Aranyaka is the first collaboration between mythologist Devdutt Pattanaik and writer-painter Amruta Patil. Amruta is also India’s first female graphic novelist. “Aranyaka” is a modern retelling of the Vedic concepts that are not always easy to communicate. The best medium to do so seemed to be using text and imagery for which the graphic novel is the ideal art form. More importantly it is the creative energy between the authors that has been the prime force in narrating this parable, a love story, a creation myth, yet weaving in the essential elements of learning which the over 3000-year-old Vedas emphasise. The beauty of any scripture is its ability to be retold in any age and in any form without losing its core idea. With “Aranyaka”, the two authors seem to have achieved this magnificently. It is impossible to tell who contributed to which part of the storytelling apart from the obvious ones of Amrut Patil’s artwork and Devdutt Pattanaik’s corporate speak — at times the latter makes its presence felt in the dialogue. Nevertheless there is a seamless unified quality to the story which gets straight to the point — of immersing the reader immediately and effectively into the story about the forest. It is not imperative to have read the original Vedas in order to appreciate this modern version. It reads smoothly. Not once does the collaboration seem clunky! This magical jodi of Devdutt Pattanaik and Amruta Patil is perhaps the ideal desi version of Neil Gaiman and late Terry Pratchett who are equally phenomenal in retelling the scriptures.
Lists are subjective. Reading lists are even more difficult to cobble. Today my list consists of the following books. A few days later it may change ever so slightly. But these are the books that have stayed with me over the months.
Brilliant storyteller Neil Gaiman’s Art Matters is a little book, a collection of his thoughts published in recent years, by the magnificent illustrator Chris Riddell. It is a collection of writings written over a period of years by Neil Gaiman, stressing the need to read and write what you like. To create and spread ideas. To be free to express oneself. To spend time in a library. Everyone has the right to do so. But it is the credo on the right to make good art that is tremendously forceful. It is utterly brilliant and worth committing to memory, internalisting it and sharing it over and over again.
Slim little book but oh, ever so powerful. Parts of it were published earlier in The Guardian.
A response to terror by Chris Riddell and Neil Gaiman – in pictures: In the aftermath of the Paris terror attacks, the award-winning illustrator and writer team up to present the artist’s creed in the face of atrocity. It stressed the importance of ideas and how they would spread irrespective of violently negative forces terrorising people to keep quiet.
Neil Gaiman and Chris Riddell on why we need libraries – an essay in pictures
Illustration: Chris Riddell : Two great champions of reading for pleasure return to remind us that it really is an important thing to do – and that libraries create literate citizens
Best thing ever you would do is to read this book and buy multiple copies of it to distribute widely. It is outstanding!
Since the last newsletter it has been a whirlwind of book releases, literature festivals and fabulous conversations. For instance a lovely evening spent at the Canadian High Commissioner, H. E. Nadir Patel’s residence for the launch of Indo-Canadian writer, Shauna Singh Baldwin’s essays — Reluctant Rebellions. Shauna read out an extract comparing the freedom women had in different geographies. She added that writing non-fiction was akin to being naked. There is no literary device as there is in fiction to hide the author’s true sentiments. Dr Shashi Tharoor spoke at the event too.
To attend the Tata Literature Live! Festival in Mumbai was award winning Australian author, Geoffrey Moorhouse. He is known for his historical fiction such as on the League of Nations. During a quiet lunch at the Australian High Commission, New Delhi, it was incredible to hear Moorhouse describe the research involved for the books. He had thought it would take a few weeks but he spent nearly four years in the Geneva archives. Mostly he was the only person reading the documents.
On 17 September 2016, H.E. Syed Muazzem Ali, High Commissioner, Bangladesh released the gently told but vivid memoir of haemotologist-oncologist Dr Fazlur Rahman. It charts mostly the journey of the doctor from a village to Texas in 1969 with some insights into his experience as an oncologist, caregiver and in setting up hospices. But as the high commissioner pointed out it is in exactly such literature that the history of the subcontinent will be mapped and preserved. During the panel discussion Dr Rahman stressed the importance of empathy for the patient and caregiver and the significance of medical, physical and spiritual sustenance.
The Times Lit Fest (26-27 Nov 2016) was a tremendous success. It was a crackling good mix of speakers and the panel discussions were well curated. Everything ran with clockwork precision even though there were tremendous crowds to be seen everywhere. To discuss her elegant new novel, Things to leave Behind, I was in conversation with Namita Gokhale, writer and co-director of Jaipur Literature Festival. This multi-generations novel is set in the Himalayas, in the Nainital and Sat Tal region, putting the spotlight on socio-economic relationships, independence of women, spread of religious philosophies and the rigid caste system.
As the year draws to a close some significant literary prizes / longlists have been announced.
Shakti Bhatt First Book Prize was won by Akshaya Mukul for Gita Press and the Making of Hindu India
Tata Literature Live! Awards were presented with Amitav Ghosh getting the Lifetime Achievement Award and Kanishk Tharoor winning for his stupendous debut collection of stories.
Jorge Luis Borges and Osvaldo Ferrari Conversations ( 1 & 2) , Seagull Books
Being a Dog by Alexandra Horowitz ( Simon and Schuster)
Amba by Laksmi Pamuntjak ( Speaking Tiger Books)
Uttara: The Book of Answers translated by Arshia Sattar ( Penguin Random House)
Bestselling author Stephanie Meyer’s new book is a thriller called The Chemist ( Hachette India)
White Mountain: Real and Imagined Journeys in the Himalayas by Robert Twigger ( Hachette India)
Publishing News and links
Nineteen years after working at PRH India, Udayan Mitra, Publisher, has quit.
The two week long Dum Pukht residential workshop with facilitators Anil Menon, Pervin Saket, Akshat Nigam and special guest Amit Chaudhuri premieres at Adishakti, Pondicherry this Monday, 5 Dec 2016. The workshop also features one-day talks / sessions by poet Arundhati Subramaniam and historian Senthil Babu.
Utterly fabulous BBC Documentary on UK-based feminist publishing house, Virago Press
Two centuries of Indian print. A British Library project that will digitise 1,000 unique Bengali printed books and 3,000 early printed books and enhance the catalogue records to automate searching and aid discovery by researchers.
( I wrote an article for the amazing literary website Bookwitty.com on “Penguin on Wheels”. An initiative of Walking BookFairs and Penguin Books India. It was published on 28 June 2016. Here is the original url: https://www.bookwitty.com/text/penguin-on-wheels-walking-bookfairs-and-penguin-b/57725752acd0d076db037bf7 . I am also c&p the text below. )
Literature does not occur in a vacuum. It cannot be a monologue. It has to be a conversation, and new people, new readers, need to be brought into the conversation too.”
-Neil Gaiman, Introduction, The View from the Cheap Seats ( 2016)
On the 16th of May 2016, Penguin Random House India circulated a press release about Penguin Books India’s one-year collaboration with Walking BookFairs (WBF) to launch “Penguin on Wheels”, a bookmobile that will travel through the eastern Indian state of Odisha promoting reading and writing.
This is not the first time Walking BookFairs has collaborated with a publishing house to promote reading. Their earlier “Read More, India” campaign saw Walking BookFairs supported by HarperCollins India, Pan MacMillan India, and Parragon Books India. Apart from these three publishers, WBF stocked books from various other publishers, including Tara Books, Speaking Tiger Books, Penguin, Duckbill, Karadi Tales, and Scholastic. “We got books delivered by our publishers on the road wherever we were displaying books.”
The concept of bookmobiles is not unusual in India, for some decades the state-funded publishing firm, National Book Trust, has maintained its own book vans. Yet it is the duo of Satabdi Mishra and Akshaya Rautaray that has captured the public imagination.
Walking BookFairs was established two years ago while Satabdi Mishra was on a break from her job and Akshaya Rautaray quit his publishing job to set up an independent “simple bookstore” in Bhubaneshwar. The shop, which they prefer to think of as a “book shack”, runs on solar power. It is a simple space with the bare necessities and a garden. They allow readers to browse through the bookshelves, offering a 20-30% discount on every purchase throughout the year.
WBF also doubles as a free library. They introduced the bookmobile in 2014, as part of an outreach programme that would see them travelling to promote reading in the state. Speaking to me by email, Satabdi said,
“There are no bookshops or libraries in many parts of India. There are thousands of people who have no access to books. We started WBF in 2014 because we wanted to take books to more people everywhere. We have been travelling inside our home state Odisha for the last two years with books. We found that most people do not consider reading books beyond textbooks important in India. We wanted people to understand that reading story books is more important than reading textbooks. We wanted to reach out to more people with books. We also wanted to inspire and encourage more people across the country to read books and come together to open more community libraries and bookshops.”
India is well known for stressing the importance of reading for academic purposes rather than reading for pleasure. In a country of 1.3 billion people, where 40% are below the age of 25 years old, and the publishing industry is estimated to be of $2.2 billion, there is potential for growth. Indeed,there has been healthy growth across genres, quite unlike most book markets in the world.
The WBF team has been keen to promote reading since it is an empowering activity. They began in the tribal district of Koraput, Odisha, where they carried books in backpacks and walked around villages. They displayed books in public spaces like bus stops and railways stations or spreading them out on pavements or under trees, whatever was convenient and accessible. “That works because people in smaller towns feel intimidated by big shops,” they say.
Apart from public book displays, they also visit schools, colleges, offices, educational institutions, and residential neighbourhoods. They soon discovered that children and adults were not familiar with books. Bookstores too seem only to be found in urban and semi-urban areas and are lacking in rural areas, but once easy access to books is created there is a demand. As Neil Gaiman says in the essay “Four Bookshops”, these bookshops “made me who I am”, but the travelling bookshop that came to his day boarding school was “the best, the most wonderful, the most magical because it was the most insubstantial”. (The View from the Cheap Seats)
Speaking again via email, Satabdi says that they’ve found, “Children’s books are always the most sought after. We have many interesting children’s storybooks and picture books with us. We found that in many places, not just children but also adults and young people enthusiastically pick up children’s books, browse through and read them. Beyond a couple of urban centres in India, big cities, there are no bookshops. Most bookshops that one comes across are shops selling textbooks, guide books or essay books. Many people were actually looking at real books for the first time at WBF.”
In India the year-on-year growth rate for children’s literature is estimated to be 100%. Satabdi Mishra and Akshaya Rautaray stock 90% fiction. Rautaray says, “We believe in stories. I think, if you need to understand the world around you, if you need to understand science and history and sociology, you need to understand stories. I believe in a good book, a good story.”
The categories include literary fiction, classics, non-fiction, biographies, books on poetry, cinema, politics, history, economics, art visual imagery, young adult, picture books, children’s books, and regional literature from Odia and Hindi. The emphasis is on diversity, but they do not necessarily stock bestsellers or popular books like romance, textbooks, or academic books. That said, the Penguin on Wheels programme will dovetail beautifully with, “Read with Ravinder” another of the publisher’s reading promotion campaigns, spearheaded by successful commercial fiction author Ravinder Singh.
In December 2015, Satabdi and Akshay launched their “Read More, India” campaign (#ReadMoreIndia), which saw them take their custom-built book van, loaded with more than 4000 books across India. They covered 10,000kms, 20 states, in three months (from 15th Dec 2015 to 8th March 2016).
Over the course of the journey, they sold forty books a day, met thousands of people, and had a number of interesting experiences. One anecdote that gives an insight into the passion and trust that the young couple displays is of that of an elderly gentleman in Besant Road Beach road, Chennai. The older man was out for his daily jog and stopped to look at the books. He wanted to buy some books, but had left his wallet behind.
“We asked him to take the books and pay us later via cheque or bank transfer. He seemed surprised that we were letting him take the books without paying. He took the books and sent the money later with his driver. We want people to read more books. And if people cannot buy books, we want them to read books for free for as long as they want. People pay us in cash, in kind, sometimes they take books pay later, pay through credit/debit cards.”
The Penguin on Wheels campaign was launched because Penguin Books India had been following WBF’s activities and reached out to them. Earlier, they had collaborated for an author event in Odisha, but this new move is a focussed effort that will see the bookmobile travel within Odisha.
The books are curated by Akshay as Penguin Books India said graciously that “they [WBF] know best what their readers like more”. It will consist of approximately 1000 titles from the Penguin Random House stable. The collection will have books by celebrated authors, including Jhumpa Lahiri, John Green, Orhan Pamuk, Amitav Ghosh, Devdutt Pattanaik, Salman Rushdie, Ravinder Singh, Twinkle Khanna, Hussain Zaidi, Khushwant Singh, Roald Dahl, Ruskin Bond, and Emraan Hashmi.
Contests and author interactions will also be organised with the support or Penguin Random House. It will start with Ravinder Singh’s visit to Bhubaneshwar for the promotion of his newly launched book, Love that Feels Right. Satabdi Mishra adds, “We are happy to partner with PRH through the WBF ‘Penguin on Wheels’ that will spread the joy of reading around.”
Neil Gaiman is the superstar of storytellers and one of the leading influencers on social media with his strongly voiced opinons. He is incredibly generous while sharing his knowledge, he has bundles of energy, oozes with charisma and can pack quite a powerful punch while speaking his mind. He comes across as straightforward and can be blunt when he wants as in the essays — “Why our future depends on libraries, reading and daydreaming: The Reading Agency Lecture, 2013” or “The PEN Awards and Charlie Hebdo ” ( 2015). He is charming in his hero-worship when he writes about meeting legends such as Fritz Leiber and magnanimous with his compliments such as on illustrator Charles Vess with whom he often collaborates. Gaiman is passionate about his love for reading, letting the imagination roar and creativity blossom as evident in the innumerable speeches he has delivered. One of them being “Good Comics and Tulips: A Speech”or after his visit to a Syrian refugee camp, Azraq refugee camp, Jordan — “So Many Ways to Die in Syria Now: May 2014”. Here is a typical Gaiman straight-from-the-heart observation:
I realise I have stopped thinking about political divides, about freedom fighters or terrorists, about dictators and armies. I am thinking only of the fragility of civilisation. The lives the refugees had were our lives: they owned corner shops and sold cars, they farmed or worked in factories or owned factories or sold insurance. None of them expected to be running for their lives, leaving everything they had because they had nothing to come back to, making smuggled border crossings, walking past the dismembered corpses of other people who had tried to make the crossing but had been caught or been betrayed. ( p.506)
Most of the essays and speeches collected in this volume have gone viral on the Internet recently. They have developed a life of their own for the ideas they spawned. As Gaiman says in “Credo”, “I believe that it is difficult to kill an idea because ideas are invisible and contagious, and they move fast. He also firmly believes that “Literature does not occur in a vaccuum. It cannot be a monologue. It has to be a conversation, and new people, new readers, need to be brought into the conversation too.” The title essay refers to his appearance at the Oscar ceremony when the film adaptation of his book Coraline had been nominated and he walked the red carpet but was given a seat in one of the top balconies.
The articles included in this collection may over a period of time vanish from their original place of publication in cyberspace or disappear behind pay walls as business models of media websites evolve. This is an anthology that is must have that will constantly be read and re-read for its thought-provoking ideas, its analysis of the changing game of publishing, the relationship between writer and readers but most importantly it will be remembered for Gaiman’s fervour in infecting others with his passion for reading and allowing the imagination to run wild.
