Penguin Random House Posts

Vikas Khanna – two books

In the past few months I have received two books related to Vikas Khanna, an award winning Michelin starred Indian chef. One is a picture book, The Magic Rolling Pin, and the second is Shaken & Stirred — a collection of 101 non-alcoholic blend recipes. In India he has also acquired a fantastic fan following among children ever since he was a judge on MasterChef Junior, India. He comes across as an affable and a pleasant presenter, whose warmth radiates from the television screen or in still photographs circulating on the Internet.

Vikas Khanna, DK, April 2015Shaken & Stirred is a collection of 101 recipes of cooling drinks. The book’s release has been timed well with the onset of summer in North India. Reading some of the recipes such as “Sassy Peach Karat”, “God’s Own Drink” made with lemongrass stalk and coconut milk, “Orange Pepper Samba”, “Rose Sunrise Refresher” and “Kokum Granita” makes you want to sip them immediately. The food photographs accompanying the recipes are outstanding. ( Indian publishing has come a long way from producing insipid pictures in recipe books. Instead the pictures in this particular DK book have a razzmatazz that is magical. Most of the photo credits go to Vikas Khanna.) But I have my reservations about many of these recipes. They seem exotic and many of the ingredients seem impossible to get locally or available at an exorbitant price. It is interesting that for a man hailing from Punjab, who learned his cooking from his grandmother, there is not a single recipe with mango given. At a time when chefs like Jamie Oliver make cooking seem so easy and are not averse to being influenced by flavours worldwide, I cannot help but feel that Vikas Khanna’s recipes are much like what the Indian authors of the diaspora are doing with literary fiction — their memories of their time spent in India are sharp but are being recreated with a panache using words, acceptable to an international palate. Vikas Khanna is doing something similar with cuisine.

Speaking of his grandmother, The Magic Rolling Pin, is a hagiographical picture book recounting Vikas Khanna’s childhood. The images areCrossword-InorbitMalad-VikasKhanna-TheMagicRollingPin-14Nov2014 computer created showing a happy young boy intrigued by the kitchen, his Biji bustling about cooking and later their involvement in the langars organised at the Golden Temple, Amritsar. But it is a complicated picture book since the reason for its publication does not seem to be the target audience, instead it is capitalising on the success of Vikas Khanna. As an idea it is worth considering, only if the book had been produced with care, focusing on the quality of illustrations, providing accurate information ( a reference to “golden clothes for Baisakhi” is accompanied by an illustration of the boy wearing red clothes) and being technically sound in laying of text involving repetition of words and using phonetics. There is far too much emphasis on the young boy in the illustrations making the text unidimensional, with little detail in the page layouts making it difficult for a child to get involved with the story, since a young reader clamours with comments like, “Show, show”; “Look, look” and “Did you not notice the detail before? I did!”. A good example of picture books that are technically sound and use bland computer illustrations are the Ladybird “Read it Yourself” series. Maybe these could have been emulated in the production and design of The Magic Rolling Pin, otherwise it is an excellent opportunity lost of introducing children to reading via an idol they admire.

Having said that, both books will remain with me for a long time since they are a good insight into Vikas Khanna, the chef, the humanitarian and restauranteur.

Vikas Khanna The Magic Rolling Pin Puffin Books, Delhi, India, 2014. Hb. pp.40 Rs 299

Vikas Khanna Shaken & Stirred: 101 non-alcoholic blends to lift your spirits DK, Penguin Random House, New Delhi, India. Hb. pp. 250 Rs 899

11 May 2015 

Helen Macdonald, “H is for Hawk”

H is for HawkThe archaeology of grief is not ordered. ( p.199)

Helen Macdonald’s H is for Hawk is about her relationship with her goshawk, Mabel. Grieving for the Mabel on her first day at homesudden loss of her father, a well-known Fleet Street photographer, Helen Macdonald decides to buy a goshawk for eight hundred pounds sterling and train it — in the hope it will help her deal with her sadness. Her love for the bird stems from a lifelong passion for the wild birds of prey. As a child she scoured bookshops with her father to buy books on the subject. It is during one of those missions she came across T.H. White’s The Goshawk. With time and repeated readings, her understanding of the book and of the writer evolved too. Helen is an experienced falconer but never an austringer. Yet, she decided to buy Mabel and train her on the outskirts of Cambridge but as she discovers, “the wild is not a panacea for the human soul; too much in the air can corrode it to nothing.” ( p.218)

According to her literary agency, Marsh Agency, Helen Macdonald is a writer, poet, illustrator, historian, and naturalist, and an affiliated research scholar at the Department of History and Philosophy of Science at the University of Cambridge, where she teaches to graduate level. Over the years she’s also worked as a Research Fellow at Jesus College, Cambridge, as a professional falconer, assisted with the management of raptor research and conservation projects across Eurasia, and bred hunting falcons for Arab royalty. She’s also sold paintings, worked as an antiquarian bookseller, organised academic conferences, shepherded a flock of fifty ewes and once attended an arms fair by mistake. Helen’s blog Fretmarks contains short essays on subjects as various as wild boar, Brighton, pop culture, World War II, golden orioles, solar eclipses, travels in Central Asia, falconry, and many of her experiences with Mabel. www.fretmarks.blogspot.com Helen can be found on twitter as @HelenJMacdonald. (http://www.marsh-agency.co.uk/authors/?id=3513)

New_H-and-mabel-wa_2987055cH is for Hawk is a beautiful meditation on nature, loneliness and mourning.  The exquisite manner in which it is written, making extraordinary use of the English language is breathtaking. Helen Macdonald deservedly won the Samuel Johnson Prize for Non-Fiction 2014 and Costa Book of the Year 2014. Many  reviewers have commended it for it being a memoir, albeit a misery memoir. For me, H is for Hawk, H is for T.H.White, H is for Helen, and H is for her father. If it is the only book you  have time for this year, read it. It wont be time or money wasted. It will be an enriching experience.

Read an extract from her book:  http://www.telegraph.co.uk/culture/books/10989164/H-is-for-Hawk-Helen-Macdonalds-intense-relationship-with-her-goshawk-Mabel.html .

Some reviews

1. Janette Curie, “Grief and the goshawk” TLS, 29 Oct 2014 ( http://www.the-tls.co.uk/tls/public/article1476820.ece )

2. Kathryn Schulz, “Rapt: Grieving with your goshawk.” The New Yorker, 9 March 2015 ( http://www.newyorker.com/magazine/2015/03/09/rapt )

3.   Nick Willoughby “You can’t tame grief”: Helen Macdonald on her bestselling memoir “H Is for Hawk” Salon, 10 March 2015 (http://www.salon.com/2015/03/09/you_can%E2%80%99t_tame_grief_helen_macdonald_on_her_bestselling_memoir_h_is_for_hawk/ )

4. Marck Cocker,  “H is for Hawk by Helen Macdonald” The Guardian, 23 July 2014 ( http://www.theguardian.com/books/2014/jul/23/h-is-for-hawk-helen-macdonald-review )

A few notable meditations on Nature published in recent months:

1. George Monbiot ” Back to Nature” http://www.bbc.com/earth/bespoke/story/20141203-back-to-nature/index.html

2. George Macfarlane “The word-hoard: Robert Macfarlane on rewilding our language of landscape”, 27 February 2015 (http://www.theguardian.com/books/2015/feb/27/robert-macfarlane-word-hoard-rewilding-landscape?CMP=share_btn_fb )

3. Anand Vivek Taneja, ” A city without time: Anand Vivek Taneja remembers a dead river in a Delhi that has turned its back on it, just as it has on a language that was its own” March 2015 (http://indianquarterly.com/a-city-without-time/)

4. Ruskin Bond A Book of Simple Living Speaking Tiger Books, New Delhi, India. Hb. 2015

( Note: The images used in this blog post are off the internet, discovered using Google images. I do not hold the copyright to these photographs.)

Helen Macdonald H is for Hawk Vintage Books, an imprint of Penguin Random House, London, 2014. Pb. pp.300 £8.99 

#bookadayindia

#bookadayindia

PRH logo

Every day in December, Penguin Random House will be dedicating its @rhindia and @penguinindia Twitter handles to a discussion about books, characters and authors with a #bookadayindia campaign – and is encouraging everyone to join in!

Already hugely successful in both the UK and US, the Book A Day hashtag gives the chance for book lovers to share thoughts about their favourite writing and writers on Twitter. Every day has a different theme and readers can share their thoughts and suggestions – and debate with fellow bibliophiles – simply by answering with the hashtag.

Coming towards the end of 2014 some of the topics will include a look back over people’s favourite reads of 2014, their anxiously anticipated books for 2015 and their perennial favourites. Each day’s topics are:

PRH Book a Day

So please be in touch and join the debate!

Check out @rhindia and @penguinindia every day to find out the day’s topic – then tweet your thoughts including the hashtag #bookadayindia

Caroline Newbury
VP Marketing and Corporate Communications
Random House India
Penguin Random House

To Kill A Mockingbird published as an ebook for the first time

To Kill A Mockingbird published as an ebook for the first time

Harper LeeRandom House is delighted to announce that 54 years after it was first published Harper Lee’s To Kill a Mockingbirdwill be released as an ebook today for the first time.

This Pulitzer Prize-winning novel has been translated into more than 40 languages, and sells well over 1 million copies each year worldwide. Now, for the first time, To Kill a Mockingbird will be available as a straight text ebook, an enhanced ebook with extra exclusive content, and a digital audio, narrated by Oscar-winning actress Sissy Spacek.

‘I am amazed and humbled that Mockingbird has survived this long,’ said Nelle Harper Lee. ‘I’m still old fashioned. I love dusty old books and libraries. This is Mockingbird for a new generation.’

The ebook is available with all ebook retailers including Flipkart, Amazon, Google Play and Kobo.

8 July 2014 

Caroline Newbury

VP Marketing and Corporate Communications

Random House India

Penguin Random House

 

7th Floor, Infinity Tower – C

DLF Cyber City, Gurgaon 122002, Haryana

+91 124 4785600

+ 91 124 4785606

cnewbury@randomhouse.co.in

www.randomhouse.co.in

PRESS RELEASE: PENGUIN RANDOM HOUSE INDIA ANNOUNCES  PUBLISHING, SALES AND MARKETING APPOINTMENTS &  NEW ORGANIZATIONAL STRUCTURE

PRESS RELEASE: PENGUIN RANDOM HOUSE INDIA ANNOUNCES PUBLISHING, SALES AND MARKETING APPOINTMENTS & NEW ORGANIZATIONAL STRUCTURE

Penguin Random House

PENGUIN RANDOM HOUSE INDIA ANNOUNCES

PUBLISHING, SALES AND MARKETING APPOINTMENTS &

NEW ORGANIZATIONAL STRUCTURE

 

New Delhi, 20 March 2014 – Penguin Random House India’s new publishing, sales and marketing leadership appointments and cross-company organizational structure were announced today by Gaurav Shrinagesh, Chief Executive Officer.  All changes will be effective 1st April 2014.  The company is a division of Penguin Random House, the world’s largest trade book publisher, which was established on 1 July 2013 with the merger worldwide of Penguin and Random House.

Chiki Sarkar, currently Publisher at Penguin Books India, has been appointed as Publisher, Penguin Random House India with overall responsibility for building the local publishing programme in both English and local languages.  Random House India’s first editor-in-chief in 2006, she moved to Penguin Books India in 2011 and has been instrumental in publishing many of the sub-continent’s finest writers including Amitav Ghosh, Arundhati Roy, Vikram Seth, Suketu Mehta, Vikram Chandra, Amit Chaudhuri and Pankaj Mishra and has launched the careers of some of the best new talent such as Mohammed Hanif, Shehan Karunatilaka, Basharat Peer, Daniyal Mueenuddin and Aman Sethi.  She has recently been announced as one of the World Economic Forum’s Young Global Leaders, a community which assembles the world’s most outstanding next-generation leaders. Chiki will report to Penguin Random House India CEO Gaurav Shrinagesh.

Milee Ashwarya and Meru Gokhale have both been appointed to the role of Publishing Director, Penguin Random House India and will report to Chiki Sarkar.

In her new position Meru Gokhale, currently Editorial Director for Vintage, Random House India, will have direct responsibility for the prestigious Vintage India, Allen Lane, Hamish Hamilton, Viking and Classics publishing lists.  Meru has acquired, edited and published books by authors including Paulo Coelho, Kiran Desai, Jamil Ahmad, Sonia Faleiro, Tahmima Anam, Jhumpa Lahiri, Salman Rushdie, Orhan Pamuk, Nadeem Aslam, Rahul Pandita, Basharat Peer and Mohammed Hanif. In 2013 she was awarded the prestigious Jerusalem Editorial Fellowship.

Presently Editorial Director for Ebury India and Random Business, Milee will oversee Ebury India, Random Business, Portfolio, Metro Reads, Shobhaa De Books and Penguin Ananda.  Milee joined Random House India in 2008 and has worked across all genres of publishing during her career. She has commissioned, acquired and published bestselling books including From XL to XS, Jugaad Innovation, Dhandha, the IIMA Business series, the MINT Business series and worked with authors including Payal Gidwani Tiwari, Deanne Panday, Cyrus Broacha, Sudeep Nagarkar, Suhel Seth, Preeti Shenoy and Rocky Singh and Mayur Sharma.

Bringing focus to its children’s list, Hemali Sodhi will be taking on the newly created role of Director, Children’s for Penguin Random House India. During her time as Vice President Marketing and Communications, Penguin Books India, Hemali established Penguin as the foremost publishing brand in the country and in her new role she will have responsibility for growing the children’s local publishing program as well as the international list for the Indian market, along with product and brand development for children’s. The current children’s editorial, product and marketing teams will report to her. 

Hemali will retain her responsibility for Penguin’s Annual Lecture, Spring Fever and all CSR activity. In addition, Hemali will manage Corporate Communications for Penguin Books India for the foreseeable future. She will report to Gaurav Shrinagesh in all capacities.

Caroline Newbury, currently VP Marketing and Publicity Random House India, will take on the role of VP, Marketing and Corporate Communications for Penguin Random House India and will oversee all marketing, publicity, digital and corporate communications functions for the company. Caroline joined Random House India two years ago after more than a decade with the Ebury Publishing division, Random House UK.  She will report to Gaurav Shrinagesh.

Gaurav Shrinagesh, CEO, Penguin Random House India, said:

Penguin Random House India is home to some of the finest editorial talent in the country, and this new structure ensures we will continue to be at the forefront of trade publishing in India.  With the combined expertise of Chiki, Meru and Milee, who have each built lists of considerable repute, I am confident that our reputation for discovering the region’s best new writing talent as well as building the careers of our established authors is in very good hands.

“Children’s publishing is a real and major focus for Penguin Random House not only in India, but globally, and I am delighted that Hemali Sodhi will be overseeing this area in her new role.  In her nearly two decades of work with Penguin Books India she has established the Penguin brand into a formidable publishing presence in India, and I know she will transfer these considerable skills into building our local and international children’s publishing list in India.

“In today’s changing retail market the key to driving our authors’ success is discoverability – being able to inform their readers, and potential readers, about their books.  Establishing strong direct to consumer relationships is vital to this and in her new role overseeing marketing and digital, Caroline will be driving this for Penguin Random House India. 

I am delighted to announce all of these appointments and know my colleagues will work tirelessly to provide a first-class environment for our authors to produce their best works and for these to be enjoyed by the widest possible readership.”

On the sales side, Ananth Padmanabhan has been appointed Senior Vice President, Sales with overall responsibility for sales across all distribution channels of Penguin Random House in India.  He will report to Gaurav Shrinagesh.

Currently VP Sales, Penguin Books India, Ananth began his career with the Landmark bookstore in Chennai, in 1992, before joining Penguin Books in 1997.  Over nearly twenty years with the company he has been instrumental in shaping the sales, distribution and representation strategy and in building Penguin’s presence across India and the Indian subcontinent. 

Formerly responsible for sales for Random House India, Nand Nath Jha has been appointed VP, International Product and Digital Sales, reporting to Ananth.  His role will include the entire portfolio of Penguin Random House Group international product and all the agency publishers it represents in India. He will also be responsible for all online and digital sales for the group and sales of children’s product. Nandan has worked in the book trade for two decades, starting his career with distributor India Book House before switching to retail (Crossword, 1995 and Jashanmals, 1998), then moving to Random House in 2000.

Manoj Satti will take on the role of General Manager International Product (Random House) and Sales Planning. Currently responsible for managing Product and Operations at Random House, Manoj began his career with Sterling Publishers and Pearson Education before moving to Random House eight years ago.  His new role will involve overseeing the product development for Random House International products and all sales forecasting across PRH portfolio of products. Manoj will report into Nandan for product and Ananth for sales planning.

Rahul Dixit, currently General Manager, Penguin Books India, in his new role as General Manager, Local Publishing and Sales, will now oversee development of product and diversified sales for all local publishing across Penguin Random House India and will continue to lead sales for North India. He will be reporting to Ananth. Rahul started his career with Penguin books in 2005 and has handled diversified sales portfolios within the company.

Gaurav Shrinagesh, CEO Penguin Random House India said:

Our new sales team represents decades of experience across a wide range of retail-related areas of publishing – distribution, shop-floor bookselling, inventory management, customer service, as well as direct representation.  This wealth of knowledge will enable Penguin Random House to continue to ensure our books reach their readers, wherever and however they buy them.

“In their years with Penguin and Random House, Ananth and Nandan have built strong reputations within the industry for their excellent relationships with customers and their expertise in navigating the changing retail landscape.  I am confident that supported by Manoj and Rahul’s knowledge of product and insight into sales development, this team will create a firm foundation for continued Penguin Random House growth.”

For further information:

Caroline Newbury, Penguin Random House, cnewbury@randomhouse.co.in, +91 9953070129

Penguin Random House India is a Penguin Random House company. Penguin Random House (http://www.penguinrandomhouse.com/) is the world’s first truly global trade book publisher.  It was formed on July 1, 2013, upon the completion of an agreement between Bertelsmann and Pearson to merge their respective trade publishing companies, Random House and Penguin, with the parent companies owning 53% and 47%, respectively.  Penguin Random House comprises the adult and children’s fiction and nonfiction print and digital trade book publishing businesses of Penguin and Random House in the U.S., U.K., Canada, Australia, New Zealand, and India, Penguin’s trade publishing activity in Asia and South Africa; DK worldwide; and Random House’s companies in Spain, Mexico, Argentina, Uruguay, Colombia, and Chile. Penguin Random House employs more than 10,000 people globally across almost 250 editorially and creatively independent imprints and publishing houses that collectively publish more than 15,000 new titles annually. Its publishing lists include more than 70 Nobel Prize laureates and hundreds of the world’s most widely read authors.

 

About Chiki Sarkar

Chiki Sarkar was educated at Oxford University and worked in Bloomsbury Publishing, London for seven years. In 2006 she returned to India to become the first editor in chief of Random House India. She has been the publisher of Penguin Books India since 2011.

 

About Milee Ashwarya

Milee Ashwarya studied English literature at Hindu College, Delhi University and began her publishing career at Rupa & Co. In 2008, she joined Random House India as Commissioning Editor and was promoted to Senior Commissioning Editor in January 2011. Working across all genres her list of authors includes Payal Gidwani Tiwari, Pratibha Karan, Cyrus Broacha, Suhel Seth, Preeti Shenoy and Rocky Singh and Mayur Sharma. She is currently Editorial Director of two imprints – Ebury India and Random Business – and is responsible for shaping Random House India’s list of popular fiction and non-fiction in all areas of lifestyle as well as business publishing.

