WORLD PUBLISHING TODAY by NOEL KING
This text is based on a presentation given by Noel King at the Sixth International Philippine Literature Conference held in Davao, Mindanao, on September 20-21, 2015. This version includes some material added after that presentation.
“Most trends in the book industry are accompanied by countervailing ones. As the conglomerates get bigger there is a new optimism among enterprising independent houses … who believe that they can offer distinctive titles that the giants, with their concentration on the mass market, overlook.” – Nicholas Clee, “End of the Book Postponed,” Prospect Magazine 135 (June 2007).
“Sales of physical books rose in the UK for the first time since 2007, with Nielsen BookScan figures for January-November up 5.4 per cent on the previous year. Add to this the British chain Waterstone’s pulling unwanted Kindles from its shelves and Amazon opening a bricks and mortar bookshop and it did seem like the future might not be entirely digital after all. The stuff of fantasy? We will see.” – Lorien Kite, “Books of 2015,” Financial Times Weekend (28-29 November, 2015).
First, it’s both an honour and a pleasure to be participating in the Sixth Philippine International Literary Festival, the first to be held outside Manila, here in Davao (and I now know the ‘v’ is pronounced as a ‘b’), Mindanao. This admirable, conscious attempt to shift a little the Manila-centric literary-cultural viewpoint to include other, more distant regions of the Philippines certainly resonates with me and my presentation today.
“I come from the land down under,” Australia, with a population of 24 million, most of whom are clustered in capital cities on Australia’s coastline, or if somewhat inland, on a river. In Australia the publishing industry is concentrated in our largest city, Sydney, where I live, and in our second-largest city, Melbourne. Sydney is said to be the home of international, conglomerate publishing while Melbourne is said to have more small-independent presses (Rosenbloom, 2007). The one exception to that account of Melbourne is that Penguin Australia is located in Ringwood, an alcohol-free suburb of Melbourne.
There is a history of cultural rivalry between Sydney and Melbourne whereby Sydney, with its warmer weather, lovely beaches, its obsessive relationship with real estate and money, is regarded as some kind of aspirational L.A. whereas Melbourne – quite recently voted the “most liveable city in the world” – is regarded as more intellectual, more cultural, certainly possessed of more venues for live music. At one point this civic rivalry was cast in terms of “St Petersburg vs. Tinseltown,” and I will leave it to you to decide which designation goes where.
A few weeks ago Sydney was listed as the third most expensive city in the world to live in, coming up a couple of places from its fifth place of several years ago. Real estate prices are very, very high, as accordingly is rental accommodation, and the everyday cost of living is very expensive. All for no particular reason, beyond opportunity and avarice. Even so, a former Labor Party Prime Minister, Paul Keating, once said, “If you’re not living in Sydney, you’re camping out.”
Further afield from this Sydney-Melbourne duelling capital city duo are three other capital cities, each of which has a significant role to play in Australia’s literary-cultural life. Adelaide, South Australia, now home to South African Nobel Prize Winner, J. M. Coetzee, likes it made known that its original settlement included no convicts, unlike the rest of Australia’s white settlement origins as an English penal colony. Frequently described as a “city of parks and churches,” it boasts a longish tradition of being very cultural, with an International Writers’ Festival, a Fringe Arts Festival, a World Music festival, film festivals, and the South Australian Film Commission, which was a crucial part of Australia’s revived feature filmmaking industry in the early 1970s, producing films such as Sunday Too Far Away, Gallipoli, and Storm Boy. It also has a history of enlightened political lawmaking. It was the first Australian state to legislate against rape in marriage. And it was at the University of Adelaide that Miguel Syjuco completed the PhD that would result in his 2008 Man Asian Prize-winning novel, Ilustrado (New York: Farrar, Straus and Giroux, 2010).
Stepping further westward, across the long expanse of the Nullarbor, we reach Perth, Western Australia. Perth is a four and one half hour plane ride for those people who aren’t camping out, who are living in Sydney, and is home to celebrated Filipina Rose Hancock and also to Janet Holmes à Court. It is the home state of former Labor Party Prime Minister Bob Hawke, and the Labor Party Education Minister, John Dawkins, who introduced profound changes to Australia’s tertiary education system; home also to the late Alan Bond, disgraced businessman who spent some time in gaol and who will forever be admired by Australians for having, in 1983, wrested the America’s Cup yachting trophy from the US after it had spent 132 years in the New York Yacht Club’s possession. Those races were won to the tune of Men at Work singing “Land Down Under,” and this historic victory obliged the US to challenge – successfully, as it turned out – to regain the Cup by sailing in the waters just off Fremantle, near Perth. Fremantle is home to Fremantle Arts Centre Press, and is where one of Australia’s most commercially and critically successful writers, at a national and international level, lives – Tim Winton.
Fremantle Arts Centre Press was established in 1976 and has as its mission the publication of only those writers who are connected to W.A., either by having come from there, having once lived there, currently living there, or by having moved there to live. In the 1980s this proudly regional, small-independent press surprised itself by publishing two books that went on to sell a million copies apiece. First came A. B. Facey’s A Fortunate Life, a memoir of a hard-scrabble life in Australia in the first part of the twentieth century, published in 1981 and adapted for television in 1985, the money from which enabled FACP to build a warehouse to store their various titles. This TV adaptation came about when a local freelance film-TV worker, Ken Kelso, approached FACP to see if they would allow him to pitch the Facey book to TV people he knew. On the basis of the fact that he was a local they agreed and this encounter with Kelso proved doubly beneficial, leading not only to a goodly sum of money on the first day of principal photography but also to a meeting with a friend of Kelso’s who was struggling to complete her first book. Her name was Sally Morgan and the book this Western Australian Aboriginal artist-writer eventually finished with the help of FACP, My Place, published in 1987, became the press’s second million-copy seller.
The writer who got away from them, through no fault of their own, was Tim Winton whose first novel, An Open Swimmer, won the 1981 Vogel Book Award (for an unpublished manuscript by a writer under the age of thirty-five) which brings with it publication by an east coast press, Allen & Unwin in Sydney. Otherwise, it is quite likely that FACP would have published Winton, much as they published Elizabeth Jolley, who taught Winton briefly in some creative writing courses he took at Curtin University. And speaking of distances from margin to centre, it was always a delight throughout the 1980s and later to see Elizabeth Jolley, from a city deemed the most remote capital on earth, reviewing books in the Gotham-centric New York Times Book Review.
A sixty minute plane ride north of Sydney is Brisbane, capital of Queensland, and home to an important Australian press, the University of Queensland Press, which began in 1948. For many years UQP was lucky to have on its books two highly-regarded, strong-selling authors: Brisbane-born Lebanese Christian David Malouf and Melbourne-born Peter Carey. Carey used to spend time in Byron Bay, writing very successful commercial jingles for Australian television, so perhaps it was Byron Bay’s proximity to Brisbane that saw him fetch up at that press. Certainly, when he took himself elsewhere, to Balmain in Sydney, then to New York, and found other publishing outlets, UQP’s bottom line dropped dramatically, a minor version of the fluctuations experienced by London’s Bloomsbury Press in a non-Harry Potter year.
In the 1970s and 1980s, I taught at universities in Brisbane and Perth and got to know a little of the cultural-political life in each place. When it first opened in the late 1970s, Griffith University in Brisbane had an artists-in-residence scheme which saw Australian writers spend some time on the campus. Two such writers-in-residence were Steve Spears – at that time enjoying international success with his play, The Elocution of Benjamin Franklin – and Helen Garner – whose novel Monkeygrip (which was adapted into an Australian film) brought her a cultural prominence she has maintained for several decades with an output of fiction and non-fiction works. The arts section of the Sydney Morning Herald of March 2, 2016, announced that Garner had received a Yale University Windham-Campbell Prize of US $150,000 “in recognition of her non-fiction writing.”
In Perth one can still buy postcards that depict only the vast landscape of Western Australia and indicate all space east of W.A. as “unknown territory.” And W.A. and Queensland share some similarities, at least in the way they are regarded by Sydney and Melbourne as wilder, more cowboy, frontier environments than the trio of genteel states that separates them: South Australia, Victoria, N.S.W. For example, Queensland has a political history of folksy right-wing rural populism roughly analogous to the career of Huey Long in 1930s Louisiana when he was regarded, until his assassination, as a serious possibility for a tilt at the White House. Long was immortalised as Willy Stark in Robert Penn Warren’s great novel, All the King’s Men. As it happens, the favourite book of Brian Burke, disgraced politician and former Labor Premier of Western Australia, was a biography of Huey Long, so you can appreciate that the broad comparison between W.A. and Queensland and the American Deep South has some purchase. For a few years, in his early time as Premier, Burke’s manipulation of the media to convey, very successfully, his Labor party’s policies and programs made him the envy of east coast Labor Party politicians like Neville Wran, Labor Party Premier of NSW, and Paul Keating.
I’m well aware that no Filipino needs to be advised about the ways of political corruption, connivance, and compromise. Suffice to say that you are geographically proximal to Malaysia, the nation said to have perfected the first instances of credit card fraud. But as you ponder how best to establish important cultural infrastructural works in your country, from Manila to all your regional capitals and beyond, you might like to file away a remark from Huey Long, a line which so far as I recall, did not make it into Penn Warren’s novel, nor did it appear in either of the film versions: “We got graft, but we got roads. The other states, they just got graft.”
All I mean by this lengthy preamble is to impress upon you the fact that all Australians are well aware of what one of our historians, Geoffrey Blainey, once called “the tyranny of distance” – and that phrase describes the internal distances within our “wide brown land,” coast to shining coast, as much as it does Australia’s physical distance from its initial northern hemisphere coloniser, England (Blainey’s original point), and its later soft-power coloniser, the US, with whom we share various trade and military alliances.
For the remainder of my talk I will hurry through some features of the international publishing scene as it seems to me to be configured at the moment. I speak here as a non-expert but rather as someone who has, over the last twenty years, interviewed a number of publishers in Australia, London and the US, trying to determine how a series of small-independent presses whose books I liked, managed to survive and thrive in an industry that increasingly conducted itself in a Hollywood, conglomeratised fashion. When I was doing my interviews, probing the idea of “cultures of independence,” I used an analogy that works well up to a point: a comparison of mainstream presses and smaller-independent presses along the lines of contrasting mainstream Hollywood films, blockbusters, to smaller-independent films.
By the 1990s US trade publishing had been completely Hollywoodised. Eighty per cent of book profits came from twenty per cent of the books published. Imagine a Dickensian spread sheet along the lines of “Annual income, one pound, annual expenditure one pound and sixpence, result misery,” as we consider the fact that most films and books don’t make money. In the 1990s, as the chains – like Barnes & Noble – edged towards “superstore” status, it cost $10,000 a month to have your book displayed in the front window of the store, hoping to attract the literary gazes of passers-by. It also cost $10,000 a month to have one’s book placed within an oh-so-casually-and-carefully-disordered array of books placed in the bin just inside the store as one entered (see Lauren J. Miller, Reluctant Capitalists). The somewhat dismaying term for this act of purchasing publicity was “co-op,” a short hand term for “Co-operative advertising dollars.” Terminology aside, these strategies seemed to me very close to Hollywood’s practice of buying saturation TV ads to build what they ridiculously called “pre-awareness” of the blockbuster film about to be released.
André Schiffrin’s memoirs, The Business of Books: How the International Conglomerates Took Over Publishing and Changed the Way We Read (2001) and Words and Money (2010), both published by Verso, and Jason Epstein’s The Book Business (2001) from Norton, reveal how, for quite a long time, US trade publishing functioned in a manner that seems to me very close to the model of the mature Hollywood studio system as it operated from the 1930s until the late 1950s and early 1960s. The so called Classical Hollywood studio system practised cross-subsidisation on films such that the profits on a Rin Tin Tin movie would allow the studio to make a historical drama with Bette Davis.
For much of the publishing lives of Schiffrin and Epstein, bestsellers and fastsellers by authors whose names not many of us now remember permitted a trade press to publish a big ‘L’ literary writer who would sell in vastly fewer numbers but who would be an excellent advertisement for the press’s commitment to ambitious, challenging literary writing. Think of an author like William Gaddis in the several decades of, and between, The Recognitions in 1955 and JR twenty years later.
In his pamphlet A Life With Books, Julian Barnes extols the printed book over the e-book, while acknowledging the economic lure of the latter, using the instance of his own most recent novel which was five pounds or so cheaper as an e-book. Barnes recalls a period from the late 1960s to the late 1970s when he was an avid book collector and frequenter of second-hand bookshops and storehouses with job-lots of used books, a time very different from contemporary circumstances with “the ferociously fast turnaround that modern central management imposes,” an insistence that creates a context in which “the average shelf-life of a new hardback novel – assuming it can reach a shelf in the first place –is four months.”
When those publishing conglomerates alluded to above arrived, so did an army of bean counters working out precisely how many copies of front, middle, and back-list titles were being purchased. The patrician, gentlemanly, amateur days of trade publishing were swept aside and when BookScan arrived in January 2001, to do to the book business what SoundScan had done to the record industry back in March 1991, it really was game over for earlier understandings of mainstream trade publishing.
US artist-essayist-writer-publisher Russell Chatham lived just outside Livingston, Montana, for almost forty years, having left California in the 1970s when it became too expensive, heading up to Montana to visit his friend Thomas McGuane. In the early 1990s Chatham founded Clark City Press, initially simply to keep in print some of his own books but soon enough he started publishing works by some of his writer friends in Montana, like Jim Harrison and James Crumley. Chatham’s press had very high-end production values and after a while found itself deeply in debt. Rather than go bankrupt or offer one cent in the dollar to his creditors Chatham interrupted Clark City’s publishing side for several years as he slowly sold enough of his backlist to pay off his creditors, and then started publishing books again.
Clark City’s debt had been incurred in part by overly optimistic claims for potential sales from sales representatives and by what Chatham called “very irresponsible buying” from the big chains, safe in the knowledge that they would be protected financially courtesy of a practice developed by Alfred A. Knopf in the Depression era of the 1930s which allowed impoverished bookstores to acquire stock with no initial upfront financial outlay, on the understanding that they would sell whatever number of books they could, and return those not sold. When this practice became industry-standard Knopf is alleged to have said, “This is insane. I call it, gone yesterday, here today.” (Chatham, 2005). (As an aside, having just finished Mia Alvar’s wonderful collection of stories, I’m very confident that the ghost of Mr Knopf will rest easy as In the Country generates very healthy sales, or “moves a lot of units,” as later locutions might put it). Hearing Russ Chatham’s reference to the hyper-optimism of his sales reps caused me to think of an excruciating scene in the Maysles Brothers great documentary, Salesman, where one of the bible salesmen stands up at a group meeting and announces how much better he will do in the coming year, how many more sales he will make. It truly is a cinematic version of the Conradian “fascination of the abomination.”
At a talk he gave in Missoula at the 2005 Montana Book Fair, Chatham provided his gloss on the Knopf “gone yesterday, here today” adage: “So you have 8,000 orders and you send out 8,000 books and you think, wow, we got it, and then a year later, 7, 999 of them come back and you’re done.”
By way of contrast England had a Net Book Agreement in place for almost one hundred years from the 1890s to 1995, and across that historical period also resisted any notion of a “sale or return” deal for booksellers. This “made for cautious ordering by bookshop managers,” as John Sutherland puts it in his little book, Bestsellers: A Very Short Introduction. Since 1995 the English and U.S. systems have become very similar, as the following remarks made in 2007 by Francois Von Hurter make clear:
It’s the only business in the world where a sale isn’t a sale. You’re paying the author, let’s say, or the translator, 5,000 in advance, you’re doing this and that, and a year later your book comes out, then three months later it’s in the store, and then two years later half of the books come back, and you kind of think, who’s financing all of this? A Martian would say, you guys are nuts, and if you really look at the cash immobilised, you end up realising it’s a silly business model, but you have to do it out of love. You know what you know, and occasionally you might be lucky with a blockbuster, but it’s a work of love, it’s not a work in which you make your fortune. The only good publishing business model is that of scientific journals. There, people subscribe to very expensive journals, you don’t pay the authors anything, everyone wants to get in Nature or Science. So it’s the opposite of us. The publisher gets the money in advance from subscribers, and has source material at zero cost. That’s how those guys get rich. Michael Heseltine, he’s in that business.
I will now move in a leisurely manner toward my conclusion by saying why I think the codex book will survive during the era of the e-book and the i-book, and why examples of very impressive literary work will continue to come from marginal, eccentric, unanticipated-by-the-majors areas.
First, the arrival of the e-book and the threat it posed to the codex form seems to have abated. 2014 figures report that hard-copy book sales are on the rise. The tech-head excitement that greeted the 2007 moment of Japanese cell-phone novels (keitai shousetsu) – novels composed in that medium to be read in that medium – was followed by the information that when those cell-phone fictions were published in conventional book form they accounted for 50% of Japan’s best-selling titles. And many here would remember that Stephen King’s e-book venture failed because people chose to pirate it rather than pay him the one dollar he was requesting.
So it is not self-evidently the case that a new publication medium necessarily obliterates an older medium, and writer-publisher Peter Ayrton of Serpent’s Tail press in London is sceptical about drawing too close a comparison between what has gone on with music downloads and what might happen in the book industry. In 2006, Ayrton said:
I think people in publishing are quite lucky because a book isn’t like a CD, where people will just download a couple of tracks. The concept of a CD is almost alien to my kids and their friends, they just want a couple of tracks! I can’t see people who are into books just reading a couple of chapters. They’ll want to read the whole book. So I don’t think we have to worry about the Ipodisation of reading. I think e-books will develop slowly but it will be best sellers and classics. So if you are publishing Jane Austen you might be in trouble, but I don’t think it will be the latest book by Gary Indiana or Lynne Tillman, because the kind of people who are into those books want to be able to put them into their bag or their backpack, they want to hold them, fold them, read them in bed.
The following are some relatively recent examples of critically-commercially successful books that have come from unpredicted, unanticipated spaces.
Paul Harding’s novel Tinkers won the 2010 Pulitzer Prize after having initially been published by Bellevue Press, a small press associated with New York’s oldest public hospital, attached to NYU’s Department of Medicine (this hospital is mentioned in one of the stories in In the Country). Harding’s next book, Enon (2014), was sold to Random House and here we might remember that Charles Frazier’s Cold Mountain was published in 1997 by a small press (Atlantic Monthly Press), won the National Book Award in the year Don DeLillo’s Underworld was up for that award, was adapted into a big budget Hollywood film, and sold 3 million copies. After this independent success Frazier’s second book, Thirteen Moons, went to auction based on a one-page outline and fetched $8.25 million from Random House, and $3 million for the movie rights from Scott Rudin. Did we mention earlier some of the consequences of the Hollywoodisation of US trade publishing?
A second instance of eccentric publishing success concerns Melbourne-based Greek-Australian gay writer Christos Tsiolkas who published his fourth novel, The Slap, which was adapted very successfully to Australian television. The book sold 300,000 copies in Australia, where a best-seller is 30,000 copies but no UK buyer wanted the book. So Tsiolkas’s friend, the multi-talented gay Irish writer Colm Tóibín, published The Slap in his boutique press, Tuskar Rock, set up by Tóibín, his friend Peter Strauss, and Hannah Westland in 2011, and now housed with Profile books alongside Serpent’s Tail Press. Tuskar Rock had published “collectors’ editions” of some novels – Tim Winton’s Breath, 350 copies at $850.00 a pop – and Tóibín had said that Tuskar Rock was trying to tap “into the same phenomenon as people listening to vinyl records” in a digital age. At the time Tóibín said Tuskar Rock did not expect to make a lot of money from Tsiolkas’s novel: “Let’s just say that we don’t think we’ll make much money, but it’s not about losing lots of money either.” The Slap went on to sell 1.2 million copies and win the 2009 Commonwealth Writers Prize, at which point the larger London presses that earlier had knocked the book back, came looking to secure it, wondering how they had missed it in the first place. They had also missed another Tuskar Rock success story, Don Patterson’s volume of poetry, Rain, which sold very well. This is not quite of the order of picking J. K. Rowling’s first Harry Potter manuscript out of a waste paper basket but it is a nice example of why small, marginal, alternative publishing spaces continue to be important contributors to international literary-cultural life.
Third, a few days ago I read in The Guardian that a first-time book, The Loney, by Andrew Michael Hurley, was first published by Tartarus, a small Yorkshire Press in a print run of 300 copies. After that it moved to a larger press, John Murray, and went on to win the 2015 Costa Award for First Novel.
These few examples encourage me to believe that small print runs, small-independent presses, small bookstores – that fragile coalition that constitutes such a valuable culture of independence – will continue to exert a positive cultural influence around the world. In respect of small bookstores, think of how one of your diasporic own, Jessica Hagedorn, honed her poetry-writing skills by hanging out in San Francisco’s City Lights bookshop, the book enterprise begun by Lawrence Ferlinghetti that sits a hundred yards or so up a slight street incline from Francis Coppola’s pizza/pasta restaurant that stocks Coppola wines. The restaurant is the street level part of a beautiful, old, triangulated building whose upstairs rooms once housed people like Wim Wenders when he and Coppola were making Hammett (1982) for an early iteration of Coppola’s Zoetrope film company, which, you would be aware, publishes Zoetrope: All Story. In the issue of All Story “designed” (they prefer that word to “edited”) by Wim Wenders, one finds a wonderful story from Vietnamese-Australian writer Nam Le, “Love and Honour and Pity and Pride and Compassion and Sacrifice,” that was later included in his best-selling, prize-winning collection, The Boat. Readers who long have been awaiting a second collection or a novel from Nam Le have been delayed by his having discovered a way to make $200,000 a year from casino gambling and since that money would be tax-free it is the equivalent of an annual income of $400,000. Why teach at Harvard?
Speaking very much as an outsider it seems to me that three clear publishing opportunities exist either for a university press or a trade press in the Philippines. Each is based on an existing overseas format that simply needs to be modified to suit the Philippine situation. The British Film Institute’s series of small, 96 page books devoted to films deemed classics and/or modern classics was devised by Edward Buscombe in 1992 with a view initially to having the books connect with an archival film restoration project then being undertaken by the BFI of 365 films deemed classics of world cinema.
BFI Film Classics
The BFI classics volumes were written by novelists like Salman Rushdie and Alberto Manguel, journalists, TV presenters (Melvyn Bragg), film critics and film academics, and were pitched at that famously nebulous entity, the “non-specialist but educated, interested reader.” Eventually Buscombe thought that when, across the course of a year, a screening of the 365 restored films would see the history of cinema flow in front of spectators’ eyes on London’s South Bank, many copies of the supporting volumes would be sold. It was an idea that was quickly ripped off by other countries that duly produced series called ‘Australian Film Classics,’ ‘Canadian Film Classics,’ and ‘Hong Kong Cinema Classics.’ It also generated a range of other iterations of the small format film analyses of a single film. In the ‘Deep Focus’ series published by Soft Skull Press (which includes books on Heathers and Death Wish), Jonathan Lethem writes about John Carpenter’s They Live, while Arsenal Pulp Press in Vancouver publishes its ‘Queer Film Classics’ with books on Death in Venice, Strangers on a Train, I’ve Heard the Mermaids Singing. Cult cinema is targeted by Wallflower Press’s ‘Cultographies’ series which includes books on Bring Me the Head of Alfredo Garcia, The Rocky Horror Picture Show, Faster Pussycat! Kill! Kill!, Donnie Darko, Blade Runner. A ‘Pop Classics’ series from ECW Press has a book on Showgirls, while Auteur Publisher’s ‘Devil’s Advocates’ series has titles on Witchfinder General, Suspiria, Carrie and many others, and a ‘Controversies’ series from Palgrave Macmillan has books on Straw Dogs and Basic Instinct, among others.
