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.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
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. . .