Libraries Posts

“Publishing Pangs”,Economic Times, Sunday Edition, 5 July 2020

“Publishing Pangs”, Economic Times, Sunday Edition, 5 July 2020

On 24 March 2020 invoking the Disaster Management Act (2005) the first phase of the lockdown to manage the Covid-19 pandemic was announced. “Disaster Management” is considered to be a part of the Concurrent List under “social security and social insurance”. With the announcement all but the most essential economic activity halted nationwide. Only 4 hours’ notice was provided, insufficient time to plan operations.

Demand and supply existed but all cash cycles dried up — because bookstores were not operating. Brick-and-mortar stores had to close while online platforms focused on delivering only essential goods and books were not on the list. Priyanka Malhotra says “When Full Circle reopened in mid-May, there was a great demand for books. Mid-June, supply lines are still fragile, so getting more books regularly is uncertain. Well-stocked warehouses are outside city limits and are finding it difficult to service book orders to bookstores. We are mostly relying on existing stocks.”

In future, the #WFH culture will remain particularly for editors, curation of lists, smaller print runs, the significance of newsletters will increase, exploring subscription models for funding publishers in the absence of government subsidies and establishment of an exclusive online book retailing platform such as bookshop.org. Introducing paywalls for book events as the lockdown has proven customers are willing to pay for good content. Distributors and retailers will take less stock on consignment. Cost cutting measures will include slashing travel as a phone call is equally productive, advances to authors will fall, streamlining of operations with leaner teams especially sales teams as focused digital marketing is effective, With the redefining of schools and universities due to strict codes of physical distancing and cancellation of book fairs, publishers will have to explore new ways of customising, delivering and monetising content.

In such a scenario the importance of libraries will grow urgently. Libraries benefit local communities at an affordable price point. They are accessed by readers of all ages, abilities and socio-economic classes for independent scholarship, research and intellectual stimulation. The nation too benefits with a literate population ensuring skilled labour and a valuable contribution to the economy. By focusing upon libraries as the nodal centre of development in rehabilitation and reconstruction of a nation especially in the wake of a disaster, the government helps provide “social security and social insurance”. Libraries can be equipped without straining the limited resources available for reconstruction of a fragile society by all stakeholders collaborating. As a disaster management expert said to me, “Difficult to find a narrative for what we are going through”.

After a disaster, the society is fragile. It has limited resources available for rehabilitation and reconstruction. To emerge from this pandemic in working condition, it would advisable for publishers to use resources prudently. It is a brave new world. It calls for new ways of thinking.

Given this context, the Economic Times, Sunday Edition published the business feature I wrote on the effect of the pandemic on the publishing sector in India. Here is the original link on the Economic Times website.

***

As the first phase of the sudden lockdown to manage the Covid-19 pandemic was declared on March 24, the timing was particularly unfortunate for the books publishing industry. End-March is a critical time in the book publishing industry.

End-March is a critical time in the book year cycle. It is when accounts are settled between distributors, retailers and publishers, enabling businesses to commence the new financial year with requisite cash equity. Institutional and library sales are fulfilled. The demand for school textbooks is at its peak. But with the lockdown, there was a severe disruption in the production cycle — printing presses, paper mills, warehouses and bookshops stopped functioning. Nor were there online sales as books are not defined as essential commodities.

“Publishing in India is estimated to be worth $8 billion in annual revenues,” says Vikrant Mathur, director, Nielsen India. “Trade publishing has seen four months of near-zero sales which straightaway knocks one’s revenues off by at least 25-30%,” says Thomas Abraham, MD, Hachette India. 

Profit protection became key. Firms either reduced salaries or laid off employees, and unaffordable rentals forced closures of offices and bookshops. Arpita Das, founder of Yoda Press, says, “After three months of almost zero print sales, and low ebook sales, we decided to move out of our office space.”

In mid-May, bookshops and online portals resumed selling books. Bookstores delivered parcels using India Post, Zomato, and Swiggy. Sales of children’s books exceeded everyone’s expectations, averaging 30% more than pre-Covid sales. Shantanu Duttagupta, publisher, Scholastic India, says, “The ecosystem of children’s books and content comprises mainly of parents, educators and children. While print is traditionally preferred, it has to be recognised that content of any sort has to be format-agnostic. Whether it’s digital solutions for parents and children, helping educators through professional development or providing curated, age-appropriate books for children, being agile and nimble is key.”

Publishers announced curated digital content for schools engaged in remote learning. Scholastic Learn at Home, Collins Digital Home Learning, DK’s Stay Home Hub and StoryWeaver’s Readalong** were among such initiatives. Paywalls were introduced for creative writing workshops and were fully subscribed. Academic publishers noted an increase in inquiries from universities regarding bundle subscriptions.

To remain relevant with readers, there was an explosion of hashtags and promotions on the internet: #ReadInstead, #BraveNewWorld, #Reset, #MacmillanReadingSpace, #PenguinPicks, #KaroNaCharcha and #MissedCallDoKahaaniSuno. Book launches and lit fests went digital, with viewers across time zones. Brands like JLF ( Jaipur Literature Festival) got a viewership of over 700,000 worldwide*, while Rajpal & Sons got a viewership of over 300,000 — both hosted an equal number of events (50+) in the same time frame.

According to Meru Gokhale, publisher, Penguin Press, Penguin Random House India, “India’s reading consumption patterns during the lockdown consisted of ‘bucket list reads’ of classics, voluminous works and series fiction; self-help and mind-body-spirit lists.” Publishers launched frontlists (new and current titles) as ebooks , deeming that preferable to tying up cash in inventory. Interesting experiments by editors have involved crowd-sourcing new ebooks, usually kickstarted with an opening by a literary star. Vikas Rakheja, MD, Manjul Publishing, says, “We have seen a 300-400% growth in sales of our ebooks in April-June, over the same period last year, in both English and Indian regional languages, on Amazon Kindle and other online sales portals.” 

Chiki Sarkar, publisher, Juggernaut Books, says their titles saw greater time spent on ebooks during the lockdown. Audiobooks also sold. Yogesh Dashrath, country manager, Storytel India, says, “Globally there was doubling of intake. In India, it accelerated exposure to audiobooks.”

But India is firmly a print book market. So it will take some time for patterns to change. Kapil Kapoor, MD of Roli Books and owner of CMYK bookstore in Delhi, says, “In Unlock 1, we have not yet seen a significant spike in the demand for books. For now, sales figures hover around 40–50% of pre-Covid-19 days, largely driven by online sales — an accurate reflection of consumer preference of wanting home delivery and not venturing out to markets due to a fear factor, which is understandable.” A concern is book piracy will increase in direct proportion to economic stress in households.

As for lasting trends, work from home culture will continue, particularly for editors. Experimentation with curated lists, smaller print runs and subscription models will be seen. Some publishing firms, imprints, bookstores, retailers and distributors may go out of business. Increasingly, finance and legal will join sales departments to ensure “correct” decisions are made. Cost-cutting measures may include slashing travel, relying more on digital tools for efficiency, such as negotiating book rights online, employing leaner sales teams and expanding business horizons beyond the Anglo-American book market, without travelling. New platforms capitalising on professional expertise and fostering creative synergies have emerged on social media, like Publishers’ Exchange, an initiative by language publishers across India, Mother Tongue Twisters, Roli Pulse, Independent Bookshops Association of India and Publishers Without Borders. With the redefining of schools and universities, publishers will explore new ways of customising, delivering and monetising content. Could book events go behind a paywall? Perhaps libraries will regain significance?

As the industry negotiates this disruption, it’s clear that it will take a lot of ingenuity to emerge largely unscathed on the other side. Everyone is hoping for a happy ending to this particular saga.

* At the time of writing the article, this figure of 700,000+ held true for JLF. But on the day of publication of the article, the number has far exceeded one million.

** Storyweaver’s Readalong are multilingual audio-visual storybooks.

5 July 2020

Interview with editor and translator, Mini Krishnan

Mini Krishnan worked with Macmillan India (1980-2000) and with Oxford University Press (2001-2018) to source, edit and promote translations into English of works by Indian writers from 13 languages many of which won national prizes and are included in study courses both in India and in universities overseas.

She is currently co-ordinating multiple publishers to build a programme of Tamil-English translations. This is an initiative designed by the Tamil Nadu government and located in their Textbooks and Educational Services division.

1.How did you begin your career as an editor of texts translated from Indian languages into English?

Well…I think it is fair to say that it began as both an accident and an affinity for things Indian long submerged by training in English Literature! I always felt a vague dissatisfaction with the texts I was reading / studying but had no clear idea of how to access materials written by Indians. Nor how to relate them to what seemed to be important intellectual tools gained in UG and PG degrees in English Literature. In the late 1960s-early 70s when I was a student, books were not that easily available. Because my father was with the Deccan Herald (Bangalore) I got to read the books he received for review and that was about all. My college and university libraries did not stock books by Indian authors.

Seven years after my post-graduation I got an opportunity to freelance with Macmillan India in Madras. I was put to work on anthologies of prose, poetry, fiction and so on. Quite dull work really but I kept asking my editor why she couldn’t include some Indian writers other than Nehru, Sri Aurobindo and Tagore. “The members of Boards of Studies do not even consider other Indian writers worth teaching,” she said. I thought to myself that if I ever got a chance I would campaign for the inclusion of Indian writers in foundation English courses.

I got my chance when my editor (Viji Sreenivasan) left, creating a vacuum which I filled. I was a square peg in a square hole. A week later the Kerala Sahitya Akademi and Macmillan India signed agreements to produce a two volume publication titled Comparative Indian Literature edited by KM George; with 16 chief editors and 200 contributors, it was a stupendous work. The entire chronology of Indian literature was catalogued and described. Ancient Poetry (all the languages recognized at that time) Modern Poetry. Ancient Theatre, Modern Theatre. Fiction. Short and Long. And so on and so on. It was 4000 pages and took five years to push into shape. I worked on nothing else.

But where might all those Indian language works, described in this publication be accessed? Only a very small number of them were available in English translation. So, since fools rush in, I designed a project of modern novels from eleven Indian languages and tried to persuade Macmillans to invest in the idea. They were astounded. They were textbook publishers and I was their golden goose publishing for the school and college market. Why waste editorial time and money on translation? So I set about looking for support outside Macmillans. If I secured funding I would be allowed to do the project. For seven years I went from door to door trying to convince powerful institutions to part with some money for Indian literature. Mind you I had nothing to show anyone as a promise of what might be possible. Only a single failed translation by V Abdulla of Malayatoor Ramakrishnan’s Verukal.

Finally, in March 1992, my friends Valli Alagappan, her father, Mr AMM Arunachalam and her aunt Mrs Sivakami Narayanan who jointly ran the MR AR Educational Society of Madras agreed to fund me. I still do not know why they decided to help me. I had nothing to recommend me but my enthusiasm and determination. I received a letter saying that they would set aside Rs 80,000 per book for 50 books.

No one was more surprised than my highly commercial management but there was trouble. Though my Vice President R Narayanaswamy supported me, my Managing Director Sharad Wasani was unwilling to let me spend a lot of time on what he saw as an unsaleable project. When he received the forms seeking his approval he refused to sign. I wrote him, “You are the only person in the world who will refuse funding for his country s literature”and closed by offering to resign. Only two people from that time left — Jayan Menon and Sukanya Chandhoke— who will remember this.

Anyway, after Wasani changed his mind, I invited eleven eminent writers to be the chief editors for the languages I had selected for the project ( Tamil, Telugu, Kannada, Malayalam, Gujarati, Marathi, Oriya, Bengali, Urdu, Hindi and Punjabi)  and they helped to make up lists of five post-Independence novels from their respective langauges. Because I had been dealing with 16 chief editors on the C.I.L volumes I didn’t think this strange at all but anyone who discussed the project with me was astonished at the volume of work I had undertaken. It didn’t seem like work at all to me ! At last I was getting to do what I had really wanted to do when I entered publishing 12 years before.

Many important works were published in full for the first time in English: Brushte ( Outcaste) by Matampu Kunhukuttan, Randamoozham ( Second Turn) by MT Vasudevan Nair, Bharathipura by UR Ananthamurthy, Danapani (The Survivor) by Gopinath Mohanty, Subarnalatha by Ashapurna Debi, Ponniyin Selvan by Kalki and Karukku by Bama.

In all, between 1996 and 2000 when I left Macmillans I published 37 volumes. They went out of circulation a year or two after I left the company and the C.I.I.L Mysore bought the whole project including unsold stocks in 2007 with a view to republishng the entire list. It never happened because the Director (UN Singh) whose dream it had been, left the Institute.

2. What were the languages you first worked on? How many languages have you worked upon so far? 

The first scripts I worked on were translations from Malayalam and Tamil. In all, I’ve worked on translations from Tamil, Telugu, Kannada, Malayalam, Konkani, Marathi, Gujarati, Bengali, Odia, Hindi, Kashmiri, Punjabi, Urdu, and just one from Dogri.

3. How do you select which book is to be translated especially if it is a language you are unfamiliar with?

As I said because of the work I did on Comparative Indian Literature it wasn’t difficult to identify what needed to be translated particularly if the Sahitya Akademi had not already commissioned translations. Then again once the Macmillan project took off I was flooded with advice and suggestions. The difficulty was what to leave out. A great disadvantage is that I could not and therefore did not read the critical material on any of these works. I rely a great deal on the advice of others. But when it comes to translators I use a process of running trial drafts of different kinds of passages from the selected work — one might be a descriptive paragraph, a second something very emotional or lyrical, a third passage would cover conversation – to check the translator’s strengths and where s/he might back off, or skip or be lazy. The editing process can take anything from two drafts to six depending on the competence of the translator and the cooperation between all parties. Long silences, gaps in the process are not healthy for the project nor is impatience or being a speed queen the answer. As for the reception of a translation! Much depends on how well the publisher promotes the finished product. Publishing is only 50% of the responsibility. The other 50% depends on promotion and follow-up.

4. Do you think it is necessary for an editor to be familiar with the source language? If not, how can the editor ensure that the translation is true to the original text? 

Of course it is important for the editor to know the source language but then in how many languages can one gain proficiency? The editor/ publisher must appoint reviewers who will read the translation carefully to ensure (as far as possible) that nothing has been left out or distorted. Then the editor can take over and polish in consultation with the translator and author.

5. What are the kind of guidelines you think an editor of translations should be bear in mind while working on a manuscript? 

Listen very carefully to the voice of the author. Does it chime with the translator’s? It helps to have someone read out the original even if you do not know the language while you follow the English in a parallel reading. You cannot but help hear the inflexions and emotions as the reading proceeds.

Be respectful. Very important to gain the confidence of the translator. Make suggestions tactfully. Once the translator is convinced you are not out to destroy his work or appropriate it, he will breathe easy and work and redraft willingly. It helps to read other works from the same period and familiarize oneself with the language – bank of that time. You need to enter that world emotionally through images and atmosphere not just intellectually through words.

6. What is your definition of a “good translation”? What are the qualities it must have? 

This is something I have been trying to figure out for 30 years! Sometimes a smooth read will fail to capture the imagination of the reader. Sometimes even if a translation is jerky and appears to be rushing along, it will work. I think it is a combination of inspiration and zeal on the part of the translator and very patient work on the part of the editor. The qualities? The language must bring the author alive. It must make you think “If XY had written in English instead of in Marathi this is how he might have phrased it”. Now it is all very well to say this to ourselves but to someone who is not Indian, this might still not work at all. Basically I think we should be translating first for our Indian market before trying to reach spaces and minds outside India.

7. When you began translating texts into English for the Indian market, at the time, most publishing houses ignored translations. Today the reality is very different. Most publishing houses have dedicated translation lists and even the local literary awards are recognising translators. What in your opinion are the pros and cons of this deluge of translations in the market — locally and globally? 

It is extremely encouraging to see the increased interest in translations and the care with which they are produced but a worrying feature is the way publishers are responding to criteria laid out by the big literary bursaries and prizes for translation. There is a growing tendency to ignore works published more than 20 or 30 years ago and no one seems to want to do a fresh translation of a classic. Then there is the secret craving on the part of publishers to promote a translation as not a translation. So the translator’s name disappears from the cover page, a most unfair practice. I put this down to the second-classing of translations—as if they are something inferior and not worthy of being viewed as works of art in themselves.

8. Recently machine translations such as Google’s neural technology are making an impact in the space of translation. How do you feel about the impact of machine translation in the literary sphere? 

Any technology which helps the human translator will be of enormous help I’m sure but I doubt whether it can supplant imagination and nuanced word choices. For mundane passages for instance this interview can be processed by Google translation but — a poem full of feeling and fire? I doubt it. An approximation would surely be possible but would it be good enough? I’ve always maintained that the translator is as much an artist as the writer of the original work.

9. Your name in Indian publishing is synonymous with translation evangelism. You have been responsible for kick-starting many notable projects. The current one being the Translation Initiative of the Thunchath Ezhuthachan Malayalam University (TEMU). Please elaborate more on this project

Actually I did not initiate the TEMU project. That was designed by K Jayakumar the first VC of the University. It was a simple plan: an advisory committee selected works, I commissioned the translations and marketed the idea with multiple publishers. In some cases, the publishers already had scripts on hand; in other cases, I found the translators and did some light editing before handing over to the concerned group. The University signed agreements with the publishers to buy 300 copies at a discounted price and the publishers agreed to carry the logo and mission statement of the University in the selected works. I did not initiate any project other than the Macmillan list. In OUP I enlarged and diversified an already extant list which had not — till I began work in 2001— published a single woman writer. Nor had Dalit or Adivasi writers been considered. That was an arm I grew for OUP India and it has done well.

For a year now, I’ve been working with the Tamil Nadu Textbook Educational Services on a Tamil- English translation project modelled on the TEMU plan. Our collaborators in the first phase are OBS, Niyogi, OUP, Ratna Books, Harper Collins and Vitasta.    

10. Can the art of translation and editing a translation be taught or is it a lived experience? 

Commitment, determination and passion are crucial to sustained work in this area. To find a forgotten work, to convince people that it must appear in English, to struggle with the translator at its rebirth and to learn that a major publisher in the language of the original work decided to reprint the book (which had lain in a rabbit – hole for four decades) —- that is the best thing an editor of translations can hope to enjoy.

Strategies in translation can certainly be taught. Translator training is certainly possible and necessary but finally the translator is on her own except for her editor and together they complete the phantom work. It might succeed. It might not. It might succeed as an aesthetic product and bomb in the sales department. But then that is the fate of any human product which is judged by both ignorant people and by those who know far more than you do. No amount of reading about tennis or watching it on television can help you to be a good player on the court!

11. Translations are most often construed as being undertaken as a labour of love with little financial resources being available for underwriting the costs involved in the task. What are the economics of publishing translations in India? What has been your experience? 

Love is great but it won’t put food on the table. Translations need financial support either from a patron or from another line of books from the same publisher who sets aside resources for the translations list.

12. What do you think is the future of literary translations in the world of publishing? 

The world literary mart is only just waking up to the hidden power of translations and what they do to cross-pollinate creativity across cultures and civilizations. Consider all the talk about world peace! How can this happen if cultural understanding isn’t an organic process? One way to ensure this is to expose children and young adults to writing from different parts of the world at an impressionable time in their lives. Translation can help the humanities to make a brilliant comeback in a global sense. Comparative literature is impossible to teach without discussing the central role of translation. If we are to survive all the artificially orchestrated hatred and violence and misunderstandings created by politicians and power –mongers, venues of mutual understanding need to be very deliberately developed. Cultural competence, soft –skills — these are words one hears very often but what are we doing to build that theatre of human understanding? I think that if literary translations can be included in academic programmes and introduced into high-interest professions like management, finance and public policy it would help humanize these professions and give publishers the big print runs and inflow they need to keep doing what only they can do.

Note: Women Writing in India edited by Susie Tharu and K Lalitha (OUP) was a reprint of the Feminist Press publication, 1993, NY and not commissioned or developed by Oxford University Press.

5 November 2019

Oliver Sacks “Everything in its Place”

British neurologist, naturalist, historian of science, and author Oliver Sacks died in 2015. A huge loss to the world particularly to the world of writing and reading. He read voraciously, wrote beautifully and with a precision that is a sheer delight to behold. Fortunately after his passing, some of his unpublished writings were published in a collection called River of Consciousness and now Everything in its Place puts together his contributions to various magazines and newspapers. As always there is plenty to mull over. Sacks has the astonishing ability to make many light bulbs go on inside one’s head and think, “Exactly! This is it! He got it!” In Everything in its Place there are two particular instances when this happens. One when he wistfully records the demise of print collections in libraries in favour of digital books thereby losing the opportunity of serendipitous gems such as the 1873 book Megrim. This is what he writes in his essay “Libraries”:

When I was a child, my favourite place at home was the library, a large oak-paneled room with all four walls covered by bookcases — and a solid table for writing and studying in the middle. …The oak-paneled library was the quietest and most beautiful room in the house, to my eyes, and it vied with my little chemistry lab as my favourite place to be. I would curl up in a chair and become so absorbed in what I was reading that all sense of time would be lost. Whenever I was late for lunch or dinner I could be found, completely enthralled by a book, in the library. I learned to read early, at three or four, and books, and our library, are among my first memories.

When I went to university, I had access to Oxford’s two great university libraries, the Radcliffe Science Library and the Bodleian, a wonderful general library that could trace itself back to 1602. …But the library I loved the most at Oxford was our own library at the Queen’s College. The magnificent library building itself had been designed by Christopher Wren, and beneath this, in an underground maze of heating pipes and shelves, weere the vast subterranean holdings of the library. To hold ancient books, incunabula, in my own hands was a new experience for me … .

I first came to New York City in 1965, and at that time I had a horrid, poky little apartment in which there were almost no surfaces to read or write on. I was just able, holding an elbow awkwardly aloft, to write some of Migraine on the top of a refrigerator. I longed for spaciousness. Fortunately, the library at the Albert Einstein College of Medicine, where I worked, had this in abundance. I would sit at a large table to read or write for a while, and then wander around the shelves and stacks. I never knew what my eyes might alight upon, but I would sometimes discover unexpected treasures, lucky finds, and bring these back to my seat.

But a shift was occurring by the 1990s. I would continue to visit the library frequently, sitting at a table with a mountain of books in front of me, but students increasingly ignored the bookshelves, accessing what they needed with their computers. Few of them went to their shelves anymore. The books, so far as they were concerned, were unnecessary. And since the majority of users were no longer using the books themselves, the college decided, ultimately, to dispose of them.

I had no idea that this was happening — not only in the Einstein library but in college and public libraries all over the country. I was horrified when I visited the library recently and found the shelves, once overflowing, now sparsely occupied. Over the last few years, most of the books, it seems, have been thrown out, with remarkably little objection from anyone. I felt that a murder, a crime had been committed: the destruction of centuries of knowledge. Seeing my distress, a librarian reassured me that everything “of worth” had been digitized. But I do not use a computer, and I am deeply saddened by the loss of books, even bound periodicals, for there is something irreplaceable about a physical book: its look, its smell, its heft. I thought of how this library once cherished “old” books, had a special room for old and rare books; and how in 1967, rummaging through the stacks, I had found an 1873 book, Edward Liveing’s Megrim which inspired me to write my own first book.

The second instance is when Sacks rues his failing eyesight is robbing him of the pleasures of reading print books. For him it was the print book that held the greatest appeal and no amount of technological innovation such as audio books could persuade him to think otherwise. He has a point when he writes in “Reading the Fine Print”:

In January of 2006, when my vision began to decline, I wondered what I would do. There were audiobooks — I had recorded some of them myself — but I was quintessentially a reader, not a listener. I have been an inveterate reader as far back as I can remember — I often hold page numbers or the look of paragraphs and pages in my almost automatically, and I can instantly find my way to a particular passage in most of my books. I want books that belong to me, books whose intimate pagination will become dear and familiar. My brain is geared towards reading — …

We each form unique neural pathways associated with reading and we each bring to the act of reading a unique combination not only of memory and experience, but of sensory modalities, too. Some people may “hear” the sounds of the words as they read (I do, but only if I am reading for pleasure, not when I am reading for information); others may visualize them, consciously or not. Some may be acutely aware of the acoustic rhythms or emphases of a sentence; others are more aware of its look or its shape.

there is a fundamental difference between reading and being read to. When one reads actively, whether using the eyes or a finger, one is free to skip ahead or back, to reread, to ponder or daydream in the middle of a sentence — one read’s in one’s own time. Being read to, listening to an audiobook, is a more passive experience, subject to the vagaries of another’s voice and largely unfolding in the narrator’s own time.

Writing should be accessible in as many formats as possible — George Bernard Shaw called books the memory of the race. No one sort of book should be allowed to disappear, for we are all individuals, with highly indivualized needs and preferences — preferences embedded in our brains at every level, our individual neural patterns and networks creating a deeply personal engagement between author and reader.

This is so true! Any true-blooded reader would identify wholeheartedly with the sentiment expressed. For me it rings true at another level too. My nine-year-old daughter prefers print to audio books for she claims “audio interferes with her imagination!” Till I read this essay I attributed it to a child’s quirk. Now I know better.

Read Everything in its Place! There is so much to discover.

1 July 2019

French Ambassador Alexandre Ziegler explains: An interview with the ambassador about plans for translations of French literature into Indian languages and collaborations at books fairs.

I interviewed the French Ambassador to India, Alexandre Ziegler, at the Jaipur Literature Festival 2019. The interview has been published in the online news portal Scroll. The text of the interview has been c&p below while the original url is here.

What’s brewing between Indian and French publishing? French Ambassador Alexandre Ziegler explains
The Ambassador of France to India, Alexandre Ziegler at the Jaipur Literature Festival 2019.

Alexandre Ziegler, the French Ambassador to India, was at the Jaipur Literature Festival this year to announce the winner of the 2019 Romain Rolland Book Prize. Recognising the best translation of a French title into any Indian language, including English, the Indo-French jury takes into account the quality of the translation and the publication itself while selecting the winner.

The award comes with an invitation to the Paris Book Fair 2019 in March for the publisher of the work and an invitation for the translator to attend a one-month residency in France.

This year, the longlist included essays as well as fiction and a very strong contribution from Indian languages apart from English, with four translations into Malayalam, two into Hindi, and one each into Tamil and Bengali. The winning title was The Life of an Unknown Man by Andrei Makine, published in France by Le Seuil, in India by Kalachuvadu, translated into Tamil by SR Kichenamourty.

Publisher Kannan Sunadaran, Kalachuvadu. Jury member Chinmoy Guha with R. Cheran, poet.
Jury members Annie Montaud, Renuka George, Michèle Albaret

The Romain Rolland Book Prize is just one of the actions of the French Institute in India to support translations of French books in India. It runs the Tagore Publication Assistance Programme and also launched a special training programme for translators this year. The first step was a one-day translation workshop focused on Indian regional languages, which took place on January 22 at the Centre for French and Francophone Studies, Jawaharlal Nehru University, and brought together more than 60 participants from various universities in Delhi. Ros Schwartz, the acclaimed translator, conducted the workshop. The long-term translation programme is part of the roadmap leading up to, on the one hand, the Paris Book Fair 2020, where India will be the focus country, and on the other, the New Delhi Book Fair 2022, where France will be the guest of honour.

Ambassador Alexandre Ziegler and Jaya Bhattacharji Rose, Jaipur Literature Festival, Diggi Palace, 25 January 2019

Ziegler, who has been the Ambassador of France to India since 2016, spoke at the Jaipur Literature Festival about these initiatives. Edited excerpts:

Why was the Romain Rolland Prize instituted and what is its main focus? Does France have similar prizes in other countries too?
The Romain Rolland Book Prize is a translation prize that aims to support publishers and translators involved in the translation of French titles into Indian languages. The purpose is to find the best book and to be able to negotiate for it on best possible terms while also promoting texts in translation. My feeling is that we speak about strategic and economic partnerships, of which both are growing well but we still have to invest more in culture.

In this age of machine translations, we often forget the human touch of a translator is critical. Translators are at the very core of the relationship between books and the world. What we have realised through our interventions is that it is not just texts in English and Hindi but we got very good texts from other languages like Bengali, Marathi, Tamil and Malayalam, too. It makes one realise that languages are very crucial to reaching out to other cultures, not necessarily in entire diversity of language. This is very reassuring for us.

The second Romain Rolland Book Prize is being awarded because of the quality of text. Creating the prize happened organically through the ongoing Tagore programme to recognise translations. We wanted to reinforce the initiative. As a result we are also co-organising a translations workshop with the Jawaharlal Nehru University. The first one happened in January with acclaimed translator Ros Schwartz.

France has an active book trade, bookstores and book fairs. How receptive are the French to literature from India? Recently you released Over & Underground, a joint production between French and Indian writers and illustrators. How successful are such literary experiments? Does the cross-pollination of such cultural experiences help foster bilateral relationships, not necessarily confined to the literary domain?
Translation of the work of Indian authors in France has experienced several waves. Today there is a renewed interest among the French public for Indian authors. The dynamism of Indian publishing, its diversity and India’s international outreach have created a new curiosity for India and its authors and thinkers. The example of Over & Underground shows the combination of creativity between Indian and French authors, poets and illustrators. These co-publications need to be further encouraged and that is what we are working on.

Cross pollination of cultural experiences is exactly what we strive for to strengthen the ties between India and France. Books and other expressions of cultural diplomacy are a significant part of fostering bilateral relations.

What is the size of the French book market ? What are its characteristic features such as which genre sells the most, are print books preferred to ebooks, what is its growth rate etc? Is digital publishing making inroads with French readers?
The French publishing market is worth 4 billion euros, 300 million of which is in e-books. Overall, the French reader prefers printed books but there is a real growth in e-books. For consumer books, it represents only 3% of the market but for the B2B and books on law or medicine, this market reaches 9% with an annual growth of 10%. The e-book is also directly linked to the presence or absence of bookstores. E-books sell better where bookstores are not available.

The time of traditional reading has decreased but a recent survey conducted in November 2018 shows that 69% of the French population is connected: they read online but not necessarily literature! Each day, the French spend an average of 33 minutes on a computer and 52 minutes on a mobile phone. Reading is therefore omnipresent on other platforms but basically there is an attachment to the printed book in France: an average 5000 copies are printed but real successes vary between 200,000 and 300,000 copies. This is the case of [Michel] Houellebecq’s latest book, which will reach 400,000 copies. The trend is also to publish more titles each year. The number of prints is hence lower today than it was ten years ago.

France is known for its robust independent booksellers. Globally independent bookstores are finding it difficult to thrive but not necessarily in France. It is a remarkable success story. Do you have any interesting case study/report to share about how these independent bookstores have managed to continue?
There are about 1,000 independent bookstores in France. All those located in city centres are working well with an annual growth rate of 0.8%. This is a stable figure. Since 1981, the single price of the book has also allowed these bookstores to diversify. 37 countries, including 11 European countries, are currently applying the single price on books.

Recently the French Book Office (FBO) participated in the New Delhi World Book Fair (NDWBF). What was the response from the locals to your participation? Did the FBO gain significant learnings from its presence at the fair? 
The French Institute in India invited four publishers of children’s literature and social sciences, and organised four professional panels. The exchanges between Indian and French publishers were very constructive but the NDWBF is not the ideal place for professional meetings. On the other hand, the invitation of a French author whose work has been translated in India and invited for a dialogue with an Indian author would allow exchanges with a wider audience. But our four publishers were very satisfied with their discovery of the Indian market and the prospects for collaboration in social sciences and children’s literature.

In 2003 I attended the Salon de livre Jeunesse at the invitation of the French government. It was extraordinary to see the throngs of children attending the book fair and buying books. I would be curious to know if the children’s book fair continues to be as popular. If so what are the kinds of books for children and young adults that are trending in France? Would you consider collaborating on projects for children’s and young adult literature with Indian publishers?
The Salon du livre et de la presse jeunesse in Montreuil attracts a large number of visitors each year. In 2018, for the 34th edition, there were no less than 179,000 visitors in 6 days, 4,000 more than in 2017. So I think we can say that children’s publishing is a booming sector in France. The dynamism of publishers and all those involved in books and reading contributes greatly to this success. Access to the fair was free for a good number of visitors and it is a real desire for cultural democratisation. As well as the multitude of actions that take place throughout the country and throughout the year around reading: meetings, workshops, debates, readings, competitions, prizes, etc.

Children’s literature in France is a market that knows how to renew itself, to question itself and, finally, to innovate. Thus, the early childhood segment develops real nuggets with sounds and materials to touch. The album is full of creativity with an incredible diversity of illustrators. The documentary is now close to coffee-table books by offering books that appeal to adults and children alike, whose aesthetics are so neat that it gives one pleasure to open and read them. As for fiction, from its first readings to “young adult” literature, publishers are increasingly perfecting their skills by offering books of high quality, covering all the themes that may interest young readers.

Would you consider instituting a prize similar to the Romain Rolland Book Prize for children’s literature as well?
We are in fact planning to consider children’s books as potential winners of the Romain Rolland Prize. This will be discussed in Jaipur with the jury members.

How well are translations of world literature received in France? How have you fostered and continue to manage a cross-pollination of literary traditions in France and India?
The French market is also influenced by Dan Brown and other Anglo-Saxon authors. But the phenomena of great success such as Elena Ferrante (Italian) or Arundhati Roy also shows that the French readership is open to world literature beyond Anglo-Saxons. This is why we believe that Indian authors have their rightful place in the French market.

Do you have any details that may be shared publicly of a road map planned for the 2020 Paris Book Fair where India is the guest of honour? What are the significant features of such an extraordinary event?
We are hoping to select many writers including children’s and young adult writers, across genres, as well as initiating new translations. We do not want only established writers to be invited to the festival. We would prefer to have a range of outreach programmes too. For instance, conferences, debates, collaborations with libraries, bookstores, universities etc.

What are the events planned at the 2020 Paris Book Fair? Anything exciting that the Indian publishers and readers should be aware of?
The Syndicat National de l’Edition and the National Book Trust have just signed the partnership agreement on 22 January 2019 for Livre Paris 2020. This book fair is a meeting place for the French public and Indian authors. We would like to organise panel discussions between French and Indian authors. For example we could have our two Nobel Prize winners in Economics enter into a dialogue. We also wish to encourage translation of Indian authors who have not yet been translated into French in order to introduce the French public to new young authors from all over the Indian Union. We also hope that this meeting will foster professional exchanges between Indian and French publishers. Several steps are planned. Pre-meetings in March 2019, a breakfast networking at Frankfurt between French and Indian publishers; invitation of French publishers to Jaipur 2020 and a professional training session on publishing that we would like to organise in India at the beginning of 2020. Not to mention the translation training programme that we recently launched with Jawaharlal Nehru University.

3 February 2019

Times Lit Fest, Delhi, panels on “Cultivating the passion of reading in children” and “What India Reads”

The Times LitFest Delhi ( 1-2 Dec 2018) was organised at the India Habitat Centre, New Delhi. I moderated two sessions with the both panel discussions focussed on reading.  The first panel was on how do cultivate the love of reading amongst children.

TOI, 2 Dec 2018

My co-panelists were Saktibrata Sen, Programme Director, Room to Read India Trust; Manisha Chaudhry, co-founder Manan Books; Sonya Philips, Founder, Learning Matters Foundation and is a reading specialist and Shailendra Sharma, Principal Advisor (Hon) to the Director Education, Government of NCT Delhi, India. The freewheeling conversation was on ways to promote reading. Every panelist spoke about their strengths and initiatives. From being a part of the government as is Mr Sharma and realising that it is critical to have a reading corner in every class and every section. So much so that the Delhi government has now allocated a handsome budget of Rs 10,000 / section to buy books.

L-R: Manisha Chaudhry, Shailendra Sharma, Sonya Philips, Saktibrata Sen and Jaya Bhattacharji Rose

Fact is that even today few families can afford to buy newspapers, magazines, let alone books. So the first time many children particularly in the government primary schools hold a book is their school textbook. Few have any role models in the adults and older children in their immediate environment and as Principal Advisor to the government, Mr Sharma’s job is to introduce the love of reading. Both Mr Sharma and Mr Sen were of the view that reading is a lifeskill that is critical and needs to be learned beyond just being able to identify your name in whatever written script the individual is familiar with. Mr Sen, representing Room to Read, is involved in setting up partnerships with the governments to set up libraries. In India the Room to Read India Trust is working with 11 state governments. Ms Philips stressed on how till Grade 2 a child learns “how to read” but after that the emphasis is on “learning to read”. Ms Chaudhury with her many years of experience in publishing, looking at multilingual publishing and the critical need for children to have books in their own languages rather than only in English is what spurs her on to create new material every single day. She has recently launched two new magazines in Hindi called Mithvan and Chahak, the latter is meant for the early grade reader.

Everyone was of the agreement that it is important to create the joy of reading and align it as closely as possible to the child’s lived experience rather than alienate him/her from using complicated language in the written word. This was illustrated beautifully by an anecdote Mr Sharma shared about the complicated language used in a Hindi textbook to describe food which was a far cry from what is commonly used at home on a daily basis. Manisha Chaudhry spoke of her earlier initiatives to publish in tribal languages.

Alas we ran short of time otherwise it was promising to become a wonderful conversation on how to cultivate the joy of reading in children.

Join Sonya Philip, Manisha Chaudhury, Shailendra Sharma and Jaya Bhattacharji Rose in conversation with Saktibrata Sen – brought to you by Room to Read in the session, 'Cultivating the Habit of Reading in Children' at #TLFDelhi

Posted by Times Lit Fest – Delhi on Saturday, December 1, 2018

L-R: Ranjana Sengupta, Parth Mehrotra, Jaya Bhattacharji Rose, Udayan Mitra and Himanjali Sankar.

The second panel discussion was on “What is India reading?”. The panelists consisted of commissioning editors of four prominent publishing houses — Himanjali Sankar, Simon & Schuster India; Ranjana Sengupta, Penguin Random House India; Parth Mehrotra, Juggernaut and Udayan Mitra, HarperCollins India. Once again a freewheeling, adda-like, conversation about trying to figure out what India reads. The role of a commissioning editor has changed quite a lot in recent years. Traditionally commissioning editors were responsible for forming reading tastes but as Udayan Mitra pointed out that at times now the editor has to commission based on events and trends too. It is a kind of commissioning that did not exist earlier.

Today readers are accessing books through multiple platforms and in various formats — ebooks and audio books. It becomes increasingly difficult to ascertain how and what anyone is reading, let along a sub-continent like India where so many languages abound and there is rich regional literature too. Measuring reading tastes as Juggernaut is doing with their app and also because they are able to control their production pipeline while platform is something few are able to do even now. Most editors and publishing houses rely on print products that once released into the market are impossible to track. Some may be sold through brick-and-mortar stores, others through online spaces and yet other copies get sold as remaindered copies and secondhand books.

Listen to the conversation. So much was said. Many important bases within the Indian publishing landscape were touched upon. So much to think about.

What is India Reading? watch the conversation live at #TLFDelhi with Udayan Mitra, Himanjali Sankar, Ranjana Sengupta and Parth Mehrotra talking to Jaya Bhattacharji Rose.

Posted by Times Lit Fest – Delhi on Saturday, December 1, 2018

All in all two fantastic conversations that I was glad to be a part of.

2 December 2018 

Neil Gaiman “Art Matters” illustrated by Chris Riddell

Brilliant storyteller Neil Gaiman’s Art Matters is a little book, a collection of his thoughts published in recent years,  by the magnificent illustrator Chris Riddell. It is a collection of writings written over a period of years by Neil Gaiman, stressing the need to read and write what you like. To create and spread ideas. To be free to express oneself. To spend time in a library. Everyone has the right to do so. But it is the credo on the right to make good art that is tremendously forceful. It is utterly brilliant and worth committing to memory, internalisting it and sharing it over and over again.

Slim little book but oh, ever so powerful. Parts of it were published earlier in The Guardian.

  1. A response to terror by Chris Riddell and Neil Gaiman – in pictures: In the aftermath of the Paris terror attacks, the award-winning illustrator and writer team up to present the artist’s creed in the face of atrocity. It stressed the importance of ideas and how they would spread irrespective of violently negative forces terrorising people to keep quiet.
  2.  Neil Gaiman and Chris Riddell on why we need libraries – an essay in pictures
    Illustration: Chris Riddell : Two great champions of reading for pleasure return to remind us that it really is an important thing to do – and that libraries create literate citizens

 

 

 

 

 

 

 

 

 

Best thing ever you would do is to read this book and buy multiple copies of it to distribute widely. It is outstanding!

5 Oct 2018 

To buy on Amazon India

Art Matters

DK Reference books for children

Quite often adults seek age appropriate non-fiction books for their children/students that will give authentic information. In the information age where plenty of free “content” is to be found online it is not very easy persuading people to buy encyclopaedias for their wards. It is a seemingly expensive proposition when free information is readily available. Yet it is worth considering that little children’s brains are like tabula rasas who could benefit from sponging correct information rather than having to unlearn knowledge later in life. It is far more challenging to forget and start afresh rather than build upon a well-established foundation. Another school of thought claims that there is absolutely no need to give children expensive reference books to browse through. It is best such books are kept in the “ready reference” section of school libraries for them to consult on a need-to basis. I do not agree.

Take for instance Explanatorium Nature which offers a look at how nature works.  It is a scrumptiously produced encyclopaedia with generous double-page spreads explaining basic processes such as how do the stingers of bees work? How do mantis and geckos hunt? How do humming birds hover? How do frogs communicate? How do snakes move? Even the metamorphosis cycle which in earlier textbooks were confined to illustrations is beautifully explained with pictures taken at different stages of a frog’s cycle from that of a tadpole to an adult.  Questions are not confined to the world visible to the naked eye but micro-organisms are also discussed. No expense seems to have been spared in using pictures taken with electron microscopes to show how does algae grow? How does mould work? These are questions about nature that are forever being asked by children and adults alike. To have it produced in such a luscious publication will make a child browse through a book and read it. In all likelihood also shun electronic engagement for it is ultimately a beautiful book to possess too.

A similarly spectacular set of book are the Super series made in collaboration with the Smithsonian — Super Bug, Super Human, Super Nature and Super Shark. Take Super Bug for instance which has the most remarkable photography to discuss a few unusual bugs found on earth. Many of these insects look very menacing when looking at these magnified images published. Every tiny detail down to the tiny hair sensors on their legs, their eyes, antennae, devouring prey and even the spiracles found in a centipede are visible. Horrifyingly accurate photography that are mesmerising to little children. Young readers are absolutely unfazed by the creepy-crawlies magnified so many times to their actual size. It is an incredible way to showcase information and for the child to learn. It has the additional advantage of teaching children to be sensitive to the “invisible” world of living organisms around them as every individual is critical to earth’s biodiversity and important this ecology is preserved.

The physical landscape is equally intriguing for little minds that are just gaining consciousness about the world around them. Children are curious by nature. They also observe sharply and have a million questions. For instance, how are waves formed? Why do earthquakes occur? Why do mountains exist? How do volcanic eruptions happen? Why do different seasons exist? Why do we have day and night? These are complex questions as they delve into physical geography but children have to start somewhere. They may as well begin looking at Geography A Children’s Encyclopedia which has pictures and illustrations showing simply and clearly different physical formations. At the same time without dumbing down information using technically accurate terminology so that the young reader begins  to form a firm foundation of knowledge about the earth.

Designed in similar spirit to educate, inform while being visually accurate is The Complete Human Body: The Definitive Visual GuideFrom the smallest component that of a cell to different body systems are described. The book is divided into five sections — the integrated body which explains evolution and cellular structures, the anatomy with the main body systems described in detail, how the body works goes into greater depth as to how each system such as the nervous system or the reproductive system works, the life cycle, and diseases and disorders. Some adults may not take kindly to such a comprehensive encyclopaedia being recommended for children for its very detailed information about the human body especially the reproductive system. On the contrary such a book is a must in every household and multiple copies of it in school libraries as it is better the next generation is accurately informed rather than misinformed and perpetuate myths about their bodies through gossip and hearsay. Also having such a book within the home or school will hopefully enable honest and frank conversations between adults and children rather than never opening up communication channels for such topics as in many homes subjects about the human body continue to be taboo.

While on the question of mechanics, two other DK publications by David Macaulay, are equally stupendous — How Machines Work and  The Way Things Work Now: From Levers to Lasers, Windmills to Wi-fi, a Visual Guide to the World of MachinesHow Machines Work won the Royal Society’s Young People’s Prize 2016 for it is an interactive book using book production ingenuity of a pop-up book combined with that of encyclopaedic information to explain the basic principle of mechanics. For instance that of levers has a set of levers embedded in the book cover that the child can play with. The concept of a lever and a fulcrum and its applications are not always easily understood by young minds; yet in this incredible spread there are tiny elements tucked into the page which a child can pick up and use to understand how a see-saw functions, how is a balancing act achieved or even how extraordinarily heavy loads are easily picked up using the lever system. Way Things Work is a very popular DK title that has been in existence for many years and has been revised and updated a few times as well, most recently in 2016. It explains simply the principles and working of many machines ranging from screws at work, sewing machines, chain hoists, aqualung, amplifier, solar cells, fingertip input, helicopters, smartphones, wi-fi, satellite navigation, speech recognition etc. It is a reference book that is entertaining, informative while being heavily illustrated it will fascinate any young reader.

Finally a book like the Home Lab: Exciting Experiments for Budding Scientists which won the Royal Society’s Young People’s Award Book Prize 2017 and the best STEM publication of the year is a well-laid out book explaining simply how to conduct basic experiments at home. For instance making rubber band planets, how to make a battery out of a lemon to learn about electrical circuits, how to make invisible ink, how to make a breathing machine, to create stunning stalactites or even how to create a DNA model. Application of encyclopaedic knowledge garnered and learning applications of it using ingredients found mostly at home is a fabulous way of introducing children to experiential learning. It is a form of learning that children are never likely to forget. Also it will teach them mental agility to apply their bookish knowledge.

Increasingly it has become critical in this noisy world that children learn skills and acquire knowledge rather than remain passive recipients of information as many become addicted to electronic engagement. It is this space of being entertaining, informative and offering a deeply immersive experience that these exquisitely produced DK books offer to children. These are definitely expensive books and may not always be easily considered by many parents who are constantly trying to balance household budgets. Yet to buy these titles for the children is undoubtedly a great investment as it is extremely rewarding watching a child get absorbed in the books and later watch in fascination how they regurgitate the knowledge gained. It is a magical transformation and well worth considering!

All these titles are essential go-to reference books meant for children.

All the books mentioned have been published by Dorling Kindersley or DK and are available in bookstores and online retail stores.

15 June 2018 

Scholastic Encyclopaedia Of Dinosaurs

Scholastic Encyclopaedia Of Dinosaurs is a visual delight apart from beingpacked with information. The well-recognised dinosaurs such as Triceratops ( Three-horned face), Mamenchisaurus, Kentrosaurus ( Spiked Lizard) and Tyrannosaurus Rex ( Tyrant Lizard King) are described beautifully. There are full-page colour spreads with exciting information about each highlighted in a comment bubble within the illustration. Alongside it is an illustration in a box comparing the height of a human being to that of the dinosaur. Neatly presented in a panel on the side is the geographical location of the dinosaur, in which year were the fossils first discovered, dimensions of the animal, and its diet. Without it being too much of an information overload, details about the dinosaurs are presented so clearly with simple visual layouts and a clean font used that even I for the first time in years has finally understood in one fell swoop what Trynnosaurus Rex is all about. It is utterly brilliant.

Triceratops

Tyrannosaurus Rex

Titanosaurus Indicus

Dinosaur books exist by truck loads in the market. A significant proportion of storybooks for children particularly for pre-schoolers rely upon dinosaurs. Many times they are anthropomorphised. The dinosaurs often used are Trynnosaurus Rex and Mamenchisaurus, so much so these complicated names come tripping off the tongues of tiddlers. Most of the dinosaurs children are familiar with are found in USA, Europe and China.

Kotasaurus

Laevisuchus Indicus

 

 

 

 

 

 

This is where the Scholastic Encyclopaedia Of Dinosaurs is exceptional. It has mentioned the few dinosaurs found in India like Titanosaurus Indicus, Kotasaurus, Laevisuchus Indicus, Rajasaurus Narmadensis, and Therizinosaurus. What is truly astonishing is that these dinosaurs were drawn by Krishna Bala Shenoi based on the evidence  available.

Rajasaurus Narmadensis

The editors and illustrator did try and search for illustrations that may have existed based on the skeletal remains discovered except that no satisfactorily clear images were to be found. This is what the illustrator Krishna Bala Shenoi had to say about the process:

Indian dinosaurs haven’t been represented in a plethora of paleoart or scientific reconstructions in the way that most commonly known dinosaurs have been, for a variety of reasons. The references I had to work with (some given to me, some discovered online) were so few in number, so lacking in detail and, most significantly, so contradictory between themselves that I had to do a lot of fairly unscientific guesswork.

Therizinosaurus

My process came down to collecting the images I could, constructing a notion of the dinosaur that sort of fit the multiple references, and then filling in the blanks with details from similar dinosaurs that had richer libraries of visual resources. In one case, I used images of a toy dinosaur (different from the one I was illustrating) as a springboard for the construction of the dinosaur’s body.

I was initially very reluctant with every move I made, fearing I was way off the mark, but later discovered how wrong paleoart has been over the years. That was comforting in a way; it gave me permission to be okay with, essentially, making some details up. So I just had fun with it.

I illustrate digitally, but there’s a misconception that that means it’s not hand drawn. It very much is. I work on a device called a graphic tablet which ports my drawing/painting from the tablet surface onto my computer screen in real time.

This is an extraordinary achievement and is a testament to how much effort the editorial team is willing to put in to make available authentic information in a stunning layout.

This is a book for keeps. To be read. To be shared. To be bought for reference, libraries and school resource materials.

To be gifted liberally simply for the pleasure of holding and reading a beautiful book.

Scholastic Encyclopaedia Of Dinosaurs Scholastic India, Gurgaon, India, 2018. Pb. pp. 80. Rs 399

Reading level: 9 – 16 

Amazon

Flipkart 

30 May 2018 

Neil Gaiman, “The View from the Cheap Seats: Selected Non-Fiction”

Neil Gaiman is the superstar of storytellers and one of the leading influencers on social media with his strongly voiced opinons. He is incredibly generous while sharing his knowledge, he has bundles of energy, oozes with charisma and can pack quite a powerful punch while speaking his mind. He comes across as straightforward and can be blunt when he wants as in the essays — “Why our future depends on libraries, reading and daydreaming: The Reading Agency Lecture, 2013” or “The PEN Awards and Charlie Hebdo ” ( 2015). He is charming in his hero-worship when he writes about meeting legends such as Fritz Leiber and magnanimous with his compliments such as on illustrator Charles Vess with whom he often collaborates. Gaiman is passionate about his love for reading, letting the imagination roar and creativity blossom as evident in the innumerable speeches he has delivered. One of them being “Good Comics and Tulips: A Speech”or after his visit to a Syrian refugee camp, Azraq refugee camp, Jordan — “So Many Ways to Die in Syria Now: May 2014”. Here is a typical Gaiman straight-from-the-heart observation:

I realise I have stopped thinking about political divides, about freedom fighters or terrorists, about dictators and armies. I am thinking only of the fragility of civilisation. The lives the refugees had were our lives: they owned corner shops and sold cars, they farmed or worked in factories or owned factories or sold insurance. None of them expected to be running for their lives, leaving everything they had because they had nothing to come back to, making smuggled border crossings, walking past the dismembered corpses of other people who had tried to make the crossing but had been caught or been betrayed. ( p.506) 

Most of the essays and speeches collected in this volume have gone viral on the Internet recently. They have developed a life of their own for the ideas they spawned. As Gaiman says in “Credo”, “I believe that it is difficult to kill an idea because ideas are invisible and contagious, and they move fast. He also firmly believes that “Literature does not occur in a vaccuum. It cannot be a monologue. It has to be a conversation, and new people, new readers, need to be brought into the conversation too.” The title essay refers to his appearance at the Oscar ceremony when the film adaptation of his book Coraline had been nominated and he walked the red carpet but was given a seat in one of the top balconies.

The articles included in this collection may over a period of time vanish from their original place of publication in cyberspace or disappear behind pay walls as business models of media websites evolve. This is an anthology that is must have that will constantly be read and re-read for its thought-provoking ideas, its analysis of the changing game of publishing, the relationship between writer and readers but most importantly it will be remembered for Gaiman’s fervour in infecting others with his passion for reading and allowing the imagination to run wild.

Buy it. Treasure it. Preserve it. Share it widely. Pass it on to the next generation.

Neil Gaiman The View from the Cheap Seats: Selected Non-Fiction Headline Publishing Group, London, 2016. Pb. pp. 532 . Rs 599

Hachette India distributes it in India, Bangladesh, Nepal, Bhutan, Sri Lanka and Pakistan. 

19 June 2016

JaipurBookMark ( JBM), 21-22 January 2015, Narain Niwas, Jaipur

The Jaipur BookMark 2015
Where South Asia meets the world

21-22 January 2015, Narain Niwas, Jaipur

(JBM 2015 will run for two days parallel with the Zee Jaipur Literature Festival on the 21 and 22 January)

bookmark-logo

Day 1: 21st January 2015

12:30 PM-INAUGURATION

Sanjoy Roy, Namita Gokhale, Oliver Moystad

1:30 PM-2:30 PM- INAUGURAL LUNCH hosted by NORLA

2:30 PM-3:30 PM- SESSION 1

IS PUBLISHING “UNBANKABLE”?

A business like no other, publishing finds it notoriously difficult to raise finance: a session on the business of publishing; discussing the structural issues concerning publishing, bank finance, volume and scalability etc.

 

Speakers: Dr Shubhada Rao, Henry Rosenbloom, Bikash Niyogi, Manas Saikia, Atiya Zaidi and Aditi Maheshwari
Moderator: Naresh Khanna

3.30 PM – 4.00 PM TEA

4:00 PM-5:00 PM-SESSION 2

DIGITAL PLATFORMS: THE UNTAPPED TERRITORIES

From social media to distribution, what should publishing professionals be aware of in their rapidly changing industry? Kindles, Kobos, iPads and audiobooks; what does all this new technology mean for the industry from writers to editors, marketers to consumers?

Speakers: Nicolas Idier, Niyam Bhushan, Rajiv Mehta, Ajit Baral and Vishal Anand
Moderator: Arpita Das
Session Supported by: NewsHunt

5.00PM – 6.00PM – SESSION 3

LIBRARIES AND ARCHIVES: TIME TRAVELERS EXTRAORDINAIRE
An IGNCA supported Open Forum, on the convergence of Libraries, Archives and Museums. With more access to information available online than ever before, regardless of location, what new role could and should libraries and archives play in making information accessible to all?

Speakers: Dipali Khanna, Alberto Manguel, Nicholson Baker, Dr. Venu Vasudevan and Shantanu Ganguly
Moderator: Bharti Sinha
Session supported by: Indira Gandhi National Centre for the Arts

6:00 PM-7:00 PM DRINKS

Day 2: 22nd January 2015

10.30AM TEA/COFFEE

10.45 AM – 11.30 AM – SESSION 1

WHO IS THE BOOK?
‘More than 48 printed pages and bound within 2 covers’, is that the book or is there more to it? On the changing format and technology of the book in an increasingly interactive environment.

Ralph Mollers in conversation with Sirish Rao; introduced by Ute Reimer-Boehner

11.30 AM- 12.30 PM – SESSION 2

RETHINKING TRANSLATION: RELOCATING THE CENTRE

How do we translate content across multi-media and digital borders including e-books, audio books, graphic texts and cross-media conversions?

Speakers: Vera Michalski, Satti Khanna, Mahua Mitra, Rick Simonson, Shona Martyn and Manasi Subramaniam
Moderator: Renuka Chatterjee

12.30 PM-1.30 PM SESSION 3

SOUTH-SOUTH COLLABORATIONS: A CONVERSATION WITH AUSTRALIAN PUBLISHERS

Increasingly, publishers in the global south are beginning to work directly with each other; literary festivals and bookfairs in southern countries are now choosing to focus also on southern authors. In a free ranging conversation, Australian publishers and literary entrepreneurs talk about new collaborations and new relationships.

Speakers: Ivor Indyk, Terri-Ann White, David Ryding, Kate McCormack, Wendy Were and Meredith Curnow
Moderator: Urvashi Butalia

1.30 PM-2.30 PM LUNCH

2.30 PM-3.30 PM SESSION 4

CONTENT IS QUEEN

The book is no longer just a book–it is now a basis for film, video games, interactive reading, collective writing and so much more. With book formats morphing and mutating how will content adapt to survive?

Speakers: Amish Tripathi, Ashwin Sanghi, Prasoon Joshi, Sandip Sen and Renu Kaul
Moderator: Karthika V.K.

3.30 PM-4.00 PM TEA

4.00 PM – 5.00PM-SESSION 5

TOWARDS A NATIONAL READING POLICY

A viable reading policy involves encouraging reading, creating an infrastructure to make books available and finally providing books. What role can States and private actors play to overcome the gap between policies and their implementation?

Speakers: Oliver Moystad, M A Sikandar, Prof. Apoorvanand and Prof. Avdhesh Kumar Singh
Moderator: Manisha Chaudhry
Session supported by: National Book Trust

5 PM CLOSING CEREMONY

6 PM-7 PM DRINKS (those who wish to leave for DSC South Asian Literature prize at Diggi Palace may proceed)

Participants are free to network in the Rights Chaupal.

To register, please visit the Jaipur Literature Festival website at: http://jaipurliteraturefestival.org/registration/jaipur-bookmark-registration

and click on the Register button.

Registration would include delegate status for the ZEE Jaipur Literature Festival specified to the date.

Rs 3,500/- per day or Rs 6,000/- for two days per person

For further queries, please contact: jaipurbookmark@teamworkarts.com

Facebook: https://www.facebook.com/JaipurBookMark?fref=ts