About Meru Gokhale

A graduate of St. Stephen’s College, Delhi and the Columbia Publishing Course, New York, Meru Gokhale began her publishing career in 2004 with Penguin Books India, editing books across fiction and nonfiction, cookbooks, history and current affairs. She acquired, commissioned and edited books from authors including Orhan Pamuk, Kiran Desai, Jamil Ahmad, Sonia Faleiro and Tahmima Anam. She joined Random House as Editorial Director of the newly-created Vintage India in 2011. At Random House she has acquired and worked with authors such as Jhumpa Lahiri, Salman Rushdie, Helen Fielding, Nadeem Aslam, Rahul Pandita, Basharat Peer, Mohammed Hanif, and Abhijit V. Banerjee and Esther Duflo. In 2013 she was awarded the prestigious Jerusalem Editorial Fellowship.

 

About Hemali Sodhi

Hemali joined the publishing Industry in ’96 as a publicist with Penguin India. She has since shaped Penguin India’s marketing strategy, building a formidable brand which was, in 2012, voted as the #4 most successful brand across industries. Penguin is also the only publisher in the Country to boast its own Literature Festival in Delhi, ‘Spring Fever’ and its own lecture, ‘The Penguin Annual Lecture’, which is the largest open lecture featuring speakers as celebrated as HH the Dalai Lama. Penguin India is the most widely followed and engaged-with Publisher on social media, with its own award winning website, a hugely appreciated facebook and twitter strategy and the only publisher to have a multi-platform Mobile App. Penguin India’s marketing campaigns, both print and digital, have consistently won awards.

Hemali completed her post graduation in English literature, from Delhi University.

About Caroline Newbury

A graduate of Trinity College, Oxford University (M.A. Hons. Ancient and Modern History), Caroline Newbury joined Ebury Publishing, a division of Random House UK in 2001 as a publicity assistant.  She worked there for 11 years, rising to Deputy Publicity Director, Ebury Publishing, before moving to Delhi in April 2012. 

About Ananth Padmanabhan

Ananth began his career in publishing in ’92 as a bookseller with Landmark bookstores, based in Chennai. He joined Penguin Books in ‘97 and is currently Vice President, Sales. During the course of his career with Penguin, Ananth has shaped Penguin’s sales, distribution and representation strategy and has also been responsible for Penguin India’s digital strategy, including publishing, distribution and sales across channels and partners. He is a graduate from the University of Madras, has studied Publishing from Stanford University and has completed a course in Management from IIM Ahmedabad.

He is also a professional photographer and has done many projects, one of which, on publishing, called Calcutta: Walking in the City, can be seen on www.ananthpadmanabhan.com

About Nandan Jha

A graduate of Commerce from University of Delhi, Nandan Jha has worked in all areas of sales in book trade in the last 20 years.  He started his career with a distributor (India Book House) in 1994, switched to retail (Crossword, 1995 and Jashanmals, 1998), and then moved to a publisher (Random House Group UK, 2000). In between, he also dabbled with some publishing (Hindi & English) and freelance sales & marketing representation of several independent publishers for 4 years.

He has held the position of Vice President – Sales at Random House India since April 2010, and is also responsible for the developing and executing digital strategy for the company in the domestic and international markets.

 

About Rahul Dixit

Rahul joined Penguin in 2005 as assistant sales manager following nearly 4 years of experience in selling school books. He headed Penguin’s North India business from 2008 to 2010 before becoming product manager for Penguin Local in 2011.  In his current role as General Manager, he is responsible for all local sales and also manages Penguin’s relationship with two other local publishers Zubaan and Hay House.

 

About Manoj Satti

Manoj Satti’s career in publishing began in 2000 with Sterling Publishers handling sales and customer service activities.  After four years at Pearson Education, where he handled promotional activities for their higher education and schools divisions as well as developing and managing their website, he moved to Random House as sales administrator.   Over his seven year career with the company, he has been responsible for sales to distributors and retail across the country, the budgeting, product selection, inventory management and pricing strategy for international titles, Random House’s migration to new Microsoft ERP – Navision and few other IT initiatives – and overseeing imports, distribution and supply chain management.  He also had responsibility for the creation of the Knowledge Encyclopedia for special sales which has sold over 650,000 copies.

 

 

 

Paulo Coelho moves to Penguin Random House in India, the UK and Australia

Paulo Coelho moves to Penguin Random House in India, the UK and Australia

Penguin Random House

For immediate release

Thursday 27th February 2014

 

 

Paulo Coelho moves to Penguin Random House in India, the UK and Australia

 

Susan Sandon, Managing Director of Cornerstone, has acquired rights to Paulo Coelho’s new novel, ADULTERY, acting on behalf of Hutchinson at Cornerstone, Hamish Hamilton in Australia and New Zealand, and Random House India. The six figure acquisition, with separate deals for each territory, was struck with Mônica R. Antunes at Sant Jordi Asociados. ADULTERY will be published this August simultaneously with Knopf in the US.

ADULTERY is a thought-provoking novel about the blurred lines between love and infatuation, adventure and self-sabotage. Linda is happily married to a wealthy man, has two children and works as a journalist – she knows she is lucky which only makes her unhappiness more confusing.  While being afraid of change, she is also terrified of life continuing as it is. A meeting with a politician, and ex-boyfriend, ignites a side of her she thought had been shut-down with far-reaching consequences for everyone. The inspirational message for the reader is that you need to discover the passion in the life you have, not the life you imagine.

Meru Gokhale, Editorial Director, Vintage, Random House India says: ‘We are absolutely delighted to be publishing Paulo Coelho in India – he is a writer who is cherished by millions of Indian readers for his unique style, insight and wisdom.’

 

Paulo Coelho has sold more than 150 million books worldwide. His work is published in 80 languages and he is the most translated living author in the world. Paulo has an enormous digital media presence. He is the writer with the highest number of social media followers reaching over 17 million fans through his Facebook page and 9 million followers on Twitter.

 

For further information, please contact Caroline Newbury on cnewbury@randomhouse.co.in

Penguin Random House (http://www.penguinrandomhouse.com/) is the world’s first truly global trade book publisher.  It was formed on July 1, 2013, upon the completion of an agreement between Bertelsmann and Pearson to merge their respective trade publishing companies, Random House and Penguin, with the parent companies owning 53% and 47%, respectively.  Penguin Random House comprises the adult and children’s fiction and nonfiction print and digital trade book publishing businesses of Penguin and Random House in the U.S., U.K., Canada, Australia, New Zealand, and India, Penguin’s trade publishing activity in Asia and South Africa; Dorling Kindersley worldwide; and Random House’s companies in Spain, Mexico, Argentina, Uruguay, Colombia, and Chile. Penguin Random House employs more than 10,000 people globally across almost 250 editorially and creatively independent imprints and publishing houses that collectively publish more than 15,000 new titles annually. Its publishing lists include more than 70 Nobel Prize laureates and hundreds of the world’s most widely read authors.

PubSpeak: Total Recall

PubSpeak: Total Recall

My column, “PubSpeak”, in BusinessWorld online focuses on the Wendy Doniger book controversy. Here is the url to it:   http://businessworld.in/news/economy/total-recall/1266222/page-1.html   . ) 

Jaya Bhattacharji Rose On 11 February, Penguin Books India reached a compromise drawn up in a Delhi Court that insisted it cease the publication and sale of American Indologist, Wendy Doniger’s book The Hindus: An Alternative History in India within six months. Dina Nath Batra of Shiksha Bachao Andolan Samitri had filed a civil suit against the publishers to withdraw from circulation all copies. Given that Batra had filed the case four years ago and it was still subjudice, the news of this compromise spread like wildfire. Later that day, Doniger issued a press statement “I was, of course, angry and disappointed to see this happen, and I am deeply troubled by what it foretells for free speech in India in the present, and steadily worsening, political climate. And as a publisher’s daughter, I particularly wince at the knowledge that the existing books (unless they are bought out quickly by people intrigued by all the brouhaha) will be pulped. But I do not blame Penguin Books, India. Other publishers have just quietly withdrawn other books without making the effort that Penguin made to save this book. Penguin, India, took this book on knowing that it would stir anger in the Hindutva ranks, and they defended it in the courts for four years, both as a civil and as a criminal suit. They were finally defeated by the true villain of this piece — the Indian law that makes it a criminal rather than civil offense to publish a book that offends any Hindu, a law that jeopardises the physical safety of any publisher, no matter how ludicrous the accusation brought against a book.”Wendy Doniger

PBI logoPenguin Books India released a statement on 14 February stating “a publishing company has the same obligation as any other organisation to respect the laws of the land in which it operates, however intolerant and restrictive those laws may be. We also have a moral responsibility to protect our employees against threats and harassment where we can…. The settlement reached this week brings to a close a four year legal process in which Penguin has defended the publication of the Indian edition of The Hindus by Wendy Doniger. We have published, in succession, hardcover, paperback and e-book editions of the title. International editions of the book remain available physically and digitally to Indian readers who still wish to purchase it.”

What followed the announcement perhaps was only a natural outcome given the speed at which social media helps communicate information. There was public outrage at this development— newspapers, print, digital, and, of course, social media forums. A number of commentators, journalists, and even Penguin authors wrote passionately against Penguin Book India’s decision to destroy the book. Arundhati Roy in an open letter spoke of her distress and said “You owe us, your writers an explanation at the very least”. Nilanjana Roy, author and member of PEN Delhi wrote on censorship and how to remain free; Jakob de Roover in an outstanding essay “Untangling the Knot” discussed the complexities of governance, judiciary and free speech; journalist Salil Tripathi commented perceptively on the issue on many platforms ; Stephen Alter wrote, “Both as a writer and as a reader, I am deeply offended that anyone should dictate what I may read or write”; Penguin author and essayist, Amit Chaudhuri reiterated that “It’s important that the law protect all texts”; and Antara Dev Sen, Editor, The Little Magazine, wrote that the Indian Penal Code “Section 295A targets ‘deliberate and malicious acts (which include speech, writings or signs) intended to outrage religious feelings of any class by insulting its religion or religious beliefs’. In an age of identity politics and hurt sentiments, this has been used frequently by politically motivated people to stifle free speech. But back in 1957, the Supreme Court had ruled that only when there is a ‘deliberate and malicious intention of outraging religious feelings’ is it an offence under this law. Higher courts in India have consistently ruled in favour of freedom of speech and have protected books and people hauled to court under this law.”

In fact, two Penguin authors, Siddharth Varadarajan and Jyotirmaya Sharma, asked for their contracts to be terminated. Another Penguin author, Arshia Sattar (who has translated Valmiki’s Ramayana and the Kathasaritsagara from Sanskrit to English) expressed her dismay at the “complete capitulation” of the firm and how her “pride and that faith has been shaken…of being with a publishing house that protected its people and the books they wrote”.

A counter legal initiative perhaps was expected. According to the website, Legally India, advocate Lawrence Liang, part of the Bangalore-based Alternative Law Forum, has issued a 30-paragraph legal notice to Penguin India, claiming that the publisher has violated freedom of speech laws and readers’ rights by agreeing to destroy all copies of Wendy Doniger’s book ‘The Hindus’. The notice sent on behalf of Liang’s clients, Shuddhabrata Sengupta and Aarthi Sethi, argues that because Penguin has agreed to withdraw the book from India and destroy all copies, after a legal dispute with a religious group, it has “effectively acknowledged that it is no longer interested in exercising” its ownership in the work and should surrender its copyright to the Indian public. Sengupta is a Delhi-based artist and writer, while Sethi is an anthropologist with a “deep interest in Hindu philosophy”, according to the legal notice. Both are “avid bibliophiles” and were apparently “delighted” when Penguin published Doniger’s book, “and as people who have closely followed the scholarly contributions of the said author they regard this book to be a significant contribution to the study of Hinduism. They consider Ms Doniger’s translations of Indian classical texts and her work on various facets of Hinduism from morality in the Mahabharata to the erotic history of Hinduism as an inspiration for their own intellectual pursuits.”

At the recent Globalocal event (German Book Office, New Delhi’s annual B2B conference on publishing), a regional language publisher wondered if it was possible for any other publisher to option this book and publish it, after all it has not been legally banned in this territory. Echoing this sentiment, Shamnad Basheer, IPR lawyer, writing in Spicy IP, reflected upon the pros and cons of compulsory licensing, and whether it was possible if a publisher decides to stop publication, one could apply for a compulsory license.

Globally Penguin has been in the news related to their peripheral businesses and their merger with Random House. In 2012, Pearson PLC (of which Penguin Books India is a part of) acquired the self-publishing firm, Author Solutions, for $116 million. But in 2013, this deal soured as a number of disgruntled authors filed lawsuits against Author Solutions for its poor service. In the landmark case pertaining to ebooks and agency pricing, in April 2012, the US Department of Justice sued Apple and five publishers, including Penguin, for conspiring to raise prices and restrain competition. This was done after Amazon filed a complaint with the Federal Trade Commission. In 2013, Penguin was obliged to pay $75 million. George Packer observes in the New Yorker, “an enormous sum in a business that has always struggled to maintain respectable profit margins”. On 1 July 2013, the global merger between Penguin Books and Random House was announced. It was a strategic alliance, forged as a response to the growing presence of Amazon in the publishing industry. The formation of Penguin Random House (PRH) has created a group that has 25 per cent of the market share. A merger comes at a cost of resources that have to be taken into account for the new firm to begin work on a strong footing.

In Oct 2013, Penguin Random House announced the completion of its purchase of Ananda Publishers Private Limited’s minority stake in Penguin Books India. It plans to invest Rs 55 crore or $8.6 million for this stake buy. As banker-turned-author Ravi Subramanian, with whom in June 2013 Penguin Books India signed a two-book deal worth an estimated Rs 1.25 crore (approx $210,700) wrote on his blog with respect to Doniger’s case, “publishing is a business”. For any firm, particularly in publishing, this is a lot of money being moved around its balance sheets.  Naturally the ripple effect of these financial adjustments will be felt even in the local markets—it is like conducting business in a global village where in the context of a globally contacted world, the minimum consumption that people desire is also influenced by what is going on elsewhere.

Similarly, with the Doniger case, Penguin Books India has probably taken an informed business decision, based upon a global strategy when it signed this deal on 11 February, in order to preserve a healthy English-language publishing market in India.

Chiki Sarkar, Publisher, Penguin Books India, in a guest blog post in 2012 during the Banned Books week, had this to say: “Injunctions make things costly, time consuming, and take our energies away from the work we are really meant to do. And so we try and avoid them as much as possible. Apart from the fact that we don’t fight hard enough for them, I wonder whether it means we impose a kind of self-censorship on ourselves.”

Ironically this latest controversy broke exactly twenty-five years after the fatwa was issued against Salman Rushdie for his ‘Satanic Verses’ published by Penguin. At the time, his publishers stood by him and did not pulp the book. The fact is publishing is a business that is built upon the creative energies and emotions of people. India is also a functioning democracy. Freedom of speech is the right of every citizen. With the General Elections less than a hundred days away, the need for openness, frank conversations without any inhibitions, and certainly not a capitulation to any ideological position is imperative.

Scholar-journalist and historian Mukul Kesavan points out that that selling books is not like selling any other commodity. Publishers have moral responsibility and a publisher voluntarily agreeing to withdraw a book has previously been challenged with the case of James Laine’s book on Shivaji in 2007. Oxford University Press voluntarily agreed to withdraw the book. An FIR was issued against the publisher and printer of the book in Pune (one charge, under Section 153 A, was ‘inciting class hatred’) and the printer was actually arrested. When the case (‘Manzar Sayeed Khan vs State Of Maharashtra, 2007’) came up before the Supreme Court, however, the government of Maharashtra’s case against the author and the publisher of the book was found to be wanting. So, there is a precedent by the Supreme Court to rule in favour of free speech.

Nevertheless, the Wendy Doniger book controversy raises a bunch of issues pertaining to the publishing industry. Questions about legislation and the freedom of speech, what are the ethics involved in publishing, do readers and authors have a right that they can exercise, what does it mean for licensing, do possibilities exist in a mixed environment of digital and print publishing such as do readers have a choice?

Finally does this self-censorship by a publishing firm mean an inadvertent promotion for self-publishing, encouraging authors to be responsible for their books completely? Interestingly in a space of less than six weeks I have heard John Makinson, CEO, Penguin Random House and Jon Fine, Director, Author & Publishing Relations, Amazon talk about their publishing businesses and both have stressed upon the importance of discoverability of an author. This controversy could not have come at a better time for Doniger and even Penguin. They have achieved the Streisand effect whereby in an attempt to censor a piece of information, it has had the unintended consequence of publicising the information more widely. It has achieved what no PR could have—a boost in sales.

21 Feb 2014 

PubSpeak, “Rules Of Publishing: Be On The Move”There has to be serendipity in publishing. It is the smarter way of keeping the ecosystem alive,

PubSpeak, “Rules Of Publishing: Be On The Move”There has to be serendipity in publishing. It is the smarter way of keeping the ecosystem alive,

Jaya Bhattacharji Rose ( The latest edition of my column, PubSpeak, has been uploaded on BusinessWorld online today. The link is http://www.businessworld.in/news/economy/rules-of-publishing-be-on-the-move/1246485/page-1.html. I am also c&p the text below. )

Bloomberg journalist Brad Stone’s ‘The Everything Store’ is about Jeff Bezos and his baby, Amazon. After the book was published, Bezos distanced himself from the book. Significantly his wife, MacKenzie Bezos, gave the book a one-star rating on Amazon saying it contains “numerous factual inaccuracies” and is “full of techniques which stretch the boundaries of non-fiction”. The book is based on a number of interviews that Stone conducted with Bezos, his staff and ex-colleagues to get a sense of the firm. What is very clear after reading the book is that Amazon is significant because it has the advantage of being a first mover, it is a game-changer, certainly for publishing.

There are three points worth considering:

1. Bezos was the first to exploit the potential of the internet and collaborate with start ups with new ideas. For instance, his acquisition of a firm that specialised in digital books, with the .mobi format, resulted in his insistence on making the files uploaded on Kindle to be DRM protected.

2. He knew that sales ranks would be like a drug to authors, so he insisted that it change whenever a new order came in: thus influencing the gradual shift in publishing houses laying more emphasis on marketing and promotional activities than on editing and commissioning. (Whereas it cannot be an either/or situation, it has to be a combination.)

3. Finally Bezos’s famous analogy of comparison that publishing firms are like gazelles and Amazon is a cheetah. This belief was integral to his strategy in agency pricing. He had to persuade publishers to give him the digital files to the books they published. (It required time since many publishers discovered that they did not have the rights to the digital formats from the authors.) He was convinced marking the books at such a low price was rational since there were no printing and warehousing costs involved — a misconception that has come to be associated with the entire system of publishing. But Amazon is able to achieve much of this due to the ‘technological moat’ it has dug for itself, that is, of low margins. It ensures that with the creative vision Bezos and his team have they are able to expand their business into uncharted domains, effectively keeping competition out.

