This post originally appeared on the Frankfurt Book Fair blog. I highly recommend visiting the official blog for interesting posts from Richard Nash, Alex Hippisley-Cox, and Arun Wolf
Back in February, a publishers’ roundtable took place in New Delhi to talk about opportunities of new markets, new models, new collaborations, that could develop amid the global financial crisis. Entitled “GlobalLocal: New Directions in Publishing,” this conference included the likes of Juergen Boos, Frankfurt Book Fair director; Ajay Shukla, managing director of McGraw-Hill India; Stella Chou, managing director of China business development, HarperCollins China; and Richard Charkin, executive director, Bloomsbury Publishing.
Personally, I wish I could’ve attended this (or at least have a chance to visit New Delhi—there must be some book related festival or organization that would like to fly a poor publisher/journalist over to write up some events . . . right? hello?), but thanksfully the German Book Office New Delhi has now produced a volume collecting the transcripts of the roundtable, afterthoughts on the conference, and essays from a variety of important thinkers and publishers.
Obviously I haven’t had time to read this volume, but anyone interested in the future of publishing will definitely want to hunt down GBO New Delhi director Akshay Pathak and get a copy. It’s totally nerdy, but just reading the titles of the panels and essays has me all excited: “Independent Publishing: Challenges and Advantages,” “The Way Ahead: The Global Financial Crisis and its Impact,” “An Independent Future: Indian Publishing, Global and Local,” and several other subtitled and nonsubtitled pieces.
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. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .