Teamwork, the producers of Jaipur Literature Festival, create JLF in Belfast or thereabouts from 21-23 June 2019. Jaipur Belfast has announced an exciting programme. These are being organised at two venues: The Lyric Theatre (22 June) and Seamus Heaney Homeplace (23 June). Tickets may be booked at the official website for JLF Belfast.
The curtain raiser for the event was organised on 4 June at the British Council, New Delhi. Speaking at the event Sanjoy Roy, Managing Director, Teamwork Arts said, “This is a living bridge — it’s about people, ideas, sport, books and above all, about literature. Today, dialogue is becoming more and more important. We have to continue what we do best that without political affiliation people come together to discuss and disagree peacefully. In Belfast people wear their wounds on their sleeves much as we Indians wear it.” He expanded on this sentiment in an article for the Irish Times, “Jaipur Literature Festival comes to Belfast: celebrating each other’s stories” ( 7 June 2019)
Namita Gokhale, co-director, JLF, said “JLF Belfast looks at shared histories through themes of identity and selfhood. Tara Gandhi Bhattacharjee, Mahatma Gandhi’s granddaughter, discusses the nature of non-violence. We ponder the puzzles of identity, the power of poetry, the mysteries of word, the flavours of Asian cuisine, the future of AI by Marcus du Sautoy. We revisit the poetry of Yeats and Tagore and explore the echoes of each in the other.”
William Dalrymple, co-director, JLF, added that JLF Belfast attempts to look at the scars of these different partitions.
At the curtain raiser a wonderful discussion was organised on Kalidas and Shakespeare. It was moderated by translator Gillian Wright. The panelists included academics Dr R. W. Desai and Prof. Harish Trivedi. Here is the recording I made with Facebook Live.
Meanwhile as the weekend draws near Irish writer Paul McVeigh has been posting fabulous tweets on the prepatory work. Here is a glimpse:
Go for it, people! This sounds like a promising event.
Thank you very much for the invitation to speak here today. The Jaipur Literature Festival is a festival of cultures, language, ideas and literature, and I feel very privileged to have the chance over the next few days to listen to so many Indian authors and personalities from around the world and to converse with them.
At this confluence of cultures, I’m pleased to address
the friends from the trade at Jaipur Bookmark today.
After all, that is the fundamental principle of any
literature festival: creating an environment for interactions that promote the
free exchange of ideas and opinions.
The free exchange of ideas and opinions – never has
that been easier than today, in the 21st century.
And never has it been so threatened.
Over the past 20 years, communications technology has
taken an evolutionary leap, one that surpasses anything the most far-sighted
science-fiction writers of the 19th and 20th centuries could have imagined.
In Stanley Kubrick’s film “2001: A Space Odyssey” from
the year 1968, Dr Heywood Floyd, an astronaut, has a “videophone call” with his
daughter while at the space station.
Fifty years later, in the summer of 2018, the German
astronaut Alexander Gerst used his mobile phone to take fascinating photos of
his time at the International Space Station, images which were transmitted
around the world.
Videophones, computer tablets, artificial
intelligence, voice control – many of the things that Kubrick envisaged 50
years ago have become reality.
According to the 2018 Global Digital Report, of the four billion people
around the world who have access to the Internet, more than three billion use
social media every month. Nine out of
ten users log on to their chosen platforms using mobile devices.
The number of people who use the most popular
platforms in their respective country has grown over the last 12 months by
almost one million new users each day.
What I find remarkable here is that not only has
communications technology made a quantum leap, the devices that allow the
world’s population to participate in the global conversation have also become
so inexpensive that almost everyone can afford one.
That is giving rise to a previously unknown
participatory process, one that has the power to change democracy’s traditional
Everyone today is in a position to publish whatever
they want – using blogs, podcasts and self-publishing platforms, as well as
traditional publishing houses. News is transmitted around the globe in the
fraction of a second, and social networks allow us to reach more readers and
viewers than ever before.
In just a minute I will talk about the challenges and
consequences that are resulting for the publishing industry.
First, however, let’s look at the darker side of these
In the 21st century, a few select businesses have
become private superpowers. They can do more than most countries to promote or
prevent a free exchange of opinions.
Via social networks, phenomena like the viral spread
of fake news, hate speech and slander now have a global impact.
Professional trolls strategically destabilise
political discourse online, fuelling populist, nationalist and anti-democratic
tendencies throughout Europe and around the globe.
One observes that, here in India, free speech is facing a threat sprouting from religious motivations, political biases and social judgments. Attempts in the recent past to silence journalists, writers, film-makers and publishers reflect the rise of identity politics and apathy on the part of the state. Two journalists of international repute – Gauri Lankesh and Shujaat Bukhari – were shot dead within a span of nine months. Publisher friends like DC Books, Kalachuvadu Publications and their authors have witnessed attacks by fanatics who may have never even read the books in question.
When I look at the hysteria, hatred and hostility that
characterise the discussion in social media, the permanent state of turmoil
that societies around the world find themselves in, then I begin to doubt
whether we are actually capable of using the communications technologies whose
development we are so proud of.
To paraphrase Goethe: “The spirits I called / I now cannot
In social media, language is used as a destructive weapon
day in and day out, and it’s become clear how disastrous this can be for those
individuals targeted by the bullying. It can even lead to murder.
In his 2016 book Free
Speech, which you undoubtedly know, the British historian Timothy Garton
Ash examines the question of how free speech should take place.
He asks which social, journalistic, educational,
artistic and other possibilities can be realised to ensure that free speech proves
beneficial by facilitating creative provocation without destroying lives and
He comes to the conclusion that the less we want to
have laid out by law, the more we have to do ourselves.
After all, Ash explains, there is no law that can draw
a line between freedom and anarchy – every individual must look within before expressing
himself or herself and must take responsible decisions.
I would like to talk with you about this “how” in the
coming days and hear your opinions.
Personally, I feel that the participatory process I
mentioned before requires us – our industry, but also each of us as individuals
– to take a stance. Expressing an opinion of this type was long reserved for
politicians or the media. Today, in the 21st century, we all have the
possibility of making our voices heard.
And we should not do that in keeping with the motto “overnewsed
but uninformed,” but in a carefully considered manner.
I believe that this permanent state of turmoil is
troubling, this hysteria which does not stop at speech, but which now
increasingly leads to violence.
Personally, I’m alarmed at how the language we use is
becoming increasingly coarse and, following from that, the way we interact with
The problem about this state of turmoil is that it
usually results in the exclusion of others and, consequently, causes even
deeper trenches to be dug.
Yet how can we deal with the challenges of our time –
and find solutions to them – if not in dialogue with each other?
That leads to the question: what responsibility do
publishers bear, does our industry bear, today, in the post-Gutenberg era?
How can publishing houses and their products remain
relevant in an age in which fake news can be disseminated faster than
In which rumours, supposition and conjecture are more
quickly viewed, liked and shared than texts capable of explaining complex
As my friends Kristenn Einarsson and José Borghino have
pointed out on many occasions, “If we are to create and maintain free, healthy
societies, then publishers must have the will and the ability to challenge
established thinking, preserve the history of our cultures, and make room for
new knowledge, critical opposition and challenging artistic expression”.
Publishers in the 21st century are in a privileged
position: the industry looks back on a long tradition, on the one hand, and has
built a reputation. Publishers are gatekeepers – they filter and assess
content, they curate before they publish.
They consider it part of their job to publish content
that is well-researched, documented, checked and carefully assembled as way of
contributing to the range of opinions present in society.
On the other hand, they now have the possibility of
reaching their readers through various channels, offering their expertise, their
content and their opinion exactly where their target group is found.
Publishers and authors in many parts of the world risk
their lives by writing or bringing out books that criticise regimes, uncover
injustices and shed light on political failures.
On 15 November 2018, the Day of the Imprisoned Writer,
Arundhati Roy wrote the following in a letter to the Bangladeshi writer,
photographer and human rights activist Shahidul Alam: “How your work, your
photographs and your words, has, over decades, inscribed a vivid map of
humankind in our part of the world – its pain, its joy, its violence, its
sorrow and desolation, its stupidity, its cruelty, its sheer, crazy
complicatedness – onto our consciousness. Your work is lit up, made luminous,
as much by love as it is by a probing, questioning anger born of witnessing at
first hand the things that you have witnessed. Those who have imprisoned you
have not remotely understood what it is that you do. We can only hope, for
their sake, that someday they will.”
As you know, Shahidul Alam was taken into custody in
July of last year after he criticised the government of Bangladesh in an
interview with Al Jazeera and in various Facebook posts. Fortunately he has since
been freed, but the charges against him remain.
Without wanting to turn these very personal remarks by
Arundhati Roy into a generalisation, I would just like to say that she has put
it in a nutshell when she writes that, through their work, writers, authors, journalists
and artists draw a vivid map of humankind in our part of the world.
Journalists and other authors write despite
intimidation and threats. Like Shahidul Alam, they are driven by a mixture of love
and anger. For that, they deserve our highest esteem and respect.
Writers and journalists are being intimidated and
forced into silence all around the world because of their political and social
engagement, something we condemn in the strongest possible terms.
As discoverers and disseminators of ideas and free
thought, we, as a community, have a greater responsibility to uphold freedom of
expression. At the same time, we cannot withhold our criticism of its misuse.
I hope to have the chance to speak with many of you
about these issues in the coming days.
Creative installation at the launch of The JCB Prize for Literature
Lord Bamford, Chairman, JCB
Recently the Rs 25 lakh JCB Prize for Literature was announced. It is not the first literary prize in India nor is it the first of such a large value. Before this the DSC Prize for South Asian Literature offered a cash prize of $50,000 which was drastically cut by 50% to $25,000 in 2017. The generous JCB Prize will focus on a distinguished work of fiction and consider translations too. Self-published works will not be eligible. Authors must be Indian citizens. The longlist of ten will be announced in September, and a shortlist of five in October, with the winner to be declared at an awards ceremony on November 3. Each shortlisted author will receive Rs 1 lakh ($1500). The winning author will receive a further Rs 25 lakhs (approx. $38000). An additional Rs 5 lakhs ($7700) will be awarded to the translator if the winning work is a translation.
The Literary Director is award-winning author Rana Dasgupta. The advisory council consists of businessman Tarun Das (Chairperson), Rana Dasgupta, art historian Pheroza Godrej, award winning writer Amitava Ghosh and academic and translator Prof. Harish Trivedi. The jury for 2018 consists of filmmaker Deepa Mehta (Chairperson), novelist and playwright Vivek Shanbhag, translator Arshia Sattar, entrepreneur and scholar Rohan Murty, and theoretical astrophysicist and author Priyanka Natarajan.
Rana Dasgupta, Literary Director, The JCB Prize for Literature
To formally announce the prize an elegant launch was organised at The Imperial, New Delhi on 4 April 2018 where the who’s who of the literary world gathered. It was by invitation only. Those who spoke at the event were Lord Bramford, Chairman, JCB, and Rana Dasgupta, Literary Director. Lord Bramford spoke of the fond memories he had of his travels through India in the 1960s. Rana Dasgupta underlined the fact that most of the prestigious literary awards are not always open to Indian writers and especially not for translations, a gap that the JCB Prize wishes to address. He also announced a tie-up with the Jaipur Literature Festival (details to be announced later). In fact, all three directors of JLF were present – Namita Gokhale, William Dalrymple and Sanjoy Roy.
Namita Gokhale, writer and publisher; Rajni Malhotra, books division head, Bahrisons with Jaya Bhattacharji Rose, International publishing consultant
Literary awards are very welcome for they always have an impact. They help sell books, authors are “discovered” by readers and the prize money offers financial assistance to a writer. Prizes also influence publishers’ commissioning strategies. The biggest prize in terms of its impact factor are the two prizes organised by the Man Booker – for fiction and translation.
Lady Bamford, founder of Daylesford and Bamford with William Dalrymple, art historian and writer
Keki N. Daruwalla, poet, with David Davidar, co-founder, Aleph Books
Amitabha Bagchi, novelist with Vipin Sondhi, CEO, JCB India
Recognising the importance of financial security for a writer Lord Bramford told the Indian Express “Money often is a good motivator…Creative people like writers or artists often don’t get much reward. And we wanted to reward them.” This is borne out by award-winning writer Sarah Perry who wrote in The Guardian recently about winning the East Anglian book of the year award in 2014, it gave her not only legitimacy for her work but enabled her to afford a better computer to write upon; she “felt suddenly at ease. … I felt like an apprentice carpenter given the tools of the trade by a benevolent guild.” Poet and novelist Jeet Thayil too echoed similar feelings on stage when he won the $50,000 DSC Prize in 2013 for Narcopolis. Just as novelist Jerry Pinto did when he won the 2016 Windham-Campbell Prize of $150,000.
Ira Pande, editor and translator; Diya Kar, publisher, HarperCollins India with professor Harish Trivedi, member, Advisory Council, The JCB Prize for Literature
Lord Bamford, Chairman of JCB; Neelima Adhar, poet and novelist, Arvind Mewar, 76th custodian of Mewar dynasty
The JCB Prize for Literature is a tremendous initiative! It will undoubtedly impact the Indian publishing ecosystem. If publishers do not have eligible entries to send immediately particularly in the translation category, they will commission new titles. The domino effect this action will be of discovering “new” literature in translation and encouraging literary fiction by Indian writers, which for now is dwindling. By making literature available in English and giving it prominence there has to be a positive spin-off especially in terms of increased rights sales across book territories and greater visibility for the authors and translators.
( Pictures used with permission of the JCB Prize for Literature)
Manoj Pandey, curator of #StickLit, Literature on Stickers, believes that literature needs to be made more public and the elitism needs to be removed from it. Hence he co-founded the movement #StickLit. There are stickers being posted worldwide on streets and in multiple languages.
Here are excerpts from an email interview with Manoj Pandey:
How did #StickLit come about?
In the same manner #MeToo did. It just surfaced. Because enough was enough. In this case it was the abuse of talent and passion. By institutions of art and literature.
Do you find that with the digital tools, literature has become accessible to many more people but at the same time, ironically elitist?
Yes, because digital has no reach or impact.
Who are the writers contributing snippets on the stickers? Are these new writers or established writers?
They have chosen to remain anonymous. It could be anyone, from household names to rising stars to nobody. They’re just people who’re thrilled by radical ideas such as Aristotle being read by a rickshaw puller. They feel that even this dialogue between two disparate minds, Aristotle and the rickshaw puller, deserves a chance. They feel that even a rickshaw puller deserves more than just a marginal experience. He too deserves once in a day to entertain a phrase such as: ‘To be or not to be.’ He too deserves the luxury of thought.
Who is selecting, rather curating, the information on the stickers?
We initiated it. But now the network and the movement has its own independent bases. Which no one has control over. The power is in the hands of the writers and the artists who feel for the cause and are doing their bit.
Who can print and paste the stickers? As the co-founder of the movement do you keep an eye on all the material using your platform or is it democratic in its use allowing anyone and everyone to use it? ( In this article on #JLF read what Sanjoy Roy has to say about making literature accessible to everyone. Sanjoy Roy’s favourite memory was the most heart-warming of them all; he narrated the story of how once an underprivileged man walking with his child was stopped by the security guard, because he “didn’t look like he belonged”. )
Like I said we initiated it. But now we have no control over it. And we don’t want to also. We wanted to question the institutions on why they’ve turned this dialogue between a writer and a reader merely into a function of money. We wanted to shake things a little before a book, too, turned into a bottle of cola. Or a candy. We wanted to bring back joy in the simple act of writing. That’s all.
Will these stickers be available in all languages or only Hindi and English to begin with?
It’ll be available in as many regional languages as possible.
Why are the authors not identified on the stickers? Does it not defeat the purpose of making literature available to everyone? Or is this a design restriction of being unable to accommodate the writer and translator?
Purpose comes before the person. This whole system of credit, brand name, following, etc., were created by marketers. Note: this is not a promotional platform for authors to sell their work.
( My article on the preview for JLF 2017 was published on Bookwitty.com on 30 December 2016.)
The first time I attended the Jaipur Literature Festival (JLF) at Diggi Palace Grounds, Jaipur it was small enough so that once could drive the car straight up to the main steps of the building. Today, the parking is a fair distance from the palace and the only way to reach the venue is through multiple barricades and a screening counter. Once inside though, there is a wonderful, festive air with an explosion of colours in the décor, the happy buzz of excited people milling about and conversations streaming through various marquees. Termed one of the greatest literary events, it is also a free one. Since it began, the JLF has welcomed 846,000 visitors, 1874 speakers, conducted 1272 sessions and partnered with more than 1400 organisations.
The JLF is also crucial because it is situated in a geographical space that is at the heart of a significant book market. It is planned soon after the Christmas break and a few months after the Frankfurt Book Fair (FBF) so publishing professionals flying in from around the world can follow up on their FBF conversations and combine them with a holiday in India.
In January 2017, it will be the 10th anniversary of the Jaipur Literature Festival. The three directors since its inception are Sanjoy Roy, Namita Gokhale and William Dalrymple. The festival has evolved over the years to include different elements such as Jaipur BookMark – a B2B platform for publishers, a children’s section and a cultural event every evening. The Festival has expanded internationally to host annual events at London’s Southbank Centre (2014 onwards) and Boulder, Colorado (2015 onwards). In 2017 the Jaipur BookMark will launch a new scheme to support emerging writers and budding authors are invited to apply for a New Writers’ Mentorship Programme: The First Book Club.
The Festival has celebrated and hosted writers from across the globe, ranging from Nobel Laureates and Man Booker Prize winners to debut writers, including Amish Tripathi, Chimamanda Ngozi Adichie, Eleanor Catton, Hanif Kureishi, His Holiness the 14th Dalai Lama, Ian McEwan, JM Coetzee, Margaret Atwood, Mohammed Hanif, Oprah Winfrey, Orhan Pamuk, Pico Iyer, Salman Rushdie, Stephen Fry, Thomas Piketty, Vikram Seth and Wole Soyinka, as well as renowned Indian language writers such as Girish Karnad, Gulzar, Javed Akhtar, MT Vasudevan Nair, Uday Prakash, the late Mahasweta Devi and U.R. Ananthamurthy.
This January, the Jaipur Literature Festival expects to welcome over 250 authors, thinkers, politicians, journalists, and popular culture icons to Jaipur. Sanjoy Roy said “Our prime focus is on history of the world, given that it was the 70 years of India’s Independence [in 2016]. In a new collaboration with the British Library they have loaned us a version of the 1215 AD Magna Carta which will be on view at Diggi Palace. A series of sessions on freedom to dream will look at inspiration for the future. We have a new partnership with The Museum of Modern Art (MoMA) that will look at sessions on art and migration.”
Namita Gokhale added that at the JLF “We are always trying to listen in as many languages as possible. This time there will be speakers from all over Europe and more than 20 Indian regional languages will be showcased.”
Controversies and the JLF also seem to go hand in hand. In 2012 Hari Kunzru, Ruchir Joshi, Amitava Kumar and Jeet Thayil read out passages from Salman Rushdie’s banned book The Satanic Verses and had to leave Jaipur hurriedly before the police arrived to arrest them. Another time the Shell oil company was one of the sponsors, which created a stir since, among other things, it is infamously associated with the tragic execution of Nigerian writer Ken Saro-Wiwa. At the time, the JLF administration said they do not look at the color of money. This year too, there is disappointment already being expressed at representatives of the Hindu fundamentalist group RSS being invited to speak at JLF but as the organizers point out they stand for diversity.
Be that as it may, the 2017 edition of JLF promises to be as exciting as ever. The magnificent line-up of authors includes Paul Beatty, Alan Hollinghurst, Valmik Thapar, Amruta Patil, AN Wilson, Alice Walker, Mark Haddon, Ajay Navaria, Mrinal Pande, Richard Flanagan, Arshia Sattar, Arefa Tehsin, Eka Kurniawan, Tahmima Anam, Chitra Banerjee Divakaruni, Marcos Giralt Torrente, Kyoko Yoshida, David Hare, Margo Jefferson, Deborah Smith, Jeremy Paxman, Hyeonseo Lee, Francesca Orsini, John Keay, Jon Wilson, Kate Tempest, Mihir S. Sharma, Neil MacGregor, Rishi Kapoor, Sholeh Wolpé, Sunil Khilnani, and Vivek Shanbhag. Sessions have been planned on translations, revisiting history, conflict, politics, memoirs, biographies, nature, poetry, spirituality, mythmaking, women writing, travel writing, freedom of expression, children’s literature and book releases.
Some of the prominent sessions are:
Writing the Self: The Art of Memoir: Bee Rowlatt, Brigid Keenan Emma Sky and Hyeonseo Lee in conversation with Samanth Subramanian
Lost in Translation: Francesca Orsini, Deborah Smith, Paulo Lemos Horta and Sholeh Wolpé in conversation with Adam Thirlwell
Migrations: Lila Azam Zanganeh, NoViolet Bulawayo, Sholeh Wolpé and Valzhyna Mort in conversation with Tishani Doshi
The Tamil Story: Imayam Annamalai and Subhashree Krishnaswamy in conversation with Sudha Sadhanand
In Search of a Muse: On Writing Poetry: Anne Waldman, Auður Ava Ólafsdóttir, Ishion Hutchinson, Kate Tempest, Tishani Doshi and Vladimir Lucien in conversation with Ruth Padel
Lost Kingdoms: The Hindu and Buddhist Golden Age in South East Asia: John Guy introduced by Kavita Singh
Before We Visit the Goddess: Chitra Banerjee Divakaruni in conversation with Shrabani Basu
Kohinoor: Anita Anand and William Dalrymple introduced by Swapan Dasgupta
The Dishonourable Company: How the East India Company Took Over India: Giles Milton, John Keay, Jon Wilson, Linda Colley and Shashi Tharoor in conversation with William Dalrymple
Brexit: A.N. Wilson, Andrew Roberts,, Linda Colley, Surjit Bhalla and Timothy Garton Ash in conversation with Jonathan Shainin
Rewriting History: The Art of Historical Fiction: Adam Thirlwell, Alan Hollinghurst and Shazia Omar in conversation with Raghu Karnad
Civil Wars: From Antiquity to ISIS: David Armitage introduced by Raghu Karnad
The Biographer’s Ball: A.N. Wilson, Andrew Roberts, David Cannadine, Lucinda Hawksley, Roy Foster and Suzannah Lipscomb in conversation with Anita Anand
Ardor: On the Vedas: Roberto Calasso in conversation with Devdutt Pattanaik
Things to Leave Behind: Namita Gokhale in conversation with Mrinal Pande and Sunil Sethi
That Which Cannot be Said: Hyeonseo Lee, Kanak Dixit, Sadaf Saaz and Timothy Garton Ash and in conversation with Salil Tripathi
The Art of the Novel: On Writing Fiction: Adam Thirlwell, Alan Hollinghurst, NoViolet Bulawayo and Richard Flanagan in conversation with Manu Joseph
Footloose: The Travel Session: Aarathi Prasad, Bee Rowlatt, Brigid Keenan, Nidhi Dugar and Simon Winchester in conversation with William Dalrymple
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)
Day 1: 21st January 2015
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
10.45 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.