Buy it. Treasure it. Preserve it. Share it widely. Pass it on to the next generation.
Neil Gaiman The View from the Cheap Seats: Selected Non-Fiction Headline Publishing Group, London, 2016. Pb. pp. 532 . Rs 599
Hachette India distributes it in India, Bangladesh, Nepal, Bhutan, Sri Lanka and Pakistan.
(My monthly column, Literati, in the Hindu Literary Review was published online ( 17 October 2015) and will be in print ( 18 October 2015). Here is the http://www.thehindu.com/books/literary-review/jaya-bhattacharji-rose-on-india-coping-with-book-bans/article7770216.ece. I am also c&p the text below. )
It remains to be seen how India, despite its business potential, copes with cultural policing, muzzling of free speech, and book bans
According to Nielsen’s The India Book Market Report 2015, released at Frankfurt Book Fair on October 14, the print book market in India is worth Rs. 261bn (£2.5bn), making it the sixth largest in the world, and the second largest of the English language markets. U.K. publishers’ revenues, including e-books, home and exports, are worth £3.3bn. India is the second most populous country in the world, with 1.28 billion people. The literacy rate is rising rapidly, from 65 per cent in 2001 to 74 per cent in 2011; it is predicted to reach 90 per cent in 2020. One quarter of young people define themselves as book readers, comprising by themselves a larger group than the population of the U.K. which is 65 million.
It explains why, for some time now, publishers worldwide are keen to explore strategic partnerships with their Indian counterparts in English and regional languages. According to a 2010-12 report Rebalancing the Economy from the House of Commons, Parliament of Great Britain, “40 per cent of U.K. publishing revenues are derived from exports”. Though the statistic is three years old, it will hold validity in 2015 since the links between British publishers and India are amongst the oldest given the colonial past.
But what happens when a market like India with huge business potential mutates into a territory synonymous with cultural policing, muzzling of free speech, book bans and intolerance of ideas? Does it still remain an attractive market to invest in? Increasing number of writers from various Indian languages are returning their Sahitya Akademi awards and Punjabi writer Dalip Kaur Tiwana returned her Padma Shri in protest against the assassination of rationalist scholars like Kalburgi. For some writers, this form of intellectual censorship is linked to the horrific lynching incident in Dadri. Noted Hindi writer, 90-year-old Krishna Sobti, said while returning her award that India did not need any more “Dadri or Babri”.
I have contributed an article on the theme of Independence in Indian Children’s Literature for the inaugural issue of The Read Quarterly. It is a journal on children’s literature, founded by Sarah Odedina and Kate Manning; the Kickstarter campaign has been endorsed by Neil Gaiman. Some of the other contributors include Nury Vittachi, Eoin Colfer, Gita Wolf (Tara Books) and Daniel Hahn. My article maps the literary inheritance of independence/partition of subcontinent. Much of it is inadvertently focused on hagiographies written to suit a specific ideological position, reinforcing communal points of view that took root in British India. Fortunately, there are noticeable positive shifts in contemporary fiction, but as Romila Thapar, the eminent historian, wrote to me, “The goal of the national movement was such that communities came together for a cause and set aside what separated them. It is these moments that need to be remembered in the present times.”
Cultural pluralism, democracy and secularism, the defining traits of India, are now under severe threat. Two collections of short stories published this past month address the complexities of Indian culture and ethos being intimidated by communal forces. Deeply disturbing but essential reading is the Pigeons of the Domes: Stories on Communalism edited by Rakhshanda Jalil (Niyogi Books). It was put together with the sole intention of “tracing the secular thread in the fabric of modern India, a thread that goes back many centuries.” It consists of stories by Gulzar, Ajeet Caur, Asghar Wajahat, Deepak Budki and Keki Daruwalla.
‘They Eat Meat!’ is the opening story in Sahitya Akademi Yuva Puraskar, 2015 winner, Hansda Sowvendra Shekhar’s new short story collection The Adivasi Will Not Dance. In ‘They Eat Meat!’ Panmuni and Biram Soren go to live in Gujarat, and are surprised to learn that they would have to stop eating non-vegetarian food to be accepted as citizens. According to the author, “The impetus behind the short story was the experience a Santhal family had in Vadodara during 2000-02. …the things I have mentioned are all as they were told to me by this family. I just changed the names. I wasn’t there in Gujarat in 2002 when the riots happened, but I was curious to know what happened, the insider-outsider equation, the pure-impure thing, the veg-non-veg thing, and so I wanted to write this story….This story first appeared in the literary magazine from Kathmandu, La.Lit. Prawin Adhkari and Rabi Thapa, the editors, published it in August 2014 with the title, ‘DON’T MIX WITH THEM, THEY EAT MEAT!’…It read more like an eyewitness report (in the third person) than a fiction based on facts. For the Speaking Tiger version, my editors and I took the report-like feel out and turned it into more story-like. … In the La.Lit version, imagination was minimum; in the Speaking Tiger version, there is more imagination.”
This fine line between fact and fiction is well summed up in the astounding debut novel, Tram 83 by performance artist and poet, Fiston Mwanza Mujila, translated from the French by Roland Glasser, published by Deep Vellum Publishing. Lucien, the protagonist, while reflecting upon his work, asks: “Is there a limit to the imagination of a writer who takes real facts and uses them to construct a world where truth and fiction coexist?” It is not surprising that Indian writers are protesting intellectual censorship by returning state awards.
Neil Gaiman Kickstarter video and Eoin Colfer original fiction help launch The Read Quarterly.
The Read Quarterly (TRQ, www.thereadquarterly.com), the magazine launching in January 2016 to discuss the culture of children’s literature, has today revealed its first issue cover and has announced that the magazine will contain an original four-part Eoin Colfer story, Holy Mary, to be published through the first year. The Read Quarterly will be a forum in which global children’s literature can be discussed and debated. Created by children’s literature enthusiasts, each with a wealth of experience in the publishing industry, Sarah Odedina and Kate Manning, this quarterly magazine will provide an environment in which both writers and readers can share their enthusiasm, introduce new ideas and challenge old ones.
TRQ have also announced details of how to support the first issue of the magazine via Kickstarter and have revealed that Neil Gaiman has been instrumental in setting up that campaign, even recording a video for them to help push the crowd funding.
Sarah Odedina, one of the founders of the magazine, said “We have had such fantastic support since we announcedThe Read Quarterly. We are excited by the Kickstarter campaign as we feel that its energy suits our magazine so perfectly. Support has already been flooding in from such luminaries as authors including Malorie Blackman and Neil Gaiman, publishers Neal Porter and Louis Baum and bookseller Melissa Cox. We look forward to growing our magazine to reflect the energy and drive that is so characteristic of the children’s literary scene around the world”.
To support the Kickstarter please go to www.kickstarter.com/projects/748565480/the-read-quarterly. Pledges for the project start at £20 and you will receive not only Odedina and Manning’s undying gratitude and the joy of supporting the project from the start, but also exclusive prints, bags and original artwork. From publication, the magazine will be stocked in bookshops and there is also a subscription service from issue two onwards.
If you are interested in stocking the magazine, please contact Kate Manning at [email protected].
So,we’re about to announce the details of how you can get behind issue 1 and it’s only fair we let you know what’s in the magazine we hope you want to support.
Here’s some of the content list for issue 1 of TRQ. We’re really excited about the wide range of articles and the amazing spread of contributors from around the world, and we hope you like them too. Admittedly, we get a sneak preview of what the articles are about, but hopefully the article titles are tantalising enough.
‘Hunting for the Birds: A Designer’s Memories of Childhood Reading’ by Stuart Bache, UK
‘Cinderella and a World Audience’ by Nury Vittachi, Hong Kong
‘The Last Taboo: What Interactive Prints Says About the Digital Revolution’byElizabeth Bird, USA
‘The Artisan Publisher: Tara Books, Chennai, India’ by Gita Wolf, India
‘A New Arabic Publishing Model’ by Kalimat Publishers, UAE
‘Children and the Magic of Bookshops’ by Jen Campbell, UK
‘From Institution to Market: Publishing for the African Child’ by Ainehi Edoro, Nigeria/USA
‘The Theme of Independence in Children’s Literature in India’ by Jaya Bhattacharji Rose, India
‘The New Internationalists: The Changing Scene of Illustrated Books Published in the UK’ by Martin Salisbury, UK
‘A Singaporean Interpretation of Classic Children’s Stories’ by Myra Garces-Bacsal, Singapore
‘American Nonsense and the Work of Carl Sandburg and Dave and Toph Eggers’ by Michael Heyman, USA
‘The Work of Beatrix Potter and the Loss of Innocence‘ by Eleanor Taylor, UK
‘A Look at Translation’ by Daniel Hahn, UK
And that’s not all, we also have…
Original fiction (well, the the first of four parts) by Eoin Colfer, illustrated by Adrienne Geoghegan, Ireland
Original poetry by Toni Stuart, South Africa
A comic strip explaining what Gary Northfield (UK) really hates drawing
An illustrator profile on Catarina Sobral (Portugal) who has illustrated our amazing first issue cover
(My monthly column, Literati, in the Hindu Literary Review was published online ( 4 April 2015) and will be in print ( 5 April 2015). Here is the url http://www.thehindu.com/books/books-columns/literati-of-books-and-launches/article7067754.ece. I am also c&p the text below. )
Last week I attended a book launch at the Rashtrapati Bhawan. A small distinguished
(L-R) Mrs Sumitra Mahajan, Speaker, Lok Sabha, Indian Parliament, HE Pranab Mukherjee, President of India and Mrs Meira Kumar, former Speaker of Lok Sabha
audience gathered in the Yellow Drawing Room to witness the President of India, Pranab Mukherjee, launch former and first woman Lok Sabha Speaker, Meira Kumar’s Indian Parliamentary Democracy: Speaker’s Perspective in the presence of the current Speaker, Sumitra Mahajan, and senior-most Parliamentarian, L. K. Advani. This volume — published by the Lok Sabha Secretariat, New Delhi — contains selected speeches delivered by Kumar at various multilateral conferences and during bilateral visits to several nations in India and abroad during her tenure. It was a book launch that ran with precision, partially due to protocol but also in a large measure due to professionalism of the politicians. These people have known each other for decades, yet made the effort to spend some time reading the book, offering their personal perspective on the importance of speeches to negotiate issues of government policy and to strengthen Indian diplomacy. Listening to the frank conversation made a ‘dry’ book about the efficacy of parliamentary diplomacy as an evolving medium of communication among nations seem worth reading. It was an effective launch as it interested the audience in the book and was not just another occasion for a photo-opportunity.
Book promotions are a two-pronged affair. One is a planned strategy to promote a book: an author tour, book launches (preferably with a celebrity launching it), circulating review copies, book trailers on YouTube, interviews and interactions on all media platforms, the author participating in literary festivals, writing articles discussing and describing the writing process threadbare … all in a very short span of time. With the explosion of social media platforms, the variety of ways in which books and authors can be promoted is staggering — podcasts of interviews and literary salons, online book clubs, using photograph-based websites such as Pinterest, Flickr, Instagram to showcase book covers and promote reading experiences.
According to Publishers Weekly, “HarperCollins is working with Twitter Commerce, the social media platform’s effort to offer ‘native commerce’, or offering firms the ability to send out tweets with buy buttons embedded in them.” The new promotion allowed fans to purchase a hardcover edition of theInsurgent movie tie-in edition at a 35 per cent discount, direct from HarperCollins Publishers US, without leaving the social media site with a buy in-tweet available only on March 23, 2015. Both HarperCollins and Twitter sent out a series of promotional tweets directed at fans talking about the Veronica Roth book series and movie adaptation.
This is similar to a recent partnership between the Hachette Book Group and Gumroad, an e-commerce venture that enables creators to sell content via social media, to promote and sell Hachette titles via Twitter. In August 2014, Amazon ‘buy it now’ buttons were embedded in Washington Post articles about Charlie and the Chocolate Factory, assuming impulse buying will propel sales, but these were quickly pulled down after a massive outcry on Twitter (http://mashable.com/2014/08/18/washington-post-amazon-buy-button/). Amazon and Washington Post are both owned by Jeff Bezos. All these publicity efforts by the publishers, authors and vendors are to boost sales.
A second and crucial component of book promotional activity is the preview critic and book reviewer. A good review is fair and unbiased. For instance, Neil Gaiman’s review in The New York Times of Kazuo Ishiguro’s new and oddly fascinating novel, The Buried Giant, says it is “a novel that’s easy to admire, to respect and to enjoy, but difficult to love.” It is a balanced, constructive and informed critique by the superstar of contemporary mythographers of another exceptional storyteller.
With the democratisation of social media platforms too, bloggers (word and video) and online reviewers have made their mark. Many are professional and their opinion is valued tremendously. But there is a tiny core in the online community offering “book reviewing plans” to promote a book, by publishing reviews on specific websites, blogs and online vendors — for a price. Unfortunately these reviews gush hyperboles. The mistake often made is that a paid promotion needs to be positive. This does not sell a book; only honest and constructive engagement with the book does.
Kazuo Ishiguro’s novel, The Buried Giant is set in medieval England, Arthurian England. It is about an elderly couple, Axl and Beatrice who set off on a quest to search for their son of whom they only have a foggy memory. Along the way they meet Sir Gawain, a Knight of the Round Table and King Arthur’s nephew; Winstan, a Saxon warrior; Edwin, a young Saxon boy and the Boatman who flits in and out of the story. Not to forget Querig the ageing dragon, upon whom Merlin cast a magic spell. Her breath would cause a fog to form over the land, its sole purpose being to make the Britons and Saxons forget they were ever at war. Unfortunately it does away with all memory. Oh, there is also a visit to a monastery thrown in for good measure, a very depressing interlude reminiscent of Alfred Hitchcock’s film adaptation of Daphne du Maurier’s short story “The Birds”.
Having spent a decade writing this novel, especially when it is a refashioning of the better known Romance cycle stories, there are details in it that are accurate — references to the tin trade, the war between Britons and Saxons, details about Sir Gawain and the quests the people are sent on. Yet there are details in The Buried Giant such as the references to practicing Christians which is never delineated very clearly in any of the stories of the Romance cycle. Even in the well-known retelling by Malory of King Arthur and the Knights of the Round Table — Morte D’Arthur the confusion about some parts of the story lie in the influence Christianity has begun to have on these oral tales. So elements are borrowed and interwoven but never sit well yet Morte D’Arthur is immensely readable for its highly charged atmosphere, the quests, the stories etc. Similarly in Kazuo Ishiguro’s novel, two-thirds of it are absorbing to read, but one keeps hoping that despite the bland and detached manner of telling a story involving monsters, knights, wars, and dragons, the diverse elements and characters will come together for a satisfactory end. Unfortunately it is not the case. Neil Gaiman’s review in The New York Times says it is “a novel that’s easy to admire, to respect and to enjoy, but difficult to love.” It is a balanced, constructive and informed critique by the superstar of contemporary mythographers of another exceptional storyteller. ( http://www.nytimes.com/2015/03/01/books/review/kazuo-ishiguros-the-buried-giant.html?_r=0)
The Buried Giant is an oddly fascinating novel. I am glad I read it.