DC Books Posts

“Knotted Grief” by Naveen Kishore

unannounced visitor
I dropped by into my dream
careful not to awaken the buried whispers
I lit a candle by their grave
startling the slumbering shadows into a frenzy of activity
bats taking wing flying blindly into one another
this in turn caused the whispers to awaken
look me in the eye
and begin to do what they did best

bear witness

Legendary publisher Naveen Kishore, founder, Seagull Books, has published his debut collection of poetry called Knotted Grief. It has been published by Speaking Tiger Books. He is the recipient of the Goethe Medal, a Chevalier de l’Ordre des Arts et des Lettres and was awarded the 2021 Ottaway Award for the Promotion of International Literature. Those who are fortunate to communicate with him directly and regularly, have been aware of his talents as a poet for a very long time. His emails are interspered with poetry or at times are only written in verse. The manner in which he responds to situations, events, moments, emotions are well described in his poems but also the way in which he arranges the words on the page. The visual element is as important as the content, ideas and emotions. For years, I have asked Naveen Kishore to get his poems published. I have always found the poems fantastic. It is a gift to be able to compose poems easily focussing upon the reader, so it always seem as if the poems are special. So I was delighted when the publication of Knotted Grief was announced by Speaking Tiger Books.

In Knotted Grief, the collection of poems are categorised according to “Coda”, “Kashmiriyat”, “Street Full of Widows”, “Selected Griefs”, “Tilted Sky”, “Under the Skin” and “Birdcall”. The poems are of varying lengths, from a cluster of words to verses scattered on the page. The sparse arrangement on the page ensures that the reader is absorbed by the few words on the page.

Upon reading the volume, I posed a few questions to Naveen Kishore. Here is the slightly edited version of the Q&A.

  1. How did this collection happen?
    The collection happened by accident when my publisher friend Xavier Hennekinne of Gazebo ‘discovered’ that I write poetry by finding some of my poems in online poetry journals. he asked my if I had a book and I said no I have many folders with poems I have been writing for the last ten years! The reason fr not having a manuscript was simple enough. I was so busy writing I couldn’t stop, take stock, and put one together. This was solved by my friend and translator Tess Lewis who offered to select a first draft so that publishers could read it like a book! I went on to share this with Xavier at Gazebo and he in turn shared it with his poetry editor Phil Day, who is himself a poet and a painter. Phil then requested I send hi the four hundred odd poems I had set aside while selecting this collection and immersed himself in these for a few months and came up with Knotted Grief as you read it now!! Gazebo will publish on April 1st. The Speaking Tiger edition happened when I shared the Australian page set version except that Ravi selected more poems because he wanted an additional thirty pages. There is no collaboration between Seagull and Speaking Tiger! I offered my manuscript as any first time author to a publisher I admire. Seagull has nothing to do with it except do what we always do spread the word for friends in publishing!
  2. Did you compose poetry specifically for this volume or did you select from previous compositions?
    No. I have been writing on the human condition for many years. Kashmir is one theme but it could easily be Palestine. There is no recent or previous. You write every day. Like music. It is all a continuous riyaz.
  3. Why did you focus upon grief? Is it one of the offshoots of the pandemic?
    I didnt. Choose grief. It is usually the other way round. Grief does the choosing, if I may put it like that. You are visited upon by loss of friends close ones in an ever widening or lessening circle of affection. People close to you die. Go away. So you embrace their memory. Similarly at a political, national versus personal level their is grief that springs from what we as people do to each other. Again the ‘human condition’, ‘Kashmir’ ,’Palestine’ Interchangeable grieving. The poems and yes grieving is never without hope.
  4. You have always written fabulous poetry. Why did you choose to publish your poetry now and not earlier?
    I cannot as a publisher publish my own books! So one waited for someone to ‘discover’ my poems. Takes time! Besides to me the act of writing is more vital.
  5. How many translations is this poetry being published in? Who are the publishers? Are you supervising the translations or are you letting the poems speak for themselves?
    So far Rajkamal Prakashan Samuh very generously offered to do the Hindi; Ravi Dee Cee of DC books is doing the Malayalam; Papyrus is doing the Marathi; Unistar in the Punjabi; Chintan in Bengali; I am reaching out in Tamil, Kannada and Assamese too. Let see. Not really supervising but making myself available for translators should they wish to talk about things. Complete freedom to take liberties as long as the essence of the ‘target’ language is hospitable to what I may be attempting in English. So yes the poems have to touch the translators.
  6. As far as I know, the arrangement of the words on the page are as critically important as the poem itself. How will you manage this quality control in the translated texts especially if you are unfamiliar with the destination language?
     I am flexible. It will boil down to the combination of the translator and editor in the language edition to do the best they feel they can to convey render share the original thought in their own languages. This means they have the freedom to lay out the poems the way they wish.
  7. You are a publisher known for publishing extensive translations. Are there any guidelines/sensibilities that you have honed as a publisher over the years that you would ensure are followed in translating your poetry as well?
    None. I leave it to the publisher, editor, and translators who become the first sensitive readers in that language. Having said that I may be able to help fine hone the languages I know, Punjabi, Hindi, Bengali.
  8. Would you change the collections ever so slightly in every language or will the same edition be made available in all editions?
    I think mostly the Indian edition is being followed. I would more or less treat that as the one I would want translated. But open to the variant should it happen organically or for reasons that are yet to come up.

I truly liked Knotted Grief. Perhaps you will too. Buy it. Read it.

8 Feb 2022

Juergen Boos, President/CEO, Frankfurt Book Fair/ Frankfurter Buchmesse, on “Freedom to Publish”, 23 Jan 2019, Jaipur Bookmark

Juergen Boos, President/CEO, Frankfurt Book Fair/ Frankfurter Buchmesse, delivered the inaugural speech at the Jaipur Bookmark. It is the business conclave that is inaugurated the day before Jaipur Literature Festival and then runs parallel with the litfest. It is an exciting B2B space for publishing professionals to network. Juergen Boos’s speech is published here with his kind permission.

******

Juergen Boos, 23 Jan 2019, Diggi Palace, Jaipur

Dear Namita Gokhale,  

Dear William Dalrymple,  

Dear Sanjoy K. Roy,  

Dear Colleagues and Friends,

Thank you very much for the invitation to speak here today. The Jaipur Literature Festival is a festival of cultures, language, ideas and literature, and I feel very privileged to have the chance over the next few days to listen to so many Indian authors and personalities from around the world and to converse with them.

At this confluence of cultures, I’m pleased to address the friends from the trade at Jaipur Bookmark today. 

After all, that is the fundamental principle of any literature festival: creating an environment for interactions that promote the free exchange of ideas and opinions.

The free exchange of ideas and opinions – never has that been easier than today, in the 21st century.

And never has it been so threatened.

Over the past 20 years, communications technology has taken an evolutionary leap, one that surpasses anything the most far-sighted science-fiction writers of the 19th and 20th centuries could have imagined.

In Stanley Kubrick’s film “2001: A Space Odyssey” from the year 1968, Dr Heywood Floyd, an astronaut, has a “videophone call” with his daughter while at the space station.

Fifty years later, in the summer of 2018, the German astronaut Alexander Gerst used his mobile phone to take fascinating photos of his time at the International Space Station, images which were transmitted around the world.

Videophones, computer tablets, artificial intelligence, voice control – many of the things that Kubrick envisaged 50 years ago have become reality.

According to the 2018 Global Digital Report,[1] of the four billion people around the world who have access to the Internet, more than three billion use social media every month.  Nine out of ten users log on to their chosen platforms using mobile devices.

The number of people who use the most popular platforms in their respective country has grown over the last 12 months by almost one million new users each day.

What I find remarkable here is that not only has communications technology made a quantum leap, the devices that allow the world’s population to participate in the global conversation have also become so inexpensive that almost everyone can afford one.

That is giving rise to a previously unknown participatory process, one that has the power to change democracy’s traditional ground rules: 

Everyone today is in a position to publish whatever they want – using blogs, podcasts and self-publishing platforms, as well as traditional publishing houses. News is transmitted around the globe in the fraction of a second, and social networks allow us to reach more readers and viewers than ever before.

In just a minute I will talk about the challenges and consequences that are resulting for the publishing industry.

First, however, let’s look at the darker side of these developments:

In the 21st century, a few select businesses have become private superpowers. They can do more than most countries to promote or prevent a free exchange of opinions.

Via social networks, phenomena like the viral spread of fake news, hate speech and slander now have a global impact. 