At BookMark, the B2B space for publishing professionals at the Jaipur Literature Festival there were a number of fascinating conversations about the business. Most significantly the resistance in original publishing to digital and the disruption it would cause in the publishing ecosystem was no longer making news. The presence of technology to facilitate, produce and disseminate books is now an accepted norm. It is here to stay. It was interesting to see how the industry was responding to the rapid changes taking place in the environment, necessitating a rapid pace of evolution by adapting and adopting new methods.

Take Penguin Random House CEO John Makinson’s comment at the event, for instance. The coming together of Penguin and Random House was a “strategically delivered merger” since it was the only combination that changed the game, said Makinson. He was confident that the industry would consolidate itself in a bit of time. At a time when the global industry is reeling from the massive presence of Amazon, the formation of Penguin Random House catapults it to the first position with 25 per cent share of the global market. In October 2013, Jüergen Boos, Director, Frankfurt Book Fair, at the opening of the fair, warned that companies like Amazon, Apple and Google were “logistics magicians but are not publishers”. It stands to reason since online recommendations are purchase based and not behavioural. It does not tell you what people want to read since much of the online purchases are for gifts.

There has to be serendipity in publishing. It is the smarter way of keeping the ecosystem alive, creating newer readers and shifting away slightly from being only a writer’s space.

The overwhelming presence of Amazon, Google, and the iBook store of Apple and closer to home, Flipkart, has resulted in the “disturbing dominance of content” as John Makinson put it. It is inevitable that online retail platforms will require large volumes to remain sustainable. They are not discerning and curate content as booksellers are known to do with their stocks. So, it is fairly common to find on these websites second hand, and out-of-print books, or those titles that belong to backlists but are not readily available. In fact, Paul Yamazaki of City Light Booksellers and this year jury member, DSC South Asian Literature prize  is clear that he will retain titles on his shelves that are worth recommending, not necessary that it is the latest title creating waves in the media. City Light Books, is a landmark independent bookstore and publisher that specialises in world literature, the arts, and progressive politics. It was established by Lawrence Ferlinghetti and Peter D. Martin and synonymous with the ‘beatniks’.

Of late, publishers have been a worried lot since their traditional forms of publishing are not giving them the benefits they have been used to; in addition the sales of ebooks have plateaued, falling far short of the forecasts. The reliance on frontlists is making publishers an anxious lot since author brands only work for a limited time and within a given framework. For instance, commercial fiction authors are a brand unto themselves, a specific market who only read the specific author, but do not guarantee sales with every title. Ever since publishing houses were established they relied on a formula of 80:20 where 20 per cent was reserved for experimentation or the mid-lists, to discover and nurture new writers, which sometimes became the bedrock of the future for the firm. This is now happening less and less. Instead it is easier to offer authors a contract once they have proven themselves in the market. Many new voices are being discovered via the self-publishing route and traditional firms recognising the business potential of this are offering self-publishing services. This is in trade publishing. But even in academic publishing, technological advances and the presence of agents such as Apple, Google and Amazon have had an impact. For instance, material in a digital form for classroom and assisted teaching, teacher resource material and even the rent-a-textbook model, like Coursemart, have proved to be successful.

Among some of the other responses to the changing environment were that established businesses know the only way forward is to recognise that their expertise is limited; collaborations with new ideas or new startups is the only way to keep the business afloat; exploring a subscription service to deliver books/content to users/customers as indicated by the tie-up between Scribd and HarperCollins; looking to create a market beyond English-language readers (since it is a limited market), moving beyond viewing English as a functional, operational and legal language, translating content and creating a base of readers in the mother tongues to increase readership. The fact is that when markets are volatile and competing forces are at play and with 40 per cent of the population online it is not easy to forecast what will happen in the near future, save that a certain amount of realignments will happen through mergers and acquisitions, new systems will evolve and it will be survival of the fittest — big or small, who knows for now!

6 Feb 2014 

“Keeping The Word”, PubSpeak, Dec 2013

“Keeping The Word”, PubSpeak, Dec 2013

( PubSpeak in December 2013 is about trust deficit. It has been published originally in BusinessWorld online. Here is the url: http://www.businessworld.in/news/books/columns/keeping-the-word/1175440/page-1.html I am also c&p the text below. 4 Dec 2013
PubSpeak, Jaya

Publishing industry too has its share of tales where people have not honoured their word or fulfilled contracts. Jaya Bhattacharji Rose writes of ways to prevent these

Some time ago, I received a message on Facebook from a distraught illustrator. The illustrator had been commissioned by a prominent publishing house to create paintings for a book cover design of a forthcoming young adult novel. The cover had been through three draft designs and had been approved by everyone including the author. At the final stage, some design changes were asked for. The illustrator was not happy. Nevertheless, in complete faith, the illustrator decided to submit high resolution files of the altered paintings since the project was nearing completion. But the relationship came apart (and legal recourse had to be taken to) because the art director of the publishing house refused to honour the contract, withholding part of the payment due on the grounds that the design had been created inhouse. But there is barely any difference other than the shade of colour and the size of the images if you compare the designs submitted by the illustrator with those that were done inhouse. Since then, the first illustrator has refused to work with the publisher.

Twenty years after the publication of ‘A Suitable Boy’, fans of Vikram Seth were waiting in anticipation for the sequel – A Suitable Girl. Unfortunately Seth did not deliver the manuscript in time to Hamish Hamilton. Soon after the merger of Penguin Books and Random House was official in July 2013, this book was one of the earliest casualties. The author was asked by the publishers to return the $1.7 million advance for a two-book deal, including the paperback rights of ‘A Suitable Boy’, bought off Orion publishing. According to media reports the new group — Penguin Random House — is expected to cut costs as it tries to compete better with new forms of publishing and competition from online rivals such as Amazon. Fortunately for the author, his original publisher Orion, stepped in and is committed to publishing A Suitable Girl in Autumn 2016.

Disturbing Trend
The world of publishing is full of such stories — some tamer than others. People yearning to be published, some having been published, some selling better than others, some getting noticed critically more than the others, many satisfied with what they have achieved, yet there is a constant subterranean rumble of unpleasant anecdotes. Many of the stories, often open knowledge to ‘those in the know’, deal with plagiarism, contracts not being honoured, copyright violations, disappointment about advances, dissatisfaction about contracts drawn or negotiations about rights hitting nasty patches, sales and marketing executives not fulfilling orders, bookstores not adequately stocked, at times even missing titles that have been shortlisted for literary prizes.A popular topic of conversation is the efficiency of vendor management systems and authors stealing ideas from each other. The stories are about professional relationships being affected, relationships that are forged, nurtured and sustained by humans. These, in turn, affect the commissioning potential of editors and the formation and evolution of lists and imprints, the emergence of new ideas and creative collaborations and more importantly the growth of the business of publishing.

