In Nederland(“In the Netherlands”) is a novel by Dutch writerCees Nooteboom. A morose provincial inspector of roads in Aragon settles down to write the fable ofthe Snow Queen. The Netherlands has now been stretched into a vast country with Northern flatlands and hazardous Alpine ranges in the south. Kai and Lucia are circus illusionists, and when Kai is kidnapped, Lucia must rescue him from the Snow Queen’s palace.In the Dutch Mountainsis an elegantly constructed story within a story, laced with the wit that characterises the work of this outstanding European writer. First published in Dutch byDe Arbeiderspersin 1984, it was translated to the English byAdrienne Dixon(1932–1990) and published byLouisiana State University Pressin 1987, under the titleIn the Dutch Mountains. Shown here is the cover ofPenguin’s paperback edition from 1991, with cover art byDavid Davies. The design is byMelissa Jacoby. For title and author’s name, she chose a typeface that was released around 1932 – shortly before Nooteboom was born (1933): it’s Schwung-Adastra, an extension ofAdastra(1928) with swash caps. The inclined inline face was cut by August Rosenberger at theStempelfoundry in Frankfurt, after designs byHerbert Thannhaeuser. Outside Germany, Adastra was also known asRoyal. Cees Nooteboomdied 11 February 2026at the age of 92. RIP.
This typography communicates literary gravitas with a touch of Continental European sophistication. The 1930s Adastra creates an atmosphere of mid-century intellectual refinement, while its swash capitals and inclined inline design suggest the kind of artistic flourish associated with serious European literature translated for discerning readers.
Adastra's inclined inline construction and swash capitals perfectly suit this translated Dutch literary work by creating temporal resonance—the typeface from Nooteboom's birth era connects readers to the author's generational context. The inline style provides elegant contrast without overwhelming the delicate literary subject matter, while Leamington's classical proportions ground the design in traditional book typography conventions.
The pairing works by establishing clear hierarchy through stylistic contrast—Adastra's decorative inline display quality commands attention for title/author, while Leamington's more restrained classical forms handle body text duties. This creates the perfect tension between artistic expression and readable functionality essential for literary fiction covers.