Along with a few other independent booksellers and librarians, Karl Pohrt—owner of the amazing Shaman Drum Bookshop in China for the Beijing Book Fair, where he’ll be giving this speech on independent bookselling in America.
January 9, 2008
“We can learn what we did not know.”—Mao Zedong
This morning our delegation attended the Beijing Book Fair, which wasn’t all that different from the American Book Expo except that just about everybody was Chinese and all the books were written in Chinese. And the subject categories on the main floor leaned heavily toward the technical, engineering and medical fields. We were split into small groups when we got there, and I walked through the exhibition halls with Sarah McNally and Allison Hill. Kong Deyun was our guide and translator. The place was packed with visitors and publishers.
After a banquet-style lunch we visited the Beijing Baiwanzhuang Book Building and were ushered into a room on the lower level for a meeting with the General Manager. Baiwanzhuang runs both a large publishing company and this big four level bookstore. One third of the books they publish are textbooks and two thirds are trade books for sale to the general public. We were told they buy many international titles and translate them. They also sell the rights to Chinese books on the foreign market. How this all works is slightly fuzzy to me, and I still don’t entirely understand the business model.
I purchased a book that beautifully reproduces the calligraphy of four poems by the great Song Dynasty poet Su Shi.
In the late afternoon, we soldiered on to our next stop, the offices of the Jieli Publishing House, a relatively new company that specializes in children’s literature. The owner of the firm, Mr. Baibing, (who looks a bit like Al Pacino) tells us they publish books “for babies and on up to the time when people are old enough to fall in love!” His laugh is infectious.
Mr. Baibing tells us that children’s books currently represent 7% of the market share in China. He says children’s books account for 20% of books sold in the United States and Europe, so his company expects to grow considerably as the Chinese market matures.
The Jieli Publishing House has made a small fortune on Naughty Boy Called Mu Shautiao, a series of books for elementary school children. There are eighty titles in the series and they’ve published 14 million copies of these books so far. Mr. Baibing tells us they’ve sold 13 million copies of Naughty Boy in China. If you are curious about Naughty Boy, you’ll get a chance this spring when HarperCollins publishes them for an American audience.
By the time we move on to the excellent banquet the Jieli folks throw for us, we’re all exhausted. Allison asks the Jieli Marketing Director, “What did Naughty Boy do to earn his title?” Huang Xinping has difficulty translating this question, so Allison rephrases it: “What’s naughty about Naughty Boy?” Some tasteless jokes are made, but we’re all giddy from jet lag, lack of sleep and too much alcohol. I suggest they print up Naughty Boy buttons, which just might catch on with the older crowd, etc.
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .