THE BOOKBLAST® 10×10 TOUR A CELEBRATION OF INDEPENDENT PUBLISHING
11 SEPTEMBER – 15 NOVEMBER 2018
A Nationwide Festival of Independent Publishing!
A carnival of authors, poets, translators and publishers, under the banner of trailblazing agency BOOKBLAST® created by Georgia de Chamberet, will be travelling to major cities across England, showcasing some of the finest independent-spirited literature and poetry being published today.
THE BOOKBLAST® 10×10 TOUR, in association with Waterstones, will visit nine regions of England, celebrating risk-taking publishers who fill a unique niche in discovering talent. The tour connects London and the regions.
This tour is about extraordinary writing. Writing that surprises, amazes and intrigues. Writing that challenges, disrupts and demands. Writing that is from the margins of culture portraying areas of life that the traditionalist mainstream often ignores. The tour will inspire readers, existing and new, to explore what’s happening in different parts of the world now, and to immerse themselves in the unfamiliar. Audiences will encounter writers from the Middle East, Europe, Africa, Asia and the Caribbean. With these events, BookBlast® aims to unite people in the spirit of friendship and exchange.
THE BOOKBLAST® 10×10 TOUR launches in Waterstones Gower Street, located in the heart of Bloomsbury, London, followed by a series of themed talks, each one chaired by a small independent publisher, held in flagship regional branches of Waterstones over 9 weeks. It promises to be a hugely exhilarating celebration of the most electrifying prose and poetry being created today.Continue reading Media Release | THE BOOKBLAST® 10×10 TOUR in association with Waterstones
The A to Z of Literary Translation by Georgia de Chamberet was posted on the Words without Borders blog in instalments from February to May 2008. It was circulated at the Masters Class in Translation Studies which Alane Mason (W.W. Norton) and Dedi Felman (Simon & Schuster) team taught in at Columbia University in the City of New York in 2008. Founded in 2003, Words without Borders is a superb site which promotes cultural understanding through the translation, publication, and promotion of the finest contemporary international literature.
I contributed to the @wwborders blog from 2005-2009. Whilst writing about English PEN’s Writers in Translation committee of which I was a founder member—tapping into my experiences as an editor, agent and publicist—the idea of doing a fun, but far from definitive listing, The A to Z of Literary Translationcame to mind.
Artistry and adaptation are essential to the process of literary translation, since translation is an act of writing. Also accuracy and avoiding short cuts based on the when in doubt, cut it out approach. Writers make good translators—obvious examples being Baudelaire (translator of Edgar Allen Poe) and Robert Graves (translator of classical Latin and Greek authors and George Sand).
Beyond words into the mystery of language, and its cultural hinterland, is where a good translator will carry the reader on a journey of discovery. Good literature is primarily concerned with human beings, and is cosmopolitan, traveling beyond national identity and a book’s original social and cultural context—the same goes for a good translation.
Clare Christian has worked for a number of large publishing houses including Hodder, Orion, John Wiley and Pearson. In 2005 she co-founded The Friday Project where she published In Search of Adam by Caroline Smailes and bestselling non-fiction Blood, Sweat and Tea: Real Life Adventures in an Inner-city Ambulance by Tom Reynolds and Confessions of a GP by Dr. Benjamin Daniels. TFP was sold to HarperCollins in 2008 and Clare stayed on until 2009 before leaving to offer publishing consultancy services under the banner of The Book Guru. She has been developing RedDoor alongside The Book Guru since January 2014. She is a past winner of the UK Young Publisher of the Year award.
Are (were) your parents great readers? Tell us a bit about yourself. Both my parents read quite a bit, my dad reads mainly non-fiction and Mum, fiction. I read everything from a young age. We made weekly visits to the library and the nice librarian would order in books from other libraries once I had worked my way through all of the books on their shelves!
Did you want to work in the publishing industry from the start? No, my favourite subjects at school were the sciences and English. I did a degree in Zoology and was planning a PhD but time and finances ran out and I looked to combine my love of science and my love of books and decided I would go into publishing and publish popular science books. Of course publishing doesn’t quite work like that and I am yet to publish a popular science book. Continue reading Interview | Clare Christian, RedDoor Publishing | Indie Publisher of the Week
Tell us a little bit about yourself. I am a mum of two small children and I live by the sea in Bournemouth. I spend many of the hours my children are at school writing, something I have always loved doing. Until four years ago when my youngest was born I worked in marketing. I left my job as a marketing director to spend more time with my family, and this was a perfect opportunity to start writing seriously.
When you were a child, what did you want to be when you grew up? I did always want to write a book, but as a child I don’t think I actually said I’d like to be an author. As with most children I flitted through a number of ideas. I wanted to be an air hostess (even though I hate flying now), and also a nurse (I would make a dreadful nurse, I am far too squeamish.) And for quite a long time I wanted to work in fashion as I loved textiles at school.
What books have had a lasting impact on you? From an early age anything by Enid Blyton. I fell in love with the Famous Five and Adventure series books. Also as a child I really loved Last of the Really Great Wangdoodles, which I still have for when my daughter is a little older. As an adult the first book I remember being totally impressed by was Jodi Picoult’s My Sister’s Keeper. Whilst I always loved reading this was the first one I couldn’t put down and it was a bit of a turning point for me reading the amount I now do. Continue reading Interview | Heidi Perks | Author of the Week
Abigail, a pretty, rebellious seventeen year old, gets home from school to find her family gone. Her toddler twin stepsisters’ room is empty, save a blue teddy. The police do not believe her shock and despair at being abandoned by her mother, Kathryn. To them the girl is trouble − as she is to her ruthless, narcissistic grandmother, Eleanor: the lynchpin of the family.
Home is where the heart is: but what if there is no heart? Women who suffer neglect as children often grow up to become mothers who neglect their own, even if they do not want to on a conscious level. Thwarted female energies cause depression. Mental abuse is as serious physical abuse, and its long-term effects can be greater. Keeping up appearances at all costs − resulting in shame, secrets and lies being passed down from one generation to the next − lies at the core of this skilfully crafted, debut novel. Continue reading Review | Beneath the Surface, Heidi Perks | Book of the Week
Michel S. Moushabeck is a publisher, editor, writer and musician of Palestinian descent. The founder of Interlink Books, he is also the author of several books including Kilimanjaro: A Photographic Journey to the Roof of Africa and A Brief Introduction to Arabic Music, Most recently, he contributed a piece to Being Palestinian: Personal Reflections on Palestinian Identity in the Diaspora.
He is the recipient of NYU’s Founder’s Day Award for outstanding scholarship (1981), the American-Arab Anti-Discrimination Committee’s Alex Odeh Award (2010) and The Palestinian Heritage Foundation Achievement Award (2011). He serves on various boards – notably the board of trustees of The International Prize for Arabic Fiction (IPAF), an annual literary prize administered by the UK’s Booker Prize Foundation. He plays riqq, tabla and daff and his recording credits include two albums. He has performed at concert halls worldwide.
Michel Moushabeck is exclusively interviewed by Georgia for The BookBlast Diary.
Were your parents great readers? Tell us a bit about yourself. Yes, both my parents and my grandparents were very bookish. They lived in Palestine, in the literary neighborhood of Katamon in West Jerusalem, until their forced exile from their home in 1948. I was born in Beirut and grew up there until age 19, when the 1975 Lebanese Civil War shattered my family’s life again and sent us in search for a new home. My parents ended up in Jordan, my brother in Athens and then California, my sister in Montreal, and I managed to find my way to Brooklyn, New York and then Massachusetts. Growing up in cosmopolitan Beirut, I was brought up on a healthy diet of good books, classical Arabic music, Oum Koulthum, Jimi Hendrix, Cream, The Beatles, Edith Piaf, Charles Aznavour, Egyptian cinema, and American westerns.Continue reading Interview | Michel Moushabeck, Interlink Books | Indie Publisher of the Week
The book has become a luxury item, production is costly, and then there is Amazon which has radically changed the publishing landscape. A prize, a gift, a gorgeous object: the book has an irresistible allure. Publishers have learned that it is well worth sending their writers on tour around the country to promote their work and engage with readers at live events.
While the bigger book festivals like Hay, Cheltenham or Oxford have something of a showbiz atmosphere, with audiences queuing to see their favourite ‘celebrity’ author, the smaller festivals like Bridport are more ‘real’ and benefit readers who can get more from an intimate event.
When Lesley Blanch wrote that “Journey into the Mind’s Eye is not altogether autobiography, nor altogether travel or history either. You will just have to invent a new category . . .” the label narrative non-fiction did not yet exist. Her autobiography about the early part of her life was published in 1968. She was ahead of her time. Like Rebecca West and Truman Capote, Lesley Blanch was experimenting with different forms and techniques to tell a damn good ‘true’ story.
Lesley Blanch claimed she could not invent, hence choosing biography rather than fiction, although her storytelling was underpinned by a vivid imagination and scholarly research. The Sabres of Paradise: Conquest and Vengeance in the Caucasus took six years to complete and required thorough investigation in Russia and Turkey.
What is narrative non fiction?
Narrative non-fiction is not just a convenient label used by publishers to help booksellers categorise their titles and display them, or a new genre fresh out of American writing schools for literary critics to argue about. It is favoured by clever young editors like Leo Hollis at Verso, or Richard Milner at Quercus, as a way to get across difficult, or dry, ideas in an engaging manner. People are most interested in other people and their experiences, not the dusty archives of research. To take the reader on a scientific, or philosophical, or historical journey of discovery by means of a series of a well-written scenes knitted together to form a compelling whole, as opposed to recounting how A then B then C happened in a cut-and-dried linear fashion, makes for a more exciting read and a saleable book.
In a piece for The Swedish Book Review published in 1997, I stated that, “Roughly 3% of the titles published in the UK every year are translations (as opposed to 30-40% in France and Germany).” It is a puzzling paradox that Britain is such a multi-cultural society yet so insular when it comes to ‘foreign’ writers in translation. Especially since book-buyers just want a good story and are not particularly concerned about its provenance.
Dr Jasmine Donahaye’s 2012 survey Three percent? Publishing data and statistics on translated literature in the United Kingdom and Ireland is unequivocal: “Literary translation in the UK and Ireland – whether assessed according to its broader definition or restricted to the genre categories of poetry, fiction and drama – is a little higher than the often-cited 3% figure. Indeed it is consistently greater than 4%, and, over the sample years, consistently increases.”
She gives the following statistics: “The percentage of all publications that are translations: 2.21% in 2000 ; 2.65% in 2005 ; 2.43% in 2008. “The percentage of poetry, fiction and drama that is translation: 4.37% in 2000 ; 4.51% in 2005 ; 4.59% in 2008. “The percentage of all literary genres (the entire 800 Dewey range) that is translation: 4.17% in 2000 ; 4.20% in 2005 ; 4.37% in 2008.”