Professional Documents
Culture Documents
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Ingram
German deal
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ith a cocktail
party just o the
show oor in Hall
8, codeMantra celebrated
on Wednesday the release
of collectionPoint 3.0, the
companys popular digital asset
management and commercial
le distribution platform. First
released in 2005, collectionPoint
is now used by more than 40
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t a well-attended, hour-long
session entitled Is the US eBook
phenomenon a harbinger of
every countrys book future?, Google
Books Tom Turvey questioned a
panel of executives, from both the US
and Europe, about where the digital
market is, and where its headed.
Most panellists agreed that, as in the
US, the European market will likely be
device-driven and that book retailers
abroad, as the case has proven in the
States, will need their own e-readers to
be competitive. Bloomsbury Executive
Director Richard Charkin noted
Amazons overwhelming dominance
of the UK market with its Kindle.
Charkin also noted that Waterstones
was set to announce its own reader in
the coming weeks. (The panel came
before WHSmiths announcement
that it was to sell the Kobo e-reader.)
Although some panellists were
more squeamish than others when
Turvey asked them what percentages
of their revenues now came from
digital, and how much of their
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The Rowman & Littlefield Publishing Group is one of the largest and fastest growing
independent publishers and distributors in North America & the U.K.
Its numerous imprints publish in virtually all fields in the humanities and social sciences,
including academic, reference, and general interest books.
For more information about The Rowman & Littlefield Publishing Group and all of our
imprints, visit www.rowman.com
BERNAN PRESS
THE SCARECROW PRESS
TAYLOR TRADE
LEXINGTON BOOKS
ROWMAN & LITTLEFIELD
PUBLISHERS
NBN INTERNATIONAL
10 Thornbury Road
Plymouth PL6 7PP, UK
Tel: +44 (0) 1752 202301
Fax: +44 (0) 1752 202333
E-mail: orders@nbninternational.com
Website: www.nbninternational.com
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Ciao, Bello!
Helen Kogan (second from left) is joined for Kogan Page drinks by
(from left) Orion Groups Malcolm Edwards, Jo Henry of BML and
KPs own Stephen Lustig
Macmillan CEO Annette Thomas (second from left) and Curtis Browns
Jonathan Lloyd (second from right) with (left to right) Macmillans
Anthony Forbes Watson, Sara Lloyd and Jeremy Trevathan.
Celebrating 20
Comparing notes
John Nicoll of Frances Lincoln with Jill Hollis of Cameron & Hollis
this could be Nicolls last Frankfurt, for he has sold FL to Quarto
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Presentation
Today / 14-Oct
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10:15 AM
BUILD AND DISTRIBUTE eBOOKS
DELIVER TO MANY PLATFORMS AND DEVICES
SELL IN YOUR OWN LANGUAGE
REACH A GLOBAL AUDIENCE
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GLOBAL
CONNECT
MORE THAN A
PRINTER NETWORK
INGRAM ALLIANCE WITH SINGULAR DIGITAL
Ingrams GlobalCONNECT program captures the strategic commitment and
expansion of our global distribution solutions for publishers.
GlobalCONNECT offers greater market reach and connectivity to consumers
by growing INGRAMs own print and distribution footprint in key territories,
and pursuing alliances with partners around the world, with state -of-theart print on demand technology and connectivity to local networks of retailers
and consumers.
Launching with an alliance between INGRAM AND BRAZILS SINGULAR DIGITAL.
This is more than a printer network. Publishers are able to print locally,
have access to Singulars network of retailers, and a direct link to Brazils
consumer demand.
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hrough an accident of
timing the music industry
appears to have been the
rst to face the challenges of the
digital revolution. This has led to
a commonly held view that the
publishing industry should therefore
be able to benet from the experience
of music and learn lessons from any
mistakes made.
With the benet of many years
of experience of the music industry
before recently joining the publishing
industry, I believe that a closer analysis
shows that things are not quite as they
might appear. For example, journal
publishers had made their publications
available online in the mid 1990s, well
before the rst signicant landmark in
the music industrys fortunes in 1999,
when Napster enabled compressed
(MP3) les of music to be made
available to all through its peer-to-peer
le sharing software.
Journal publishers had been
experimenting with, and rening,
their model within the connes of
their relatively specialist market.
The music industry had also been
working to understand what the
internet could oer, but had not
started delivering music online in any
signicant way by the time Napster
emerged. Given that the market for
music in the broadest sense of that
term is virtually unlimited, and that
music can be so easily downloaded
and instantaneously consumed,
there was, not surprisingly, an
enormous appetite for what Napster
could oer. But it was not within the
control of the music industry. The
industrys decision to close Napster
down rather than to embrace it and
monetise it was reactive and, with
the benet of hindsight, not fully
thought through. The industry has
since paid heavily for the damage to
its reputation caused by its negative
reaction in the full glare of publicity.
Before one can begin to compare
and contrast the dierent approaches
of these two industries to the digital
environment it is important to
understand the dierent ways in which
each is structured and seeks to reach its
audience and get to market. While the
music industry is made up of at least
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Sarah Faulder
in an eort to nd a sustainable
online delivery model, which is
both acceptable to consumers and
yet suciently protable to enable
publishers to invest in new talent
and new product. An obvious
challenge is the pricing model in
an environment where, more often
than not, the competition is with
freely available material.
An important issue to consider
is how online rights, the new heart
of the business as the signicance
of physical product falls away, can
be managed most eectively. It is
notable that most music publishing
licensing is channelled through
a very well developed system of
collective licensing (PRS and
MCPS1), one that has evolved
over some 150 years. The record
industry has traditionally limited
its collective licensing mandates (to
PPL2) to secondary use of recordings
(the performance and broadcast
of its recordings) while retaining
control of its primary sales market,
a situation that is not dissimilar to
that to be found in the publishing
industrys PLS / CLA3 model.
However, as record companies
have to move into the business of
licensing the rights in their recordings,
forced on them by the digital world,
they are increasingly interested in
passing over their online rights to
their collective to administer. They
are coming to recognise the benets
that collective licensing has to oer
in the online world of high volume /
low value transactions. This is surely
one of the options that publishers
should seriously consider as they seek
to maximise the opportunities of the
online environment.
Sarah Faulder is Chief Executive of the
Publishers Licensing Society.
1. Performing Right Society for public
performance or play; and MechanicalCopyright Protection Society for music
reproduced as a physical product, both
now under the umbrella brand PRS
for Music
2. Previously Phonographic Performance
Limited
3. Publishers Licensing Society / Copyright
Licensing Agency
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hat makes an
international literary
festival international?
It seems to me that in order to
qualify, the festivals programme
should include a substantial
number of authors from elsewhere,
speaking other languages, describing
other cultures, writes Liz Calder.
Writers Week in Adelaide and
Torontos International Festival
of Authors at Harbourfront led
the way, internationally speaking,
in the 1970s and early 1980s. Of
course, UK literary festivals have
proliferated in astonishing numbers
since then. But how many of them
are truly international?
Meanwhile we watch the extraordinary spread of Hay-gone-global festivals in many other parts of the world,
where writers both home-grown and
imported ll the programmes. The
indomitable Peter Florence also put his
helpful oar in when the only literary
festival in South America began in
Liz Calder
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York) Dubai,
and the
courageous
Palfest,
founded by
Ahdaf Souief.
Maybe there
is some
part of the
world where
no literary
festivals
ourish? But
where?
Brazil, it has often been said, is
the land of the future, and always
will be. For the next few years,
however, it looks as if its time has
come. Frankfurt 2013 will honour
Brazil as its featured country.
With an economy that has been
comparatively unscathed by credit
crunches, and with the prospect
of hosting the World Cup in 2014
and the Olympics in 2016, with
oil gushing helpfully out of the sea
o Rio, and under the leadership
of its rst woman president, Dilma
Rousso, protege of the hugely
popular and successful President
Lula, Brazil is basking in a longoverdue moment in the sun.
It has, admittedly, been rather
slow in making an eort to show
its cultural riches to the rest of the
world. But it is beginning to catch up.
Dilma Rousso, unlike her mentor,
is a great reader, and under her aegis a
new government-funded translation
grant has been set up to encourage
publishers abroad to consider
Brazilian works more seriously.
Inward fact-nding missions have
begun, the rst during FLIP this
year, where a special conference
was held (O-FLIP), with a panel
of international experts including:
Brazils leading literary agent Lucia
Ri; Nicole Witt of the German
Mertins literary agency; Jonah Straus
of the Straus Literary Agency in
New York; Errol McDonald,
executive editor of Pantheon Books;
and Ravi Merchandani of Atlantic
Books UK. This is an immensely
important and long overdue
development for Brazilian-Portuguese
literature, and more such inward
missions are planned.
The year 2012 will mark the 10th
anniversary of FLIP, an event which
began in August 2003 after a few
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e Paraty
in the run-up to the festival, and
5. Paraty is a party town.
broadcasting and publishing reams
Hospitable, welcoming, it bans all
of material scrutinising every detail
trac other than horse-drawn carts
before, during and after the four-day
from its historical centre. Dozens of
event. Television programmes
bars and restaurants serve delicious
and press conferences are
food. The local distillers make some
constant throughout. Trying
of the countrys nest cachaa,
to explain FLIPs extraordinary
swiftly turned by expert hands into
popularity, I have come up with
irresistible caipirinhas. These add
ve possible reasons:
greatly to the allure.
1. Paraty itself is a huge draw.
One other way FLIP is
Once a rich port, with a historic
distinguished is by the design of its
centre of cobbled streets and unspoilt
venues. Architect Mauro Munhoz,
17th and 18th-century Portuguese
who now runs the charity Casa
colonial houses, it is, like Hay-onAzul, which in turn runs FLIP, has
Wye, physically breathtaking, nestling
conjured up two giant marquees
between a vast rainforested mountain
which have no equivalent at any
range and a bay of scores of subother literary festival I am aware
tropical beaches and islands, oering
of vast, jaw-dropping, state-ofauthors and punters a four-day respite
the-art structures, glowing internally
from their everyday lives.
with vibrant illustrations by FLIPs
2. There are no simultaneous
own artist/designer, Je Fisher. Each
festival events, so in theory one could
marquee holds around 900 to 1,000
go to all 20 of them. And the shared
people; the second has enormous
experiences are
discussed long
into the night.
3. The
people of
Paraty own,
and to a large
extent run,
the festa. A
small town
once rich
when gold
and coee
Kamilla Shamsie in action at FLIP
were exported
back to Portugal, it has a tradition of
screens and open sides so that those
holding festivals, religious, cultural
not lucky enough to gets seats in the
and gastronomic. Its economy has
Authors Tent can see and hear from
in the past relied on shing and
outside for free.
tourism. FLIP has boosted its coers
This year, in early July, writers
enormously, the traders earning
from around the world joined
more during FLIP than their
Brazillian authors in celebrating the
combined earnings at Christmas
work of Oswald de Andrade, Brazils
and Carnival. And the growth of the
modernist poet and early hippy.
towns economy has come without
And the festa ended on the beach
damage to its environment.
with what resembled a scene from
4. FLIP oered the rst
an early rehearsal of Hair. David
opportunity for Brazilian readers
Byrne and James Ellroy represented
to listen to and meet writers whose
the US, while Carol Ann Duy,
books they have loved. This year the
Caryl Phillips and Kamila Shamsie
Portuguese writer Walter Hugo Mae
made up the UK contingent. After
was a huge success, as was Brazils
giving an exquisite reading, Carol
most popular novelist Joao Ubaldo
Ann took o in a shing boat with
Ribeiro. There was previously no
her 16-year-old daughter for a swim
tradition in South America of
in the bay.
authors reading in public. Now
FLIPs tenth anniversary, in early
other literary festivals are springing
July 2012, awaits you.
up all over Brazil and elsewhere in
www.ip.org.br
Latin America.
ISBN 9780757315718
SEPTEMBER 2011
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Parker J. Palmer, author of The Courage to Change
ISBN 9780757315503
AUGUST 2011
ISBN 9780757305313
ISBN 9781558749542
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ew titles topped many international bestseller lists last month, including Germany, the UK, the US and France, writes Gabe Habash. James
Patterson debuted on two lists, hitting number one in the US with Kill Me If You Can, and number two in the UK with Kill Alex Cross.
Two titles expected to sell well in many countries this fall, Aleph by Paulo Coelho and 1Q84 by Haruki Murakami, made strong debuts,
appearing at number two in the Netherlands (on the combined list) and number three in France. In Germany, Piper took the top two ction spots
with Spread, Pray, Screw by Charlotte Roche and The Case of Collini by Ferdinand von Schirach. The top three spots on the French non-ction list
were all lled by debuts, led by The Republic of Briefcases by Pierre Pan. In both the US non-ction and German ction lists, the top four spots all
went to new books. Irish author Melissa Hill climbed to number one on Italys combined list in September with Something from Tianys, while the
highest ranking non-ction title in Italy was The Dukan Diet.
FRANCE
GERMANY
Non-ction
Fiction
Le passage
The Passenger
Jean-Christophe Grang
Albin Michel
I TA LY
Fiction
Non-ction
Schogebete
Spread, Pray, Screw
Charlotte Roche
Piper
NETHERLANDS
Fiction
Non-ction
Fiction
Un regalo da Tiffany
Something from Tiffanys
Melissa Hill
Newton Compton
La dieta Dukan
The Dukan Diet (original French
title: Je ne sais pas maigrir)
Pierre Dukan
Sperling & Kupfer
Aleph
Aleph
Paulo Coelho
De Arbeiderspers
For week ending 5 September 2011 used by arrangement with Informazioni Editoriali
S PA I N
Non-ction
SWEDEN
Fiction
Non-ction
Fiction
Non-ction
El jardn olvidado
The Forgotten Garden
Kate Morton
Suma de letras
Indignaos!
Rise in Protest!
Stphane Hessel
Destino
Livet deluxe
Life Deluxe
Jens Lapidus
Wahlstrm & Widstrand
UK
For week ending 18 August 2011 used by arrangement with Svensk Bokhandel
US
Fiction
Non-ction
Fiction
For week ending 17 September 2011 used by arrangement with The Bookseller
18
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For week ending 19 September 2011 used by arrangement with Publishers Weekly
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Spicing up
Frankfurt
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Confessions of an addict
After running Oneworld for 25 years, Juliet Mabey is still hooked
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Juliet Mabey
SHARJAH
INTERNATIONAL
BOOK FAIR
Visit us in Hall 5.0
Stand E933
Aisha Al Tamimi
Al Alawi
Alex Scarrow
Ali al Muqri
Alison Baverstock
Amit Chaudhuri
Amy Riolo
Andrew Rawnsley
Anissa Helou
Bensalem Himmich
Clea Koff
David Whitley
Dominic Prince
Fawaz Haddad
George Goodwin
Greg Mosse
Ibtisam Ibrahim
Kate Mosse
Khaled Al -Berry
Kimiko Barber
Kristiane Backer
Liana Badr
Maqbul Moussa
Miram Al Tahawy
Peter James
Robert Arbor
Robert Kelsey
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Rose Prince
Rowland White
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Sunetra Gupta
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Taj el Sir
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he annual pilgrimage to
Frankfurt focuses on rights
sales across the world, writes
Julie Schaper. A sometimes overlooked,
but often equally eective option,
is to sell books from the UK, and
further aeld, into the US through
direct distribution. Selling rights can
guarantee income on a book-by-book
basis, but for publishers with the right
lists and the desire to enter the US
market, a distribution arrangement
could make more sense.
A partnership between distributor
and publisher allows access to onthe-ground expertise in the given
country that aims to increase sales
and brand awareness, and exposure
of the publishing company. A good
distribution company can help guide
and shape a publishers programme,
through clearly presented publication
schedules and cataloging, both print
and electronic. At Consortium,
catalogue and marketing materials
are publisher-centric organised by
Julie Schaper
Compose.
Create.
Connect.
22
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Copyright 2011 Warner Bros. Entertainment Inc. HARRY POTTER, characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR. (s11)
THE DARK KNIGHT RISES and all related characters and elements are trademarks of and DC Comics. (s11)
C O - E D I T I O N S & R I G H T S AVA I L A B L E
rights@insighteditions.com U www.insighteditions.com
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Storybook apps
Deb Gafn of Nosy Crow explains how storybook apps can engage young readers
by giving them new points of entry to the world of reading
igital storytelling is
revolutionising reading
time for children. Today,
the best apps for smartphones
and tablet devices are entertaining
children and motivating them
to read. Like the nest childrens
books, storybook apps weave
together words and pictures to
surprise, delight and challenge
young readers. These apps wont
replace the experience children
have with books, but they provide
new and dierent points of entry
to the world of reading.
