Publishing news media in France now are reporting on how ‘houses known for publishing literary fiction have been hiring editors to develop popular fiction imprints.’
The long-running biennial Festival America, originating in France, announces its first London installation, a four-day event with political and international social issues at the forefront.
In its four years, the partners brought together by the Transbook project based in children’s literature, tried to learn ‘what is the digital model in the publishing industry?’
From European markets recovering from financial losses to translation in the US market and book-pricing differences based on authors’ genders, a ‘Beyond the Book’ panel at BookExpo looked at recent coverage of the books industry.
Promising to name an extra-large breed pig after next year’s winning book, the Bollinger Everyman Wodehouse Prize jury isn’t laughing this year. Nobody gets the prize. They are not amused.
This year’s Gutekunst Prize from the Goethe-Institut NY goes to translator Nick Andrews. And in Canada, the French Embassy has announced two translation initiatives, both with July 20 deadlines.
In Cannes, Voltage is handling world rights to the film adaptation of Anna Todd’s ‘After’ from Wattpad Studios. In New York, a newly announced panel with the Motion Picture Association and AAP looks at film collaborations.
About six months into his new role as managing director of the Bureau international de l’édition française, or BIEF, Nicolas Roche is leading the French publishing industry’s outreach program to open new markets and develop new readership for France’s literature.
Sharjah collaborates with Conakry, Guinea—the 2017 World Book Capital—to restore the city’s Djibril Tamsir Niane Library. And Kalimat is in production with its Gallimard translation exchange.
Book fairs can find themselves in the middle of shifting geopolitics. At the just-closed Salon du Livre in Paris, the French president sidestepped a visit to Russia’s Country of Honor stand.