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Sumeet Shetty, Literati, SAP Labs book club

Sumeet Shetty, Literati, SAP Labs book club

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Literati is the book-club at SAP Labs India, and India’s largest corporate book-club.

Headquartered in Walldorf, Germany, with locations in more than 130 countries, SAP is the world leader in enterprise software and software-related services. SAP logo

 

Literati aims to bring together books, readers and writers. Here’s a list of authors who have spoken at Literati:

  • Amit Chaudhuri
  • Alex Rutherford
  • Alice Albinia
  • Amish Tripathi
  • Amitabha Bagchi
  • Amitava Kumar
  • Anand Giridharadas
  • Anjum Hasan
  • Anita Nair
  • Anuja Chauhan
  • Anuradha Roy
  • Arun Shourie
  • Ashok Ferrey
  • C P Surendran
  • Chetan Bhagat
  • Geeta Anand
  • Harsha Bhogle
  • James Astill
  • Kiran Nagarkar
  • Manil Suri
  • Mark Tully
  • M J Akbar
  • Mita Kapur
  • Mridula Koshy
  • Mukul Kesavan
  • Musharraf Ali Farooqi
  • Namita Devidayal
  • Navtej Sarna
  • Omair Ahmad
  • Pallavi Aiyar
  • Pankaj Mishra
  • Partha Basu
  • Pavan K Varma
  • Peter James
  • Poile Sengupta
  • Raghunathan V
  • Rana Dasgupta
  • Sam Miller
  • Samantha Shannon
  • Samit Basu
  • Samhita Arni
  • Sarnath Banerjee
  • Shashi Deshpande
  • Shashi Tharoor
  • Shehan Karunatilaka
  • Shobhaa Dé
  • Sudha Murthy
  • Suhel Seth
  • Sunil Gupta
  • Sudhir Kakar
  • Tabish Khair
  • Tarun J Tejpal
  • Tishani Doshi
  • Vikas Swarup
  • Vinod Mehta
  • Vikram Chandra
  • William Dalrymple
  • Yasmeen Premji
  • Zac O’Yeah 

Contact: Sumeet Shetty (sumeet.shetty@sap.com)

Sumeet Shetty is a Development Manager at SAP Labs India, and is the President of Literati, India’s largest

corporate book-club.

 

“‘Unsafe’ was a feeling he was familiar with.”

“‘Unsafe’ was a feeling he was familiar with.”

Joseph Anton

Salman Rushdie’s memoir Joseph Anton was released in 2012. Well before it was published it was being discussed–what will be said, what will not, will it live up to expectations etc. The title is borrowed from the names of two writers whom Rushdie admires, Joseph Conrad and Anton Chekhov. The nearly 600 pages are preoccupied with a decade of living under the fatwa, a death threat issued by Ayatollah Ruhollah Khomeini of Iran ordering Muslims to kill Rushdie having written Satanic Verses. From the announcement of the news on 14 February 1989 till the threat perception was reduced to level four by Scotland Yard, Rushdie documents his complete bewilderment, growing frustration, simmering rage and absolutely disgust at the reactions of many who did not support him. He meticulously records his growing isolation from family and friends; the desperation at wanting to socialise but never being able to, at least not without prior planning with the police officers deputed to protect him; and then his growing rage at the hijacking of freedom of expression especially at the altar of religious zealots. He does not mask his distaste for his colleagues in the creative industry who fail to support him, including the “big unfriendly giant Roald Dahl”.

Interestingly he uses the third person technique to write. As if he is a dispassionate observer of what Joseph Anton experiences, though at times “Salman” does intrude and speaks, introspects and reflects. It is curious that many of the reviews ( a few are reproduced below) comment upon the technique recognise it to be a unique way of writing, but do not understand the import of it. Whereas if you read any written account by a woman of a trauma that she has experienced, when the moment comes to describe the actual event, she inevitably switches to the third person narrative. ( It is rare indeed for it to be ever written in the first person. And if it is, then it is usually a draft that has been worked upon extensively till it is worked out of the system of the victim.) In Joseph Anton Rushdie describes a period of his life that must have been fraught with anxiety for every second of the day and night. So it is not surprising that even though he had his diaries to refer to he opts to use a technique that makes the memory of living with terror 24×7 easier to write about. It is fascinating to see him use a writing technique that is normally not associated with men.

Joseph Anton is a detailed account of what happened in that frightful decade of Rushdie’s life, but also consists of references to his family and friends. It is a delightful balance of the personal and professional aspects of a very public figure. Graham Greene was amused that Rushdie had got into more trouble than Greene himself ever had! Whereas Gabriel Garcia Marquez never asked him about the fatwa. They had a straightforward conversation about writing and books, much to the relief of Rushdie. And of course the famous literary spat that John le Carre and Rushdie had in 1997. It was finally called off in November 2012 ( http://www.guardian.co.uk/theguardian/from-the-archive-blog/2012/nov/12/salman-rushdie-john-le-carre-archive-1997 and http://www.guardian.co.uk/books/2012/nov/12/salman-rushdie-john-le-carre ). The ups and downs with the family, understanding his parents and their marriage and his utter and complete adoration for his two sons born eighteen years apart — Zafar and Milan– comes through very clearly. The passages on publishing, literary agents, sale of rights, publishing schedules makes one wonder whether the digital age revolution has really changed anything at all. The details, the arguments, the negotiations are the same, whether it was in the 1980s or now. There are moments when the editorial inputs should have been stronger since the text tends to get a little clunky and tedious, yet it reads well.

Years ago I recall attending a literary event where Salman Rushdie with Padma Lakshmi were also present. It was at the Oxford Bookstore, Statesman House, New Delhi. They were (I think) guests of William Dalrymple who was at the store to do a reading. For a long time I reflected upon that evening, but after reading Joseph Anton, a lot is explained especially the sheer joy of Rushdie at being able to live a normal life.

Whenever Rushdie writes non-fiction he does it extremely well. Those years of being “invisible” and yet not, being catapulted onto the front pages of the newspapers worldwide gave him the confidence to speak clearly and strongly. He says what he wants to say. One of the most recent examples being the speech he gave at the concluding dinner at the India Today Conclave, New Delhi held on 18 March 2012. ( http://www.youtube.com/watch?v=tNzGgYvz92s). He insists that everyone should be allowed to speak without fear. He never really did, now he definitely does not, feel the need to mince words. I liked Joseph Anton.
30 May 2013

Salman Rushdie Joseph Anton: A Memoir Jonathan Cape, London, 2012. Hb. pp. 650 Rs 799

    Examples of reviews of the book, dwelling upon the third person technique

http://observer.com/2012/10/gone-underground-in-a-new-memoir-salman-rushdie-looks-bach-at-his-fatwa/ “The first thing readers will notice about this memoir is that the memoirist has written it in the third person. It is not a perspective often associated with self-awareness.”

http://www.thedailybeast.com/articles/2012/09/18/11-revelations-from-salman-rushdie-s-memoir-joseph-anton.html “…the book is written in the third person, as if a ‘biography’ of Rushdie/Anton…”

Pankaj Mishra in the Guardian (http://www.guardian.co.uk/books/2012/sep/18/joseph-anton-salman-rushdie-review ) “In his memoir, where Rushdie bizarrely decides to write about himself, or “Joseph Anton”, his Conrad-and-Chekhov-inspired alias, in the third person, … .

The business of literary festivals

The business of literary festivals

The question most often asked these days in the literary world and beyond is, “Are you going to Jaipur?” I know of authors, publishers, agents, aspiring writers and even friends who have nothing whatsoever to do with literature (not even to read a book) heading off to the Pink City. The attraction ranges from seeing authors “in the flesh” to gawking at talk-show celebrities such as Oprah Winfrey. That said, I wonder how many would actually know what a phenomenal impact Oprah’s Book Club had on book sales in America — termed as the Oprah effect. She single-handedly recommended books that she enjoyed reading on The Oprah Winfrey Show. It is estimated that the 69 books she recommended over a 15-year period, saw the sale of 55 million units. But as with popular literary spaces, she too has had her fair share of controversies. Most notably being of her recommending James Frey’s memoir, A Million Little Pieces, only for it to be revealed that the book was a complete hoax, but that is another story.

Literary festivals are spaces to have a great time — good conversation, plenty of ideas swirling about, good company, especially if accompanied by good weather, food and facilities. What more can one ask of a long weekend break? It is a mela time to listen to panelists, to be able to ask questions directly of one’s favourite authors and discover new ones. It is also a space that provides opportunities for aspiring writers to contact publishers, word-doctors, and literary agents. Rohini Chowdhury, author and freelance editor says, “I think literary festivals serve an important function in providing writers and publishers a platform on which they can come together, particularly writers who often need the visibility. It also provides them with a sense of community and turn into exclusive clubs.” William Dalrymple, director, Jaipur Literature Festival (JLF), says when he gets invited to international literary festivals as an author, he is always on the lookout for new voices or to connect with established names. It is easier to do it over breakfast than send off an impersonal email request.

A Costly Affair
But there is no such thing as a free lunch. It is never clear from the media stories that bear the cost of putting up this extravaganza. Often the stories are about celebrities attending a festival, the political and literary controversies surrounding some participants (it helps to pull in the crowds!), but rarely about the investments involved. At most there will be references to “breaking even”, but hardly any numbers are mentioned. Yet, there is a cost, and a substantial one at that to the organisers of the festival: financial and human resources and infrastructure. There is also a cost to the city that hosts the festival; although, both parties stand to gain in the long run.

Internationally, festivals are ticketed and are not the norm in India. (This is set to change with JLF announcing modestly-priced tickets for the musical events this year.) The income from ticket sales is rarely enough to cover costs of producing a festival — in fact, it is not even close, probably only 15 per cent of the total budget. So donations and sponsorship end up paying most of the costs. In addition to these, corporate sponsorship and individual donations are incredibly important to enable the literature festivals to run. A great deal of time is spent developing proposals, targeting potential sponsors (including big businessmen, bankers and financiers), sending out those proposals and following up. A festival director can send out 50 or more proposals and get only 5 or 10 responses most of which are polite rejections. Most people who generally do respond are those that already know the core team, especially the festival director’s work, so one needs to spend a great deal of time making and developing contacts. Add to this are other “hidden” costs that involve huge amounts of labour and are not easily quantified. They include planning and organising the events, particularly bearing in mind the ratio of local to international authors, as well as the linguistic ratios; keeping abreast of backlists and forthcoming titles; networking with publishers and authors; and putting together a judicious mix of ideas and entertainment. Also important are building confidence amongst participants and audience, timing the participation of authors if they are going to be in town (it helps to have information in advance as it differs the costs of running the festival). Additional costs to be factored are an honorarium or an appearance fee to be paid, especially to the star performers; organising cultural events where the artistes are paid their fee; media and publicity; salaries of the staff (permanent and volunteers); rent of the space; catering at the venue; transport and accommodation; and infrastructure. In fact, every person who walks in has a cost — registration tags (electronic or bar-coded), brochures, chair, and a system to buy a book. According to Adriene Loftus Parkins, Founder/Director of the Asia House Festival of Asian Literature, “I think it’s fair to say that no one realistically goes into this business to make a lot of money. It is very important that we raise enough to cover costs, so that we can pay our suppliers and keep going, but we are running a festival for reasons other than profit. I rarely have the funds to produce the kind of festival I’d ideally like to and to do the marketing and PR that I feel I need, so I do the best I can with what I have.”Fundraising is a crucial aspect of organising a literary festival. An efficient team will stick to the budget and realise it is organic. Part of the fundraising is in kind – offering accommodation, free air tickets, conveyance, sponsoring a meal or an event. If it is in cash, then it is by networking with businesses, financiers, cultural and arts agencies like the British Council, Literature Across Frontiers, multi-national corporations etc. But it is crucial to find the relevant links between the festival being organised and the agency’s mandate. For instance, the British Council literature team promotes UK’s writers, poets and publishers to communities and audiences around the world, developing innovative, high-quality events and collaborations that link writers, publishers and cultural institutions. Recent projects include the Erbil Literature Festival, the first international literature festival ever to be held in Iraq; the Karachi Literature Festival; and a global partnership with Hay Festivals that has seen UK writers travel to festivals in Beirut, Cartagena, Dhaka, Kerala Nairobi, Segovia and Zacatecas amongst others. This ongoing work with partners helps provide the opportunity for an international audience to experience the excitement of the live literature scene in the UK. And for businesses it is a direct investment into the community. According to image guru Dilip Cherian of Perfect Relations, “Corporates find that they can reach otherwise with Lit Fests. It’s also an audience that captures influentials who otherwise have little space for corporate Branding. The danger though is that literary festivals may be going the way of Polo…Money too easily caught, could stifle the plot.”

The Host City Makes Hay
The business model of a literary festival depends upon who is it for — the city or the festival. According to The Edinburgh Impact Study released in May 2011, the Edinburgh “Festivals generated over a quarter of a billion pounds worth of additional tourism revenue for Scotland (£261 million) in 2010. The economic impact figure for Edinburgh is £245 million. Plus the festivals play a starring role in the profile of the city and its tourism economy, with 93 per cent of visitors stating that the festivals are part of what makes Edinburgh special as a city, 82 per cent agreeing that the festivals make them more likely to revisit Edinburgh in the future. The study calculates that Edinburgh’s festivals generate £261 million for the national economy and £245 million for the Edinburgh economy. To put this in to context, the most recent independent economic impact figure for Golf Tourism to Scotland is £191million. The festivals also sustain 5,242 full-time equivalent jobs. Although the festivals enjoy over 4 million attendances every year, the lion’s share of additional, non-ticket visitor expenditure is attributable to beneficiary businesses, such as hotels and retailers. 37 per cent (or £41 million) goes to accommodation providers, 34 per cent to food and drink establishments, 6 per cent to retailers and 9 per cent is spent on transport.”

Says Peter Florence, director, Hay-on-Wye Festivals: “We have done a hundred and fifty festivals over 25 years around the world. Just when you think you know how to do them, a new googly comes at you. The fun of it is working out how to play every delivery… .” He adds that since story telling is the basis for festival, they are open to exploring good writing in any form. Songwriters, comedians, philosophers, screenwriters and even journalists are treated with the same respect as are poets and novelists. It is all about great use of language. He clarifies that “We aren’t in business. We are a not a for-profit educational trust. We are the only part of the publishing-reading chain that is not out to make money. We simply aim to break-even and keep costs as low as possible.” Festivals grow only if the participants have a good time there. There has to be a word-of-mouth publicity for the festivals to get popular.

Frankly, it is very difficult to say that there is one clear business model for a literary festival. It changes from region to region. Yet it is obviously growing, otherwise why else would Harvard Business School be doing a case study on the Jaipur Literature Festival that is being studied over two semesters.

Jaya Bhattacharji Rose is an international publishing consultant and critic
She can be contacted on jayabhattacharjirose@gmail.com. Follow Jaya on Twitter @JBhattacharji
(This article was first published in my column in Businessworld online on 17 January 2012.)

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