Harry Potter Posts

Panel on “The Business of Books: Is there a Gender Gap in Publishing?”

(L-R) Aditi, Aarti, Rashmi, Jaya, Shantanu and Arpita

( Update: An expanded version of this blog post was published by Times of India on their website on 16 March 2018.)

To celebrate Women’s Day, ShethePeople organised a day long Women Writer’s Fest at Instituto Cervantes, New Delhi on Saturday, 10 March 2018. There were a range of fascinating panel discussions organised. I was moderated the midday session on “The Business of Books: Is there a Gender Gap in Publishing?”.

The panel consisted of eminent publishers such as: Aarti David, VP – Publishing, SAGE India; Shantanu Duttagupta, Head of Publishing, Scholastic India; Arpita Das, founder Yoda Press and co-founder Authors Press; Aditi Maheshwari-Goyal, Director, Copyrights and Translation, Vani Prakashan; and Rashmi Menon, Managing Editor, Amaryllis. The panel was a good representation of different kinds of publishing as they exist in India/ world today. SAGE is a multinational firm specialising in HSS (Humanities and Social Sciences) academic books and journals. Scholastic is a multinational firm specialising in children’s literature and is widely known for its direct marketing initiatives like school book fairs. Amaryllis is the English language imprint/firm launched by the Hindi publishing firm Manjul. Manjul Publishing is known globally for publishing the Hindi translation of Harry Potter. Recently Amaryllis announced its collaboration with HarperCollins India to distribute their books. Vani Prakashan is a family-owned business specialising in Hindi literature across disciplines and was established by Aditi’s grandfather. They also publish translations of international literature. Yodakin is an independent publishing firm co-founded by Arpita specialising in gender, social sciences academic books. They were the first to launch an LGBTQ list in India. A couple of years ago they announced a collaboration with SAGE India to co-publish titles. She is also the co-founder of a self-publishing firm called Authors Press.

The conversation which ensued was fascinating with anecdotal experience about publishing. Aarti David spoke of her entry into publishing after being told by a HR consultant that now she was the mother of a two year old child it would be very difficult for her to get a job. Fortunately the person who interviewed her at SAGE India for the post of an executive assistant was the legendary publisher, late Tejeshwar Singh. After the interview he offered her a post in the marketing department. She has never left the firm. In fact there is gender parity at SAGE evident at the senior management level too. Of course as Arpita pointed out this has to do with the insititutional culture given that one of the co-founders of SAGE is Sara Miller McCune.

Rashmi Menon asserted that this was a complicated topic as depending upon which layer of publishing function one viewed there were gender gaps to be seen. For instance in her experience gender gap was noticeable in every top layer of management but much less in the editorial departments of a publishing firm.

Arpita Das was very clear that a gender gap existed as she rightly pointed out, “Always ask who controls the money?” She too shared some powerful examples of how gender equations work within firms and the publishing eco-system. Unfortunately in her experience after many years of being a publishing professional none of these deeply embedded attitudes have disappeared or are showing any signs of lessening. To illustrate this point she spoke of the male messenger in her first publishing job who had been entrusted with the task of taking their final manuscripts to the printers. At the time of handover this person would stare at the chest of the editor who inevitably was a female. Once Arpita called him out and asked him to look directly in to her eyes and speak. Ever after that all her handovers to the printer had mistakes. Even now, years later, she finds that these scenarios are repeated with her younger colleagues and she is still having the same arguments.

Shantanu Duttagupta was the only male publisher in a women dominated panel. He was also the only publisher to be representing children’s literature which is more often than not viewed largely to be the purview of women editors. He was clear from the outset that the gender gap in their firm is rapidly narrowing. In fact according to a recent statistic released by their HR department nearly 60% of their employees are women. This includes departments that are otherwise not viewed traditionally as women-oriented roles like production, accounts, and sales. He also reiterated that in his opinion this gender gap was in all likelihood being corrected by the ever growing list of books by women where the gender role plays were being discussed, demonstrated and subverted. Classic example of this being Scholastic’s bestseller the Geronimo Stilton series that are written by an Italian woman and then translated into multiple languages.

Aditi had a fascinating perspective to share. Vani Prakashan traditionally sells in the Hindi-speaking belt of the states of Uttar Pradesh and Bihar. In her experience publishing firms established outside the metros in tier-2 and tier-3 towns as well as in the villages are increasingly being managed by women. They are even responsible for printing, publishing and promoting their books. Selling it in the market while balancing a baby on their hip. Nothing deters them from continuing with the business of publishing books. Even at their own firm it is her mother who is responsible for ensuring the GST is filed on time, the office is opened on time, all branches of the firm work efficiently with the employees clocking in on time and leaving on time too. Her mother plays an integral part of the daily running of the firm. But as Arpita pointed out that in many family owned business the role of the woman gains importance which may not necessarily be the case in corporate systems.

After listening to the various perspectives I shared my own experience in the industry. I shared how in the past nine months since the new taxation policy of GST ( 1 July 2017) was announced it has become amply clear how the business lines in this industry are divided. I say this from personal experience at having witnessed and/or participated in events that have been about the business of publishing. Soon after GST came into effect I chaired a panel discussion of tax lawyers with publishing professionals. For the first time in my career (and I have been associated with this industry since the early 1990s) I witnessed a gathering representing finance, production, and editorial. There were people from independent publishers to multinational firms. There were self-publishers. There were language publishers. There were trade, children’s literature and academic publishers. Both men and women were present with men outnumbering the women. In the past year whenever I have attended policy meetings, had conversations about the business of publishing, attended the recently concluded 32nd International Publishers Association Congress and researched for my reports on the book market of India, I have inevitably come across more men than women in key decision-making positions. By “key” I mean designations where the professionals have the authority to comment upon their firm’s business models, income-generating streams, focus on business of making money in an industry which traditionally survives on razor sharp profit margins or those who are at a liberty to speak on behalf of their companies. Having said that there is a perceptible shift in this gender composition of firms to see women workforces in accounting, sales, and production departments and some are distributors and buyers for book retail chains and increasingly men in editorial departments. This gender disparity is “reversed” where the feminisation of the creative side the publishing ecosystem is visible. Increasingly there are more and more women writers, translators, designers, freelance editors, typesetters, reviewers, bloggers, publicists, and booksellers. These creative spaces are where there is less money to be made upfront. Also it is work that can be done juggling other responsibilities like domesticity and caregiving. This part of the workforce is as critical as all the other aspects listed above but is underpaid because  a) they are perceived as being a part of the gig economy and b) because of an inherent gender bias their labour is undervalued since the costs of production are “contained” within reasonable limits. After all the end product, i.e. the book is a price sensitive commodity, even though in my humble opinion every single book is akin to being a design product and needs to be recognised in this manner. Frankly everyone ( irrespective of gender) involved in this publishing ecosystem needs to recognise the importance of being critically aware of how the business of publishing needs to be aligned severely with the creation of books and knowledge platforms. It is probably then that some form of gender parity may begin to creep into the industry. Green shoots of it are already noticeable with some key positions being held by women. Having said that feminisation of the editorial and creative community continue to exist. To my mind this appalling given how the evaluation of this industry is growing in leaps and bounds. According to the latest figures released by Nielsen Book Scan the Indian Book Market is valued at $6.5bn. This is an industry that creates something of value based upon the creative output of others, ie the authors.

So yes, I sincerely believe there is a gender gap in publishing, particularly when it comes to the business of books. There are many, many more strands I can pick up in this discussion but due to constraints of time I am unable to do so.

All said and done it was a fabulous session that according to the wonderful organisers, Kiran Manral and Shaili Chopra, not only went down well with the audience but also gained a lot of traction over social media. If it had not been for the competent emceeing of Saumya Kulshreshtha we would have continued chatting on stage for hours. There is so much to say on the topic!

13 March 2018 

 

 

Diwali 2017!

In June 2017 while inaugurating the National Reading Mission programme the prime minister of India said that instead of presenting bouquets people should gift books. A great idea! During Diwali, festival of lights associated with the arrival of Goddess Lakshmi, goddess of wealth and prosperity, folks gift presents to each other. Why not books?

Here are my recommendations of some beautiful books. It is an eclectic list of books meant for readers of all ages. Diwali is an excuse to indulge oneself. Why not buy delicious books as gifts?!

Dayanita Singh: Museum Bhavan   An extraordinary publishing achievement is to package the mind-blowing exhibition curated by photographer Dayanita Singh into this nifty, limited edition, box. Every piece is unique. A timeless treasure!

The Illustrated Mahabharata This has to be one of the most scrumptious books ever available. It is a retelling of the Hindu epic with beautiful illustrations and layouts.

The Chocolate Book

Scholastic Book of Hindu Gods and Goddesses

Hungry to Read

Diwali Stories

Bloomsbury Academic’s Object Lessons list is fantastic. For instance, BookshelfVeil, Dust, Cigarette Lighter, Silence etc.

 

 

 

 

 

 

 

 

Vikas Khanna’s richly produced collection of recipes My First Kitchen 

Rehearsing Freedom : The Story Of A Theatre In Palestine 

Words from the Hills  A beautifully illustrated diary combining the talents of Ruskin Bond’s remarkable words with the stunning watercolours of Gunjan Ahlawat. A must have!

Happy birthday J. K. Rowling and Harry Potter!

31 July 2017. It is J. K. Rowling’s birthday. So also Harry Potter as decided by J. K. Rowling. The Harry Potter books have been in existence for twenty years or the equivalent of one entire generation. The first time I heard of Harry Potter was when a friend based in Chicago wrote asking if I had read this marvellous fantasy book for children. At the time I had not but very soon a copy arrived from a England. Everyone in the family devoured it. At the time I was guest-editor of the special issue on children and young adult literature of a literary magazine. It was the first time that these issues were being put together. The history of modern publishing, particularly children’s literature, can be traced through the history of the seven volumes of Harry Potter.

When Harry Potter and the Sorcerer’s Stone ( US edition published by Scholastic) and Harry Potter and the Philosopher’s Stone ( UK edition published by Bloomsbury) was published J.K. Rowling was an unknown and struggling author. She was single mother writing the book, which she had plotted minutely, in cafes around Edinburgh. Despite her agent’s wise advice “you will never make money selling children’s books” her manuscript was circulated amongst publishers. Most publishers rejected the book. Then it arrived at a fairly recent independent press called Bloomsbury, London. Bloomsbury had been established in 1986 by four people, including legendary editor Liz Calder whose authors include Margaret Atwood, Michael Ondaatje, Joanna Trollope and John Irving. As Liz Calder narrated in a conversation to me while conducting a master class the British Council, Delhi, she has always been interested in authors. The arrival of the first Harry Potter manuscript was an uneventful day. Till she discovered a group of people sitting around a table absorbed in reading the manuscript, sharing it by passing each page of the manuscript to their neighbour as if they were playing passing the parcel! Bloomsbury decided to publish the debut novel by an unknown author. She was offered $4,000 as an advance against royalties by Bloomsbury. The first print run was for 500 copies. Bloomsbury was also afraid that young boys won’t want to read a book by a woman, they suggested she use her initials. Joanne added her grandmother’s name, Kathleen, to her own, producing “J.K. Rowling.” Soon after it was published she attended her first Edinburgh Literary Festival where a special tent had been set up to promote the book but if stories are to be believed there were only a few people who wanted to meet the author. In USA Scholastic Books won the auction for the U.S. rights to the series, giving Rowling an advance over $100,000, a record for a foreign children’s book. This enabled her to quit her teaching job and devote her time to writing.

The first book went on to win many prizes and catapulted J. K. Rowling to fame. It influenced children’s reading habits tremendously. It became evident to publishers fairly soon that this was a market to be taken notice of. Yet by the time Harry Potter and the Chamber of Secrets was published the print run had risen to 10,000 copies and the book was still only available in UK and slowly reached other countries. By the time Harry Potter and the Prisoner of Azkaban was released Pottermania had begun to take root and the publishers were more than willing to ship review copies across the world. I got my copy directly from the London office albeit a few weeks after publication date. With the subsequent volumes ( Harry Potter and the Goblet of Fire and Harry Potter and the Order of the Phoenix) the fame of Rowling was sealed. She became a global phenomenon. By the time the seventh and last volume, Harry Potter and the Half-Blood Prince, was published she had sold millions of copies of her books. Her publisher, Bloomsbury, had become cash-rich and were able to offer handsome advances against royalties to other authors. In fact the seventh title was released simultaneously across the world and I received my copy of the book on publication day, 31 July 2007. (I reviewed it for Outlook magazine.) It is believed that Rowling has so far sold more than 400 million copies of her books worldwide.

This is what Sarah Odedina, now Editor-at-Large, Pushkin Children’s Books wrote in an email to me about publishing Rowling. At the time Sarah was Publisher of Bloomsbury Children’s Books 1997-2011.

I was there for publication of the first book all the way through to the last book.

It was an amazing thing to be part of and yes the in-house love for Harry Potter and the Philosopher’s Stone was strong. Particularly led by the wonderful marketing and PR person Rosamund de la Hey who never ever missed an opportunity to let people know just how brilliant the book was and how talented the author was. We were ambitious for the book from the get-go and knew it had great potential to win prizes and sell well – but little could we imagine what that ended up meaning.

Publication of the first book passed fairly normally – like most other books – without anything huge happening but within a few weeks we knew it was different as we started to get letters from children saying how much they loved the book and how the had shared it with their friend and all sorts of reactions from them as readers to the characters and the plot and definitely asking for more. It was really later books in which publication day became a huge focus. At the beginning it was about getting the book out in the shops and seeing how quickly J K Rowling built a loving and loyal readership.

