The December Issue of the Frankfurt Book Fair Newsletter is now available online and includes a number of interesting pieces.
The article on the 10th Anniversary of the German Book Office, which highlights the difficulties of getting German titles published in English translation and the job the GBO is doing to make this happen is interesting if for nothing else than Lorin Stein’s quote that “In America the market for translated literature is—almost without exception—the most sophisticated readership we have.”
The article on creating networks of young publishers focuses on the Society of Young Publishers and the German young publishers groups and the desire to create a large “international network for young publishers—from Iceland to the Arab world.” According to this piece there will be an exploratory meeting at this year’s London Book Fair and BookExpo America, with a first event to take place at next fall’s Frankfurt Book Fair.
With my obsession about the future of publishing though, the thing that really caught my eye is this ongoing series about the future of the industry around the world. Right now there are pieces from the U.S., China, Germany, South Africa, and the Arab World, and there are more in the works for future newsletters. I’m a big fan of this series, especially since each entry/region is pretty distinct in its approach and thoughts about the future. A series definitely worth checking out and keeping an eye on.
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .