BookBrunch Publishers Weekly Frankfurt Show Daily 2016 - Day Three

Frankfurt

Friday 21 October 2016

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Currency fall helps UK publishers The sharp fall in the value of the pound against the euro and the dollar in the wake of the Brexit vote in June has raised the prospect of an export-led boom for British publishers, although foreign-owned subsidiaries that report revenues in sterling may be left looking less profitable, writes Neill Denny.

One senior British publisher, who preferred not to be named, said: “Provided you export more than you import the currency devaluation is going to be beneficial. It has made British

publishing more competitive.”

Another said that in terms of money exhanged inside conglomerates, “it all comes out in the wash”.

Amanda Ridout, Chief Executive of Head of Zeus, said: “There is a time-lag, but it makes British publishers more competitive, especially in open markets [such as Japan and mainland Europe].”

New DK CEO Ian Hudson said that the 20% devaluation in the pound against the dollar and the euro was “marginally beneficial” for DK. But he

was one of a number of publishers to be concerned about the cost of doing business in Frankfurt next year if the pound stayed weak: “The Fair, the hoteliers, the city, they need to think a little bit about that.”

Jacks Thomas, Director of the London Book Fair, said: “We’re happy if our customers are happy. The devaluation makes the whole London experience cheaper.”

On the wider question of the impact of the vote to leave, Hudson said that “for us Brexit is a disaster”. He is concerned about the effect

Brexit fears haunt academics Academic publishers warned against the prospect of the UK becoming a “regulatory island” after Brexit in March 2019, and isolated from the European mainstream on issues such as copyright and open access, in a debate held at Frankfurt yesterday.

Richard Fisher, former Managing Director for Academic Publishing at CUP and now the IPG’s academic correspondent, said: “It is not clear where the UK is now on open access because

on the many Europeans he employs in London working on foreign-language editions, and about future recruitment.

Tom Weldon, CEO of Penguin Random House, was concerned that the Brexit vote had revealed the insularity of British publishers trapped inside an M25 bubble, and that the biggest diversity issue the trade faced was reaching out to the 52% who voted out.

Weldon and his colleague Bill Scott-Kerr of Transworld commented on the frenzied rights activity in the run up to the Fair, with Scott-Kerr describing last month as the busiest September in a decade.

inside: CEO PANEL Bonnier’s ambitions

IDPF/W3C Merger A Snag?

(From left) Mollet, Fisher, Robinson

we are outside the tent.” He added: “We may see a return to an old copyright structure, of American, British and French [EU] traditions.”

The panel–Brexit and the potential impact on academic publishing–was hosted by ex-Publishers Association Continues on page 3 g

Frankfurt Gallery Fair Scenes

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Friday 21 October 2016

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Bonnier’s CEO Dalborg aims for $100m The top 54 companies in the global book business generate approximately 60 billion euros in value each year, according to the latest report of the top global publishers compiled

by Ruediger Wischenbart, the Vienna-based publishing consultant, writes Ed Nawotka.

“You now see that publishing is a global business and there is a process of stabilisation driven by consolidation– driven by the big companies absorbing the smaller ones,” Wischenbart said in his introduction to a staged interview with Jacob Dalborg, CEO of Bonnier, as part of the Fair’s Business Club.

Bonnier is one of the world’s largest conglomerates in publishing, comprising more than 250 brands in 14 different countries. “You may not know it, but Bonnier– a Swedish conglomerate–is actually the third largest publisher in Germany,” Wischenbart pointed out.

Dalborg said that he wanted people to think of Bonnier’s German imprints before they thought of the parent company’s brand: Ullstein Buchverlage, Piper Verlag, Carlsen Verlag, et al. But, he emphasised throughout the hour long interview, “Bonnier really has the closeness of the family. Our emphasis is on people: finding, training and retaining, the right people.”

Discussing the company’s book strategy, Dalborg said: “Compared to other businesses, not only in media, books

Brexit f Continued from page 1 CEO Richard Mollet, now head of Government Relations at the RELX Group, and also included Andy Robinson, Senior Vice President and Managing Director for Society Services at John Wiley.

Robinson said that the most significant negative impact of Brexit could be the status of the 10% of people working

To contact Frankfurt Show Daily at the Fair, please visit us at the Publishers Weekly stand in Hall 6.0, D42 Publisher: Joseph Murray BookBrunch Publisher: Tobias Steed Editors: Andrew Albanese, Nicholas Clee, Neill Denny Reporters: Jasmin Kirkbride, Ed Nawotka Project Coordinator: Bryan Kinney Layout and Production: Heather McIntyre Editorial Coordinator (UK): Marian Sheil Tankard

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Dalborg (left) and Wischenbart

are really in a good place. We have business models that work.We sell stories, that is what we sell–whether that is in print, digital or audio, it doesn’t matter, as long as there is a buyer for that. It is not a walk in the park. The core of what we do, the literature itself, there is a demand for it and you have to pay for it.”

Asked about the UK and US markets, where the company has launched new bookstores (Pocket Shop) and imprints (Manilla and Little B, among others), and has expressed ambitions to raise revenue from $40 million a year to as much as $100 million, Dalborg conceded: “It is a big goal.

Our growth will be organic and it will take time, but we will get there.”

in academic publishing who were European, plus the 31,000 European researchers and 125,000 European students in the UK. The students alone were an important market for academic publishers. He added that 80% of publishers Wiley had surveyed were worried about the impact of Brexit on open access.

Robinson pointed out that although non-EU states such as Switzerland could tap into EU academic funding such as the Horizon 2020 programme, such funding could be slashed by the EU to make a political point. Swiss funding was cut after the EU disagreed with it over restricting numbers of Croatian researchers.

Fisher pointed out that the cabinet changes since 23 June, the date of the referendum, had resulted in publishing being split across at least three government departments, bringing about an extra level of complexity in the task of lobbying on behalf of the book industry.

France next year

France is to the Guest of Honour at the 2018 Frankfurt Book Fair (11-15 October). At a press conference yesterday, Prime Minister Manuel Valls said of France and Germany: “culture, and especially the culture of the book, has always been central in [the] exceptional [relationship] between the two countries”. French is the second most translated language in Germany, and German is the third most translated language in France.

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Has proposed IDPF/W3C merger hit a snag?

With a member vote already underway, there is now a movement afoot to slow down–and potentially to kill–the proposed merger between the International Digital Publishing Forum (IDPF) and the WC3, the web standards organisation founded by Tim Berners-Lee. The movement is being spearheaded by OverDrive CEO Steve Potash, who founded the Open E-Book Forum (the predecessor to the IDPF) and who is a strong opponent of the merger. Potash said he had been meeting with IDPF members at the Frankfurt Book Fair, and was readying a petition effort to “forestall the proposed merger”. He added that he was disappointed in the “rush to vote” on the proposal, and claimed that the vetting process had lacked transparency.

“The IDPF brought the book community together around the idea of digital books and digital reading,” he said. “But this merger puts that community at peril.”

Specifically, Potash believes a merger with the WC3 will leave the book publishing industry with little influence over the continued development of ePUB, the widely supported ebook file standard developed by the IDPF. The challenge comes just as the IDPF board has placed the proposal before its members. Executive Director Bill McCoy said the board had recommended that the proposal be approved, and members can vote until 4 November, with results to be released on 7 November.

But, McCoy cautioned, member approval was just one step in the process. “Definitive agreements would still need to be developed and approved by the IDPF Board as well as W3C,” he said. “If the members vote yes, it still doesn’t mean we’ll merge.”

McCoy added that he did not believe the voting process had been rushed, and emphasised that the merger had been under discussion since it was first presented to IDPF members in April 2016.

Frankfurt/Dubai partnership Frankfurt and the Mohammed bin Rashid Al Maktoum Foundation (MBRF) have signed a letter of intent for a partnership for the development of “media and contentrelated projects and events”. The partnership will start with events in Dubai and the wider Arab region, and has ambitions to expand globally. His Excellency Jamal bin Huwaireb, MD of the Foundation, and Juergen Boos, Frankfurt Director, signed the letter at The Markets conference on Tuesday.

Jamal bin Huwaireb said: “The partnership offers a perfect opportunity to present the potential and dynamics of the Creative Industries in the Arab world and to connect it to the global content business.”

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Friday 21 OctOber 2016

The rise of Jarret Kobek In February, Jarret Kobek published his biting novel of modern life in the digital age, I Hate the Internet, through his own press, We Heard You Like Books–and the internet loved it.

Within weeks, the book had become a sensation on social media. French magazine Les Inrocks later Jarret Kobek featured a picture of Bret Easton Ellis laying in bed, reading the book. And soon after, critical praise came rolling in from the New York Times, the Guardian, and writers including Greil Marcus and Jonathan Lethem, who called Kobek “an American Houellebecq”.

For Kobek, who was interviewed on the Open Stage yesterday, it has been a whirlwind. He’s in Frankfurt for the German publication after the book was picked up by S Fischer. Next year, he will publish two shorter works before “a giant novel” comes in August from Penguin Random House’s Viking imprint–a swift rise indeed from selfpublished to commercial success. “Yeah, it didn’t take long for me to become a hypocrite,” he quipped.

Meanwhile, Kobek’s press, the Los Angeles-based We Heard You Like Books, will keep publishing, with Kobek “writing the cheques” but turning over the catalogue to another writer, Mike Kitchell.

Rights in brief Emma Smith and Sam Eades at Trapeze have signed a memoir and a novel by Katherine May, whose previous book was the self-published Those Red High Heels. Trapeze has UK and Commonwealth rights (exc Canada) from Madeleine Milburn at the Madeleine Milburn Literary Agency, The Whitstable High Tide Swimming Club will come out in ebook next year, with the mass market paperback to follow in 2018. The memoir, The Electricity Of Every Living Thing, will also come in 2018. Smith said that May was “a shining light for women with Asperger’s and she has written a book that is both highly relatable and outstanding in its originality and execution”, while Eades said of the novel: “Katherine’s skill as a writer is to make us fall in love with a character’s imperfections and flaws, and the seaside setting is irresistible.”

Clare Tillyer at Michael O’Mara Books has won an auction to sign I’m Wrecked, This Is My Journal by Shannon Cullen, Children’s Publishing Director at Penguin UK. O’Mara has UK and Commonwealth rights from Rory Scarfe at Furniss Lawton, and will publish in March 2017. Rights have been pre-empted in four European territories. Cullen is mother to two children under 4, and offers what is billed as a useable journal to capture odd thoughts, bizarre expectations and pregnancy/early baby information, from what would your favourite cocktail look like to recording your baby’s hand print in nappy cream. She said she hoped the book would be a “genuine keepsake for parents”.

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Friday 21 OctOber 2016

Frankfurt gallery–scenes at the 2016 Fair

Executives from PEN International met with Publishers Weekly to discuss the Global Manifesto on copyright. From left: Carles Torner, Executive Director; Sarah Perry, Global Campaign Manager; Jennifer Clement, President

Georgina Segarra (Gemser Publications, Barcelona) and Enrique Padilla (Lantia, Seville)

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photo: Anett Weirauch

Miss Germany, religious studies teacher Lena Broder, visited the Fair to promote her book Das Schone in mir (The Beauty in Me)

Frankfurt’s Katharin Grun and Publishers Weekly’s Bryan Kinney were in conversation with Publishers Weekly Star Watch honouree Andrew Harwell (HarperCollins) at the Young Talent reception

Jeremy Trevathan (left) of Pan Macmillan with author Ken Follett, whose new Kingsbridge novel A Column of Fire is due out next autumn

Michael Tamblyn, President and CEO of Rakuten Kobo, with Carlo Carrenho, CEO, PublishNews Brazil, in the Frankfurt Business Club

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Friday 21 October 2016

Wakeful translator, happy reader Sam Garrett reports on the challenges and pleasures of translating the work of the acclaimed Dutch author Tommy Wieringa Courtship, marriage, childbirth, debacle. All happy families are alike; each unhappy family is unhappy in its own way: Tommy Wieringa’s latest novella, A Beautiful Young Wife, sweeps us along on that note, like a set of rapids, like a traffic accident witnessed in slow motion.

Sam Garrett With eyes wide open and unblinking, that is how the narrator catapults the reader first through the days of wine and roses, and then the days of bad faith and backlash of his hero, Edward Landauer.

Is Ed the tragic victim of a star-crossed relationship? Or is he simply too blind to see that he, and only he, is to blame for his problems? Wieringa would not be Wieringa if he spoon-fed

The Dance of the Moon Pari Spolter

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simple answers to his readers, and that’s part of the charm of translating him. Starting with Joe Speedboat (shortlisted for the Oxford Weidenfeld Translation Prize) in 2009, Caesarion (shortlisted for the IMPAC award) in 2013, and on through to last year’s These Are the Names, I’ve had the opportunity to crack open a Tommy Wieringa fresh toolkit of sensibilities and skills for each new English-language version of his work.

From a rousing and hilarious song of praise to adolescent friendship and the salubrious effects of adventure (Joe Speedboat) to a painfully frank account of a mother and son condemned to love each other into eternity (Caesarion), and then on to a gritty, twin-track story of refugees wandering in the wilderness and a police commissioner wandering in search of his birthright (These Are the Names), translating Tommy’s novels has jump-started my empathic imagination and challenged my powers of expression, time and again.

Because however punctually the author formulates his or her finds in the source language (and Wieringa punctually adheres to Babel’s maxim that no iron can pierce the heart with such force as a period put at just the right place), the translator’s task is to reformulate them equally well in his or her mother tongue. What does that mean? It means, by extension, that the conscientious translator (and all good translators are by definition nit-pickers) must achieve–no, is privileged to achieve–a familiarity with the author’s intent that brings him or her close to what I would say is the very heart of reading itself.

Reading fiction is probably the most important escapist pastime going. What makes it important is that the escape is always outward, in the direction of the “other”, of the unknown. Consciously or no, the author’s intent becomes the object of our desire. We are willing to do almost anything to know it, to clasp it to our breast; we will shut ourselves off from the world, suspend our disbelief, even–in the translator’s case–pull the story apart word by word, sentence by sentence and run it through the mill of our own perceptions and idiom.

With his unforgettable characters and very uncommon tales, Tommy Wieringa has made me a wakeful translator and, above all, a happy reader. And despite Tolstoy’s claim, when under the spell of a skillful storyteller like Tommy Wieringa, each happy reader is happy in his or her own way.

■ Sam Garrett’s translation of A Beautiful Young Wife by Tommy Wieringa is published by Scribe.

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Friday 21 October 2016

One World imprint comes

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ALL ABOUT STORIES

This time last year, Chris Jackson was celebrating a promotion to V-p and Executive Editor at Spiegel & Grau, writes Diane Patrick. Now, he’s about to publish his first list as the V-p, Publisher and Editor-in-chief of the revitalised One World imprint at Random House.

Founded in 1991, One Chris Jackson World, with its focus on multicultural and African American literature, brought celebrated new voices to the world, including books from Donald Bogle, Carleen Brice, Connie Briscoe, Bebe Moore Campbell, Colin Channer, Pearl Cleage, Johnnie L Cochran Jr, Ilyasah Shabazz and Nikki Turner. But over time, the imprint began to fade, and eventually ceased publishing around 2011. But thanks to Jackson (whose Spiegel & Grau list gained notoriety with the publication of the 2015 National Book Award-winning Between the World and Me by Ta-Nehisi Coates, as well as titles by Edwidge Danticat, Victor LaValle, Jill Leovy, Aaron McGruder, Bryan Stevenson and Jay Z) One World is set to roar back to life.

Call it a comeback The offer was more like: “You can start your own imprint, Chris Jackson Books, whatever you want,” Jackson told Publishers Weekly (PW), about the imprint’s resurrection.

“But I wanted to bring back One World. It was started more than 20 years ago, staffed by black women–its founding editor was Cheryl Woodruff–and was originally heralded as the first multicultural imprint, to represent writers from everywhere. At the time I started in publishing, that was truly a “random house”! It evolved into an African-American imprint, then a commercial fiction African-American imprint, then urban fiction, then the plug was pulled,” he recalled.

At One World, Jackson, who has been at Random House for 15 years (with Speigel & Grau since the imprint was founded in 2006), will acquire and edit fiction and non-fiction to be published in all formats. But, the new One World will be different, he says, because books, audiences and times change.

“It will be a product of its moment, like the original One World was,” he says. “But the overlap is that there will be multicultural storytelling with the core being the books I’ve already been publishing around politics, race, social justice and identity. And with ‘multicultural’ being the opposite of ‘monocultural’. Voices that don’t fit into what we see as mainstream, yet are the mainstream. Beyond that, we’ll bring in new and different voices and forms, looking for more imaginative ways in which we can publish diverse voices, stylistically and aesthetically. And sometimes we’ll publish people writing about two kinds of justice–one stories people can see themselves reflected in, and two, stories of people changing.”

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roaring back One World will, as Jackson prefers, run a lean operation.

As of now, in addition to Jackson, the imprint has an Editor, Victory Matsui, and an Editorial Assistant, Nicole Counts, and uses Random House’s marketing, publicity and other staff, including art and design. “It’s an editorial staff making use of the Random House resources, and a strong publicity and marketing department,” Jackson says. “We’ve developed a way to work together over the years; I have a lot of confidence in them, and I’m deeply appreciative of them.”

Big plans Recently, at the fall meeting of the Book Industry Guild of New York, Jackson was interviewed onstage by PW’s Calvin Reid. There, Jackson explained his background and his publishing mission, recalling how his childhood passion for writing stories led to various jobs in publishing. As an Editorial Assistant at John Wiley & Sons, Jackson worked with authors who would go on to great success, including Victor Lavalle, Kevin Powell and Colson Whitehead.

Jackson has big plans for One World’s inaugural list–its first two acquisitions are one work of non-fiction and one of fiction by Ta-Nehisi Coates; the non-fiction title will publish in fall 2017. And the imprint will publish approximately 12 titles a year beginning in 2018, its first full year.

Authors he’s signed up for the imprint–many of whom are writing memoirs–include Azie Mira Dungey, best known for the viral series “Ask a Slave” and currently a writer for the Netflix series “Unbreakable Kimmy Schmidt”; Dr Mona Hanna-Attisha, a paediatrician and one of the TIME 100, whose testing of children in Flint, Michigan proved they’d been poisoned by the water; Nikole Hannah-Jones, award-winning investigative reporter covering racial injustice for the New York Times magazine; Syrian citizen journalist Marwan Hisham, writing a first person narrative about the Syrian war, illustrated by Molly Crabapple; Eric H Holder, Jr, former Attorney General of the United States, writing about issues of criminal justice and incarceration with Pulitzer Prizewinning journalist Douglas Blackmon; Pulitzer Prizewinning playwright Quiara Alegría Hudes; novelist Victor LaValle; Trevor Noah, host of “The Daily Show”; Texas journalist Joe Tone, who is writing a crime narrative about life on the Texas/Mexico border; and Alex Wagner, former MSNBC anchor and now a senior editor at The Atlantic.

Jackson says he finds writers in various ways–through agents, of course, but many, he says, are people he has been watching and pursuing for years. But what he wants, he says, are writers and books that can make a difference.

“I want people who are doing not just good writing, but great writing, and books that push us closer,” he explains.

“Every editor should have an idea of what you mean to put out into the world. From childhood I’ve felt like my role is to help make a better world, because people need to see themselves represented in the art around them.”

■

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Friday 21 October 2016

In Canada, a cautionary copyright tale Kate Edwards looks at the effect that the introduction of the Copyright Modernization Act has had on educational publishing in Canada Since Canada’s Copyright Modernization Act came into force in 2012, I have not attended an international fair or meeting without fielding questions from all corners of the globe about the practical effect changes to the law have had. With a wave of copyright reform efforts underway around the world, governments are seeking to strike a balance between the expectations of users, and the need for creators and producers to be compensated for their work. But as the five-year anniversary of the Act approaches, Canada has Kate Edwards missed the mark, and the Canadian experience is worth reviewing as a cautionary tale.

Copyright reform in Canada was long overdue, with the bill that passed in 2012 being the last in a series that Parliament considered over a ten-year period. Of particular relevance to Canadian book publishers was the expansion of fair dealing to include education. But with no definition of “education” offered in the law, Canadians found themselves in uncharted territory.

Soon after the bill came into force, the Council of Ministers of Education (CMEC), which represents Canada’s provincial and territorial governments (excluding Quebec), along with many universities and colleges, unilaterally adopted a set of “fair-dealing guidelines”, intended to provide guidance to students and educators in keeping on the right side of the law when copying material for educational purposes. Their guidance: copying up to 10% of a copyright-protected work for distribution to a class, inclusion in a course-pack, or dissemination via learning management systems (LMS) is all fair game.

The broad guidelines cover everything, whether a newspaper article, a poem, or even a full chapter of a book. The guidelines closely mirror the licence terms offered by Access Copyright, Canada’s English-language copyright collective, which for more than 20 years has successfully collected and distributed licensing revenues. And the result was predictable: with the adoption of the guidelines, educational bodies at both the K-12 (primary and secondary) and post-secondary levels have walked away from longstanding collective licensing agreements.

Initially, the publishing industry expected that permission for use previously covered by licences would be sought directly from publishers. But those requests have largely dried up. Canadian publishers now find themselves operating in a climate where hundreds of thousands of users are systematically copying hundreds of millions of pages of copyrighted works without compensation to rightsholders. A 2015 analysis of the economic impacts of this unpaid copying, conducted by PwC, determined an annual loss of approximately $30 million (CDN) in licensing revenues.

The results have had a stark effect on publishers in Canada.

Oxford University Press closed its K-12 publishing division, citing the loss of licensing revenue previously distributed by

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Access Copyright as a primary factor. Many other large educational publishers have reduced staffing levels and publishing investment. And some independent firms, which often have a foot in multiple markets, have exited education to focus on trade publishing. In short, the variety and breadth of educational content being developed in Canada for Canadian students has suffered since the introduction of the Copyright Modernization Act. As a result, Canadian students and educators now risk losing the diversity of Canadianspecific learning resources produced by local writers and publishing firms. But this outcome was predicted

by PwC, and other governments around the world would do well to take note of what’s happening in Canada as they consider copyright reform in their own territories.

At its root, educational publishing is local publishing.

Whether a student sits in a classroom in Vancouver or Johannesburg, the availability of content that speaks to local realities and learning objectives is critical to academic success.

Without incentives for domestic producers to create specialised content that meets the objectives of local curricula, teachers will be left to produce their own resources, or use generic texts.

A fair copyright regime provides that incentive to producers, while ensuring users can easily access the material they need.

Some Canadian pundits argue that the expansion of fair dealing is not to blame for the dramatic changes now hitting the educational publishing sector. They point to previous Supreme Court decisions that offered guidance on what is “fair” when it comes to copying for educational purposes. But these rulings are not relevant to the kind of widespread, and systematic, copying now affecting publishers’ and writers’ bottom lines. The shift to digital resources is also cited as another reason for declining revenues. But publishers are actively participating in digital initiatives–but they need to be compensated for copies made of their work, whether in traditional course-packs or delivered via LMS. Meanwhile, Canada’s copyright debate continues, and international observers should stay tuned in the coming months to two events that have the potential to change the conversation.

The first is a trial decision in the case of Access Copyright vs.

York University, the first test of the education sector’s self-defined fair-dealing guidelines. A decision is expected by the end of the year, and that decision will set the stage for the second event worth watching: the 2017 review of the Copyright Modernization Act, which was mandated in the legislation. In the meantime, however, the interpretation of fair dealing remains in dispute, and a once functional market broken.

■ Kate Edwards is Executive Director of the Association of Canadian Publishers.

Frankfurt show daily

Friday 21 October 2016

LBF Market Focus 2017: Poland In 2017 we will see the 13th year of the Market Focus at the London Book Fair (LBF), and the ninth with the British Council working on the Cultural Programme, writes Harriet Williams. After a break in 2016, we’ll be back in Olympia with a diverse series of seminars and author appearances, as well as an extensive public events programme in London and around the UK. We’ll be showcasing the established, the emerging and the innovative in the Polish book market. We’re very excited about bringing some of the best Polish writers Harriet Williams over to the UK to take part in exchanges and conversations with British writers and the public.

The Polish book market is worth around PLN 2.48 billion.

There were 32,480 titles published (of which 37.9% were academic and professional books and 12.3% literature) and 105.8 million books sold in 2014. Most people still buy books in traditional book shops, but the number of independents is falling, and reading rates in general are relatively low1.

Our partners in Poland, the Polish Book Institute (PBI), are tasked with promoting books both in Poland and overseas.

They are a regular presence at book fairs around the world,

most recently at Beijing International Book Fair in August. The many programmes they run include a sample translation grant and the ©POLAND translation programme (a translation subsidy); the Found in Translation Award, given to the best translation of a work of Polish literature into English; and the Translator’s Collegium, a programme of funded study visits for translators of Polish literature.

Poland has 1,496 book clubs which meet once a month, a scheme set up by the PBI and the British Council 13 years ago. The PBI runs a rich programme and the Market Focus is in a great position to build on their already well-established work.

Inspiring With this in mind, a delegation made up of representatives from LBF and the British Council visited Kraków and Warsaw in July, hosted by the Polish Book Institute and the British Council in Poland. We were given presentations from Kraków City of Literature, Wroclaw Capital of Culture, the Conrad Festival, the Big Book Festival and many others. It was an inspiring crash course in the Polish literature sector.

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The key thing to note about the literature scene in Poland is how fresh and agile it is. It’s responsive to challenges, actively seeking out new audiences and thinking in new ways about a landscape that is constantly shifting.

In Kraków we heard about a UNESCO-funded project that allows readers to borrow e-copies of books from virtual libraries hosted at bus stops; an interactive museum themed around the Polish epic poem “Pan Tadeusz”; a “literary emergency room” that handed out book prescriptions to children; and a series of city games for families, leading them around a city and setting literary tasks.

Younger crowd In Warsaw the book scene was different, although no less exciting.

It attracts a younger, more “hipster” crowd. The Big Book festival hosts literature events in factories or abandoned buildings, re-energising lost community spaces. They set up crime scenes and bring crime writers with their audience to analyse them.

The Institute of Reportage runs a creative non-fiction writing course that leads the world. The range of exciting projects was impressive, with festival planners thinking laterally about the challenges that we all face in the literature and publishing sectors.

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Polish flavour The challenge that faces the British Council now is how to bring the flavour of all this activity to the UK throughout 2017. At the heart of the programme is the author delegation representing something from each different genre: fiction, reportage and nonfiction, poetry, graphic novels and children’s books. There will be around 10 writers, chosen in consultation with our partners the Polish Book Institute and including an “Author of the Day” who will take part in various activities organised by LBF and Midas PR. The programme at the Fair will be augmented by a large public programme that takes place both during LBF and in the months afterwards, meaning that there is more time for the focus on Polish literature and literary culture to have an impact.

It is, of course, a particularly interesting time to be focusing on Poland, the first EU Market Focus country in the wake of the Brexit vote. We hope that the varied programme will demonstrate that though the UK is leaving the EU, we are still very much Europeans, and that the Market Focus will serve to strengthen the longstanding close relationship between the UK and Poland.

■ All figures are from the 2014 market and readership report from the Polish Book Institute, available at www.bookinstitute.pl.

Harriet Williams is Programme Manager at the British Council.

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Frankfurt show daily

Friday 21 October 2016

An ABC of scholarly publishing The recent ALPSP conference offered a vivid snapshot of the academic sector.

Alastair Horne reports Audience, big data and collaboration formed an ABC of key themes at this year’s ninth annual conference of the Association of Learned and Professional Society Publishers (ALPSP), held at the Park Inn, Heathrow, earlier this month.

The need to be open to influences from outside scholarly publishing was a recurring message, signalled from the very start by the choice of Zoe Harris, Group Marketing Director at Trinity Mirror, to give the opening keynote talk. Sharing her experiences of working within a media industry similarly experiencing a period of unprecedented disruption, Harris told the audience that looking outside of your own business for inspiration could give you a springboard for approaching new challenges.

She offered the example of the Mirror’s new Perspecs app, a response to the rapid growth of aggregator sites and apps such as Flipboard and Apple News. Perspecs curates content from a wide range of sources, including the Mirror’s competitors, to offer three different perspectives on each news story, helping readers to step outside the filter bubbles offered by algorithms and social media echo chambers. Another innovation that drew interest from the audience was the Mirror’s Data Journalism team, which monitors open data sources and builds tools to create new kinds of exclusives: public interest stories that make use of data to make them personally relevant to their audience.

Lots in common If anyone in the audience felt that scholarly publishers had nothing to learn from a tabloid newspaper industry viewed by many as cynical, untrustworthy, and motivated solely by selfinterest and profit, then the following day’s sessions should have challenged that view. Isabel Thompson, Market Research Analyst at Oxford University Press, drew some worrying parallels between the two industries at the start of a session on “What Does Academic Engagement Mean Now?”, when she admitted that a researcher friend had told her that many of his colleagues view publishers as somewhere between pure evil and a necessary evil.

Panellist Philippa Matthews, a Wellcome Trust Research Fellow based at the Nuffield Department of Medicine in the University of Oxford, suggested some reasons why researchers might feel this way: many believe that the publishing process doesn’t encourage innovation or creativity, and don’t feel supported by publishers during peer review. Matthews herself complained about the persistence of practices that no longer make sense in an increasingly collaborative and online world, such as the need to provide hard copies of conflict of interest statements, physically signed by all authors, even though this may involve posting documents across many continents.

A session asking “What is the Core Expertise of a Publisher Today?” drew further parallels between tabloid journalism and scholarly publishing when Chris Leonard confessed that

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Emerald Group Publishing had drawn inspiration for its publishing platform’s new functionality, not only from iTunes, but also from the Daily Mail’s Sidebar of Shame. That same session also focused on the value of collaboration, as Chair Alison Jones argued that publishers should be thinking in terms of partnership and collaboration when seeking to address areas outside their core strengths, rather than buying in services; Leighton Chipperfield of the Microbiology Society reinforced the point later, in a session on “The Changing Role of Society Publishing”, when he explained that the Society had abandoned plans to collect Article Processing Charges itself and now worked with the Copyright Clearance Center on this.

Key themes Two of the conference’s key themes were reflected in the Innovation Awards presented at the conference dinner. For the first time, two prizes were awarded, as the judges found themselves unable to choose between two excellent, but very different, projects.

Wednesday’s plenary session on “Research and Scholarly Publishing in the Age of Big Data” had emphasised the increasing need for publishers to engage with data; Francine Bennett, founder of big data specialists Mastodon C, urged publishers to focus on the context of their data, while SchoolDash founder and former head of Digital Science Timo Hannay warned publishers against outsourcing their data work as if content and data were entirely separate. In this context, it was no surprise to see Wiley’s ChemPlanner one of the two award winners. Applying machine learning techniques to enormous amounts of data on chemical reactions, the tool is able to optimise the synthesis of new molecules, speeding up the early stages of the drug creation process considerably to save companies both time and money.

Elsewhere, attention was repeatedly drawn to the importance of impact and the increasing opportunities created by open access to engage new, non-traditional audiences. In a session entitled “What Does Academic Engagement Mean Now?”, Sacha Noukhovitch, Editor in Chief of the STEM Fellowship Journal, noted the growth of a new audience for scientific papers: younger students who might lack the usual background knowledge around a subject, but make up for that deficiency with both data skills and a swarm approach–if one student finds a paper interesting, others swarm around it too, making use of academic communities to understand complex concepts. The Innovation Award for Taylor & Francis’s Cartoon Abstracts was therefore entirely on-trend, since the abstracts use cartoon-style illustration to visualise research in ways that engage a non-traditional audience, and thus make complex research easier to follow.

■ To read more about the ALPSP conference and watch recordings of some of the sessions, visit the ALPSP blog.

Alastair Horne is a journalist, speaker and social media consultant.

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Friday 21 October 2016

International sales Exporting and working with international partners has always been a key ingredient in the UK book industry since its conception, and thankfully the continuing importance of our language to a worldwide audience is undiminished, writes Bob Jackson. Indeed, with an increasingly well-educated, Bob Jackson global population keen to communicate in English the opportunity within international markets is set to increase.

When this is coupled with the vibrant, creative output from UK authors and international authors publishing in the English language, the UK is very well placed to enjoy strong sales into an increasing number of international markets.

Gardners has been involved in selling books to overseas markets for almost the entire 30 years of its existence and it now represents around a third of our total sales. Although we have traditionally been viewed as a “UK wholesaler”, the reality is that we travel to all our major markets throughout the year in addition to attending Book Fairs in the USA, Australia, Poland, China, and of course Frankfurt and London.

In addition to our three highly experienced International Sales Managers, we have a dedicated office-based support team and employ sales agents in Australia, the Far East and Scandinavia to represent us. We offer publishers involvement through our sales channels, our marketing activity and can customise promotions for specific markets or even specific customers within a market.

International shipping is well served by UK-based logistics companies, which combined with international post and courier companies, provide fast, efficient and, above all, reliable deliveries to retailers. Through our “Direct to Consumer” service on behalf of our retailers, products are shipped direct to consumers through a variety of options. Our dedicated team work around the clock at our Eastbourne premises to provide our leading “same day despatch–next day delivery to a UK shipper” service.

Since 2009, we have added more than 100,000 DVD, Bluray, Music CD and Vinyl items to our 400,000 book catalogue, which has brought more opportunities around the world for these products. Supporting our physical services, we have a long-established digital service, which caters for retailers, public libraries, schools, universities and academic specialist requirements, all of which are ideally suited to a global market requiring “instant supply” 24x7, with more than 1.5m ebook and e-audio files available.

At the time of writing, the currency markets have reacted to the Brexit vote with the effect that, for international customers buying goods from the UK in sterling, their money buys much more than it did, making Englishlanguage books and goods even better value!

■ Bob Jackson is Commercial Director of Gardners.

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Friday 21 October 2016

German market: “Holding its ground” German Publishers and Booksellers Association Chairman Heinrich Riethmüller talked with Milan Gagnon about the challenges faced by bookshops, the success of the Tolino e-reader, and the bricks-and-mortar battle with Amazon.

Tolino’s market share was 45%–Amazon’s Kindle was 39%. And Germany’s ebook market continues to grow, even if not so strongly. With a current 4.5% revenue share of the consumer market, the German ebook market hasn’t reached the level of the US, but what both markets have in common is that saturation trends loom. Customers don’t want to decide between ebooks and paper books; they use both media formats, according to what best fits their daily lives.

MG: Reports suggest that the German book market has remained relatively stable over the past decade. Would you call that a victory, given the challenges that retailers large and small face, as well as the Heinrich Riethmüller challenges faced by producers and vendors of traditional media?

MG: Speaking of Amazon, last year, you told Publishers Weekly that it was a “monopolistic HR: Absolutely. The German book market has been able company playing out their dominance and abusing their to hold its ground in the media revolution. At €9.2 billion, market strength in order to undermine market structures”. revenues have remained stable despite massive media competition. Just think about what media and gadgets have Do you have any new thoughts this year? emerged. People’s attention is no longer shared among HR: Amazon’s market significance is as great as it was books, radio, television and newspapers–today, it’s also before, but it is no longer the spectre for bookstores that it Facebook, YouTube, Spotify, and a considerable number of was. Bookstores are recalibrating to the changing market with media are direct competitors with books. Nevertheless, we new strategies, and more than 2,000 bookstores are see that the book, as a one-of-a-kind medium, has retained successfully cross-channelling to combine the advantages of its special place in the German media landscape. in-person sales with those of online shopping. The pressure to innovate in the segment has grown noticeably, and Amazon plays a big roll in this. We are seeing an immense interest in MG: Is there a forecast, or perhaps a hope, that the the sector from the German startup landscape, and many market will at some point grow again? entrepreneurs and new companies are entering the market HR: We can’t give a concrete prognosis on this. As ever, and enriching it as a result. On the other side, the willingness reading has great importance in Germany; the use of books to innovate by publishers and booksellers is also high, and we is at a stable, high level. But bestsellers also play a big role are supporting these market dynamics with the world’s first in bookseller revenues. And, in recent years, we haven’t had accelerator for the sector, CONTENTshift, which aims to mega-sellers like Harry Potter or Fifty Shades of Grey were bring together startups and members of the book business. in the 2000s.

MG: Online sales surpassed those of bricks-and-mortar shops in the US, but in 2015 German bookstores brought in almost three times the amount that internet retailers did.

Why are German bookstores outpacing online sellers?

HR: Because of the fixed book price law, there’s no cost advantage to buying online. And because of fixed book prices, Germany has a nationwide supply of bookstores, not just in cities, but in the countryside as well. And, I think it is also a matter of preference. In recent years, Amazon has had some very bad press, which has had an effect on consumer behaviour.

Many customers are aware that their shopping decisions have a big impact on the complexion of their cities. At the same time, that doesn’t mean that consumers need to swear off online shopping–most German booksellers also have e-shops.

MG: On that note, how is the Tolino faring?

HR: Together, German booksellers have managed to bring to market an e-reader that can stand up to Amazon. Currently, 1,800 booksellers are selling books through the Tolino system, and the Tolino has overtaken Kindle in revenue. According to market research firm GfK, in the third quarter of 2015,

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MG: The European Commission looks set to allow a unified VAT rate for ebooks and print. What impact might it have on the German market and other domestic markets?

HR: There is no logical reason for disadvantaging a medium, and the tax reduction could provide real stimulus to Germany’s ebook market, as publishers would have more room to work with pricing, and could better work with authors and businesses toward new publishing and sales models.

MG: What are you looking forward to at this year’s Frankfurt Book Fair?

HR: I think the talks with Turkish publishers will be especially interesting. The political pressure on cultural creators in Turkey has grown unbearable. That’s why we, together with PEN and Reporters Without Borders, have put forth the #FreeWordsTurkey petition (www.freewordsturkey.de/petition) to call for an unambiguous stance from Germany’s federal government and the European Commission on freedom of expression in Turkey. In personal conversations at the Book Fair, I hope to hear firsthand about the current situation in Turkey.

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Friday 21 October 2016

O pioneer!

Christopher Kenneally looks at the success of independent publisher Pioneers Press To be a pioneer takes guts. The work is hard “The work is something that I’m and long, and often lonely. Pioneers are fast passionate about,” says Jessie Duke, learners and experts in endurance. It’s a life Pioneers Press owner, who has worked in of trial and error. But one pioneer in the independent publishing for 15 years. At 21, heartland of America is a shining example of she founded and acted as Managing Editor how the indie press resurgence is making a of Fahrenheit San Diego, a weekly arts and difference in the book business. entertainment newspaper. “Seeing how The Hard Fifty Farm lies in rural Lansing, difficult it was [for non-conventional Kansas, on the Missouri River northwest of authors and artists] either to break into Kansas City. The homesteaders and selfmainstream distribution channels or get identified “farm punks” who call the farm picked up by the bigger houses, that made Christopher Kenneally home went back to the land to raise a me want to help my friends,” Duke told me, variety of crops, as well as a band of “rescue in a recent interview for the “Beyond the animals”, including goats and sheep taken from abusive or Book” podcast series from Copyright Clearance Center. neglectful environments. Another kind of stock is “Instead of taking a more normal career path and trying to flourishing on the Hard Fifty, however: books and do-itwork for one of the bigger houses, it made more sense for yourself style “zines”. Pioneers Press, headquartered there, me to stay within my community and see what we could do is a combined publishing house and small press distributor, outside of those channels.” with a growing catalogue that focuses on issues of Since its launch in 2012, Pioneers Press has brought out sustainability, both on the farm and in the city, as well as titles that have made the bestseller lists of independent health, gender and sexuality. bookstores around the world, including Powell’s Books’ number one bestselling small press title for the last three consecutive years, The Do-It-Yourself Guide to Fighting the Big Motherfuckin’ Sad. In 2015, Entropy Magazine named Pioneers Press as one of the best small presses in the country. Pioneers Press titles are regularly featured in the mainstream and underground press alike, including Fast Selling eBooks Direct to Consumer (D2C)?

