August 2013 Posts

Jumpstart, “Speaking in Tongues”, 29-30 Aug 2013, New Delhi

Jumpstart, “Speaking in Tongues”, 29-30 Aug 2013, New Delhi

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Jumpstart is an annual platform provided in India by the German Book Office (GBO) that is targeted specifically at professionals within the children’s book industry, bringing together authors, publishers, illustrators, designers, booksellers and retailers, teachers and librarians. It began in 2009 with a small workshop for professionals. But over the years it has blossomed into a two-day event that is clearly demarcated by open sessions that include panel discussions and workshops/master classes. Each event revolves around a theme that is encapsulated well in three words — “Join the Dots” (2010); “Out of the Box” ( 2011); “Off the Page” (2012) and this year it is “Speaking in Tongues”. The event is scheduled to be held on 29-30 August 2013, the India International Centre, New Delhi. Since last year the Book Souk, matchmaking between publishers and authors, has become a key aspect of the festival too. Key publishers such as Scholastic India, National Book Trust, HarperCollins, Hachette, Young Zubaan, Tulika, Tara, Karadi Tales, Pratham, Eklavya and others have participated in past Jumpstart festivals with direct, positive outcomes. For instance Pratham Books has recently acquired the publishing rights to five books by the French artist Herve Tullet who participated in 2012.

Herve Tullet, signing a book for my daughter, Sarah Rose. Aug 2012

According to Prashasti Rastogi, Director, German Book Office, Delhi “This year we will focus on language. The festival is organised by the German Book Office New and Frankfurt Academy with support from the Federal Foreign Office, Germany. Our partners are Pratham Books as are our Knowledge Partners along with India International Centre and CMYK Book Store. Pratham Books is partnering for a session with language teachers and librarians.”gbo-white

The focus on publishing children’s literature in different languages, the challenges and the thrill of doing so are what are to be discussed at the end of August. One of the panel discussions during the open session will be “Translation is tricky. Dialogue is difficult.” Some of the questions being raised are “How can we know that a book that works in one language will work in another? Which stories travel? Which ones ‘stick’? Why are there so few children’s books translated from one Indian language to another? Are illustrations just as culture-bound as words? ” The other Open Sessions that sound fascinating are “Art as language, designer as author” where award-winning illustrators Julia Kaergel, Emily Gravett will be co-panelists with publisher Arundhati Deosthali and Dorling Kindersley Design Director Stuart Jackman; “What is your bhasha? What is your language?” A workshop for teachers and librarians where panel of speakers who have experiences to share about the teaching and learning of different languages and its impact on learning as a whole. Authors will share experiences on why they choose to write in a particular language and their own experiments with it. To the right is a photograph that I took last year from the open session when Herve Tullet was on stage. 20120823_104202

Such an event is important given that of 1.1 billion people in India, only 2 per cent are able to read and write English. The number of young people below the age of thirty is 550 million who are not only literate in English, but prefer to communicate in the language . The per capita number of book titles published in India is around 8 per 1,00,000 population. This number is much lower in comparison to those of the countries like the United Kingdom, the United States of America, France, and Germany. According to Rubin D’Cruz, Asst Editor, Malayalam, NBT, in terms of languages, the per capita number of titles published per 1,00,000 persons is 6.3 in Bengali, 6.2 in Gujarati, 5 in Hindi, 4.8 in Kannada, 4.2 in Telugu, 3.9 in Urdu, and 7.7 in Assamese (the highest). The publishing industry in Tamil and Malayalam are extremely active and although the Assamese speaking population is relatively low, the publishing industry in Assamese is a lot more active than it is in Marathi, Bengali, Telugu, Gujarati or Kannada. Some of the statistics from 2012 are:

• Hindi (422 million)
• Bangla (83 million)
• Telugu (74 million)
• Marathi (74 million)
• Tamil (60 million)
• Urdu (51 million)
• Gujarati (46 million)
• Kannada (38 million)
• Malayalam (33 million)
• Oriya (33 million)
• Punjabi (29 million)
• Assamiya (13 million)

From the National Youth Readership Survey, National Book Trust, 2010:
1. Of 1.1 billion people in India, only 2 per cent are able to read and write English.
2. 42% of India’s book-buyers are habitual readers; per capita consumption is Rs 80
3. Literate youth=333 m (2009) = 27.4% of total Indian pop or 73% of total youth pop. Signif: Rural (62%; 206.6m) and Urban (126.1m)
4. Pop of literate youth (2001-9) has grown 2.49% higher than the overall pop growth (2.08%)
5. Growth more rapid in Urban (3.15% p.a) than Rural (2.11% p.a.) areas.
6. Hindi is the principal medium of instruction, however as the youth go for higher education the proportion of Hindi as the medium of instruction declines.
7. Approx 25% literate youth read books for pleasure, relaxation and knowledge enhancement; more females read (27%) for leisure than males.
8. Schools are imp for readership development. 59% developed a reading habit in schools. Peer influence is also an important factor.

Actually publishing in India is exciting. As long as you understand the peculiarities of India like the multi-lingual character of the territory, the reverence Indian readers have for the written word. There exists a thriving middle class; increasing amounts of disposable income coupled with a disposition to read for pleasure rather than to clear an examination (a noticeable shift in recent years). Earlier the inclination was to buy books for children, but slowly between the ages of 8+ till graduation from university the casual reader disappeared, so there were no books available for this segment too. Today there is still a considerable vacuum in this age-group, but the market is slowly being transformed as is evident by the appearance of at least three new imprints for young adults in the past year – Inked (Penguin India), Red Turtle (Rupa Publications) and Scholastic Nova (Scholastic India).

As the first Prime Minister of India, Jawaharlal Nehru, also patron of Sahitya Akademi, said in a speech he delivered extempore in 1962. “…to think that a language is crushed or suppressed by another language, is not quite correct. It is enriched by another language. So also our languages will be enriched the more they get into touch with each other … .” (p.319-320 Best of Indian Literature 1957-2007, Vol 1 Book 1, Sahitya Akademi. Eds, Nirmal Kanti Bhattacharjee and A. J. Thomas.)

If the previous editions of Jumpstart are anything to go by, Jumpstart 2013 sounds very promising. I am definitely going to attend this year too!

Jumpstart: http://www.youtube.com/watch?v=FpK_38mScEg
Website and registeration: http://www.jumpstartfest.com/home

18 Aug 2013

Jaya Bhattacharji Rose is an international publishing consultant. She has a monthly column on the business of publishing called “PubSpeak” in BusinessWorld online. 

Twitter: @JBhattacharji

 

“No Child’s Play” Shirshendu Mukhopadhyay

“No Child’s Play” Shirshendu Mukhopadhyay

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“Charming” is how Samit Basu describes No Child’s Play. Charming it certainly is. A novella written in Bengali (1990) and recently translated by Bhaskar Chattopadhyay. It is a simply told sci-fiction novel, something that we would probably bracket in speculative fiction now. It has all the fancy footwork of embedding chips in the brains of foetuses by an evil-minded doctor, so as to control them and create an army of workers. It has all the lovely bits of bad men on the run, a scientist escaping from China and using false passports to reach America in order to help a baby who has been used as an experiment and then the creation of a sensitive robot. Much of this now seems plausible.

It is like reading a Gene Roddenberry story now. At the time of publication it must have been amazing to see how the imagination works, and the possibilities that lie with science. For instance his descriptions of the doors opening automatically when a person approached. Now such technology is common. So when many of the things that they describe come to pass it no longer seems extraordinary. Yet the story does not lose its charm. It remains a good story. Likewise with No Child’s Play.

As for the translation. It is done competently but “Indianisms” like “dicky” (instead of “dickie”) are retained in the English translation. Instead of translating it as the trunk or the boot of the car, the word “dicky” is used. It left me wondering how many allowances can we make in a translation transmitting a culture too. Do we aim for perfection in the destination language or make concessions for such words?

Shirshendu Mukhopadhyay No Child’s Play Translated from the Bengali by Bhaskar Chattopadhyay Harper Perennial, HarperCollins, Delhi, 2013. Pb. pp. 130 Rs. 250.

Idris Ali: Daftari ( Bookbinder)

Idris Ali: Daftari ( Bookbinder)

Idris Ali, bookbinding

(Guest post by Prof. Aloke Kumar. Reposted with his permission. 10 Aug 2013. )

IDRIS ALI : Daftari

With Id passing away I missed Idris Ali, my father’s Daftari. For a very selfish reason. He used to bring a ‪‎Biryani‬ of Dumba Sheep on the Id day to celebrate the festival. Dumba sheep is a delicacy. This sheep has an extra fat pack on its tail beginning, adding extra oil and lanolin. Idris’s wife would prepare the Biryani but the preparation for the presentation was an elaborate affair. Idris would come in the morning with his son and prepare a ‘rasoi’ in the corridor, far from the kitchen as my grandmother would not allow entry of food cooked by Muslims to enter home.. Bricks were laid in a triangular formation with gaps and clay applied to seal them together. Then preparation would be made for a wood fire, without lighting it, just to throw in an ember. Then in the afternoon he would arrive in a rickshaw with a huge cauldron of Daccai Biryani with Dumba meat. This itself was a meal. What a feast. There would be enough for the neighbours to join in.

Idris came with his family during the ‎partition‬ from East ‪#‎Bengal‬ to settle in Baithakkhana Road. The home of the traditional book binders. My father discovered him in one of his sojourns in the area in search of a Muslim bookbinder. He had these quaint beliefs. Books and Man should be clothed by ‪#‎Muslim‬ ‘‪#‎Karighar‬’. So all his kurtas and books were taken care by them.

Idris Ali was a Daftari by tradition, a book-binder. He was a slim bodied man with a conic beard under his clean shaved upper lip. I always saw him in Pyjama and Kurta with a round Iraqi cap on his head. He reminded me of Tagore’s Abdul Maji who brought in turtle eggs for his brother Jyotirindranath. He wore a watch inside out presented by my father, not because he had no sense of time but on the contrary that he had a sense and continuously asked people the time in order to be punctual. In spite of his simplicity, his overall appearance reflected dignity and self-respect.

He addressed My father as Chachaa ji . My father liked and loved him. He said he was god gifted and could give life to ‘dead’ books. Whenever he came to my place, my father welcomed him warmly. My father was an antiquarian and a great book- lover. He collected rare books, manuscripts on palm leaf or on hand made paper old paper. He took care of these like his own children. Idris Ali helped him in preserving such books with his expertise in binding.

Idris made use of various methods to secure sheets of paper into a secure binding. As part of the process, a bookbinder will also attach front and back covers to the secured pages. With some methods of binding books, the final product includes the creation of a spine for the book. And this is most crucial as it held the book together,just like a human.

Bookbinder may employ several different approaches to creating a finished product. Sewing is the preferred method with hardcover books. With this approach, the bookbinder will sometimes use a process that is known as over sewing. Small holes are punched into the sheets and are then sewn together to create a secure bind. The cover can then be sewn to the pages. While very secure, over sewing does not make it possible to open the book and leave it laying flat on a desktop. It has to be accurate. Bookbinding is an art.

The art and craft of bookbinding originated in India, where religious sutras were copied on to palm leaves ,cut into two, lengthwise, with a metal stylus. The leaf was then dried and rubbed with ink, which would form a stain in the wound. The finished leaves were given numbers, and two long twines were threaded through each end through wooden boards, making a palm-leaf book. When the book was closed, the excess twine would be wrapped around the boards to protect the manuscript leaves. Buddhist monks took the idea through Persia, Afghanistan, and Iran, to China in the first century BC.

Idris developed a relation with our family. He came and collected the old books and wrapped them up in a shawl to carry it to his humble workshop cum home in Baithukhana. Sometimes my father would collect it from him or he would bring it back. He paid him handsomely and became my bone of contention. Why pay more? My father had this philosophy of philanthropy and always took care of the people who touched his life. He would not give alms of small coins to a beggar but parted with fortunes to take care of the education and marriages of many girls, irrespective of their religion. Idris had three daughters and all were married off by my father.

My grandmother was a orthodox Hindu and even did not allow the entry of chicken in our household as she believed they were reared by Muslims. So when her Ramcharitmanas was in tatters nobody could suggest that it be bound . But all the ‪#‎Ganges‬ water did take its toll and it was falling apart. So one day she relented. My father without much ado and wasting time for my grandmother to change her decision called me to take the manuscript to Idris. I went to his shop. It was morning time and he was reading a ‪#‎Urdu‬ newspaper. He looked at me and asked about the work silently by nodding his face upward. I showed him the book. He immediately asked: ‘Ramayan ji?’ Without caring to see the condition of the book or examining it he told me to bring it next week. I did not like, the way he refused to take up the job. I went back home and told my father that he has refused to take up the job. My father could not believe. He asked me to repeat, what exactly happened and I told him that he has asked me to bring it next week, though he was sitting idle, reading a newspaper. My father’s reaction was: ‘Don’t worry, he will do it,’. I could not appreciate his reaction.

After a week’s time Idris came home and took the Ramcharitmanas. After some days my father sent me to collect back the book. When I reached to his shop, he welcomed me smilingly and asked to wait a while. He went inside the attached room and brought the book wrapped in ‘red salu’ cloth. He gave it to me. I opened it and could not believe that it was the same book. It’s all torn and tattered pages were re adjusted with transparent paper, so accurately that they were looking better than the pages that were intact. The beautiful hard-bound coloured cloth cover was not only aesthetically satisfying, but it had whipped new breath of life into the dying book. It was a job well done.

I still had his last reaction in my mind. It was a proper time to ask him the reason for not accepting it the first time. He felt a little shy and told me that his son-in law had come. Variety of food was being prepared for him along with meat of animal, prohibited by Hindus. He also ate along with his family and his conscience did not allow him to touch my grandmother’s sacred book. After his son-in law left, he stopped eating beef and then one day he specially prepared himself by bathing in the morning and came to our house to collect the book. The book was in very bad condition. Generally, when its pages are corrected, it needs to be tightened for good and durable binding. A wooden piece is placed on the book and pressure is applied on it by foot. But, in this case he had to ask his wife to hold on with her hand while he did the work. It was a difficult job. But a job well done.

This was Idris Ali. In his old age Idris handed over the shop to his son and returned to ‪#‎Bangladesh‬ with his only ‘bibi’. My father had dissuaded him from taking many wives and he was faithful to Fatima . His son’s shifted premise to Rafi Ahmed Kidwai Road where they took a dwelling attached to the shop. Ram Ray,the advertising genius, wanted a good binder and I had recommended Idris’s son. But I was told that the standard did not meet his expectation.

As for my own self I have hunted out another binder. But to be honest I do my own repairing of books which I learnt from my days in scouting from Errol Colaco which did earn me my merit badge in Bookbinding.

(C) Aloke Kumar, Professor of Communication.Faculty Member at University of Calcutta, Faculty Member at IIM Calcutta and Visiting Lecturer at National University of Singapore.

My interview with Shovon Chowdhury, published in the Hindu Literary Review, 4 Aug 2013

My interview with Shovon Chowdhury, published in the Hindu Literary Review, 4 Aug 2013

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( here is the original url to the story http://www.thehindu.com/books/books-authors/people-need-stories/article4985459.ece )

Shovon Chowdhury talks about identifying the enemy, special places to write in, and his new book that took 11 years to complete.

Shovon Chowdhury is a Delhi-based humorist, well known for his blog, India Update, and the Facebook project, ‘The Trilokpuri Incident’. His work as co-author of the Very Rich Whitebook for the National Council of Applied Economic Research left him deeply prejudiced against the very rich.

His grandfather ran away from Dhaka to escape Japanese bombing in 1945, not realising that the war was about to end, and arrived in Calcutta just in time for the Great Calcutta Killings of 1946. These shared family experiences have left him deeply averse to sudden movement, which is why he has lived in Delhi for the last 20 years. In his spare time, he does advertising work for clients who cannot, he says, find anyone cheaper.

His first novel The Competent Authority (to be released shortly) took him 11 years to complete, because he can type with only one finger. He has also created a fake newspaper (http://nndt.wordpress.com) as a companion to the book. Excerpts from an interview:

Why write fiction?

People need stories. And sometimes facts are communicated better through fiction. Some things are so horrible that you don’t want to look at them or think about them, so they become invisible. Fiction makes you look, may be even think. And if it’s funny, then it’s not such a hardship. Mark Twain figured that one out years ago. I know people keep saying the novel is dying, and I’m sorry if I drove another nail in, but can you imagine a world without stories?

How did The Competent Authority come about?

I started soon after the Gujarat massacre. It set me thinking about the value of human life in India. One thing I’ve learnt from all this is: if you want to write a novel about the near future, it’s a good idea to write faster.

I also noticed that most government documents seem to contain phrases like, ‘by order of the Competent Authority’. I started wondering: supposing he’s a real person? I spent many years watching and reading the news, and studying the actions of the government to get to know him better.

I also discovered that most of the news in India is completely satire-proof; what with all the nephews and the genuflection and elderly youth leaders, not to mention Arindam Chaudhuri’s wardrobe. I tried to work out what kind of country we might to be, around 20 years from now, under the CA’s able guidance. I just extrapolated from today. It’s all completely logical. I hope he’s not reading this.

Does being an advertising professional help?

Yes because you develop a sense of what works and what doesn’t. It’s not foolproof, but it helps. It also cures you of delusions about the immortality of your prose; round about the third time the client’s maternal nephew changes your headline, pausing only to spit a mouthful of paan into a nearby plastic bucket.

Who are the writers that have influenced you?

Philip K. Dick, Bertolt Brecht, Sukumar Roy, Mark Twain, Manoj Mitra, Anthony Burgess.

What are the genres that have impressed you?

History, SF, Theatre, anything funny.

There are instances in the novel that rely considerably on the reader’s knowledge. Do you think it can be translated into other Indian languages?

I wasn’t thinking of foreigners when I wrote it, though I’d be thrilled if they read it. I was thinking of our friends, and our kids. It was for them. I didn’t want to slow down the story to explain things everyone knows, like ‘before Mulayam Singh Yadav, there was also one other gentleman who was known as Netaji’. Besides, a little bit of research never hurt anyone. Readers are much too lazy these days. Some work will be good for them.

Regarding other Indian languages, definitely. There’s very little wordplay, and much of the dialogue is actually in Hindi and Bengali. I’m very keen to have language versions, and willing to help. Those people who cared enough to spare the time to go to India Gate, or Ram Lila Maidan — I’d love for all of them to read it in whatever language they prefer. I like to think it would encourage them, maybe raise a laugh or two. We all like to fantasise. This might cheer them up. It’s nice to imagine a world where people commonly tell a bullshit artist ‘You’re full of sibal.’ As a common noun, of course. Nothing improper here.

What is the Trilokpuri Research Project about?

It’s a mass murder mystery. Facebook seemed the ideal medium for it, because it keeps reminding you. 1984 is something we need to be reminded about. Because if we forget about the victims, then they’ve won, haven’t they? Can’t let that happen.

Which is your favourite place to write?

I did this one on the run; in clients’ receptions, and the back of the car. Sometimes I pretended to be doing campaigns. I don’t much believe in special nooks and crannies. You have to switch it on when it’s needed. Some cheerful music helps, though.

What is the responsibility of the writer?

Several. To give his readers their money’s worth. To ensure his publisher doesn’t get arrested. To raise a smile. To provoke some thought. To entertain and inform, and help us identify who the enemy is, so we can all go together and sock him in the face.

Shovon Chowdhury, “The Competent Authority” ( A review)

Shovon Chowdhury, “The Competent Authority” ( A review)

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( My review of The Competent Authority has been published in the Hindu Literary Review. 4 Aug 2013. Here is the url. http://www.thehindu.com/books/books-reviews/a-satire-like-no-other/article4985460.ece )

The Competent Authority is the head of the Civil Services of India and operates from New New Delhi. He is ‘temporarily’ in charge of all systems while the country is being “reconstructed” after the last war that occurred a decade ago and wiped out large chunks of the nation and made Bengal a protectorate of the Chinese. “As a humble servant of the people, he was anonymous” and does not wish to be recognised by anyone, save for a handful of people with whom it is imperative he interact. It is a bizarre society that he is at the pinnacle of.

The haves (inevitably filthy rich, with oodles of political clout, and shamelessly corrupt) live in the Dead Circle. The less fortunate human beings were relegated to a ghetto called Shanti Nagar. It was rumoured that they were diseased and unhappy mutants. Ever so often the Bank of Bodies (‘we don’t just repair bodies, we enhance them’) emissaries — the Medical Military Commandos — would swoop down upon Shanti Nagar inhabitants (‘donors’) to harvest body parts; usually ‘when some rich bastard wanted an urgent replacement’. In the next step of evolution for the firm, the board of directors wanted to progress from imparting Medical Joy to Religious Joy, by co-opting their ‘logical ally… Dharti Pakar of the Art of Breathing’.

In this charming mix of despots and maniacs also exist Hemonto Chatterjee, a telepath tester; Pintoo who donated a hand to Pappu Verma, the sweet but spoilt brat of Sameer Verma; Ali of the Al Qaeda; and Pande, the policeman. The chorus consists of a potpourri of characters, ranging from the eunuch Shanti Bai (who founded Shanti Nagar); Banani Chatterjee, the English school teacher who accidentally becomes Pintoo’s local guardian; Taru da the true-blue politician; and Mehta, the Competent Authority’s aide; No. 2 at Bank of Bodies, and so on.

The Competent Authority is a satire like none other by contemporary Indian authors writing in English (except perhaps for Ruchir Joshi’s The Last Jet-Engine Laugh). It is packed with detail and the reader is expected to engage with the script to appreciate the full import of what is being described or alluded to. Having a fair knowledge of geo-politics of the Indian sub-continent certainly helps enhance the pleasure of reading this novel. For instance, the completely colourless CA could belong to any party or ideology. The fact that he exists is frightening. Some of the grim issues that the novel deals with are political puppetry, organ harvesting, communalism, the impact of conflicts, privatisation, eternal debates on capitalism vs communism, and an investigation into the notion of a Nation State. But the humorous manner in which the author weaves the tale ensures that it is not a tedious read.

Shovon Chowdhury is an ad man who has a way with words. He is able to tell a story competently, with a detached sense of cynicism and despair about the crumbling of a secular democracy. It is an enjoyable novel as long as details like the disappearance of Sameer Verma do not annoy one.

Granta: Best of Young British Novelists 4

Granta: Best of Young British Novelists 4

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( My review of the Granta: Best of Young British Novelists 4 was published in the Hindu Literary Review. Online 3 aug 2013 and in print 4 Aug 2013. Here is the url http://www.thehindu.com/books/books-reviews/literature-for-the-facebook-generation/article4985464.ece )

…Qayyum listened to them and tried to imagine telling his mother she should be more like the women of Europe – she’d hit him about the ears with a shoe as if he were still a child.
Without warning, the air became driving rain, and Kalam’s words smeared across the page. Qayyum ducked his head and, as quickly as his fumbling hands could manage, threw the blanket over his head. The day his youngest sister put on a burqa for the first time she wore it backwards, no face mesh for sight or breath, and she had burst into tears until Qayyum lifted it off and put it on the right way round: she was still young enough to throw her arms around him and say, Lala, forget the army, stay here and defend us from our mistakes. …

Kamila Shamsie, “Vipers”, an excerpt from a forthcoming novel.

Best of Young British Novelists 4 is Granta’s once-in-a-decade attempt to identify writers with a promising future. Many of the writers discovered through earlier attempts have gone on to establish glittering literary careers. To name a few – Salman Rushdie, Kazuo Ishiguro, Iain Banks, Martin Amis, Julian Barnes, HariKunzru, Monica Ali, Jeanette Winterson and Pat Barker. In this

Best of Young British Novelists 4 has a fantastic line-up of writers: Benjamin Markovits, Taiye Selasi, Kamila Shamsie, Nadifa Mohamed, TahmimaAnam, Sunjeev Sahota. Zadie Smith and Adam Thirlwell have the distinction of being in the previous decade’s list too. It is difficult to review a collection that consists of 20 fine literary contributions. Every work included here is distinct in terms of its landscape, atmosphere and plot. The range of stories deal with war in Afghanistan, Somalia, Bangladesh; floods in England; a mother dying of cancer; the realignment (or fluidity) of relationships; details of social networks like family, university friends, employer-employee that in the globalised world are crumbling or evolving (depending upon how you see it) across class, caste, economic, geo-political lines. Sensitive issues like immigration/asylum seekers, xenophobia and religion are tackled head on, yet tactfully.

At times there seems to be a very thin line between reality and fiction with powerful descriptions that lie in the rich complexity of detail. It is literature suitable for the literary palates of the Facebook-generation, netizens who are exposed to different cultures in daily conversations with friends and acquaintances flung around the globe. The young under-40, authors felicitated in Granta 123 are definitely ushering in a new era of writing. And “if they are good enough, novelists are dangerous individuals.” In his Introduction, John Freemanreveals that over 150 authors applied for this distinction. Twenty were selected — 12 women, eight men with women outnumbering the men for the first time. Funnily enough “despite not having discussed the need for diversity, gender balance or multiplicity of background, the selection revealed it to be so.”

The kind of fiction selected marks a tectonic shift in international fiction. These writers are global citizens, comfortable with any part of the world they reside in. Nothing distracts them from their sharp focus on their work. They are sensitively attuned to the cultural differences in every region. They use their command over words, especially in English, to write a form of fiction that is understood, accessed and appreciated by a wider audience; the “readerly” audience that James Freeman rues is fast disappearing. (“We live in unreaderly times.”) The flavour of such literature is that it has a universal appeal it is highly sophisticated and polished, with not a word out of place. It is excellent craftsmanship. It is infused with a great deal of experience at reading, literary interactions, professional conversations and presentations.

In his memoir, Joseph Anton, Salman Rushdie writes about the judging for the Best of Young British Novelists 2, 1993, “It was a passionate, serious debate … Then the list was published and the piranhas of the little pond of the London literary scene went after it….Welcome to English literature, boys and girls.”

Likewise with this volume the literary potential of the 20 anointed writers is discernible, but the maturity of many is as yet to be achieved. It will be honed in the stormy and choppy waters of literature.

On “discoverability” in publishing. (PubSpeak, BusinessWorld, Aug 2013)

On “discoverability” in publishing. (PubSpeak, BusinessWorld, Aug 2013)

PubSpeak, Jaya

( My monthly column, “PubSpeak”, in BusinessWorld online. July 2013 is on “discoverability”. Here is the link to the orignial url http://www.businessworld.in/en/storypage/-/bw/publishers-search-tools-to-find-readers/r1013160.37528/page/0 )

Publishers’ Search Tools To Find Readers

Jaya Bhattacharji Rose on why it is the discovery of a book that ultimately matters for the business of publishing

How does a reader ‘discover’ an author/book? Today digital technology is rapidly becoming a unifying factor in the coming together of print and electronic forms of publishing. It is also responsible for the “discoverability” of a book. Traditional forms of discovery – curation in a brick-and-mortar bookstore, word-of-mouth recommendations, libraries, second hand bookstores, gifts, book reviews in newspapers and magazines and book clubs continue to be significant. Literary prizes too are important.

Chinaman
Caroline Newbury, VP Marketing and Publicity, Random House Publishers India explains the link well with reference to their author, Shehan Karunatilaka winning the DSC prize worth $50,000 in 2012 for his book Chinaman. “Any prize which supports both new and established writers is to be praised but the DSC Prize is a special case for its specific promotion of writing about South Asia,” says Newbury. “Since its DSC Prize win we have reprinted Shehan Karunatilaka’s Chinaman and its prize-winning credentials definitely help bring it to a wider readership in India and beyond.”

Yet it is the popular modes of discovering a book including online reading communities like Goodreads and Riffles; advertisement banners in e-mails and on websites; automatic recommendations on online retail sites like Amazon, Flipkart; conversations and status updates in social media spaces such as Facebook, LinkedIn, Twitter, Pinterest; following literary curators; bloggers; and even movie adaptations of a book.

50 Writers
Two books that I read recently – 50 Writers, 50 books: The Best of Indian Fiction and Reading New India: Post-millennial Indian Fiction in English, apart from being thought-provoking commentaries on literature, are a good way of discovering authors. The first is an anthology of essays discussing books from Indian fiction, across languages and the second a critique with a synopsis of the stories of predominantly commercial fiction. The texts complement each other well, but for a reader they are valuable for discovering fiction hitherto they have unheard of, especially since the fiction discussed is recommended by academics, authors, critics and literary tastemakers.
reading-new-india-post-millennial-indian-fiction-in-english

It is important to delineate the thin line between discoverability and promotion of a book. Discoverability would depend largely upon the gravitas of the book, the whispers that are heard about a book in various contexts. But promotions would be the marketing blitzkrieg created by the publishing houses. These could include the predictable book launches, panel discussions, and author tours, interviews in the prominent newspapers and participating in literary festivals. Now add to that list partnerships with coffee chains. Authors too are beginning to hire PR firms and consultants to strategise and create a media buzz for their books.

Last week two publishing professionals – Jonathan Galassi, head of Farrar, Straus & Giroux (http://www.vulture.com/2013/07/farrar-straus-giroux-jonathan-galassi-on-hothouse.html) and Anakana Schofield, debut novelist ( http://www.guardian.co.uk/books/2013/jul/25/anakana-schofield-how-to-write ) – raised the fundamental question about the meteoric rise in the number of writers, but where are the readers? It seems that for the first time in publishing, there are more writers than readers. It should be considered as a happy trend. More to publish, more to sell. But are there any takers? Or more importantly, how do you discover a book you want to read so that you will buy?

On 1 July 2013 Penguin and Random House announced that their merger had been approved. From 2014, the merged entity Penguin Random House is expected to be publishing 15,000 titles a year. Assuming these are all new titles of the front list, it will be a formidable stable of authors. But at the rate of publishing 41 books a day will only make it tougher to locate a title.

And if this is the scenario in English-language trade publishing how does the rest of publishing fare? Some of the other categories to be considered would be trade lists in other languages, translations, children’s literature, non-fiction, and of course academic publishing. All kinds of authors are struggling to be heard/ read.

And this conundrum of discovering an author or a relevant text extends beyond trade publishing to academic publishing too. Last week The Bookseller, a publishing industry daily, announced that “Google is to bring a textbook sale and rental service to the Google Play store this August in time for the Back to School season. The company announced it had partnered with academic publishers Pearson, Wiley, Macmillan, McGraw Hill and Cengage Google Play will offer textbook rentals and sales for up to an 80 per cent discount, the company has said, which is the same claim Amazon makes for its Kindle textbook rentals.”

This is similar to the CourseSmart model provides eTextbooks and digital course materials. It was founded in 2007 by publishers in higher education including Pearson, Cengage Learning, McGraw-Hill Education, Bedford, Freeman & Worth Publishing Group (Macmillan) and John Wiley & Sons. According to research firm Outsell Inc Online products accounted for 27 per cent of the $12.4 billion spent on textbooks for secondary schools and colleges in the US last year. Publishers like Pearson Plc and McGraw-Hill Education are also creating online versions of their texts, often loaded with interactive features, and selling students access codes that expire at semester’s end.

These alternative methods of discovering an author may be worth exploring. It is probably “easier” to experiment with dedicated platforms for textbooks where the selling price of a title is exorbitant. So, offering short-term licences (“access codes”) to academics and students to review, rent and (in moderation) print relevant pages creates a wider community of users.

Plus, it is increasingly becoming an important alternative source of revenue generation for publishing firms, although reservations exist about the adoption of a digital format by students, indications are that students prefer books. Whereas for trade publishers investing in platforms will be economically unviable unless you are Penguin and create Book Country. But for most others it will be an expensive proposition unless they opt for digital catalogues. Hence an online, interactive, cross-publisher catalogue service that supplements or replaces traditional hard-copy publisher catalogues like Edelweiss, whose tag line is “Finding your next favourite book is a lot easier”. As marketing executives say books are a low-cost product so media copies are distributed but it is the discovery of a book that ultimately matters for the business of publishing.

