. The focus on simplicity, combined with a deep understanding of the subject matter, allowed Kamara to create a cover that is simultaneously modern and timeless.
The final cover design is rich with symbolism, capturing the duality and tension at the heart of The Spook Who Sat by the Door. At first glance, the cover features an abstract portrait of Dan Freeman, dressed in a suit typical of the 1970s. However, the details reveal much more. "With his afro, the way it's shaped, and there's a little cloud ring around his neck," Kamara described, "It's meant to be representative of a mushroom cloud that usually comes from an explosion going off." From the menacing and alert red background to the complex expression the character is wearing, imagery is a powerful metaphor for Freeman’s covert mission and its explosive consequences.
Kamara further explained the choice to use shadow and tonality in the portrait, reflecting the secrecy and tension inherent in Freeman’s character. "The imagery of the portrait being in the shadow, kind of like toned in that way, I think that type of imagery made the most sense to kind of convey that feeling of just like there's something else going on with what he's doing there," he elaborated. This subtle use of visual elements adds depth to the cover, inviting viewers to look closer and uncover the layers of meaning embedded within.
One of the design challenges faced was balancing the historical context of the novel with a modern design aesthetic. Both Brandes and Kamara went on to explain that the use of a modern font was one way to bring the design into the present, while the afro and the added texture on the cover maintained a vintage feel. "The fact that he's got an afro and the texture added to it is probably the most vintage elements of it," Kamara said. By blending the old and new, the cover feels both rooted in its original time whilst enticing today's audience.
The design process also involved experimenting with different drafts, one of which featured a line of silhouettes, with Freeman standing out as the only Black figure. While this concept was ultimately set aside, it highlights the thoughtful approach to the project, where each idea was carefully considered for its impact and relevance.
For Kamillah Brandes, ensuring that the cover honoured the novel’s legacy while also appealing to a contemporary audience was a key objective. "I definitely wanted to make sure that we were getting that modern feel, but still hearkening back to the original time of the book and its publishing." Finding the balance was essential, given the novel’s importance not just as a work of fiction, but as a cultural artefact that continues to resonate.
Brandes also highlighted the significance of this republication, noting that "this book wouldn't exist without Black British UK publishing in the form of Margaret Busby." The cover, therefore, needed to connect past and present, reflecting the enduring relevance of the novel’s themes while celebrating the legacy of Black British publishing. Brandes expressed her satisfaction with the final design, saying, "I was immediately like, hats off, excellent job… I really appreciated [Kamara’s] work and what he produced for us in this process."
The collaboration between Kamara and Brandes resulted in a cover that is not only visually striking but also deeply meaningful. The design reflects the novel’s themes of covert rebellion, the tension between outward appearances and inner intentions, and the dramatic impact of Freeman’s mission. It also successfully bridges the gap between the novel’s original context and apt nature of what’s occurring in modern society, ensuring that The Spook Who Sat by the Door continues to inspire and provoke thought in today’s readers.
As Brandes noted, the reaction to the cover has been overwhelmingly positive, including from Sam Greenlee’s daughter, who expressed her admiration for the design. Her approval underscores the success of the project, which has not only brought new life to a classic novel but also connected it to a new generation of readers.
The republication of The Spook Who Sat by the Door can’t be defined as a reissue; it is a celebration of a novel that has left an indelible mark on American literature and culture. Through the collaboration of Ali 'Komikamo' Kamara and Kamillah Brandes, the novel’s new cover captures the spirit of its time while speaking to contemporary themes of resistance, identity, and power. As readers pick up this new edition, they will be greeted by a cover that is as thought-provoking and impactful as the story it encases - a true testament to the enduring legacy of Sam Greenlee’s work.
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