Logos Posts

“The Cottage by the Highway and Other Essays on Publishing: 25 Years of Logos” Edited by Angus Phillips

The cheapening of information has been accompanied by the decline of copyright, the symbol of the writer’s ownership and instrument of his and the publisher’s protection. Readers are no longer wooed so much as assayed. This should give them more power. However, the increase in volume and accessibility of words has led to a decline in the art of readership. Millions of readers are oblivious to both their power and their responsibility. We need a movement for more responsible readership.

Reader Responsiblity is not dependent on education or intellect. Everyone reads, and everyone can exercise responsibility according to his will and capacity. Responsible reading it in the endthe only way to filter the best out of the computer-generated mass of information, to discipline distorted reporting, careless reasoning, special pleading, tendentious arguments and vulgar expression, all of which are more common in communications today than they were twenty or thirty years ago.

In simpler terms, there is a need to increase quality and reduce quantity. The reader has power to influence this.

Gordon Graham “The Responsible Reader”, Logos 21/3-4, 2010, 9-12

Gordon Graham and his wife, May 2008. Taken at their home in Marlow when I went to stay with them at their invitation.

Logos is a highly reputed journal on publishing that was begun by the legendary publisher, Gordon Graham. He had founded the Logos journal in 1990, upon his retirement from Butterworths where he had served as Chairman and Chief Executive since 1974. Before this Gordon Graham worked at McGraw-Hill, as International Sales Manager in New York, and later ran the company’s book business in Europe and the Middle East. But he had also done a long stint in India with the company. Gordon Graham ran the journal successfully for many years. He had some of the best publishing professionals of the world contribute articles, interviews and book reviews. He had a vision to create an excellent platform where ideas and experiences about the publishing world could be shared and discussed. He began this initiative in the days before email and smartphones were even dreamed of! He would commission articles from contributers via snail mail. Later when dial-up modems began to make their presence felt, he would write the commissioning letters which then his secretary would type and send via email. Publishing is a business that builds upon the creative energies and enthusiasm of many individuals but requires at the same time meticulous multi-tasking to ensure that all the scheduled tasks are being completed on time. Gordon Graham was a fine example of an exemplary publisher, a gentleman publisher, whose knowledge and experience of the industry would sit lightly. He was ever so gracious about meeting new entrants to publishing and always willing to lend an ear to their opinions. He was passionate about the industry even though he was most familiar with the academic form of publishing. He was very clued in about the different kinds of publishing in various parts of the world. All of this was remarkable given that he had accrued this knowledge on the basis of his travels, his conversations, his experience and his vast and diverse reading. A few minutes of conversation with Gordon Graham was pure delight. With this insight in the industry he had the vision to create this extraordinary journal. By the time of his retirement he was already an established publishing legend but to create a journal from scratch required hard work and determination. He made it happen. Today Logos is a journal on the publishing industry which is a fantastic repository of information, case studies, views and opinions. It is the gold standard among journals in terms of the rigour and peer review that goes into maintaining the standard of contributions. During his lifetime, Gordon Graham handed the journal over to Brill, a publishing house that had been at the time in existence for nearly two centuries. Brill is an academic publishing firm with a formidable catalogue of journals as well. So this was a perfect match in terms of strengths and expertise. By the time Logos became a part of the Brill stable, the furious debate about print vs digital had begun in publishing. Gordon Graham vision ensured the journal’s survival in the very capable hands of the editor Angus Phillips and support of Brill.

To celebrate the twenty-fifth year anniversary, a special edition, a book of selected essays on publishing were put together. It is a collection of essays worth its weight in gold. Publishing histories of successful firms or rise of authors at the best of time are tricky to document as these are mostly not documented in the moment of time. So to cobble together histories of iconic firms such as the Paul Hamlyn, Thames & Hudson, or Weidenfeld & Nicholson is a remarkable achievement which these essayists have achieved. There is a fine balance of the personal with the professional. While the histories are engrossing; it is also the realisation that certain principles of publishing do not change — it is technology which does. But through the ages everyone is preoccupied with the marketplace and assessing what readers desire. This is a concern that is of paramount importance. And this is exactly why The Cottage by the Highway is fascinating since none of the essays selected veer too far away from the central idea that publishing is a business. It is not always said explicitly but it understood. At the same time there is no denying the buzz one gets being a part of this industry. It is fun. It is exciting. It is challenging. It is creative. It is dependant upon one’s interpersonal skills. It is an ecosystem consisting of publishers, editors, writers, booksellers, distributors, agents, translators, book designers etc. Ultimately it is the coming together of experience, skills combined with business acumen to recognise where the gaps lie in the market and be prepared to put in the hard work required. For every book is akin to a designed product. It requires patience, vision and hard work for every book published.

The Cottage by the Highway is a treasure trove of publishing wisdom. It is applicable across geographies and book markets. It is much in keeping with the vision of Gordon Graham — of cross-pollination of information and experiences while attempting to document critical stages of publishing. A tiny detail that most publishing professionals forget or are too busy to do for themselves or their institutions. Read The Cottage by the Highway. And if you are a publishing professional or aspiring to be one, learn from it. It is absolutely fantastic!

18 February 2020

Indian Author Anita Nair on her New Book for Children on Stories from the Qur’an and her Role as an Independent Publisher

( My interview with Anita Nair on her new book, Muezaa and Baby Jaan , and launch of a new independent publishing press, Attic Books, was published in Bookwitty.) 

Award-winning and bestselling Indian author Anita Nair is the editorial director of the recently launched Attic Books, an independent publishing firm focused on making world literature available in English in South Asia. This new responsibility has coincided with the publication of her new book, Muezza and Baby Jaan— a beautifully illustrated (by Harshad Marathe) book for children that retells stories from the Qur’an. The succession of events that birthed this book were Anita’s research for Idris which required familiarising herself with the stories but more importantly it was the equation of terrorism with Islam, which troubled her, and she felt needed addressing. As she says passionately in her preface:

“Acts of terrorism perpetrated by Muslim fundamentalists had already made many non-Muslims wary of the religion. And I thought this was grossly unfair to Islam and what it taught. I had been brought up as a secular individual and felt a calling to clear this misinterpretation in my own way.

No religion preaches hate or violence. No religion condones killing or the taking of human life. However, flawed interpretations do lend a religion a misguided twist that it does not claim in the first place. Those with vested interests manipulate aspects of a religion to justify heinous crimes and the massacre of innocents. And so it had happened with Islam.”

Anita Nair kindly answered questions about her new book and her new job:

Indian Author Anita Nair on her New Book for Children on Stories from the Qur'an and her Role as an Independent Publisher - Image 2

You are a rare kind of writer who has the ability to write books for children and adults. Given the current milieu why retell stories from the Qur’an in Muezza and Baby Jaan for children and not adults?

Three specific reasons why I chose to re-tell stories from the Qur’an for children and not adults are:

I am not an expert of Islam and my understanding of the scripture is at a basic level. I read the scripture for what is it and didn’t want to read sub texts hence, it occurred to me that the Qur’an as I understood it, would be more apt for a child’s reading rather than an adult seeking spiritual guidance.

Any religion is best understood when explained in the form of stories. Children are more receptive to stories rather than adults who seek complexities, twists and justifications.

If inclusiveness and tolerance need to be part of our psyche it needs to begin from childhood and I thought it important that our children learn about Islam through the stories from the Qur’an so as to accept it as another scripture that like all scriptures advocate only peace and love.

If inclusiveness and tolerance need to be part of our psyche it needs to begin from childhood…

Is there any reason why you selected these particular stories to retell?

During the course of my research I discovered the stories of the ten blessed animals and wanted to build my stories around these animals for they brought in accounts about various Prophets. Some are familiar names from the Old Testament, which furthered my cause that all religions are the same to a great extent, and also it helped me follow a certain chronology in the telling.

