Originally a fringe experiment dreamed up by novelist Neil Griffiths, and now in its second year, The Republic of Consciousness Prize for Small Presses 2018 is making waves and highlighting the superb and genuinely original writing being published by diverse independent publishers.
“Most writers make less than 600GBP per year from writing and the average sales of a literary fiction title is 264 copies, so literary fiction is a super niche area of the arts,” according to Griffiths. “An award points readers towards overlooked gems with a specialized appeal.” This echoes what was expressed to me back in February 2016 by publishers and punters when I launched the BookBlast® celebrates independent publishing promotion online via The BookBlast® Diary, and the inspiration outlined in the piece: Why Independence Matters.
“The books shortlisted include one turned down by almost every mainstream publisher and one that was too experimental to even be considered . . . the Inpress roster of 60 small presses shows how small presses do something else, something different, and something all-important. There are no artificial bestsellers here. This is the age of small presses,” declared Griffiths from the stage in the University of Westminster’s oak-pannelled Fyvie Hall. The screen behind him flashed up the shortlisted authors, book covers and publisher logos.Continue reading Spotlight | The Republic of Consciousness Prize for Small Presses 2018
Indie Publishing vs. Self Publishing vs. Traditional Publishing
With commissioning editors at mainstream publishers increasingly under the corporate cosh, any literary submissions calculated to sell less than 5000 copies are turned down regardless, which leaves the field open for independent publishers to come in and have a go at the roulette table imagining winners that might come their way.
An experienced commissioning editor may be able to spot high-quality writing and know their target readership, but s/he is no less a gambler than anyone else playing the publishing game. Their gut instinct counts for little in the corporate boardroom nowadays, even though the way in which advances are calculated is an inexact science, and tales of legendary rejections make for juicy water-cooler chat. Harry Potter and the Philosopher’s Stone was rejected 12 times before being picked up; Gone with the Wind got the thumbs down 32 times; Under the Frog 22 times; Dune 20 times; and The Tale of Peter Rabbitwas rejected so many times it was self-published.
Smaller publishers generally avoid formulaic writing for the genre market, provide greater personalised support, and – as opposed to a vanity press – do not ask the author for money. Added to which crowdfunding has become a more than viable option, not only to raise funds, but to develop a community of readers ahead of publication (Peirene Now! No. 3, Shatila Stories was recently successfully funded with 327 backers pledging £13,350 via Kickstarter). Best not confuse authors self-publishing their own books only – generally via a digital platform such as Amazon or Kobo – with indie publishers; the term indie authors would be more accurate.
According to a recent report in The Guardian, “Independent publishers have unleashed a boom in sales,” and “turnover across the Arts Council England-funded portfolio surged above its budget by almost £100,000 this year, reaching £277,930.”
“The Children’s Bookshow takes children’s authors to meet tens of thousands of children, introducing children to how and why writers write, illustrators illustrate. They give children insights into how they too can transform thoughts and feelings into words and pictures. This is not simply a matter of it being enjoyable, it’s a necessary part of what we understand by the word ‘education’.” Michael Rosen
The much loved and hugely popular national tour of writers and illustrators of children’s literature brings the joy of books and reading to children across the UK each autumn. The series of free workshops runs alongside the performances in the theatres. Past participants have included Quentin Blake, Michael Rosen and Judith Kerr from the UK, and from abroad, Tomi Ungerer, Fabio Geda, Satoshi Kitamura and many more.
A chronicle of dandyism and decadence from Regency England to the late twentieth century.
“Philip Mann does for the sartorial arts what Mario Praz has done for interior design, and more. A future classic,” Nicky Haslam, interior designer
Philip Mann chronicles the relationship of dandyism and the emerging cultural landscape of modernity via portraits of Regency England’s Beau Brummell – the first dandy – and six twentieth-century figures: Austrian architect Adolf Loos, The Duke of Windsor, neo-Edwardian couturier Bunny Roger, writer and raconteur Quentin Crisp, French film producer Jean-Pierre Melville, and New German Cinema enfant terrible and inverted dandy Rainer Werner Fassbinder.
He blends memorable anecdotes with acute analysis to explore their style, identity and influence and interweaves their stories with an entertaining history of tailoring and men’s fashion. The Dandy at Dusk contextualises the relationship between dandyism, decadence and modernism, against the background of a century punctuated by global conflict and social upheaval.
AUTHOR Born in Germany, Philip Mann has lived in England since 1988 and has a degree in the History of Art. He has written for Frankfurter Allgemeine Zeitung and Vogue and has lectured on sartorial matters in Vienna, New York, Bern and London.
Publication Date: 5th October 2017 Hardback price: £25.00
For more information please contact Suzanne Sangster at Head of Zeus email Suzanne@headofzeus.com telephone 020 7553 7992
“Translation does not simply jump from one language to another. It also ‘crosses’ languages in the sense of blending them, as you might cross a bulldog with a borzoi, or two varieties of rose . . . Translation can cross languages that have much in common – for example, English and French – and language that are very distant – like English and Malay; it can span languages that share the same script system (Japanese and Korean) and those that don’t (Japanese and Arabic or German); it can go between dialects (or between a dialect and a language) or between different words of the same language . . . Translation can be done by one person, or several, or hundreds – or by machine. It can be a matter of life or death, as in a war zone; or an ordinary part of everyday existence in a multilingual community.” Matthew Reynolds, Translation: A Very Short Introduction
In short, language-learning and translation skills are vital in our global era. Ever more so for Brexit Britain: as links are severed with Europe, forging new links with faraway foreign countries will become crucial. How ironic that the prevailing mood is so bulldog British, with foreign language learning on a downward slide, and languages no longer being part of the core curriculum for 14 to 16-year-olds. To expect everyone else to speak English, the lingua franca spoken across the world, and no longer be embarrassed by being monolingual, is a deeply arrogant and short-sighted attitude. Language is the means by which one accesses a culture, and is the expression of a culture.
There are oases of hope. Thank goodness for those universities which run language courses and postgraduate degrees in translation – Westminster, Roehampton, SOAS, UCL, UEA and Portsmouth among them.
The Quartet Years was first published in Fulfilment & Betrayal 1975-1995 by Naim Attallah (Quartet Books).
Gael Elton Mayo & The Magnum Photographic Group
My mother, Gael Elton Mayo, the novelist, painter and ‘Girl Friday’ for Robert Capa, Henri Cartier-Bresson and David Seymour at Magnum Photographers in its early years, was introduced to Naim Attallah by Patrick Seale. Quartet Books published her autobiography, The Mad Mosaic, which sold unexpectedly well and was reprinted, leading to the later publication of her account of surviving cancer for twenty years, Living With Beelzebub.
Quartet was avant-garde, innovative and independent, rather like Canongate today. I was going nowhere fast after leaving university, so was sent by my mother to see Naim Attallah in his plush Poland Street offices. He hired me to work with Quartet’s production director, Gary Grant.
1990s avant garde indie publishing
So one Autumn day in 1987, I turned up at 27 Goodge Street, a Dickensian building in London’s West End. I was greeted at the head of the stairs by an intriguing and enigmatic individual, who disappeared into a small office piled high with books and manuscripts, making a remark as he did so about the bars on his office window and the Birdman of Alcatraz. This was Quartet’s editorial director, Stephen Pickles. His office on the first floor was at the back of the building, next to Gary’s and mine at the front, overlooking Goodge Street. Quartet had a good reputation for publishing lavish, high-quality art and photography books and Gary was an expert at overseeing such projects, when not in the pub across the road. Production was not really my thing, so I began to do occasional odd jobs for Pickles, which rather annoyed Gary. Initially I made telephone calls to Charlotte Rampling, Lothar Schirmer and Joanna Richardson.
This selection of early journalism and travelling tales by Lesley Blanch, edited by Georgia de Chamberet, published on 1 June by Quartet Books, forms a captivating sequel to On the Wilder Shores of Love:A Bohemian Life (Virago, 2015; PB 2017).
Savvy, self-possessed, talented and successful, Lesley Blanch was a bold and daring writer, travelling at a time when women were expected to stay at home and be subservient to the needs of husbands and children. She was an inspiration to a generation of women – Marianne Faithfull and Shirley Conran among them. This selection of her writings brims with her customary wit and sheds new light on an eternally fascinating – and truly inimitable – character.
Illustrated with photos and Blanch’s theatre portfolio from her time working with Russian émigré director/producer, Theodore Komisarjevsky; and featuring an insightful introduction. Far To Go and Many To Love brings together writings on subjects as various as Vivien Leigh, polygamy, the Orient Express and Afghanistan.
Praise for On the Wilder Shores of Love… ‘Sumptuous and captivating’ – Independent ‘This is a truly remarkable book’ – Daily Telegraph
Lesley Blanch MBE was born in London in 1904. She spent the greater part of her life travelling, to Russia, Central Asia and the Middle East. She published 12 books in her lifetime and was a prolific journalist. She died in 2007 at the age of 103. website: www.lesleyblanch.com twitter: @lesleyblanch
An early article, Beauty Victims at Le Palace by Georgia de Chamberet for 3:am magazine (2005) from the BookBlast® Archive.
During a recent trip to Paris, I mentioned to various French publishers that in the UK, nostalgia for the underground movements of the last thirty years is flourishing. Yet despite the outpouring of books, films, documentaries, compilation CDs and exhibitions like the Vivienne Westwood, it is obvious to me that one side of the London-New York-Paris “golden triangle” has been overlooked. Between artists there is always a cross-fertilisation of ideas, and the effect of the Parisian underground remains influential. Grace Jones learned devices for subversive performance during her time at Fabrice Emaer’s legendary club, Le Palace — the Studio 54 of its day — and Madonna was backup singer and dancer for disco star Patrick Hernandez when his hit “Born To Be Alive” went global.
I argued that people who enjoy reading, and relish the likes of Michael Bracewell, Ben Myers, Jeff Noon and Robert Elms should be given a chance to check out their French counterparts. But I was told by the French publishers that English publishers are not interested in a certain type of French culture, and translation is seen as a risky venture, so to pitch offbeat or outrageous books considered to have limited sales potential would be a waste of time. Bonjour tristesse. From idea to bookstore the reader comes last in a long line of corporate decision-makers, in a game of blind man’s bluff.Continue reading Spotlight | Beauty Victims at Le Palace | 3:AM Magazine 2005
Britain is part of Europe – like it or not! Border controls do not function when it comes to words since ideas have no borders. Books in translation disseminating knowledge and cultural awareness matter more than ever as prejudice and discrimination make an unwelcome (re)appearance on the Western stage.
As part of the build up to France’s invitation of honour to the Frankfurt Book Fair in October 2017, a series of discussion panels – “triangular talks” – were held on Monday 13 March at the French Institute in London. Leading book editors from Germany, France and Britain met to discuss fiction, non fiction and what the future holds. Publishers, translators, agents and scouts packed out the library at the IFRU to hear them. Lucie Campos, Head of the French Book Office, chaired the discussions.