Jaya Bhattacharji Rose is an international publishing consultant and columnist
@JBhattacharji

National Book Promotion Policy: Where Are We? ( Nov 2011)

National Book Promotion Policy: Where Are We? ( Nov 2011)

PubSpeak, Jaya

( My comments on the Indian Government’s National Book Promotion Policy. This is from my column, PubSpeak, in BusinessWorld, 18 Nov 2011. The original url is: http://www.businessworld.in/en/storypage/-/bw/national-book-promotion-policy-where-are-we/r361073.37487/page/0 )

The Indian government’s National Book Promotion Policy enshrines a number of good ideas that are bound to have a positive impact on the publishing industry

The demand for books is being propelled by India’s 8.8 per cent growth in 2010 and the reading habits of the burgeoning Indian middle class. Publishers forecast India will be the biggest English language book-buying market in the world. Today, it is the third largest after the US and the UK; but ahead of major Asian competitors such as China and Japan. The good news is that India is poised on the cusp of a great educational revolution. Today, if one averages seven textbooks per literate student, the agencies of the Indian government print 1.8 billion books per year. Plus another two billion exercise notebooks. The downside however, is that more than seven million children in India drop out from schools. And all they need is a book. For that to happen, these books have to be created. In India, the government has made a commitment of $7.56 billion every year for a period of five years and has set aside $3.33 billion for 2010-11. Today, the demand drivers for education are based on the fact that it’s a young nation which has a population of 400 million between the age group of 5 to 24. Of this, 220 million attend schools and colleges. The “guesstimate” for the Indian book publishing is US$1.9 billion. Of this, educational books and higher educational books dominate 60 per cent of the market share. Some of the other prominent segments or lists are trade/fiction, business and dictionaries. There are 19,000 publishers in the country. Trade books account for 30 per cent of output by value (at Rs 4,200 crore), of which local publishing makes Rs 700 crore. Trade in English-language publishing-including fiction, non-fiction, and textbooks-is equivalent to Rs 9,800 crore of the total value of Rs 14,000 crore.

These are only some of the statistics that are being bandied about the Indian publishing industry. A publishing eco-system in any territory is vast and complicated. The verticals in it are not as clear as in any other industry, but this unique interdependence between different departments in a publishing firm is also its strength. Editors are dependent upon sales and marketing departments to keep them informed about reading trends in the market and bookstores and if there is any growing demand. Similarly, editors are able to commission and select manuscripts that not only cater to existing demands, but anticipate and predict future trends. In order to allow for such experiments to happen, editors and their publishing houses are dependent upon decisions like the recent Government of India’s draft National Book Promotion policy. Policies, such as these, help in creating and sustaining new markets which in turn, help in the growth of the industry.

For this first article in a series devoted to the publishing industry (domestic and international), its various aspects and the business thereof, I will focus on the National Book Promotion Policy. There are some good ideas enshrined in the policy that are bound to have a positive impact on the industry. For instance, strengthening the library movement; making books available for the differently-abled, women, children and in the rural areas; collecting authentic statistics about books and publishing; promotion of reading habit; fostering a translation programme; offering reasonable postal rates and elimination/reduction of duties and finally, capitalising upon technological changes.

In order to be effective and link publishers with the intended readership, there must be a census of the book industry in India, beginning with who is originating, to who is writing, and who is reading. If this is undertaken first, it will determine everything else. Equally, we need to study what our national institutions such as the National Library, NBT, NCERT, Raja Ram Mohun Roy Foundation, Sahitya Akademi etc. achieved in all these years. Similar initiatives like this have been implemented with a fair degree of success in countries such as Australia, Singapore and Canada. Australia has a grants system at national and state levels and they have proved very beneficial. Writers compete for grants under criteria that do not exclude emerging writers. In India, project grants awarded on merit and timelines (for the author) would greatly assist the development of works and writers.

The Canadian Council is one example of where this has been achieved successfully. I will quote (with permission) an excerpt from an e-mail that I received from Shauna Singh Baldwin. My experience with a great National Book Promotion Policy that works is the Canadian System. The Canada Council is an independent agency that makes grants to writers from tax money. I have served three times on the grant juries for writers, and found them fabulously objective. They have three grants — to emerging, mid-career and advanced writers. The Canada Council administers the Governor General’s prizes (like the Sahitya Akademi) for the past 75 years and having served on that jury in 2008 and read 137 novels submitted by publishers, I can tell you GG award money is hard won. The Canada Council also funds publishers and what is really important as an example to India: translators in other countries. For instance, my novels were published in Dutch by de Geuss in Holland under a grant from the Canada Council. The Canada Council pays for writers’ honorariums at readings – not a lot, but enough to promote the concept of respect for the artist. As you know, if you don’t pay for work, you won’t value it.

It is a combination of various kinds of initiatives that will strengthen the publishing eco-system in India and make it an integral part of the global publishing industry. Different aspects of this industry will be discussed in subsequent articles. – See more at: http://www.businessworld.in/en/storypage/-/bw/national-book-promotion-policy-where-are-we/r361073.37487/page/0#sthash.eILAfoem.dpuf

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