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.
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. . .