I first met Urvashi Butalia at the Abu Dhabi International Book Fair back some years ago, and was immediately wowed. There are few people in the world as intelligent, out-spoken, sharp, and charming as Urvashi. And her publishing house, Zubaan Books, is incredible.
Since that time, I’ve hung out with Urvashi in London, Salzberg, and Sharjah, where she called me out on a panel for being too “Euro-centric” and not talking about countries outside of the U.S. and UK where books are written, published, and sold in English. (She was right; I was shamed.)
Anyway, I was really pleased to come across this interview with Urvashi about “how her publishing project and feminist ideology have evolved” over the past ten years. Here are a few excerpts:
How have your concerns as a publisher changed over these years?
Zubaan has broadened its base, focused more keenly on translation, and on finding a younger profile of writers. As a publisher, I have been especially concerned with the issue of copyright. Although I believe copyright is important, I also see the point of people wanting free access to knowledge. I feel that publishers, especially those who are not in the business for the commerce but for political reasons, are obliged to think about how we can take this forward.
In my own role as a publisher, I am thinking of a mix of copyrighted books and creative commons, of bookstores and books for differently-abled people. We must start making audio books, for instance. As I grow older, I realize the need for books with large print. At some stage, we were keen to do books for new literates. We still haven’t given up on that.
To what extent has feminist publishing been able to address the lived realities of women at a pan-Indian level?
I am aware that by publishing in English, from Delhi, we are constrained by class, language, location, and so on. But we have made a conscious effort to bring in the voices of marginalized women. We also work with publishers of other languages. In 1989, we did a book called Shareer ki Jankari (About the Body), about women’s bodies, written by 75 women from the villages of Rajasthan who did not have the wherewithal to print it—the kind of project that feminist publishers dream of.
When these women came to us with the book, they imposed only one condition: that we would not sell it for profit. We started with a print run of 2,000, but before the copies had arrived from the printers, the women had canvassed in villages and presold 1,800 copies. Over the years, we have sold some 70,000 odd copies.
And, the most poignant quote in the whole piece:
There is also a real fear as to whether small publishing is going to be eaten up by the biggies. It’s always been my dream to prove that feminist publishing can survive, its politics intact, in the commercial marketplace. I used to be completely convinced of this, but now I am not so sure.
Again, here’s a link to Zubaan’s fiction list for those of you interested in reading some great works from Indian women writers.
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. . .