Today communal intolerance particularly towards Islam is on the upswing globally. Do you think by this pushback of sensitizing children to Islamic stories will help to create a secular future?

I certainly do believe sensitizing children to Islamic stories will help in creating a secular world, where a person is judged by what they do and not what religion they follow.

Why did you opt to anthropomorphize the cat and the camel to share the Qur’an stories rather than merely retell them yourself?

Apart from wanting to open up the Qur’an for general reading I wanted to bring alive Islamic lore and it seemed to me the best way to do so was by anthropomorphizing the two protagonists of the book namely Muezza the cat and Baby Jaan the camel. When they voice our thoughts, be it on friendship, prejudice, peace or trust, the characters strike a chord in our hearts and we immediately start relating to the stories on a very personal level

As a successful writer yourself you have been published worldwide but why have decided to launch a publishing house: Attic Books? Who else is on the team?

The reason I decided to start a publishing house is because we are all exposed to literary giants and Nobel laureates writing in languages other than English but we are oblivious to all other wonderful writing from around the world. Attic Books was conceived to be a small boutique-publishing house that will focus on a small number of books from spectacular authors that the Indian reader has yet to encounter. I want to bring these authors the readership they deserve.

As of now, we are working with only international fiction. But we hope to expand to international non-fiction as well and one work of translation from an Indian language. The only Indian fiction we will be publishing at this point is the anthology of short fiction drawn from my creative-writing mentorship programme in Bangalore, Anita’s Attic. The plan is to keep to the promise of what an Attic holds: Hidden treasures and surprises so as the curator of the list, I may decide to mix up fairy tales with crime with lit fiction to travel. I do hope we can acquire rights to unpublished works but given that we have no angel investors, commissioning an original translation of international fiction may be an expensive prospect.

Indian Author Anita Nair on her New Book for Children on Stories from the Qur'an and her Role as an Independent Publisher - Image 3

Our 2017 list comprises of Evald Flisar’s literary novel If I Only Had Time (Slovenia), Suchen Christian Lim’s literary romance The River’s Song (Singapore), Andres Neumann’s literary novel Talking to Ourselves (Argentina/Spain), Bei Tong’s LGBTQ novel Beijing Comrades (a translation by Scott Myers) and I. M. Batacan’s crime novel Smaller and Smaller Circles (Philippines).

I am in the process of acquiring books for 2018. There are so many good books out there but I don’t want our list to repeat themes and I have to be diligent about the list we are putting together. Attic Books is a partnership between Anita’s Attic (which is a company made of Anita Nair and a digital agency, *ConditionsApply) and Logos – a Malayalam language publisher based in Kerala.

Given the range of genres you publish in, will there be any overlaps with your plans for Attic Books?

No, I am very certain that it will not clash with my own work, which will always be housed as it always has been in publishing houses where I have a sound editor to work with. I value the role of an editor in my writing process and wouldn’t want to lose that objectivity and editorial input.

Does your personal experience of being published by others inform the business of establishing your own publishing firm?

Business-wise the decision to try and turn publisher ranks along with that of Don Quixote tilting at windmills. Nevertheless, one cannot help but admire the old knight for trying to keep alive the romanticism of a period even though it may seem delusional to everyone else. However, over the years I have drawn my own insights on what makes publishing exciting and would like to see if they are really true.

How do you find time to balance writing, mentoring and now publishing?

Honestly, I don’t have an answer to that. I guess I just don’t stop. And that what I am doing is exciting makes me put in long hours without thinking of it as a job to be done.

Is there space for another publishing firm in India?

Yes and no. Yes, if one can move away from the traditional confines of publishing. No, if one is seeking to replicate what is already there and available.

Will you focus only on print or also digital? How do you plan to distribute your books?

We will be only be focusing on print. One of our visions for Attic Books is to help people put together a library of their own at home. Books that people will read, keep, and read again and pass on hopefully to their next generation; hence, the stringent process of choosing who we publish.

Distribution will be through select bookstores and online sales. And we have created Attic Club, which is a subscription model where a reader can take an annual subscription at a fabulous price that will bring the books to their homes and will also put them on a list to the exclusive book events we will host.

25 February 2017 

One to One: Jaya Bhattacharji Rose, Vol. No. 7, No. 8 & 9, Jul – Aug 2013

One to One: Jaya Bhattacharji Rose, Vol. No. 7, No. 8 & 9, Jul – Aug 2013

PubSpeak, JayaMr S.K. Ghai, Managing Director, Sterling Publishers (P) Ltd is responsible for the Institute of Book Publishing and Publishing Today, A monthly of the book industry and its professionals. In Vol. No. 7, No. 8 & 9, Jul – Aug 2013 ( http://www.ibpindia.org/p/Publishing-Today-July-August-2013 ) he interviewed me. This is what he wrote in his introduction: “For One to One I have interviewed Jaya Bhattacharji Rose, International publishing and literary consultant, there are a very few professionals who write on publishing regularly and she is one of them and having a regular column in Business World. She is quite active on social media and had over 250,000 visitors in less than a year.” I am c&p the interview below. 

4 Sept 2013 

SKG You have been interviewing publishers, authors; is it the first time that you are being interviewed? 
JBR No. Not at all. Some of the interviews that come to mind are by Samit Basu in 2006  (http://samitbasu.com/2006/07/03/jaya-bhattacharji-interview/) and by Anupama Krishnakumar in 2012 (http://www.sparkthemagazine.com/?p=4379).SKG When, how and why did you choose publishing as a career?
JBR I cannot even recall when I fell in love with books. But I wanted to delve in to publishing from as long as I can remember.SKG You were once selected in the editorial team of Penguin, but you decided not to join. Any reason? 
JBP Yes I was. This was immediately after I had completed my BA (Hons) English from Jesus and Mary College. David Davidar had interviewed me, Renuka Chatterjee called offering me the job. But I refused since I decided to pursue my MA (English) at St. Stephen’s College.SKG You prefer to be freelancer as compared to being in a regular job. Any reason?
JBR I prefer being a freelancer since it allows me to balance my time between professional commitments and bringing up my daughter Sarah Rose. Plus the independence it brings allows me the freedom to comment on the industry, without any bias. It can be challenging at times, but I certainly prefer it.SKG I remember meeting you briefly at Zubaan. How long did you work there and any memorable experiences or incidents that you would like to share?
JBR I joined Zubaan the day it rose from the ashes of Kali for Women. I was there for more than 4 years, but those were the formative years. It was during this time that the significant books like Baby Halder’s A Life Less Ordinary, Anil Menon’s The Beast with a Million Feet and Kunzang Choden’s The Circle of Karma were published. I enjoyed working on various projects. Some that come to mind immediately are creating a mini author website for Kunzang Choden. It was done at a time when such intiatives were still rare. (http://www.zubaanbooks.com/circleofkarma/) I also helped in the branding of Zubaan by circulating monthly newsletters, creating a database, conceptualising and  launching the official website (zubaanbooks.com); inheriting the womenwriting.com website from the British Council and revamping it (http://www.womenswriting.com/WomensWriting/AboutProject.asp); curating the visual history of the women’s movement in India via posters called PosterWomen (http://posterwomen.org/Posterwomen/ ) ; helping out with the Words of Women series at the India Habitat Centre and lots more. It was definitely a packed and exciting schedule.There are so many memories to share, but difficult to choose one.SKG You also worked for Routledge and then Puffin for a short while – any special memories ? 
JBR I worked as Editorial Manager, South Asia, Journals for Routledge, Taylor and Francis and as a Consultant Editor, Puffin Books India. Both the assignments were very different to each other. The journals assignment was an eye opener since it taught me a great deal about academic publishing, especially the methodical manner in which journals are published.Whereas with Puffin Books the joy of working with children’s and YA literature was thrilling. It is a genre that I have worked with ever since the 1990s, from the time I was asked to be the Guest Editor for the Special issue of The Book Review. It was an issue published every November. I expanded the focus to include literature from South Asia and got publishers to send in review copies from abroad. All this was done before the internet and emailing was possible. I remember even getting the third volume of Harry Potter. It was mailed from London and arrived a couple of weeks after it was released. Yet the review copy reached me a few months before it was released in India. A far cry from when the last volume in the series was released. It had a simultaneous release in India and UK.SKG You have interviewed many publishers – national and international CEO’s like Naveen Kishore-Seagull, Liz Calder-Bloomsbury, Peter Booth- Wiley. Any unique experience you would like to share?
JBR With every publishing professional I meet whether from India or abroad, I enjoy my interactions. It is learning, sharing of experiences and understanding how the business works. Many times I continue to be astounded at how the basics of the business remain the same. It is only the technology of production and communication that changes. Of the three you mentioned I learned a great deal about translations from Naveen Kishore; from Liz Calder what it takes to be a woman publisher, setting up Women in Publishing, co-fouding Bloomsbury Publishing, how her firm discovered J K Rowling, establishing the Paraty festival in Brazil etc; with Peter-Booth Wiley it was discovering how a successful family business operates and continues to be ahead in the game of publishing. He is the sixth generation of the Wiley family who is managing the business, 200 years after it was founded.SKG When you assess and recommend manuscripts to publishers, what are the points you generally highlight? 
JBR It really depends upon the genre and style of writing. It is very difficult to comment in general terms. But I think it has to be a fine balance between what is a good story/narrative and whether it will work in the market.SKG Your comments on the recent amendments to the copyright act?
JBR The recent amendments to the copyright act were mostly in favour of the music industry except for the clause about the use of photographs and images. The parallel imports clause too that was causing much concern in India has now been referred to a Parliamentary committee for review.SKG Your comments on the highlights/missing points in the recently formulated India’s National Book Promotion Policy? 
JBR I wrote about this in my column. Here is the link: http://www.jayabhattacharjirose.com/jaya/2013/08/01/national-book-promotion-policy-where-are-we-nov-2011/SKG What are your views on India’s digital publishing and how do you think they can monetize ? 
JBR I don’t think anyone really has a clear answer to this. Digital publishing, IMHO, should be seen as a unifying factor in publishing. It allows publishers to streamline operations and access various markets that hitherto were inaccessible. Monetization will happen depending upon the publisher’s requirement and an understanding of the market. For now there is a lot of experimentation in the business models of publishing particularly in academic publishing. Trade publishers are as yet to figure out what works for them. If the latter had a system of impact factors as is in journal publishing, probably they would be able to strategically explore and execute alternative streams of revenue generation.SKG You review books regularly. What are your comments on ‹The art of book reviewing›?
