The cover of the book tries to exemplify what Neocolonialism looks like in modern Cairo. The city is portrayed as a busy metropolitan area. The aim of the photo aims to capture interconnectedness, while trying to symbolize economic development.
The cover is a picture of church being constructed in China. I think it literally translates the concept and title of the book
There is an image of a grasshopper on the fron cover. The grasshoppper appears to be looking directly at the viewer. It somewhat made me feel like the animal knows me. There is also an ant crawling.
Under the insects is a an edorsement(?) from The New York Times. It draws in the reader.
The cover is a simple picture of the daughter, Lia Lee, dressed in traditional Hmong attire. Looking at the picture, she is seemingly staring right into the camera without any overt emotion being expressed. I think that the image emphasizes the significance of culture and traditions for even one as young as Lia (she seems to be around 7 or 8 years old in the picture), and I believe author employs this picture to emphasize her argument on how doctors need work to develop greater "cultural competence." I think that the author would want a doctor to look at this picture and perhaps realize that while she is a young child with a medical disorder, she is also part of the larger Hmong community and their traditions.
The cover of the book is described as a woman virtual figure smiling and looking away from the cover of the book. The woman is wearing a lot of makeup and is definitely somewhat sexualized - perhaps a marketing strategy?
The cover depicts a digital character on a white background with the author's name in a a text bubble very like what one would see in a virtual chat medium. The title and subtitle are also depicted in a virtual "dialogue option" screen with buttons depicted to minimize, maximize, and flip forward and back. The commanding figure on cover is a darker skinned, feminine avatar. This is interesting in light of the original annotator's statement that, "many players of color found Linden’s options of diversity to be lacking and thus made their own skin colors. However, this took a high level of computer skill or the money to purchase such creating a skin economy within Second Life."
The original annotator also described Second Life's mode of expression for the LGBTQ community; the author's name is Tom which would lead one to assume a male-identifying character, but the subject of the cover may indicate that he chose a feminine person of color in Second Life.
The cover seems to promise that the virtual life will challenge expectations and also previews some of the content.
The cover I feel is more straight forward ( but I am sure to be wrong). It features a small child chasing goats, a literally intimate interaction with animals which serves to capture the milieu of the text. I do wonder why this photo was taken and say why not a person milking a goat, I believe it is because that sort of picture would display a power dynamic very different than the seemingly symbiotic and natural relationship shared between the child and goats. It in away shows the quoatidianess of the interactions.
The cover of the book appears to be the flashing of a light, with a black and white background that invokes the imagery of being an old photo. What interests me is that the light kind of makes a question mark shape or maybe an infinity, which fits well with the topic of the book.
The cover of the book seems to represent a graveyard of items left behind during migration. I notice backpacks, hats, articles of clothing, and other items that are indescernible. The title and the cover go hand in hand to tell a narrative of the graveyard; things left behind to die. It almost makes one think of the Sonora Desert as a place where one can lose anything and everything, hence the huge pile of rubbish and items left behind.