#Marina Warner, President of the Royal Society of Literature, announcing the arrival of the Choix Goncourt in the UK, said: “When the date of this event was set, nobody knew that a crucial election would be taking place. In the light of what has happened, I feel alarmed and frightened of the future. I am therefore proud to be marking a moment of Franco-British solidarity. The spirit of European culture built on the common ground of imagination and a long intertwined history is under strain, but it shall not be broken . . .” Continue reading Spotlight | The Choix #Goncourt UK | @AcadGoncourt @RSLiterature @Edlolivier @maclehosepress
“Chilli bean paste was big business, had been for Gran’s family for four or five generations. Sichuan peppers, on the other hand, were the sort of thing any small trader could sell. All they needed was a place to set up their stall. But, humble though the trade was, the Sichuan pepper was as essential as chilli bean paste at all Pingle Town dinner tables [. . .] Dad had kicked around the chilli bean paste factory for over twenty years, learning the ins and outs of his trade under the tutelage of his shifu, Chen, and if it had taught him one thing, it was that people were born to sweat. You ate chilli bean paste, and Sichuan peppers, and ma-la spicy hotpot, to work up a good sweat, and screwing a girl made you sweat even more. The more you sweated, the happier you felt, Dad reckoned. He remembered the fiery heat that the sweat-soaked bed-sheets in Baby Girl’s house gave off.”
The Chilli Bean Paste Clan is essentially a rags-to-riches tale about a small-town Chinese family’s survival following on from China’s rapid industrial revolution during Mao Zedong’s rule, and the later economic turmoil of the 1990s. Economic growth entailed a rise in social corruption in all areas of life along with social alienation and a breakdown in moral values. Continue reading Review | The Chilli Bean Paste Clan, Yan Ge | Book of the Week
What is The Children’s Bookshow and how did you dream up the idea?
It’s a national tour which takes place each autumn in theatres across the country ranging from the Old Vic to the Liverpool Philharmonic – 15 venues in total. The tour takes writers and illustrators into those theatres to read their work to children, and to go to schools to do workshops afterwards and work with the children on their own creative writing. The idea came about because the Centre for Literacy in Primary Education for which I was doing some freelance publicity brought out a book – a compilation – called Simply the Best Books for Children. Since it was an institution rather than a publisher, it was very difficult for them to get distribution and I knew that having been a publisher. So I said, “If we can’t get it into the bookshops since they aren’t keen on books which are a bit out of the normal, what we’ll do, is promote it like Captain Corelli’s Mandolin which became famous by word of mouth.” And so we took the book into libraries and bookshops with some of the writers who were in the book. We had a marvellous first tour with Quentin Blake, James Berry, John Agard and others. That’s how it began.
Have you always been an entrepreneur?
I suppose so, yes! In 1974 I was one of the founding members of Writers and Readers publishing co-operative founded on £250 and a prayer! The other members were Glenn Thompson, Richard Appignanesi and Lisa Appignanesi. Continue reading Interview | Siân Williams, founder, The Children’s Bookshow
Translations on the UK market
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.”