Just got a message from Riky Stock at the German Book Office that there are still a few openings for this year’s Frankfurt Book Fair International Booksellers Program. Similar to the editor’s trip, this program helps introduce booksellers from around the world to their German counterparts. Somewhat geared towards people interested in importing and selling German books, but I can only imagine that any perceptive bookseller would get a lot out of this sort of trip and the various meetings with international booksellers.
Anyway, here’s the info she sent me:
The international programme provides foreign booksellers with an insight into the functions and structures of the German book trade, enabling them to efficiently organise their import and sales of German books. The programme promotes dialogue with other booksellers, German publishers and wholesalers and helps participants to create their own network.
In addition to the attendance at the Frankfurt Book Fair and visits to German publishing companies the programme includes an introduction to the German book market, one day of work experience in a bookshop, two visits to wholesalers as well as cultural activities.
All visits will be supported by presentations given during the seminar. Participants will be able to report about their home countries’ book markets. Time is allowed for in depth exchanges of experience between participants, speakers and organisers.
Booksellers Programme 2009
Organizer: Ausstellungs- und Messe-GmbH / Frankfurt Book Fair
Funded by: Foreign Office, Frankfurt Book Fair
Date: 15 – 22 October 2009
Participants: booksellers from non-German speaking regions with an interest in importing German books
Seminar language: English
Costs for participants: € 290,- incl. VAT;
Travel expenses to Germany and back home are excluded.
Room, board and local transport is taken care of by the organiser.
Contact: Nadja Mortensen: mortensen at book-fair dot com
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .