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.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .