Monday, December 08, 2008

Catheryn Kilgarriff -- publisher (Marion Boyars)

Catheryn Kilgarriff of Marion Boyars Publishers:


1.
Literature is in trouble -- that is, more trouble than usual. Why do you think this is? The increasing prevalence of TV? The distractions of increasingly narcotic subcultures such as video games? Sept. 11? Or is talk of the "death of literature" simple exaggeration?

Literature is not in trouble. Film adaptations help literature, blogs spread the word of good books (both private and ones like The Guardian Unlimited,) video clips on YOU TUBE are used to promote novels, writers are seen as cool people.

The one area that is intensely dangerous is the discounting of books in the UK by the chains – the 3/2. There are only so many books a person wishes to read, so if they have bought 3, they will not buy again for another month. But I am hoping that very soon, internet buying direct from publishers web sites will replace the power of amazon, and the availability of books in shops. Ie – if you read good publishers web sites, and buy directly from them, you should never have to hunt for a book in a large chain fruitlessly again. But the chains run the danger of only being visited by people looking for a bargain, and I am afraid the blame for this lies at their doors.


2. And what is literature, anyway? Should the novel be considered the prime example of it?


Literature is anything which challenges the status quo – so Riverbend’s blogs, Baghdad Burning, published by us in two volumes, are an excellent example of good literature.


3. Prizes and awards are playing an increasing role in determining an author's career-trajectory. In short, winning a major literary prize can win a writer a large audience overnight (not to mention, considerable fame and financial remuneration). But, as British critic Jason Cowley has observed, what is lost is the the ability for readers to think in a critically complex fashion.

Are literary prizes dangerous in this regard? Do they convey to the public the message that "this book is worth reading and all these others aren't"?

I think book buyers are capable of making choices – they do not buy every prize winner. But certainly, books they would not have noticed come to their attention, and this is a good thing. Prizes are important.


4. Literary publishing has always been a marriage of art and commerce. But in recent years, the Cult of the Deal has become more influential, with agents demanding larger advances and marketing people paying especially close attention to sales figures. Is the "art" side of the business being pushed out?

The art side of the business has to co exist with the business side. Neither should be ignored, and the books published to make money will be different from the ones published because an editor or publisher loved them. It is just that some books loved by an editor will not see light of day since sales just cannot be envisaged, and the publisher does not wish to lose money and disappoint the author.

Some advances are silly – they are so large. But this just does not apply to the literary independent.


5. Many major publishers now refuse to accept "unsolicited" work; that is, they will not even consider work unless it is agented. Is this a sound policy from point of view of finding the best new literary voices? Isn't there a chance good writing will be squeezed out?

We have only taken one novel from the slush pile – a very good Irish writer living in Canada called Gerard Beirne. His novel, THE ESKIMO IN THE NET, sold a respectable 2000 copies. If it had got onto a good prize long list, it would have done better. So, we look at our slush pile properly, but it rarely produces the goods.


6. Alternatively, for small presses that do accept unsolicited work, is the problem that the majors are squeezing the small houses at the distribution/retail marketing end? In other words, even when good writers get published by small houses, do they have a fair chance of winning an audience? Or are the major houses introducing an overly corporate, overly aggressive mentality to the book trade?

There is no reason for a good small house to be squeezed out by the large publishers. With head offices at the chains taking the buying decisions, the role of the rep in the large houses has diminished. Penguin now has 10 reps, HarperCollins UK, about 12. We have 6 plus myself, which makes 7. There is hardly any difference between how our books are presented to the trade and how the lead titles from the main houses are. The only difference is that we are more often breaking new authors, since we cannot afford large advances. Ie, when we have made the name of a new author, we often lose them to a large house. BUT – the authors often come back to us, since we work harder for our authors (we have fewer front list books a year) and we achieve better sales for them, better publicity, and we tour them at the major literary festivals. We also enter them for prizes – and, please note, each house is limited to 2 or 3 entries per prize (Booker, Orange). So, any author at a large house is LESS likely to be entered than if they are published by a small house.

In the area of rights, big and small houses work closely together. The big houses acknowledge our skill at finding new talent and they often want to buy the mass market paperback rights from us. This whole system benefits everyone.


7. Returning to the question of agents -- are they too powerful? If so, in what ways? Or are they a largely beneficial and necessary element of contemporary publishing?

