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A tiny Indian publisher is translating hidden gems of world literature for global readers

(From Quartz India. Link to the complete article given below)

“It isn’t about size. Or the scale. It is about the choice. The instinct that allows you to take the risk to step outside the structures the world of corporate publishing has so magnificently set up. And publish books that in your opinion need to be read.”

The mission statement of Seagull Books says it all: This is not your usual Indian publisher.

Founded in 1982, the Kolkata-based company publishes everything from literary fiction and poetry to philosophy and even cultural anthropology. But these books aren’t what you’d find on the catalogues of publishing giants such as HarperCollins or Penguin Random House. At Seagull Books, the focus is on translated writing from around the world, much of which has never before appeared in English, in India or anywhere else.

“We publish anything and everything to do with what I like to call ‘the human condition,’” founder Naveen Kishore told Quartz. “It is in many ways a wish-list of books we want to publish. Not dictated by trends or the marketplace or target readers.”

And that’s a far cry from the norms in India’s publishing business, which is estimated to be worth $6.76 billion, according to Nielsen. Though the sector is poised to grow at a compounded annual rate of over 19% until 2020, far above the global rate, it is overwhelmingly dominated by educational books. As a result, the massive success of commercial fiction writers, such as Chetan Bhagat, has prompted most publishers to focus more on cookie-cutter stories that sell well. And in this quest for bestsellers, original and unconventional writing has been pushed to the sidelines.

Read more at the Quartz India link here

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Sometimes the stories we want to hear the least are the ones we need to hear the most

(By Mini Krishnan. From The Hindu. Link to the complete article given below)

Knocked sideways at every exploratory step into the dizzying field of Indian languages, publishers repeatedly come face-to-face with an inconvenient question, given the politics of translated literature: are we merely reinforcing the hegemony of an elite society by transmitting their stories from class to clan to generation, so that it might continue its existence unopposed?

Last week, a collection of stories from the early 20th century reached me. The sentiments and predicaments of that time seemed so remote from today’s concerns that it was difficult to see how any of them might find an audience, except among students of sociology or culture studies.

Yet, if they were not published we would be depriving ourselves of a slice of our own history. Likewise, when a publisher receives an 80,000 word script which describes five centuries of the social history of a particular region, he knows it deserves to be published, but he also knows it will take a year to sell 300 copies.

Knock, knock?

The not-so-hidden problem is the shift in preferences. The alienation the new-gen reader experiences when presented with matters that were important just 30 years ago, never mind 100, has made a chunk of writers appear outdated and uninteresting, their writing overblown.

Should our works of fiction show and tell how to be different in an indifferent world, or should they hold a mirror to societies transitioning from democracies to authoritarianism? Isn’t terrorism more trendy than the lives of nomads, joint families and fishing communities?

Read more at The Hindu link here


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The 2018 Man Booker Prize for Fiction longlist is announced in London

(From Publishing Perspectives. Link to the complete article given below)

‘Slavery, ecology, missing persons, inner-city violence, young love, prisons, trauma, and race’ all are said to figure into the Man Booker Prize for Fiction longlist, as the award starts its second 50 years of competition.

Just two weeks after being handed the “Golden Man Booker” award for The English Patient, Canadian Michael Ondaatje is on the Man Booker Prize for Fiction 2018 longlist, announced today (July 24) in London. Ondaatje’s Warlight is in contention with 12 other longlisted titles by American, British, Irish, and Canadian authors.

The best-recognized and most-honored literary fiction prize in the English language, the Man Booker Prize for Fiction—not to be confused with the translation-focused Man Booker International Award—is entering its 51st year with this “Man Booker dozen” longlist of 13 titles.

The prize confers a purse of £50,000 (US$65,606). The shortlist of six titles is to be announced on September 20, with the winners’ announcement scheduled for a ceremony at Guildhall on October 16.

This year’s list has several distinctive elements, many involving the number four:

  • Four titles are debut novels: The Long Take, The Water Cure, In Our Mad and Furious City, and Everything Under
  • Four authors are younger than 30: Sally Rooney and Daisy Johnson are the youngest, both of them 27
  • Four independent publishers are on the list: Faber & Faber has two titles, while Granta and Serpent’s Tale have one each
  • Four nations are represented, with six writers from the UK, three from the USA, two from Ireland, and two from Canada
  • One work, that of American author Nick Drnaso, is the prize program’s first nominated grahpic novel

And of key interest in the industry, the effect of a Man Booker win can be lucrative, organizers say, using last year’s winner as the example.

Read more at this Publishing Perspectives link


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April 2018 bestseller lists from China: Young readers cheer a celebrity-powered World Book Day

(From Publishing Perspectives)

Our colleagues at OpenBook in Beijing and Trajectory in Boston point out that although Yu Hua’s To Live claimed the No. 1 spot on China’s Overall Fiction list for April, the two titles that follow it are warhorses of the market’s bestseller lists—both from outside China.

OpenBook’s analysis of the strong positioning for Yu Hua’s work points to a particularly robust World Book Day program in China on the 23rd of April.

As it happens, an 18-year-old celebrity named Yi YanQianXi—Jackson Yee to English-language fans—took to his Weibo social media channel to recommend the author’s To Live. Yee may be a book’s best friend: when he appealed for more reviews of the book, some 100 other celebrities jumped in, and more than 2 million followers were quickly following.

Before the activity was over, author Yu Hua had written a public message to Yi YanQianXi, addressing the generation of Chinese citizens he writes about, saying, in part, “You are a unique generation. You are in a period where the future has come and the past has not yet passed.”

The 57-year-old Yu Hua has at times written what’s described as postmodern Chinese fiction, sometimes with elements of magical realism, stories of young people in various eras, particularly building the context of small people in great times and their importance in society and culture. Yu Hua’s work supports the idea that the young Chinese citizens of today will be the leading consumers of pure literature in the future.

Read more at this link


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Abu Dhabi International Book Fair features 25 translations from French, English, and German

Running from April 25 through May 1, the 28th edition of the Abu Dhabi International Book Fair will host 1,350 exhibitors from 63 countries in 35,000 square meters of space at the emirate’s National Exhibition Center.

Held under the patronage of the United Arab Emirates’ Sheikh Mohamed bin Zayed Al Nayan, the fair this year is expected to showcase more than half a million titles in some 35 languages and more than 830 seminars, workshops and other events, some of them as part of a professional program for international industry players.

The Kalima Project for Translation, which is handled by the Abu Dhabi Tourism & Culture Authority, will present 25 new translations into Arabic from French, English, and German, while Poland will be featured as Country of Honor.

And at a news conference held this week at the Manarat Al Saadiyat, it was announced that visitors to the fair for the first time will be offered an electronic card they can use to charge purchases of books without needing to bring cash with them to the book fair.

And among those who were featured at the news conference, there were several in the leadership who spoke to the occasion.

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London Book Fair 2018: Meet the world’s first #1 bestselling ‘Blockchain’ author

History was made at the 2018 London Book Fair—at a Tuesday afternoon session, Josef Marc, CEO of upstart blockchain publisher Publica, announced that the company had just gone live in the Google Play Store with author Sukhi Jutla’s Escape The Cubicle: Quit The Job You Hate—in effect, Marc said, creating the world’s first #1 title on the “blockchain bestseller” list.

Of course, there isn’t really a blockchain bestseller list—at least not yet. But the burgeoning technology—best known in the finance industry for powering cryptocurrencies like Bitcoin—holds promise for publishing, supporters say. And at a panel packed with curious authors and publishers at the 2018 London Book Fair, The Alliance of Independent Authors (ALLi) handed out its just-released white paper “Authors and the Blockchain: Towards a Creator Centered Business Model,” and heard from a panel of experts and early adopters.

For many in the audience, the most obvious questions was: what exactly is blockchain? Essentially, as the ALLi white paper explains, the blockchain is a public ledger system that enables people to transfer “unique pieces of digital property,” known as blocks, in a way that is totally secure, transparent, time-stamped, decentralized and irreversible. Essentially, all necessary details are coded into the blocks, and once accepted, the blocks become an unalterable part of the blockchain.

So how would blockchain work for books? Basically, a digital book created in the blockchain holds both the text, and also all the terms of a book’s contract—referred to as a “smart contract”—including but not limited to commercial terms of sale (and even resale), author credit and other information.

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Sheikh Zayed Book Award announces 2018 winners

Now in its 12th year, the Sheikh Zayed Book Award announced on April 2 its 2018 winners across seven categories. Worth US$1.9 million in annual prizes, this award—organized by the Department of Culture and Tourism- Abu Dhabi—aims to bring global attention to Arabic-language writers and to celebrate academics writing about Arabic culture in other languages.

Syrian author Khalil Sweileh is the 2018 winner in the Literature category for his latest novel, Remorse Test, published by Nofal-Hachette Antoine. This timely novel takes the reader inside the Syrian civil war and its devastating consequences on the country’s people and places.

The jury statement reads, “The novel portrays an inward view of the Syrian Civil War tragedy; the author takes the reader on a trip around Damascus, trudging down the memory lanes and presenting the psychological conflicts amid the shattered reality of place and society—marking an important addition to the Syrian literature, with a unique use of narrative tools and vocabulary construction.”

Sweileh won the Naguib Mahfouz Medal for Literature in 2009 for his novel, The Scribe of Love, which was translated into English by Alexa Firat and published by The American University in Cairo Press.

In the Children’s Literature category, this year’s winner is Emirati author Hessa Al Muhairi for her book, The Dinoraf, published by Al Hudhud Publishing and Distribution. In this picture book, Al Huhairi teaches children about tolerance and acceptance.

Of its decision to award this year’s prize to The Dinoraf, the prize jury wrote, “The story is set in the Animal Kingdom, where a dinosaur is out on a mission to find his parallel among the rest of animals. Throughout his journey, he gets to know the differences between the animals, which finally lead him to find his connection with the giraffe, hence becoming the ‘Dinoraf,’ in a unique portrayal of the contemporary case of peaceful coexistence and mutual tolerance of cultural differences within the global society.”

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The complexities of humanitarian awards: Gui Minhai’s daughter on the freedom to publish

Gui Minhai, a publisher who disappeared in China earlier this year, has said in a videotaped interview—which critics say is forced—that he does not want the Prix Voltaire. His daughter denies that this is his actual feeling.

It fell to the daughter of Gui Minhai, the Swedish publisher and bookseller detained in China in January, to ask a question Sunday (January 11) that has dogged the International Publishers Association (IPA) for more than two years:

“Why is the Chinese Publishers Association allowed to be part of the IPA? How is this defensible?” Angela Gui asked a hushed gathering of IPA delegates in a Skype transmission from her home in the UK on the first day of the IPA’s 32nd International Publishers Congress seated in New Delhi.

In a full day of issues and insights, the interview with Gui’s poised, articulate daughter was easily the most compelling part of the day, coming in a session which asked “Do Awards and Recognitions Help?” in cases in which defenders of the freedom to publish are granted the IPA’s Prix Voltaire and other humanitarian awards.

The session’s chair, Jessica Sänger, director for European and international affairs with the German Publishers and Booksellers Association, had asked Angela Gui if—on the eve of formally confirming her father as the honoree of the 2018 Prix Voltaire—there might be more ways the IPA’s 60-nation membership could support Minhai in his plight.

“Is there anything we should be doing to support you,” Sänger asked, “in your campaign to hopefully improve his situation and finally be released?”

Angela Gui answered without rancor, choosing her words thoughtfully. “In terms of what can be done to help, that’s a very difficult question because there’s certainly no information [about her father’s current situation]. I’m unsure how to proceed in my own advocacy efforts. And of course, I think using the channels that are available to the IPA to exert pressure is very important.”

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The International Publishers Association in India: Issues in a hot-button world

The International Publishers Association (IPA) opens the formal meetings of its 32nd world congress on Sunday (February 11) in New Delhi—which was the site of the event in 1992.

It’s hard to imagine a quarter of a century in which more change has occurred. And while a great deal has evolved in international book publishing—and the world—in those 26 years, the missions of the international business and of the IPA’s 70 publishers associations from 60 countries have intensified recently.

The programming for the biennial IPA Congress is put together in cooperation with the host association—this year, it’s the Federation of Indian Publishers, the president of which is NK Mehra. The schedule of events reads like a robust map of the world’s trends, issues, and challenges to publishing today.

Over three days of targeted sessions, the organization will hear high-level presentations and debate on issues including intellectual property; copyright challenges; self-censorship; the need to build readership; the social responsibility held by publishers; online content; India’s book markets; educational initiatives’ role in emerging markets; and collective rights management.

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China’s fiction and nonfiction bestsellers of 2017

Fiction bestsellers in China last year were dominated by non-Chinese authors, according to OpenBook, while homegrown authors sold better in nonfiction.

One of the most reliable fixtures on the monthly fiction bestseller lists from China’s OpenBook has been Japanese author Higashino Keigo, best known for his mystery novels. In 2017, his Miracles of the Namiya General Store had its second year at the overall top of OpenBook’s China’s charts. In both 2016 and 2017, this was the biggest seller.

Keigo’s dominance doesn’t stop there. Three of his works are in the Top 5 on the annual charts, with Journey Under the Midnight Sunand The Devotion of Suspect X at Nos. 4 and 5, respectively.

The Afghan-born American author Khaled Hosseini and Scotland-based Claire McFall complete the Top 5 on the list, with Hosseini’s The Kite Runner and McFall’s Ferryman.

One of the most noticeable trends in the fiction bestseller list is the dominance of foreign authors. When Publishing Perspectives pursued the question of why so many fiction bestsellers in China are by non-Chinese authors, we were told that there are three factors in play.

  • Many Chinese readers have an interest in leading international popular titles, a factor evident in the familiar Western books on the list.
  • Television and film production, often attached to one of these titles, can be a key driver.
  • And some authors—chief among them is Japanese author Higashino Keigo—gain a kind of cult status and can generate years of sales on reputation and across many books.

OpenBook in China is similar to Nielsen in the UK or NPD in the United States, providing research and analysis on the evolving Chinese publishing industry. Below is OpenBook’s list of bestselling fiction titles in China in 2017:

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