The BFI later expanded its original format to publish analyses of celebrated UK and overseas television series (Edge of Darkness, Boys from the Blackstuff, Buffy the Vampire Slayer).
Why not adopt this format here to generate a series of similarly packaged volumes devoted to Philippine cinema? And why not unashamedly define the reach of the series to include films made here by, say, US filmmakers as well as your own acts of filmmaking? For your first volume, contract an appropriate Filipino writer to write on Francis Ford Coppola’s Apocalypse Now. You would be aware that this film already is the subject of some film classics series (it was the first volume in Bloomsbury Press’s excellent but short-lived series), along with coverage in studies of Coppola and Zoetrope. Eleanor Coppola’s diary of her husband’s film shoot, Notes, became the documentary Hearts of Darkness, which could be addressed in your putative volume as well. Once published, this volume automatically connects your fledgling series with international film publications and film courses whose libraries certainly would order copies of this distinctively national take on a modern classic, and would link with the fan base that follows writing on certain cult films and television series (UK examples would be Dr Who and The Avengers).
You could also commission a volume on Weng Weng’s pint-sized James Bond activities, as in For Your Height Only (1980: Dir: Eddie Nicart), currently available on DVD in the UK and US, and that volume could also address the documentary made by Australian Andrew Leavold, The Search for Weng Weng (2015). And why not include a volume or two on some of the Roger Corman films shot in the Philippines?
Another small format series could imitate the 33 and 1/3 series – initially published by Continuum Press and now published by Bloomsbury Press – in which a small volume is devoted to an iconic or cult pop album (Pet Sounds, Let it Be, Highway Sixty-One Revisited, Exile on Main Street, The Kinks are the Village Green Preservation Society) and once you started publishing your Filipino versions of these, they could circulate within the Philippines wherever music and cultural studies courses were taught and obviously would attract interest from overseas fans, musicologists and music teachers. Maybe Freddie Aguilar’s “Anak” could be the opening volume.
And there seems no reason a university or trade press in the Philippines shouldn’t publish a version of U.S. Random House’s Crown Journeys series of little books that have a writer talk about a town or a locale. Sometimes the writer is strongly associated with a city or a neighbourhood – Kinky Friedman writes about Austin, Texas, Ishmael Reed writes about Oakland, Chuck Palahniuk writes about Portland – while on other occasions a prominent writer will write about a locale that means something to them: so former head of the Iowa Writing School and author of Stop-Time, Frank Conroy writes about walking around Nantucket, and Michael Cunningham (The Hours) writes about Provincetown. In Australia we have “borrowed” this idea by having local writers write about our capital cities. As yet, we have not ventured into the “neighbourhood” level of the Crown Series, but it surely cannot be too long before some press asks Tim Winton to take a walk around Fremantle and commit it to paper. Why not ask ‘Butch’ Dalisay to write a similar volume on Romblon and why not approach an appropriate local writer to do a volume on the city in which we now find ourselves, Davao?
One final suggestion. Even allowing for what I sense is a very strong Philippine tradition of privileging high literary forms, poetry, the literary novel, serious historical non-fiction, the fact that you also have a strong tradition of comix – comics or graphic novels – and of late have started to produce very strong contributions to international crime and noir fiction, makes me think you should organise a special Philippine section of the next available Bouchercon crime fiction conference. Bouchercon 2016 takes place in New Orleans from September 15th to the 18th, and in 2017, it occurs in Toronto from October 12-15th. In 2018 it travels to St Petersburg from September 13th to 16th, and in 2019 returns to the US, to Dallas, from October 31st to November 3rd. In 2020 it shifts to Sacramento from October 15th-18th.