At Nosy Crow we are creating
storybook apps that enhance the
reading experience. Our apps
balance text, illustration, animation
and music along with interactive
features. We craft each story to
enable the reader to participate
in the narrative. Our goal is that
the overall experience deepens the
childs understanding of the story.
After all, books are the
foundation of our business. By the
end of our rst year publishing as
Nosy Crow, we will have released
26 print titles including picture
books, novelty and non-ction for
children ages 0-14. Axel Scheer,
Philip Ardargh, Marion Billet,
Caryl Hart and Joe Berger are just
a few of the illustrators and authors
we are working with. Our team has
many years of experience creating
high quality books for children, and
brings the same sensibility and care
to our storybook apps.
Increasingly, smartphones and
tablets are competing with books
for childrens attention. As children
spend more time in front of screens,
we want them to nd great stories
there too. At Nosy Crow, we use
technology as a tool to engage
children with reading and to spark
their imagination, just as the best
books have always done. If, as
childrens publishers, we dont take
this opportunity, others will ll the
gap with either inferior book apps
or simply with games.
In the past nine months we have
published two storybook apps, The
Three Little Pigs and Cinderella,
designed specically for use
24
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Cinderellas coach
and horses. They
can even choose
the colour and
style of Cinderellas
ballgown. And,
through the camera
on the iPad2 and
iPhone4, the
app displays the
readers face in the
magic mirrors of
Cinderellas house.
All of this enriches
Storybook apps enhance the readers experience
the reading
experience and
engages children in the story through
on the iPad, iPhone and iPod
exploration and discovery.
touch. These apps are beautifully
Readers responses to our apps
illustrated and carefully thoughthave been enthusiastic. We know
through stories. But they are
from blogs, emails and customer
neither ebooks nor games. Instead,
reviews that parents and teachers
they use the interactive features of
are excited about what were
the device the touchscreen, the
creating and see our apps as positive
microphone, accelerometer and
screen experiences. Primary school
camera to give children an active
teachers say they use our apps to
role in advancing the story.
support reading comprehension,
In The Three Little Pigs, for
and to teach sequencing events in a
example, children tap the screen
story and parts of speech. Teachers
to help the pigs build their houses
of children with special needs tell
and they blow on the screen to
us of new possibilities for learning
help the wolf hu and pu to blow
and communication through our
the houses down. Touching each
apps. One London mother lmed
character triggers dialogue that
her four-year-old son reciting the
reveals the characters perspective on
story in The Three Little Pigs and
the story. And, when readers tilt the
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L. Ron Hubbard is the author of 19 New York Times bestsellers, his works are distributed in
over 150 nations and have appeared on over 100 international bestseller lists.
The Stories from the Golden Age collection features 80 volumes, literary gems spanning the genres
of western, adventure, science fiction, fantasy and mystery.
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2011 NEW ERA APS. All Rights Reserved. NEW ERA is a trademark owned by NEW ERA Publications International ApS and is a registered trademark in Denmark among other countries.
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Frankfurt fellows
Fernanda Cardoso explains how she hopes to use her experience as a Frankfurt
Fellow in the growing book market of her home, Brazil
y experience in the
editorial market started
even before choosing
my career. I was 18 years old and
got an opportunity to work in a
publishing house just after my
arrival back in Brazil from an
exchange course in the United
States. My rst job was as a
Rights Department Assistant at
Nova Cultural, and by working
in this department I learned the
basis of rights negotiation. After
two years, I was promoted to
work in the Editorial Department
as an Assistant Editor in charge of
the mass market romance novels
translated from Harlequin Books.
During the next four years, I
learned how to choose the most
attractive novels for Brazilian
readers, how to adapt the text
for the local market, and how
to write jacket and marketing
blurbs. Basically, all steps of
the production of a book
acquisition, translation, revision,
layout and publicity. I learned a
lot about the publishing market,
and fell in love with it.
However, I felt it was time for
new challenges, and was inspired
to learn lots more. I left Nova
Cultural and started to work
at Ediouro, where I was more
focused on acquisitions. The
commissioning of titles, meetings
with literary agents, rights
directors and authors, negotiating
advances and royalties, and
developing marketing plans
were an exciting new challenge.
In 2009, I was invited to work
at Larousse do Brasil (which
became Editora Lafonte Ltda.
at the beginning of 2010) as an
Editor, developing projects, and
commissioning ction and nonction titles.
It was not until 2010 that I
attended my rst international
book fair Book Expo America
in New York. I was supposed to
visit the London Book Fair the
same year, but the eruption of
Eyjafjallajkull volcano in Iceland
forced a change of plans. Finally,
it was time to visit Frankfurt Book
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Fernanda Cardosa
See us in
Hall 8.0
L973
Multi-book Apps
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60 years of independence
Peter Owen looks back with pride and nostalgia at his publishing career, and recalls s
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Launch party for Fashions in Hair by Richard Corson, with the Japanese
Ambassador, Yukio Mishima and Wendy Owen (novelist and Peter Owens rst wife).
P U B L I S H E R S
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s some of the great authors he has published and his experiences at Frankfurt
Frankfurt remains the place to
content of the books, and some
sell international rights, and of
of the jackets designed by Keith
course its good to meet potential
Cunningham are regarded as
business partners face to face.
classics of their time. Over the
I have picked up a number of
years we have employed a number
interesting titles over the years
of rst-rate editors including Dan
both on and o the stand. Things
Franklin, who is now publisher
were a little less frantic in the halls
at Random House, Michael
before half-hour appointments
Levien, Simon Smith and our
replaced hourly ones, although for
rst one, Muriel Spark. My elder
several years my stand was next
daughter Antonia, who has a
to that of the famous London
long track record in publishing, is
remainder merchant Henry
our current editorial director. In
Pordes, who used to oer pickled
general I have been lucky to have
gherkins to visitors and to clinch
had a succession of dedicated,
a favourable deal would stomp
loyal and hard-working sta,
around shouting at the top of
many of whom have stayed with
his voice. Then, as now, many
the rm for years.
deals were struck at night at the
We continue to bring out both
Frankfurter Hof bar or at parties,
ction and non-ction some
where gate-crashing was rife.
of wide appeal and some of more
Over the years we have
specialist or niche interest. Our
successfully published history,
latest non-ction list includes
biography and works on the
a major work on the French
arts and entertainment. Our
musicians Les Six, protgs of
memoirs and biographies have
Cocteau and Satie, and a candid
featured famous writers, artists
and entertaining memoir by Erin
and musicians, and our titles by
Pizzey, who founded the rst
and about the writer and artist
womens refuge in the world 40
Mervyn Peake consistently do
years ago, in which she discusses
well. Three of our biggest nonher life and the womens liberation
ction sellers have been Fashions
movement of the 1970s. Its a
in Hair, Fashions in Makeup and
fascinating snapshot of the era.
Fashions in Eyeglasses by Richard
On the ction side we have
Corson. We have also had success
recently brought out excellent
with the authoritative and
books from Britain, Turkey, Korea
comprehensive history of theatre
and the Czech Republic, as well
in four parts, Stage by Stage, by
as two newly retranslated novels
Philip Freund.
Two of our ction
bestsellers are the ecological
fables Arto Paasilinnas
The Year of the Hare and
Jean Gionos The Man
Who Planted Trees. One
that got away was a novel
by Samuel Beckett. In
the late 1950s, after some
deliberation, I turned it
down in favour of The
Setting Sun by the Japanese
author Osamu Dazai, as
we could not aord to
take on both. Although
Dazai is still regarded as an
important writer, I regret
the decision to this day.
We devote considerable
Wendy Owen, Antonia and Georgie Owen taken
to promote one of Wendys novels in 1967.
eort to the design and
R e ce iv e a f r e e co p y o f o u r
innovative Christmas journal
SE N D US YOUR MA ILIN G A DDRE S S T O
GIF T2 U@TSEWO R LDWIDEPR ES S . C OM
/tseworldwidepress
@tsewp
A P r i n t e r. To g e t h e r, w e c a n i n n o v a t e .
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Peter Newsom