According to the Oxford English Dictionary, to “publish” is defined as “prepare and issue (a book, journal or piece of music) for public sale. Print in a book or journal so as to make generally known.” A “publisher” is a company or person that prepares and issues books, journals, or music for sale. In traditional forms of publishing, that is, the printed form, specialist knowledge of the processes involved including sales, marketing and distribution was essential. Many of the books published were and are inevitably born out of a conversation (or a “gentleman’s agreement”) that a commissioning editor has with the author (or the content creator, as the ‘author’ could even be another publisher or an organisation, and not necessarily an individual). It is after a series of negotiations based on trust that the business details of the arrangement are thrashed out and subsequently enshrined in a written and signed contract. These are then preserved and referred to for the time that the firm has the license to publish the book(s).

For many authors/illustrators this is a smooth process and continues to be so. From the moment authors are signed on, they begin to be a little more aware of their rights, wanting clarity on the royalty statements, visibility and easy availability of the book in all formats and kinds of stores. Publishers too want professionalism from the content creator and other collaborators on the project. Similarly bookstore owners/online retailers/customers want quick fulfillment of their orders. Readers want satisfaction from the books that they read.

So, What Next?
Every October, publishers from around the world flock to the publishers’ mecca, the Frankfurt Book Fair, for a week of intense conversations and meetings. This time the news emerging from the Frankfurt was about the most innovative and viable method of connecting books with readers, these were mostly reserved for the digital domain. Some examples of digital-only imprints are HarperCollins India’sHarper21; Italy’s RCS Libri’s Rizzoli Lab, dedicated to experiments in digital; Indireads presenting modern South Asian literature in digital friendly formats.; HarperCollins established HarperTeen Impulse; Random House launched Loveswept, Hydra, Alibi, and Flirt; Harlequin has Carina Press and Bloomsbury has Bloomsbury Spark.

Another tactic is to create blogs on publishers’ websites where most host curators prefer to focus only on their books and authors. The Melville House publishing house’s blog has to be one of the richest in its generosity of sharing accounts, stories and opinions related to books and not necessarily confined to its own lists.

Today, with social media platforms like Twitter, Facebook, and Pinterest, content creators (authors, illustrators) can have conversations directly with other publishing professionals. A democratisation of the system that is challenging established business models of publishing. A notable result has been the rapidity with which self-publishing has become an attractive proposition — primarily because the author is in control of producing his book in all formats, can track the distribution and sales and is responsible for the promotion of the book. With the number of authors opting for this form of publishing it is no surprise that even traditional publishers are offering self-publishing services as an option.

Through this wonderful burst of creative energy and proliferation of platforms for publishing, two facts stand out. First, these innovations are obvious responses to the changing environment of publishing. Second, given how complex the book market is becoming, with new channels of news dissemination and distribution, publishers are being innovative in accessing readers and customers. But these new business models of outreach will only be successful if publishing professionals do not keep their word and the growing “trust deficit” in the publishing eco-system is not addressed immediately.

Stuart Diamond writing in his bestseller ‘Getting More’ says “Trust is a feeling of security that the other person will protect you. …The major component of trust is honesty—being straight with people. Trust does not mean that both sides agree with each other, or are always pleasant to each other. …Trust is something that develops slowly, over time. It is an emotional commitment to one another based on mutual respect, ethics, and good feeling. …lack of trust has a cost.”

These challenges exist in all industries but it is slightly different for publishing which relies upon human relationships and creativity for growing the business organically. For it to be a sustainable business model, there has to be bedrock of trust among all stakeholders, irrespective of the format they choose to publish in.

The writer is an international publishing consultant and columnist

@JBhattacharji

PENGUIN RANDOM HOUSE ACQUIRES FULL OWNERSHIP OF PENGUIN BOOKS INDIA

PENGUIN RANDOM HOUSE ACQUIRES FULL OWNERSHIP OF PENGUIN BOOKS INDIA

Penguin Random House

(October 3, 2013, New Delhi, India)—Penguin Random House today announced the completion of its purchase of Ananda Publishers Private Limited’s minority stake in Penguin Books India.

Penguin India was formed in 1985, with UK-based publishing house, Penguin Publishing Company, holding a 40 per cent stake, which it later increased to 55 per cent. Penguin Random House has now acquired the remaining 45 per cent, and takes 100 per cent ownership of the Penguin India.

John Makinson, Chairman of Penguin Random House India, said, “The partnership between Ananda Publishers Private Limited and Penguin in India stretches back more than 25 years and has created a local publishing company that leads the market in both size and reputation. My friendship with Arup and Aveek Sarkar has been one of the highlights of my Penguin career but there is always a right moment to move on professionally, and the watershed merger of Penguin and Random House provides it. The two wholly-owned companies are now combined under the leadership of their CEO, Gaurav Shrinagesh, who will be able to build on the legacy of these two fine India publishing houses.”

Gaurav Shrinagesh, CEO Penguin Random House India, observed, “The merger of Penguin and Random House has brought together India’s two most successful publishing houses, and we are delighted that with the completion of this deal, they now are fully united as Penguin Random House India. Under the partnership with Ananda Publishers Private Limited, Penguin became one of the most recognizable and respected publishers in India. We are now looking forward to building on this foundation with our talented authors and colleagues from across the whole of Penguin Random House India.”

With offices in Noida and Panchsheel Park, Delhi Penguin Random House India publishes many of the most recognisable and successful authors across the sub-continent in adult and children’s fiction and nonfiction published in hardcover, paperback, audio, and digital editions.

About Penguin Random House
Penguin Random House (http://www.penguinrandomhouse.com/) is the world’s first truly global trade book publisher. It was formed on July 1, 2013, upon the completion of an agreement between Bertelsmann and Pearson to merge their respective trade publishing companies, Random House and Penguin, with the parent companies owning 53% and 47%, respectively. Penguin Random House comprises the adult and children’s fiction and nonfiction print and digital trade book publishing businesses of Penguin and Random House in the U.S., U.K., Canada, Australia, New Zealand, and India, Penguin’s trade publishing activity in Asia and South Africa; Dorling Kindersley worldwide; and Random House’s companies in Spain, Mexico, Argentina, Uruguay, Colombia, and Chile. Penguin Random House employs more than 10,000 people globally across almost 250 editorially and creatively independent imprints and publishing houses that collectively publish more than 15,000 new titles annually. Its publishing lists include more than 70 Nobel Prize laureates and hundreds of the world’s most widely read authors.

3 October 2013