In 2012 Rowling launched Pottermore. It was an incredibly bold move into the world of digital publishing by offering ebook versions of the Potter series. At the time there were multiple ereaders and extensions. Rowling made Pottermore as a one-stop halt to purchase any format ( print or digital) and get extra Potter-related news too. Her first CEO was Charlie Redmayne, now the HarperCollins UK CEO, who for the first time brought the author/publisher in direct contact with the consumer/reader using digital technology innovatively. ( Eddie Redmayne who acted in the movie Fantastic Beasts  is Charlie Redmayne’s brother.) Rowling’s close watch on the film adaptations of her books to screen are legendary as well with accounts of detailed storyboard discussions happening at her home in Scotland. ( Here is a link to Jim Cornish, storyboard artist, talks about his work on the Harry Potter films. )

It is twenty years since Harry Potter and his friends came into existence. Bloomsbury is celebrating it with the release of special editions of the first book in the four house colours — Red, Blue, Green and Yellow. They are utterly splendiferous and a joy to behold! The impact of Pottermania on publishing worldwide is that the healthiest growth rate is amongst children’s and young adult literature, across genres.

31 July 2017 

 

Harry Potter Colouring Books

No more a child’s play!

Harry Potter Colouring BooksColouring books have achieved phenomenal success in a very short time which clearly indicates that the child within us refuses to grow. In a recent study, it’s revealed that these books are great solution to bring relaxation in our lifes. People tend to forget their worries and work load as they get engross in exquisite scenes and patterns.

According to Amazon as well, the top selling books are not fiction, classics or sci-fi but adult colouring books! and

We are delighted to bring you the magic of Harry Potter in the form of colouringHP Colouring Book books from Insight Editions.

Insight Editions creates illustrated books of distinction that celebrate cultural milestones in entertainment, history, and the arts. These lavishly produced and visually stimulating volumes are dedicated to the skillful interplay of word and image. Elegant and informative, books from Insight Editions showcase the best of art and photography in exquisite presentations of the bookmaker’s craft.

Let the child within you get the taste of this magical potion.

Priced at Rs. 799/- each

 

Bharti Taneja

Simon & Schuster India

Bharti.Taneja@simonandschuster.co.in

20 Feb 2016

Press Release: HACHETTE INDIA TO RELEASE HARRY POTTER AND THE CURSED CHILD PARTS I & II SCRIPT BOOK

HachetteHACHETTE INDIA TO RELEASE

HARRY POTTER AND THE CURSED CHILD

PARTS I & II SCRIPT BOOK

 

Little, Brown Book Group announces today that they will publish the script book Harry Harry PotterPotter and the Cursed Child Parts I & II, an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne written to be enjoyed on stage. The Special Rehearsal Edition of the script book (hardback, £20) will be published at 00.01 on 31st July 2016, following the play’s opening on 30th July, bringing the eighth Harry Potter story to a wider, global audience. The script eBook will be published simultaneously with the print editions by Pottermore, in collaboration with Little, Brown Book Group in the UK, and Scholastic in the US and Canada.

David Shelley, CEO of Little, Brown Book Group said: ‘We are so thrilled to be publishing the script of Harry Potter and the Cursed Child. J.K. Rowling and her team have received a huge number of appeals from fans who can’t be in London to see the play and who would like to read the play in book format – and so we are absolutely delighted to be able to make it available for them.’

About the book/play:

The eighth story. Nineteen years later.

Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child, a new play by Jack Thorne, is the first official Harry Potter story to be presented on stage. It will receive its world premiere in London’s West End on 30th July 2016.

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband, and father of three school-age children.

While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes darkness comes from unexpected places.

 

  1. The Special Rehearsal Edition of the Harry Potter and the Cursed Child script book will comprise the version of the play script early in the production’s preview period, several weeks prior to the opening performances. The preview process allows the creative team to rehearse changes and/or to explore specific scenes further, in front of a live audience, before the official opening performances on Saturday 30th July. As such the script is subject to change after the Special Rehearsal Edition is published, which is why this edition will only be available for a limited time, to be replaced by the Definitive Collector’s Edition at a later date. More details about the Definitive Collector’s Edition will be announced in due course.

 

  1. J. K. Rowling is the author of the bestselling Harry Potter series of seven books, published between 1997 and 2007, which have sold over 450 million copies worldwide, are distributed in more than 200 territories and translated into 79 languages, and have been turned into eight blockbuster films.

She has written three companion volumes in aid of charity: Quidditch Through the Ages and Fantastic Beasts and Where to Find Them in aid of Comic Relief; and The Tales of Beedle the Bard in aid of her children’s charity Lumos.

In 2012, J.K. Rowling’s digital entertainment and e-commerce company Pottermore was launched, where fans can enjoy her new writing and immerse themselves deeper in the wizarding world.

Her first novel for adult readers, The Casual Vacancy, was published in September 2012 and adapted for TV by the BBC in 2015.  Her crime novels, written under the pseudonym Robert Galbraith, were published in 2013 (The Cuckoo’s Calling), 2014 (The Silkworm) and 2015 (Career of Evil), and are to be adapted for a major new television series for BBC One, produced by Brontë Film and Television.