Professional trolls strategically destabilise political discourse online, fuelling populist, nationalist and anti-democratic tendencies throughout Europe and around the globe.

One observes that, here in India, free speech is facing a threat sprouting from religious motivations, political biases and social judgments. Attempts in the recent past to silence journalists, writers, film-makers and publishers reflect the rise of identity politics and apathy on the part of the state. Two journalists of international repute – Gauri Lankesh and Shujaat Bukhari – were shot dead within a span of nine months. Publisher friends like DC Books, Kalachuvadu Publications and their authors have witnessed attacks by fanatics who may have never even read the books in question.

When I look at the hysteria, hatred and hostility that characterise the discussion in social media, the permanent state of turmoil that societies around the world find themselves in, then I begin to doubt whether we are actually capable of using the communications technologies whose development we are so proud of.

To paraphrase Goethe: “The spirits I called / I now cannot rule”.

In social media, language is used as a destructive weapon day in and day out, and it’s become clear how disastrous this can be for those individuals targeted by the bullying. It can even lead to murder.   

In his 2016 book Free Speech, which you undoubtedly know, the British historian Timothy Garton Ash examines the question of how free speech should take place.

He asks which social, journalistic, educational, artistic and other possibilities can be realised to ensure that free speech proves beneficial by facilitating creative provocation without destroying lives and dividing societies.[2]

He comes to the conclusion that the less we want to have laid out by law, the more we have to do ourselves.

After all, Ash explains, there is no law that can draw a line between freedom and anarchy – every individual must look within before expressing himself or herself and must take responsible decisions.

I would like to talk with you about this “how” in the coming days and hear your opinions.

Personally, I feel that the participatory process I mentioned before requires us – our industry, but also each of us as individuals – to take a stance. Expressing an opinion of this type was long reserved for politicians or the media. Today, in the 21st century, we all have the possibility of making our voices heard.

And we should not do that in keeping with the motto “overnewsed but uninformed,” but in a carefully considered manner.

I believe that this permanent state of turmoil is troubling, this hysteria which does not stop at speech, but which now increasingly leads to violence.

Personally, I’m alarmed at how the language we use is becoming increasingly coarse and, following from that, the way we interact with each other.  

The problem about this state of turmoil is that it usually results in the exclusion of others and, consequently, causes even deeper trenches to be dug.   

Yet how can we deal with the challenges of our time – and find solutions to them – if not in dialogue with each other?

That leads to the question: what responsibility do publishers bear, does our industry bear, today, in the post-Gutenberg era?

How can publishing houses and their products remain relevant in an age in which fake news can be disseminated faster than well-researched books?

In which rumours, supposition and conjecture are more quickly viewed, liked and shared than texts capable of explaining complex contexts?

As my friends Kristenn Einarsson and José Borghino have pointed out on many occasions, “If we are to create and maintain free, healthy societies, then publishers must have the will and the ability to challenge established thinking, preserve the history of our cultures, and make room for new knowledge, critical opposition and challenging artistic expression”.[3]

Publishers in the 21st century are in a privileged position: the industry looks back on a long tradition, on the one hand, and has built a reputation. Publishers are gatekeepers – they filter and assess content, they curate before they publish.

They consider it part of their job to publish content that is well-researched, documented, checked and carefully assembled as way of contributing to the range of opinions present in society.

On the other hand, they now have the possibility of reaching their readers through various channels, offering their expertise, their content and their opinion exactly where their target group is found.

Publishers and authors in many parts of the world risk their lives by writing or bringing out books that criticise regimes, uncover injustices and shed light on political failures.

On 15 November 2018, the Day of the Imprisoned Writer, Arundhati Roy wrote the following in a letter to the Bangladeshi writer, photographer and human rights activist Shahidul Alam: “How your work, your photographs and your words, has, over decades, inscribed a vivid map of humankind in our part of the world – its pain, its joy, its violence, its sorrow and desolation, its stupidity, its cruelty, its sheer, crazy complicatedness – onto our consciousness. Your work is lit up, made luminous, as much by love as it is by a probing, questioning anger born of witnessing at first hand the things that you have witnessed. Those who have imprisoned you have not remotely understood what it is that you do. We can only hope, for their sake, that someday they will.”[4]

As you know, Shahidul Alam was taken into custody in July of last year after he criticised the government of Bangladesh in an interview with Al Jazeera and in various Facebook posts.[5] Fortunately he has since been freed, but the charges against him remain.

