Skip to content

Index: Books & Publishing

A ‘pomenvylope’ by Nicholas Moore.

Martin Sorrell: The type is blotchy, made worse by an expiring ribbon and a clutter of corrections hammered over the several typos. This ‘pomenvylope’, and the few others I’ve managed to read, speak to me of the frustration Moore lived with for the decades after brief fame had become neglect. They express the dogged endurance of a poet still possessed of a strong voice and the wish to have it heard.

Famous last words from publisher Jane Friedman?

“The consumer is not asking for this,” said Jane Friedman, CEO of Open Road Media, an e-book publisher that is experimenting with enhanced titles. “It takes it from being a reading experience to something else, and we are publishers.”

Schoolbook battles: Education publishers and their little-read books triumph.

very education publisher knows that its biggest growth opportunities are digital products and services, expansion into global markets, and efficient investment in its content-based enterprises (like books and journalism).

Google doesn’t translate. It predicts.

he dream of a true universal language is in the end dependent on perfect translation. Aside from the lessons of Babel, the history of the Bible istelf offers other cautionary tales, particularly this year – the 400th anniversary of that great cathedral of language, the King James Bible. The anniversary has proved to be both a cause for celebration and for reflection on whether there can ever be an ideal or final version of such a work. Isn’t every new rendering bound to reflect the social and cultural context in which its translator works ?

The weighty type of literature on display in New York.

Type was once the tangible province of engravers and metal casters who labored in unforgiving but enduring media. To make a C with a cedilla, for example, involved a lot more effort and thought than holding down the Option key on your Mac. A comma-shaped steel appendage had to be lashed with string to the bottom of the C punch to produce a new matrix.

Ruin, the collector, and ‘sad mortality’.

Alan Wall: The collection exists in order to hold ruin at bay, so there is an acute poignancy to the ruin of any collection. Particle meets anti-particle; annihilation ensues. Alfred Russel Wallace spent years putting together his collection of animals and plants from the Amazon. The brig on to which they were loaded for return to England caught fire, and almost everything was destroyed.

The Bibliomania.

John Ferriar: Proudly he shews, with many a smile elate,
The scrambling subjects of the private plate;
While Time their actions and their names bereaves,
They grin forever in the guarded leaves.

In Bruges, with the Symbolist man of the crowd.

“Bruges-La-Morte,” a tale of obsessive love, is a Symbolist novel, perhaps the Symbolist novel. The movement (officially promulgated by Jean Moréas in his “Manifeste du symbolisme” of 1886) is best understood as a vague composite of moods and formal preoccupations that pervaded the music and art of that era, no less than its poetry and prose.

Logue: the very master of a modern martial metaphor.

I stayed in touch with Logue for a while after our meeting. I received a couple of beautiful hand-written cards and spoke on the phone a few times, but I got the impression he was already bored of me. Then one afternoon a postman knocked at my door with a large brown tube. I opened it and inside was one of Logue’s poster poems from the 1960s, with a note of thanks inside.

A brief guide to Oxford’s ‘Very Short Introductions’.

Michelene Wandor: The first ‘Very Short Introduction’ appeared in the mid-1990s, and now there are nearly 300 books, which have sold over three million copies, and been translated into over twenty-five languages. The virtue is unadorned: A ‘Very Short Introduction’ contains all you need to know in order to decide if you need to know more. The recipe is a tough call: a ‘Very Short Introduction’ must necessarily historicise, provide an epistemological guide to the subject, analyse its conceptual and ideological issues, and wrap it all up – for now.

Gratifying the desires of the analog bibliophile.

I’ve been gathering books for as long as I can remember. But I became a self-conscious book collector only in graduate school, when I lived amid dozens of secondhand shops in Cambridge, Boston, and the wider orbit of New England. Some of those shops survive, but many were closing toward the end of the 90s, with the rise of the Internet. Like many book lovers, I lamented that change.

Charles Dickens in the editor’s chair.

Percy Fitzgerald: There is one view of Dickens which has scarcely been sufficiently dealt with, namely, his relations with his literary brethren and friends, as editor and otherwise. These exhibit him in a most engaging light, and will perhaps be a surprise even to those abundantly familiar with his amiable and gracious ways.

Poetry of ‘a detailed curiosity’.

Alan Wall: Although radically different books, both Michelene Wandor’s writing and Myra Sklarew’s exhibit a detailed curiosity regarding the minutiae of existence, whether itemising seventeenth-century trade or arachnid encounters. The threads that tie dissimilarities together, whether gossamer or memories of Lithuania, hold the poems together with an alert gracefulness.

‘Private Eye at 50′, surrounded by elderly gents in greatcoats.

Michelene Wandor: This laid-back exhibition of images from its first fifty years, nestles in two interconnecting rooms at the V & A, conveniently on the route to the wonderful café. Lining one high wall are covers, each of which catches a chilling moment in recent political history. There is a young Tony Blair, dark hair waving over his head, visiting an elderly person in hospital. Blair has a huge grin, reassuring the patient that ‘there’ll be a spin-doctor along in a minute’.

‘The books are even getting choked in Tehran.’

The report entitled “The books are even getting choked in Tehran” is penned by Akram Dashtban who is a graduate of Social sciences.

Last year she was a runner up in the Report section of the Festival of “Superior media & books” for “What is Future doing down the cup?”