J.K. Rowling’s 2008 Harvard commencement speech was published in 2015 as an illustrated book, Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination, and sold in aid of her charity Lumos and university–wide financial aid at Harvard.

In addition to J.K. Rowling’s collaboration on Harry Potter and the Cursed Child Parts I & II, an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne, she is also making her screenwriting debut with the film Fantastic Beasts and Where to Find Them, a further extension of the wizarding world, due for release in November 2016.

Avanija Sundaramurti, Head of Marketing: avanija.sundaramurti@hachetteindia.com

Nupur Kumar, Marketing Executive: Nupur.kumar@hachetteindia.com

Shobhita Narayan, Marketing Executive: Shobhita.narayan@hachetteindia.com

10 February 2016

“Alice in Wonderland” continues to inspire readers across the world

( My article on Alice in Wonderland has been published in Hindustan Times popular and widely circulated Sunday 20151018_065049supplement Brunch on 18 October 2015. It is a generous two-page spread in print20151018_065100 with the title “Curiouser And Curiouser”. I am c&p the text from the digital version here. The original url can be viewed at: http://www.hindustantimes.com/brunch/alice-in-wonderland-continues-to-inspire-readers-across-the-world/story-NKnM2TiOACiTMXQXtUI51M.html )

Scottish writer George MacDonald persuaded Carroll to self-publish Alice. It had been tested out on the MacDonald children by their mother – and the family loved it. (Above, Carroll with Mrs MacDonald and her children.) (Getty Images/Science Source)

Who’d have thought a self-published story written for the daughters of a friend would become a world classic, eagerly bought, borrowed and downloaded even now, 150 years later?

 Alice in Wonderland was written in 1865 by Charles Lutwidge Dodgson, a mathematics professor at Oxford, better known by his pen name, Lewis Carroll. He wrote it for Lorina, Alice and Edith, the three daughters of his friend, Reverend Henry Liddell.

Start of many things

Alice in Wonderland is about a girl named Alice who falls down a rabbit hole in pursuit of the White Rabbit and discovers a nonsensically delightful world with colourful characters like the Red Queen, the Mad Hatter, the Cheshire Cat and the March Hare. More writers, artists and creators all over the world have credited Alice as an inspiration than any other book, thanks to its imaginative world filled with fantastic linguistic acrobatics in rhyme and prose.

That the book should have emerged in the staid Victorian era of verbose and righteous prose says much for the power of creativity. Carroll was persuaded to publish Alice with his own illustrations, by Scottish author and poet, George MacDonald.

The story had been tested out on the MacDonald children by their mother. The family thoroughly enjoyed the tale, and Carroll self-published it. Then, it was edited and published by Alexander Macmillan.

Alice, coverLewis Carroll requested the well-known artist of Punch, Sir John Tenniel to create the illustrations, many of which were ultimately based on the original drawings made by the author. To commemorate the 150th year of its publication, Macmillan, the original publisher, has produced a scrumptious edition of The Complete Alice, with the original Tenniel illustrations in full colour. It is unusual for a publisher to be celebrating 150 years of a text, but Alice in Wonderland is perceived to be “a world text”.

Alice in Wonderland is about a girl named Alice who falls down a rabbit hole in pursuit of the White Rabbit. On the left is an illustration of the character by Carroll himself, and next to it (right) by Tenniel. (Photos: Stapleton Collection/Corbis, The Print Collector/Corbis)

“It’s one of those texts that IS, like Shakespeare,” says graphic novelist Samit Basu. “Its constant reinterpretations in everything, from zombie comics to action-fantasy novels, have kept the original text alive, and that’s the greatest thing that can happen to any book.”

This is evident by the text’s vast influence across creative platforms and genres – storytelling, play on words, visual arts, filmmakers, still photography and translations.

According to filmmaker and author Devashish Makhija, a lot of motifs from Alice have been uncannily replicated across the world. “Tweedledum and Tweedledee seem to have inspired Herge’s Thompson and Thomson in Tintin,” he says. “Batman’s Joker seems to have shades of the Mad Hatter, at least in his inexplicable (but profound) reliance on creating some sort of chaos in anything he communicates.”

And there’s more. When Alice fell down a rabbit hole to discover a topsy-turvy world, Makhija argues, she opened a clear story-telling device for creators of the future. “The ‘hole’ – although in existence before this book – was used pointedly for the first time as a portal connecting two dimensions through which a character ‘travels’.

It has since been used in versions in almost ALL of fantasy writing: the wardrobe in CS Lewis’s Narnia series, the square drawn with chalk in Pan’s Labyrinth, platform 93/4 inHarry Potter, the bridge of Terabithia, HG Wells’s time machine and even the bathtub in Anurag Kashyap’s No Smoking.”

Follow that rabbit

“Every reader will leave with a different reading,” says Anil Menon, author of speculative fiction. “Fortunately, Alice in Wonderland has remained what it was intended to be: an invitation to play.”

Let loose in the imaginative world of Alice’s Wonderland, children often find their own wonderlands when they become adults, says photographer and musician Ed Valfre. “Several years ago, I wrote two children’s books about a boy in the backseat of a car who creates stories from all that he sees on the road. As Alice decides to go down the rabbit hole to discover the fantastical world of Wonderland, my hero goes down a similar path but it is inside his own head. The rabbit I follow is some ordinary thing we see every day. The rabbit hole is our imagination and we simply have to pay attention to discover it.”

Jeff VanderMeer, who won the Nebula 2014 for his novel, Annihilation, says that Alice “was such an influence. I Jeff Vandermeer, Southern Reach Trilogy, Rabbit Totem, illustrated by Jeremy Zerfossstarted a far-future novel when I was 13 in which a human-sized bio-engineered white rabbit is found murdered at the base of Mount Kilimanjaro. What appealed to me was the surreal aspect of Carroll’s book, even more so than the kind of mathematical logic and the humour. I couldn’t escape Alice even if I tried. It’s one of those constants, or compass points, that for some odd reason draws out originality despite being riffed off again and again.”

There are no white rabbits in filmmaker Paromita Vohra’s work, Unlimited Girls, but Vohra says it is deeply influenced by Alice in Wonderland. In the film, a young woman is drawn into an Internet chat room – kind of like a rabbit hole – and then proceeds on a journey through the world of feminism where she meets all kinds of characters and undergoes all kinds of transformations.

“I think Alice is (like a good Bollywood film, almost) one of those works that gives you permission to make a work out of what you see, what you feel as one,” says Vohra.

In many ways, Alice is a nonsense book. Not in the sense that it is the product of a muddled mind, but because of its willingness to see more in the world than a single outward façade. That’s the aspect that influenced children’s author, known especially for nonsense writing, Anushka Ravishankar the most.

“I remember reading Alice as a child and being fascinated, but also really disturbed because of the strange creatures and the weird, unworldly goings-on,” she says. “It was only much later that I began to appreciate the other elements – the nonsense, the logical games and the clever theories which the nonsense hid. I studied mathematics, so I do believe that Carroll’s mathematical mind came up with things that seem nonsensical but are actually possible given a different mathematical frame.”

It is extraordinary that a story spun to entertain a six-year-old girl on a boating trip has continued to brighten the lives of generations spanning more than a century.

And so just like the way it began in the beginning, Alice in Wonderland remains what it is – a story to delight children.

“My greatest joy,” says Samit Basu, “was the completely context-free sizzle that went through my brain when I first read it as a child, and there’s nothing that can either truly explain or analyse that.”

**

Looking back through translations

On 4 October, 1866, Lewis Carroll wrote to his publisher Macmillan, stating, “Friends here [in Oxford] seem to think that the book is untranslatable.” But his friends were wrong as the editors of Alice in a World of Wonderlands: The Translations of Lewis Carroll’s Masterpiece, would tell Carroll if they could.

Alice in a World of Wonderlands: The Translations of Lewis Carroll’s Masterpiece documents the classic’s translations in 174 languages and over 9,000 editions and reprints. (Pictured in it is Alice Liddell, the little girl the book was written for)

This book, edited by Jon A Lindseth and Alan Tannenbaum, documents translations in 174 languages and over 9,000 editions and reprints of Alice in Wonderland and its sequel Through the Looking-Glass.

“There are nine translations of Alice into Tamil, plus an unpublished draft, a short story, a serialised story, and a graphic version,” says Dr Rajamanickam Azhagarasan, contributor to the book. “It was popular among those involved in the movement for children’s literature from the ’40s through the ’70s. Each translation was unique, depending on which aspect the translators wished to highlight.”

Alice has been translated in Assamese, Bengali, Gujarati, Hindi, Kannada, Konkani, Malayalam, Marathi, Oriya, Tamil, Telugu, Urdu, Nepali and Sinhala. Here (left to right) are translations in Malayalam (2000), Urdu (1981) and Oriya (2002).

Much like the way storytellers have always found new stories to weave out of the Indian epics, Alice’s translators in India have created different Wonderlands – for instance, by weaving mythological elements into the story.

“The Telugu translation of Alice was available as early as the mid-1950s,” says Suresh Kosaraju, trustee, Manchi Pustakam, Secunderabad.

Editor Sushama Sonak says, “Mugdhachi Rangit Goshta (The Many Coloured World of Mugdha) written in Marathi by short story writer GA Kulkarni was heavily influenced by Alice.”

In Malayalam, the first translation was published by Balan Publications. Lewis Carroll certainly influenced the well-known children’s nonsense writer in Bengali, Sukumar Ray, as well as Hemendra Kumar Roy, who wrote wonderful detective stories in Bangla and translated Alice in Wonderland: it is called Ajab Deshe Amala.

Even Vladimir Nabokov, the author of Lolita, translated Alice into Russian. According to translator Sergei Task, “By and large, [Nabokov] translated the text as is, except for Russifying the names (Alice/Anya, Mabel/Asya, and the Rabbit got a last name – Trusikov) and introducing pre-revolutionary forms of address such as barin (master) and vashe blagorodiye (your honour). Of course, with the playful verses, he had to take liberties – again, trying to adapt them for Russian readers.”

18 October 2015 

Of comic culture and conventions in India

WCI logoAn eleven-year-old girl had a birthday coming up. While swinging in the school Scott McCloudplayground she blurted out to me, “I do not want a birthday party. I do not want any gifts. When you are a child, you can ask for many things. All I want is a book on how to draw cartoons.” Her mother who was flummoxed. There were only two options I could think of at such a short notice: 1. Recommend Scott McCloud’s classic Understanding Comics but it would not be possible to get it in time for her birthday OR 2. Contact Sharad Sharma of World Comics and seek his advice. I did the latter. Sure enough he did have a slim manual that had been produced in-house on how to create cartoons.

Sharad Sharma should know. After all  World Comics Network ( http://www.worldcomicsindia.com/ ) promotes the use of grassroots comics as a medium of self-expression. Since it began in the mid-nineties, Sharad Sharma has conducted over a 1000 workshops in remote areas and trained over 30,000 people. He has also begun a Comics for All: A World Comics Network Bulletin. The latest issue that I read, Comics in Education, consists of comics made by people around the world discussing education. Some of the topics covered are on identity, cultural and linguistic diversity, displacement, sexuality, humanity, mental health, communalism, adult literacy, and rights. The newspaper is multi-lingual but the synopsis of comics are available in English. The cover has snippets of comics and speech bubbles created by government school teachers in Uttar Pradesh, India. Sharad Sharma and his colleagues trained 70 teachers in sequential art and they in turn trained another 700 teachers. 

 
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CCI logoMeanwhile the hugely popular Comic Con India will have its first event of the year in Bangalore ( 3-5 April 2015). Links are available at: http://www.comicconindia.com/ and http://www.comicconbangalore.com/ . It promises to be quite an extravaganza with celebrities such as Natalia Tena ( from Game of Thrones and Harry Potter fame), Rana Daggubati of Bahubali and comic book artists such as Greg Cappullo ( X-Force, Quasar, Spawn and Batman), Mark Millar ( Wolverine) and Paul Azaceta ( Graveyeard Empires) participating via Skype. (In the past, storytellers such as Neil Gaiman Mark Millarhave participated in Comic Con India  via Skype too.  The picture in this blog is of noted Neil Gaiman in conversation with Sam Arni, Comic Con India, 2014author, Sam Arni in conversation with Neil Gaiman. )
 
This year, Comic Con has announced a list of awards. This is the fourth year of the awards in India. The nominees for the fourth edition are: 
 
Best Graphic Novel
Best Graphic Novel 
World War One
Rumi
Sholay
Simian
Nirmala and Normala
Best Pencilller/Inker/Penciller-Inker Team
Gowra Hari Perla, KAKAA Fableri
Abhijeet Kini, Holy Hell, Meta Desi Vol. 2
Zoheb Momin, Item Dhamaka
Harsho Mohan, Hyderabad: A Graphic Novel
Harsho Mohan, Aghrori 11
Lalit Kumar Sharma and Jagdish Kumar, World War One
Sachin Nagar, Kaurava Empire Vol. 1
Sachin Nagar, Kaurava Empire Vol. 2
Harsho Mohan, Chakrapurer Chakkare
Sabu Sarasan, Ayodhya Kand
Zoheb Akbar and Arijit Dutta Chowdhury, Jatayu and Nandi (Divine Beings)
 
Best Colourist
Sanman Mohita, Futile, Blind Spot
Vipul Bhandari, Cross Hair, Blind Spot
R. Kamath and Prabhu, Item Dhamaka
Neeraj Menon, Hyderabad: A Graphic Novel
Prasad Patnaik, Aghori 11
Sachin Nagar, Kaurava Empire Vol. 1
Sachin Nagar, Kaurava Empire Vol. 2
Vijay Sharma and Pradeep Sherawat, World War One
B. Meenakshi and Pragati Agrawal, Space Doughtnut, Tinkle 276
 
Best Cover
Abhijeet Kini, Ground Zero #2
Sumit Kumar, Parshu Warriors
Sumit Kumar, Devi Chaudhrani
Mukesh Singh, Ravanayan Finale Part 2
Rahil Mohsin, Rumi, Sufi Comics
Priya Kurien, Bookasura
fox and crow posterCulpeo S. Fox, The Fox and the Crow 
 
Best Writer
Alan Cowsill, World War One
Rajani Thindiath, Dreams: My World in My Head, Tinkle Holiday Special 41
Lewis Helfland, They Changed the World
 
Best Continuing Graphic Series
Chiyo, Tinkle Digest
Ravanayan, Holy Cow
Beast Legion
Dental Diaries, Tinkle 
 
Best Illustrated Children’s Book
Tinkle Digest 276, Tinkle
Pashu, Puffin
The Fox and the Crow, Karadi Tales
Malgudi School Days, Puffin
 
Best Children’s Writer
Sean D’Mello, Tantri the Mantri: The Dream Team, Tinkle Tall Tales 4
Ruskin Bond, With Love from the Hills
Arundhati Venkatesh, Bookasura
Devdutt Pattnaik, Pashu
Harini Gopalswami Srinivasan, Ayodhya Kand
 
Best Publication for Children
Tinkle Holiday Special 41
Tinkle Digest 273
CN Remix, Pepper Script
Bookasura, Scholastic
Ayodhya Kand, ACK
 
Lifetime Achievement Award
Aabid SurtiAabid Surti
 
Nirmala and NormalaOf these I have only read Nirmala & Normala ( Penguin), The Fox and the Crow ( Karadi Tales), Pashu ( Puffin India) and World War One ( Campfire). Every one of these book is distinctive in style, plot and genre. The jury is not going to have an easy time picking the winner in each category. The only element common to the diverse books nominated are they have the potential of reaching out to an international audience, even if they have originated in India. Maybe this is keeping in step with the spirit of Comic Con India in going global. On 3 September 2014, a press release issued stating, “Comic Con India (CCI) today announced a joint venture with Reed Exhibitions; part of the FTSE listed Reed Elsevier Group, to grow the pop culture space in India and bring world class events to Indian fans. The Comic Con India team will work closely with the ‘ReedPOP’ division of Reed Exhibitions, the largest producer of pop culture events in the world. With this JV in place, CCI enters the burgeoning ReedPOP portfolio of pop culture events which includes New York Comic Con, PAX, the Chicago Comic & Entertainment Expo, Oz Comic-Con, Singapore Toy, Gaming & Comics Convention and Star Wars Celebration among many others.” ( http://www.reedexpo.com/de/Pressemitteilungen/2014-Press-Releases/Comic-Con-India–Reed-Exhibitions-Enter-Joint-Venture-to-Produce-Experiential-Pop-Culture-Events-for-the-Burgeoning-Indian-Market/  )
The culture of comics, including have specialised standalone bookstores, having a community of comic connoisseurs, focused conventions such as a Comic Con where artists, comic legends, actors, fans etc can mingle and meet are at an advanced stage of evolution in mature markets such as USA and Europe. This experience is still at its infancy in India. So having Comic Con India spread across four cities– Bangalore, Delhi, Hyderabad and Mumbai — is a good beginning to popularise this particular genre. Having said that, importing a tried and tested model of a popular culture convention into India lock, stock and barrel without tweaking it may result in a distancing from the very market the format is trying to make an impact in. Only time will tell!
Meanwhile as a response to Comic Con India, there are already attempts by some Indian comic artists to come together to launch an alternative platform. At first many of these artists and illustrators were hopeful that Comic Con India would fulfill the crying need to create a platform where professionals from this creative sector met and discussed their art. Unfortunately many feel that this event has” turned out to create a market for western comics rather than promoting the Indian comics and artists”. So they formed COMIX. According to Sharad Sharma, one of the promoters of this idea, “the idea is to have a 2-3 days meet/seminar/workshop for a limited 100-150 artists, illustrators, media critic, publishers etc). Comix is an amalgamation of all visual storytelling art forms under one platform, comics, illustration, and cartoons.  It is a unique attempt to form a platform which brings people connected to line art under one creative roof. …Comix will construct a forum to discuss creator rights and ways to safeguard them. It will also talk about the limitations and pressures, such as, censorship that creators face. Making comics more inclusive, multilingual and multi cultural, Comix is all for crafting an equal opportunity environment.”
Here is hoping that future editions of Comic Con India, COMIX and any future grouping that may emerge ultimately work together in strengthening the comic culture in India. Maybe existing platform could only be made more robust and relevant to the local audience, market and readers by bringing together diverse voices under one roof much as in the world of book publishing — the World Book Fair organised by the National Book Trust brings together a wonderful and wide variety of publishers and opinions.
Postscript: As I was about to upload this article on my blog, I received an email from Comic Con India saying: “We regret to announce that artist Paul Azaceta has had to cancel his visit to the Bangalore Comic Con. He had been looking forward to coming down to India but due to an urgent personal reason he had to cancel his trip. He sends his best wishes to all the fans and is looking to forward to attending the show in future.”
2 April 2015