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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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The trouble with prizes and translation

(From Asymptote Journal. Link to the complete article given below)

If you love reading fiction by writers from around the globe, you are used to hearing about the big prizes that put international literature in the spotlight: the Nobel Prize for Literature, the Neustadt International Prize for Literature, the Man Booker International, the Caine Prize, the Prix Goncourt, the German Book Prize, the Cervantes Prize, the Tanazaki Prize, and many others.

In fact, you might even have trouble keeping up with the variety of United States–based awards just for literature in translation, from the Best Translated Book Award (now eleven years old) to the National Book Award’s new Translated Literature category. It’s getting to be like following the Olympics, without all the fuss over new stadium construction. For one thing, winning books, like medal-bedecked Olympians, don’t get to the podium all by themselves. Winners need a team (and a coach and money) behind them. For another, we know that lots of great contenders don’t make it to the final round.

So what should we know about book prizes as we are reading the shortlisted candidates or hoping for a win for one of our favorite writers?

First of all, many of the biggest prizes aren’t simply a competition among books. With the exception of those giving awards for lifetime achievement, prize committees aren’t out scouring the shelves for great literature, they’re reviewing submitted books. Publishers, usually from the country where the prize is awarded, submit those books. The publishers actually do the first round of selection simply by choosing the prizes they will submit for, and then selecting books they think have a chance of winning.

If that sounds easy, think of the small presses weighing the cost of their time for the submission process, maybe even paying a submission fee, and shipping off multiple free copies (often presses have to supply a bound copy for each member of the prize committee) year after year. They may even have to commit to attend the award ceremony at their own expense, just to watch another publisher’s submission win the prize. A look at the 2017 finalists for the National Book Award shows, for example, a book by the small independent Graywolf Press alongside those from much larger Scribner, an imprint of Simon & Schuster, Grand Central, a Hachette imprint, and Knopf Doubleday, itself a division of the international behemoth Penguin Random House. When you compare the financial and marketing resources these big publishers have behind them, it seems like a daunting David vs. Goliath competition for smaller presses to enter. Of course, it is worth all the trouble when you win.

Read more at this Asymptote Journal link


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With fewer debut novels selling, what do editors want to tell authors?

In a tightening market for fiction and especially for debut authors looking for that big break, editors can be choosier—and many are more dependent than ever on literary agents to find their next debuts.

A room filled with aspiring writers awaited three editors and a debut author last week at London Book Fair’s session “Why We Commissioned These Debuts.” Speakers included:

  • Penguin Random House UK editor Jade Chandler, who handles crime and thrillers for Harvill Secker and Vintage
  • Nick Wells, the founding publisher at independent house Flame Tree Publishing, which is to launch an imprint for horror, crime, and science fiction/fantasy in September
  • HarperCollins UK editorial director Martha Ashby
  • HarperCollins author Sarah J. Harris was on hand to provide the debut writer’s viewpoint

Harris is also published in the States by Simon & Schuster, and she’s written three YA novels under a pseudonym.  And she described the comparatively dreamy experience she had in entering the market with The Color of Bee Larkham’s Murder.

Having spent nine months writing the book, she said she researched agents and picked out the ones she thought would suit her best. Among them was Jemima Forrester who was starting a new list at David Higham’s agency.

Harris wrote a cover letter, targeted her agents’ list, met Forrester first and signed with her.  Once the book was edited, Harris said, Forrester submitted it and the manuscript drew overnight interest from publishers.

Within less than a week, HarperCollins made a bid, which Harris said she knows is unusually fast action.

From an editor’s viewpoint, Harvill Secker’s Chandler said that in a pre-empt, a publisher may “offer quite a lot to the agent because you want the book” to be taken off the table.

“But sometimes the agent will have it go to auction. I’ve pre-empted two books this year,” Chandler said, “and it usually involves reading the book overnight. It’s very dramatic and exciting and involves sleepless nights.”

Chandler said that like most editors, she finds authors through literary agents who filter submissions. “It’s quite an old fashioned process,” she said, “but in reality, I’m just one woman and I can only read so much.” Not surprisingly, she said that good relationships with agents become important if an editor is to find the best material.

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Kitaab Singapore organizes the first SRMU Kitaab Literary Festival in Lucknow

Lucknow has been the hub of mushaira, Dasstaangoi and kavi sammelan for centuries, but as times change, rituals and traditions also get recreated and rejuvenated according to the prevailing zeitgeist. In a unique collaboration, the first of its kind, writers, poets, translators and scriptwriters from different parts of India and Asia assembled in Lucknow in the first weekend of April to celebrate writing from South Asia and Southeast Asia.

This first edition of the SRMU Kitaab Literary Festival was jointly organized by Kitaab International Pte. Ltd., Singapore and Shri Ramaswaroop Memorial University (SRMU), Lucknow and was held on the 7th and 8th of April, 2018 at the SRMU campus.

Building bridges between Asian writers and readers

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Lighting the lamp: Pro Chancellor Pooja Agarwal (second from right)

Festival Director Zafar Anjum, the festival’s patron A K Singh, Vice Chancellor of SRMU, Chancellor Pankaj Agarwal, Pro Chancellor Pooja Agarwal, and the faculty of SRMU led by Dr. B.M. Dixit, inaugurated the festival. ‘The aim of this festival ties up with the aim of Kitaab—to create bridges and dialogue between Asian writers and global readers and to bring literature to the grassroots,’ said Anjum in his welcome address.

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Kitaab’s director Zafar Anjum delivering his welcome address

Agarwal applauded SRMU’s collaboration with Kitaab. He said that Kitaab is an esteemed organisation that offers a promising worldwide platform to both budding and established authors, editors and publishers. Extending from the areas of literary fiction and translation to filmmaking (together with Filmwallas, founded by Zafar Anjum), Kitaab caters to all genres in English and other South Asian languages.

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The festival featured more than 20 writers in English, Hindi and Urdu from India, Singapore and Malaysia. Well-known and award-winning writers such as Sudeep Sen, Rahman Abbas, Yogesh Praveen, Dr. Surya Prasad Dixit, Isa Kamari, Dr. Rakhshanda Jalil, Dr. Malachi Edwin Vethamani and Novoneel Chakraborty top lined the festival. Theatre and film actor Shishir Sharma, who was present to talk about his journey in the world of acting, presented the film, More Chai Please, Singapore’s first Urdu short film.

The film, shot in Singapore and presented by Filmwallas, tells the story of a couple with the plot spanning Singapore and Lucknow. The film’s writer and producer Sunita Lad Bhamray and its director Zafar Anjum were present during a special screening of the film on the second day of the festival.

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Eminent poet Sudeep Sen with veteran actor Shishir Sharma

The other major highlight of the festival was the launch of Tawassul, a Malay novel by Singaporean novelist Isa Kamari, translated into Urdu by Rubina Siddiqui. It is the first work of Singaporean literature to be translated into Urdu. Award-winning Urdu novelist, Rahman Abbas who has also helped oversee the edits, hailed this avant-garde work of fiction and told the audience that the book’s Hindi edition was in the works.

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Rahman Abbas (left) with Isa Kamari (right) launching Tawassul in Urdu

 

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The 12 worst workplaces in contemporary literature

From office drones occupying bland white cubicles of repressed misery in Corporate America to unwanted, but necessary, guest workers toiling in the hot sands of Abu Dhabi, these 12 contemporary books skewer corporate culture and reveal the inevitable result of a capitalistic society that views workers as anonymous, replaceable cogs in a never-ending pursuit of profit.

Temporary People by Deepak Unnikrishan

Temporary People is a work of fiction set in the UAE, where I was raised and where foreign nationals constitute over 80 percent of the population. It is a nation built by people who are eventually required to leave,” prefaces the author. In these 28 interlinked stories and poems, Unnikrishnan combines Malayalam, Arabic, and English to encapsulate the dissonance of these displaced guest workers straddled between two countries and breaking their backs for a country that they can never call home. The displacement and dehumanization of these perpetual foreigners manifests as metamorphoses: a migrant moonlights as a mid-sized hotel, a runaway shape-shifts into a suitcase and a sultan grow “ideal” workers with a twelve-year shelf life from pods. One chapters contains only a list of occupations “Tailor. Hooker. Horse Looker. Maid.” and ends with “Cog. Cog? Cog.” With anti-migrant sentiment at an all time high, Temporary People is a timely and necessary exploration of how “temporary status affects psyches, families, memories, fables, and language(s).”

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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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