Along with a few other independent booksellers and librarians, Karl Pohrt — owner of the amazing Shaman Drum Bookshop — went to China to attend the Beijing Book Fair, and give this speech on independent bookselling in America.
Additionally, he’s wrote a daily blog about the trip, which can be found in its entirety here.
Karl’s back in the States now, but has a couple of thoughts about the trip that are definitely worth sharing. Below is the first post. The second one—all about “deep literacy”—will go up later today.
A week and one day later, still jet lagged and sleeping badly, I fly down to Louisville, Kentucky for the American Booksellers Association Third Annual Winter Institute. Sarah McNally, Rick Simonson and Paul Yamazaki are here.
Paul’s report of our trip to his boss Lawrence Ferlinghetti pleased Mr. Ferlinghetti so much that he inscribed copies of Poetry As Insurgent Art for each of us. I am enormously touched.
“This must feel like the ultimate summer camp experience for you guys,” someone tells me during dinner. “You must feel incredibly bonded with the people you were with.”
Actually, it feels much stranger than that. Reentry following this trip has been difficult for me.
It will pass, I suppose.
Rick Simonson is posting a blog of the trip here.
You can read an interview with Allison Hill here.
Certainly we’re not the first western booksellers to visit China, as I was reminded when I saw my friend Tom Hallock, Director of Sales and Marketing at Beacon Press, this weekend in Louisville. In 1990 Tom taught English in Beijing, and he wrote a graceful essay, An American Bookman In Beijing, for the American Bookseller magazine. You can read Tom’s essay here.
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. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .