Review | Emma, Other Ways of Seeing | Massot Éditions

Summer is the time for comics and graphic novels. They are an easier read when hanging out by the pool, or on the beach, than that 624 page whopper you finally have some time for, now that it’s the holidays.

Comic Books & Graphic Novels

From  Mad Magazine, The Beano, Billy Bunter and Asterix while growing up . . . to Charles Adams, Robert Crumb’s Kafka, Maus and Persepolis as an adult . . . comic books, and more recently, longer more complex graphic novels, are a delight. As culture has moved from being a print to a visual one, great novels like The Three Musketeers or Proust’s In Search of Lost Time: Swann’s Way are now available in comic book versions. The trend is growing and business is booming. Those literati who turn their noses up at them are missing out!   Continue reading Review | Emma, Other Ways of Seeing | Massot Éditions

Interview | Florent Massot: Fine young radical of French publishing

Georgia de Chamberet talks to Florent Massot, French publisher of Virginie
Despentes, Kurt Cobain, Mike Tyson and Valérie Trierweiler. Baise-moi (Fuck Me), his first hit, published in 1994, sold 50,000 copies for éditions Florent Massot before being released by Grasset and J’ai Lu, nudging up to 200,000 copies.

Why publishing and not music or film?

I started work on my first book age 17 in 1982 about a group called Urban Sax. Why publishing? Because my generation went into music and film, but I’m not competitive, it’s not my way. For 15 years I was the youngest publisher in France and the only one of my generation. Publishers who are 50 now all began their careers 20, not 30, years ago. So for 12-13 years I was alone. My friends were all in music which was great, but I was the only young indie publisher which is why I carried on, since I don’t like having to be combative. I wanted to be the best publisher of my generation and was . . . the worst! . . . there was only me!

I had a go at journalism and published a magazine called Amazone in 1984, then Intox in 1990, but that world moves too fast. I like a slow burn, and am not speedy. In publishing you meet up, the project develops over 1-2 years, it takes time, isn’t fast and furious, all on the surface. A book can really make a difference, go deep, whereas an article is ephemeral.

Publishers are in the game for different reasons: for some it’s a love of words, for others because they want power. What interested me was to meet the movers and shakers. A friend said, “If you go into publishing you’ll meet the people making it happen, who are the zeitgeist.” He often spoke to Cartier Bresson on the phone because of a book he was working on about the great photographers behind photojournalism. I wanted to meet these people. Since then, over the last 32 years, I have met so many people from different walks of life, that publishing has been good to me on that level.

As an object, a book can be a bit fetishistic. For me it is neither the object, nor the words, but the encounters. A book is a meeting place for people and ideas.

Continue reading Interview | Florent Massot: Fine young radical of French publishing

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