JBR Read, read, read. Review books without any biases, but with knowledge, honesty and fairness. All criticism must be constructive, whether positive or negative. Also never damn a book however annoying it may have been to read. The book is an author’s baby. Be kind. And if it has been a pleasure to read, be balanced in your assessment rather than packing your review with hyperbole.SKG Many publishing professionals have godfathers in the industry; do you have one or consider some one who helped/guided you? 
JBR Hmm. I am not sure if I have had a godfather. Mentors certainly. Many of them women. I have always been passionate about publishing. But I was fortunate to have been given opportunities to explore publishing by Uma Iyengar and Chandra Chari of The Book Review; Urvashi Butalia of Zubaan; Ritu Menon of Women Unlimited; and Gordon Graham, former Chairman, Butterworth Publishers and Founding Editor, Logos.SKG Where you would like to be after five years?
JBR A successful international publishing and literary consultant and columnist.SKG You know the publishing industry inside out. How do you see the future of book publishing given the current scenario of digital verses print? 
JBR I do not see it as a digital versus print game in the publishing industry. I see the entry of digital technology as a game changer that will encourage publishing to evolve to the next level. Initially it will be viewed as a disruptive element since the traditional modes of production, publication and dissemination have been working very well for generations. But to survive in the future, it is important to adopt and adapt.The future of book publishing is not bleak especially for those professionals who are smart about taking up challenges and capitalising upon opportunities. But today there is no scope for complacency. Unfortunately the truth is that to commission, create and produce high quality books you need to have time and be methodical about it. It is a process that cannot be hurried. Yet the consumption patterns of readers are changing so rapidly that publishers need to strike a balance between the two arms of business — commissioning/editorial and marketing/selling. There are many ways to do so. Most importantly exploring new opportunities for revenue generation. It will come from selling the books in innovative ways, accessing new markets but also focusing on good, reliable content, ensuring that the long tail of business continues. Also never forgetting that the core of the business of publishing are the authors. So it is important to manage author relations, irrespective of their being on the A, B or C lists.SKG You are very active on social media networks- Facebook , Twitter, LinkedIn and writing blogs. How useful do you find social media what would be your suggestions for young publishing professionals? 
JBR Social Media is an integral part of one’s life now. In order to access, network with like-minded professionals you need to know how to use these platforms. I use them only professionally. But it requires strategy and learning every single day.I started a blog sometime ago focused on publishing and literature. On 27 Aug 2012, I installed a visitor counter. Today, 9 Aug 2013, it shows 2,61,563 visitors. All of these are real digital footprints since I have a SPAM blocker. I am told that it is an “extremely impressive” count.My advice for young publishing professionals is to be passionate about publishing, always be alert and receptive to new ideas, think out of the box, do a bit of homework every single day and definitely use and explore the social media platforms. But by merely plonking stuff on to a platform, without understanding and updating it, will be insufficient. You have to challenge your limits.SKG What are your hobbies? 
JBR Cooking/Baking, listening to music – it used to be gardening, painting and playing with my dogs, but no more. No time for the first two and I no longer keep dogs. And I have to add, reading. I actually love it.SKG How would you describe a good book? 
JBR Fiction or non-fiction – it has to be one that sustains the reader’s interest till the very end. It cannot be a book where the author polishes the first fifty pages and then forgets about the rest.SKG Apart from manuscripts, do you get the time to read & what do you like to read?
JBR I make the time. Carpe diem is my motto. My reading is eclectic. It can range from periodicals, short stories, fiction, non-fiction, young adult and even picture books. Anything and everything to do with words.SKG In fiction, what makes a bestseller? 
JBR Tough question. Does anyone really have an answer to it? If it is the Rs 100 novel or commercial fiction that is extremely popular today in India, then I would attribute it to the conversational style of English used by the authors. The readers are able to comprehend and understand and respond well to the content. But it is not a given that a consumer of a Rs 100 novel can be termed as a “Reader”, one who reads substantially, not necessarily voraciously. For literary fiction it is the quality of the work, the complexity that lies in the treatment of the story. Similarly other genres like translations, science-fiction, children’s literature, YA literature, thrillers, etc will have their own peculiar characteristics that help in determining its viability in the market. Probably the standard for all would be the content should be good, the treatment by the author/translator above par. Technicalities like editing, production quality, distribution, price points also play a crucial aspect in the rapid consumption of the book. If it is a “good” book but unavailable and unaffordable, the whole point of investing time and patience in producing it will be defeated.

ONE TO ONE with Jaya Bhattacharji RoseInternational publishing and literary consultant who also has a monthly column, “PubSpeak” , in BusinessWorld online. Her blog http://www.jayabhattacharjirose.com/jaya/ has had over 2,50,000 visitors in the 11 months since the visitor counter was uploaded.