Bouchercon delivers you a huge, ready-made audience, much like the Frankfurt and London Book Fairs, so it would be easy to work out suitable representatives from here in the Philippines and from Filipinos living and working overseas, and you would be guaranteed to make a splash as the latest new thing. As you all well know, literary festivals and film festivals are endlessly in search of the new entity, the new hot thing to showcase. There is no reason for the Philippines, with its great range of writers, graphic novelists, filmmakers and musicians, not to benefit from that.
Julian Barnes, A Life With Books (London: Jonathan Cape, 2012)
Geoffrey Blainey, The Tyranny of Distance: How Distance Shaped Australia’s History (Melbourne: Sun Books, 1966)
Russell Chatham, “Gone Yesterday, Here Today”: Presentation on Clark City Press, Montana Festival of the Book, Missoula, 23 September, 2005 (unpublished paper)
Nicholas Clee, “End of the Book Postponed,” Prospect Magazine 135 (June 2007): 72-74.
Frank Conroy, Stop-Time (New York: Viking, 1967)
Michael Cunningham, The Hours (New York: Farrar, Straus and Giroux, 1998)
Jose Dalisay Jr., Soledad’s Sister (Manila: Anvil Publishing, 2008)
Jason Epstein, The Book Business (New York: Norton, 2001)
A.B. Facey, A Fortunate Life (Fremantle, W.A.: Fremantle Arts Centre Press, 1981)
William Gaddis, The Recognitions (New York: Harcourt Brace, 1955)
William Gaddis, JR (New York: Alfred A. Knopf, 1975))
Helen Garner, Monkeygrip (Melbourne: McPhee-Gribble, 1977)
Paul Harding, Tinkers (New York: Bellevue Literary Press, 2001)
Noel King, “’I Can’t Go on, I’ll Go On’: Interview with Ray Coffey of Fremantle Arts Centre Press” Westerly, 51 (November 2006): 31-54.
Noel King, “’Independent, Emerging, and Satisfying’: Interview with Publisher Henry Rosenbloom of Scribe Press, Melbourne,” Metro 152 (2007): 154-158.
Noel King, ‘’The Main Thing We Book Publishers have Going for us is the books themselves: An Interview with Pete Ayrton of Serpent’s Tail Press, Islington, London 12 July 2006,” Critical Quarterly 49, 3 (Autumn 2007): 104-119.
Noel King, “A bridge between all these literatures that we love: Interview with Francois von Hurter, Bitter Lemon Press, London 10 July 2006,” Critical Quarterly 49, 1-2 (Summer 2007): 62-80.
Lorien Kite, “Books of 2015,” Financial Times Weekend (28-29 November, 2015): 1-2. Also available at:
Malcolm Knox, “The Interview: Colm Toibin,” Sydney Morning Herald (May 15, 2010).
Nam Le, The Boat: Stories (New York: Knopf, 2008)
Lauren J. Miller, Reluctant Capitalists: Bookselling and the Culture of Consumption (Chicago: University of Chicago Press, 2007)
Sally Morgan, My Place (Fremantle, W.A.: Fremantle Arts Centre Press, 1987)
Robert Penn Warren, All The King’s Men (New York: Harcourt, Brace and Co, 1946)
Andre Schiffrin, The Business of Books: How the International Conglomerates Took Over Publishing and Changed the Way we Read (London: Verso, 2001)
Andre Schiffrin, Words and Money (London: Verso, 2010)
Steve Spears, The Elocution of Benjamin Franklin (Sydney: Currency Methuen Press, 1977)
John Sutherland, Bestsellers: A Very Short Introduction (Oxford: OUP, 2007).
Christos Tsiolkas, The Slap (Tuskar Rock, 2010)
Wim Wenders, Zoetrope All-Story 10, 2 (Summer 2006)
[Header image: ‘Book’ by Sam @Flickr republished unmodified under this CC Licence.]