‘Publishing needs new voices,’ says Julia Bell, project director of The Mechanics’ Institute Review, an anthology of short stories from Birkbeck University.
‘State attempts to control the flow of information, especially in the digital space, are short-sighted and misguided,’ says a new statement from the IPA.
Cambridge University Press swiftly restores censored ‘China Quarterly’ articles. The UK’s Unicorn announces a new series in Chinese contemporary art books.
Ninety-five percent of freelance pros at the Reedsy Marketplace have worked for the Big Five. Now we know more about what they’re making.
‘We cling on to the idea that the UK is so different from all the other countries.’ And change, says Bloomsbury’s Richard Charkin, is a new constant.
Talking of ‘innovative and affordable solutions to assist schools and universities,’ Odilo announces a deal with the European Commission.
‘What we are producing is to be relied upon in this world of fake news.’ This, says Orion’s Katie Espiner, is global book publishing’s message today.
‘Women need to almost un-condition themselves,’ says Emerald’s Vicky Williams, who joins The Markets’ panel at Frankfurt Book Fair on women in publishing.
As the young UK-based charity crowdfunds its Bangladesh books initiatives, PEN America has material dating to 1966 in its newly launched digital archive.
From the Los Angeles Review of Books: Focusing on one region at a time, UK independent house Peter Owen is translating titles in groups of three at a time.