Without wanting to turn these very personal remarks by Arundhati Roy into a generalisation, I would just like to say that she has put it in a nutshell when she writes that, through their work, writers, authors, journalists and artists draw a vivid map of humankind in our part of the world.

Journalists and other authors write despite intimidation and threats. Like Shahidul Alam, they are driven by a mixture of love and anger. For that, they deserve our highest esteem and respect.

Writers and journalists are being intimidated and forced into silence all around the world because of their political and social engagement, something we condemn in the strongest possible terms.  

As discoverers and disseminators of ideas and free thought, we, as a community, have a greater responsibility to uphold freedom of expression. At the same time, we cannot withhold our criticism of its misuse.

I hope to have the chance to speak with many of you about these issues in the coming days.

Thank you.


[1] https://wearesocial.com/de/blog/2018/01/global-digital-report-2018

[2] (Kapitel Ideale, Seite 123)

[3] Zitiert in Nitasha Devasar: Publishers on Publishing – Inside India’s Book Business

[4] https://pen-international.org/news/arundhati-roy-writes-to-shahidul-alam-day-of-the-imprisoned-writer-2018

[5] https://pen-international.org/news/shahidul-alam-writes-to-arundhati-roy

13 February 2019

PrintWeek India Books Special 2013

PrintWeek India Books Special 2013

The cover of the PrintWeek India Book Special 2013 and the first page of my editorial.

The cover of the PrintWeek India Book Special 2013 and the first page of my editorial.

 

 

The Books Special 2013 is out! I have collaborated with PrintWeek India for the past eight months on this project. It consists of over 25 interviews with the senior management of the Indian publishing industry. In this 116-page publication, there are interviews, viewpoints, profiles and analysis. It provides a snapshot of the publishing industry, discusses the challenges facing publishing professionals in this ecosystem and most importantly delineates the the manner in which publishers are coping with the major changes that are sweeping through the publishing landscape. Ultimately the Books Special celebrates the future of books in India.

There are only printed copies available for now.

The list of contents is:

Introduction – Jaya Bhattacharji Rose

Perspective 

National Book Trust, India – M A Sikandar

Viewpoint – Urvashi Butalia, Zubaan

PK Ghosh – Homage by Rukun Advani, Permanent Black

Ramdas Bhatkal – Profile by Asmita Mohite

Motilal Banarsidas – Chronicle

In Memoriam – Navajivan & Jitendra Desai

Spotlight – Book printers of India

Trade publishing 

Westland – Gautam Padmanabhan

Random House India – Gaurav Shrinagesh

Seagull Books – Naveen Kishore

Aleph & Rupa – David Davidar & Kapish Mehra

HarperCollins Publishers India – PM Sukumar

Hachette Book Publishing India – Thomas Abraham

DC Books – Ravi Deecee

Pan Macmillan India – Rajdeep Mukherjee

Penguin Books India – Andrew Philips

Harlequin India – Manish Singh

Diamond Books – Narendra Verma

Kalachuvadu Publications – SR Sundaram

Bloomsbury Publishing India – Rajiv Beri

Simon & Schuster India – Rahul Srivastava

Children’s Books Publishing 

ACK Media – Vijay Sampath

Scholastic India – Neeraj Jain

Education, Academic and Reference Publishing 

Sage Publications – Vivek Mehra

S Chand Group – Himanshu Gupta

Cambridge University Press India – Manas Saikia

Wiley India – Vikas Gupta

Sterling Publishers – SK Ghai

Springer India –  Sanjiv Goswami

Tulika Books – Indira Chandrashekhar

Manupatra – Deepak Kapoor

Orient Blackswan – R Krishna Mohan

Publishing Process 

Pearson Education India – Subhasis Ganguli

Palaniappa Chellapan – Palaniappa Brothers

Sheth Publishers – Deepak Sheth

Hachette Book Publishing India – Priya Singh

Mapin Publishing – Bipin Shah

Prakash Books – Gaurav Sabharwal

7 Sept 2013 

Jaya Bhattacharji Rose is an international publishing consultant and columnist. Her monthly column on the business of publishing, PubSpeak, appears in BusinessWorld online.

@JBhattacharji

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