I’d love to see an agent negotiate with Waterstone’s or Borders over discounts and 3/2 promotions. That’s the area agents have no idea of. They choose to ignore it, try to raise advances and change terms, and all that happens is that the author gets let down by too high expectations coming from their agent.


8. Does Britain have too many publishers? Or too few?

Probably too many. New houses start all the time. I wish them well, but it’s a tough business.


9. In your opinion, how will new technologies such as the e-book or audio books affect the "form" of the book?

Not as much as people think. The 3D book is transportable, user friendly and lasts over time.


10. Putting aside the hype, does the Internet provide a real opportunity to publishers? If so, how?

As said before, it’s a wonderful promotional device and hopefully soon a lot of book sales will be direct from publisher’s web sites.


11. And what role can traditional, venerable institutions such as libraries and English Departments play in reversing the decline in sales of literary fiction?

English teachers will always be hugely influential on young minds. Young people hardly use public libraries as they have personal computers. So entertainment is already at the flick of a button. But parents can be influential. I bring back 4 books a month from my local library for my two teenage daughters who are as lazy as they come. But, shock horror, they run to the pile and read these books very fast. One day they will manage to walk two blocks to the library themselves…probably when they are at university and I am not there.


12. What projects are you working on now that you are excited about?

Chocolate and Zucchini by Clotilde Dusoulier May 2007

Builds on the success of recent books from blogs, including Julia and Julie by Julie Powell which won the Lulu blog award in 2006, and of course, Baghdad Burning

Probably the first cook book with international appeal for the new generation which uses the net as their networking base. High profile launch at the Institut Français with food.

“Not some wronger-than-wrong fusion cooking site, but a blog (in English) built around the twin culinary passions of its 27 year old Parisian writer, Clotilde Dusoulier: fresh, healthy eating and, as well, the magical dark stuff. It is real escapist, drool-on-your-keyboard stuff as Dusoulier drifts around Paris on a waft of sugar-scented air, stumbling across delicious delicacies.’ The Guardian

‘You can just see Audrey Tatou playing her in the movie as she traipses all over Paris, finding the bakery supply store that her mother shopped at, eating out, cooking and writing down recipes and shopping tips along with insights into French life.” Los Angeles Times

Enlightenment by Maureen Freely. March 2007

An investigative journalist returns to Istanbul, the scene of her early love affair with Sinan. She has to overcome her qualms when she is asked by his ‘honeypot’ wife to help her regain her son, taken away by the American authorities when Sinan is arrested on entry into the States.
A thriller involving a retired intelligence operative, a mysterious ‘trunk’ murder, and a group of young people involved in subterfuge, but now tackling a real crisis, Maureen Freely’s novel shows how in Turkey nobody is who they are and everyone is suspect.
Maureen Freely writes widely for several newspapers, and is a respected authority on the current situation in Turkey. She is a controversial writer who is not afraid to criticise the Turkey she loves.

Touba and the Meaning of Light by Shahrnush Parsipur
An epic and challenging novel about one woman’s lifetime covering eight decades of Iranian history
Winner of a PEN WRITERS IN TRANSLATION AWARD 2007.
Banned books are a major draw, and one of the broadsheets is running a promotion so reviews guaranteed. Tour highlighting other banned and prosecuted authors on our list, Elif Shafak, Hong Ying and Hubert Selby Jr.
‘Parsipur…endured jail and torture to preserve her sense of dignity and integrity, and as a writer and innovator… Her protagonists are women whose rebellions are not merely political but existential.’ Azar Nafisi, author of Reading Lolita in Tehran
‘Initially published in Iran in 1989, this ground-breaking novel – which juxtaposes reality and mysticism, becoming especially fantastical toward the book’s conclusion – was quickly banned by the Islamic Republic.’ Publisher’s Weekly (starred review)A new novel by an author who left us and has come back (still confidential but highly commercial)



Statement: Firstly, Marion Boyars was my mother who died in 1999 so she will not be answering any questions. The eminent back list, with the novels of Hubert Selby Jr, the UK rights for One Flew Over the Cuckoo’s Nest by Ken Kesey, the works on John Cage, Heinrich Boll and Georges Bataille, these are all her work. Our recent publication of novels by Hong Ying, Elif Shafak, and the Iraqi blogs by Riverbend, Baghdad Burning – all of which have attained world wide fame, are my work. So, it’s a kind of combination of both of us.

1 comment:

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