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The Zine Mobile In 2013, Jessie Duke received a Rocket Grant from the Charlotte Street Foundation and the University of Kansas Spencer Museum of Art, with funding provided by the Andy Warhol Foundation for the Visual Arts. The funded project, the Hard Fifty Farm Zine Mobile, transformed a horse trailer into a touring small-press library and portable educational space.

“Out in rural Leavenworth County, Kansas, there’s a lot of stuff that we knew that we were missing out on culturally. It was important to us to be able to take our work into other communities like ours that are usually passed over,” said Duke. “We painted up the trailer, and my dad made custom shelves for it. We then would take it to a location and bring all the bookshelves out. We’ve taken it to libraries in rural areas... and the reception has been great.”

This summer, Duke attended the annual week-long Yale Publishing Course as a recipient of the 2016 Innovative Leader Scholarship. The Ivy League campus in urban New Haven, Connecticut, studded with Gothic towers, lies a

Friday 21 October 2016

world apart from rural Kansas, Duke admitted, yet she found common ground with her peers from the Big Five houses. Bottom line, she discovered, a “zine mobile” is just a country person’s way to call a “pop-up” shop.

Bookselling landscape “The bookstore landscape has changed so very much.

The challenge publishers are facing is getting books Jessie Duke directly into the hands of consumers,” Duke said. “[A publisher] can’t afford to have a bookstore all the time, so doing a pop-up shop is the only option. In the small press community, that approach happens out of desperation. You don’t have the resources, so you get creative. Not just for Pioneers, but other small press publishers, going direct-to-consumer is really natural. One of the really nice things about a small press is having that relationship with your readers.”

Frankfurt show daily

In addition to editors and executives from Manhattan-based large publishing houses, the Yale Publishing Course attracts an enrollment from publishers around the world, including Europe, Australia and the Middle East. And as Duke discovered, publishers–not unlike the hardscrabble farmers of pioneer days–are looking for new ways to survive.

“This is a really difficult business to be a part of,” she conceded–one of her takeaways from her week at Yale. “It takes the weight off a little bit to realise that this isn’t just something that [our small press] hasn’t figured out yet.”

■ Christopher Kenneally hosts the weekly “Beyond the Book” podcast series from the Copyright Clearance Center.

He can be reached at chrisk@copyright.com.

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Friday 21 October 2016

A textbook case Emma House looks at innovation in the academic and professional book world

MIAMI, FLORIDA

Easy access, personalised and adaptive: these are the words that characterise innovation in higher education learning materials today, with publishers increasingly offering flexible ways for students and libraries to access their content, and analytics to provide essential feedback Emma House on the quality and usage of these resources.

However, digital has been slower to take off in the academic and professional book world than in the fiction market. While Publishers Association (PA) stats show that 35% of UK publishers’ revenues for fiction are made up of digital products, digital revenues for academic and professional books are just 25%. Reasons for this vary, but an important one is student attitudes to digital, with many often preferring the physical book, which allows annotation, easy revision and access to a second-hand market. Student adoption of digital textbooks is, though, slowly on the upturn, with cheaper devices coming onto the market and more interactive formatting.

Innovation in this space is also taking off. Beyond ebooks, innovative new digital product models are emerging that bring together personalised learning experiences and sophisticated learner analytics in ways that are simply not possible with the textbook. For example, this year Pearson has launched REVEL, an interactive learning resource that enables students to read, practice and study in one engaging and continuous experience, giving them everything they need to come to class better prepared to participate.

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Ebook-based digital products/solutions produced by higher education publishers regularly fully integrate textbook content with formative/summative assessment, quizzing, simulation and other media tools that can be optimised to enable students to access some or all these tools offline on their own devices.

Digital courseware products like REVEL hold the promise of making a bigger impact on student learning achievement in measurable ways. These products also reflect a wider move by educational publishers towards making a greater contribution to improving teaching and learning outcomes in higher education.

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f Continued from page 24 When it comes to actual business models, students can now rent books, purchase individual chapters and pay-perview, as well as purchasing textbooks outright. Increasingly learning materials are also being bundled with tuition fees.

Many universities are now trialling pilots or running established schemes, which offer print and/or digital textbooks to students included in their fees.

Flexible business models For the library market, flexibility in business models is key; publishers are working with the library community to understand their needs and are adapting their business models accordingly. Publishers are constantly trying to offer as many flexible business model options as possible to the markets, but not all models are commercially viable for all types of product. A good example in the textbook market is with lending models, where publishers do make most of their catalogue available. Core textbooks however may not be well served by this model, but publishers would make those same textbooks available on other models such as single-user, multi-user and subscription. One new recently launched example of a new model is Pro-Quest’s Access-to-own model, where

Friday 21 October 2016

money spent on ebook loans can be set against the cost of title ownership where usage of a title justifies it. This suits those institutions who want to use usage-based metrics to trigger the acquisition of both frontlist and backlist, and want to balance expenditure between ownership and access.

Other recently developed business models include Evidence-Based Acquisition, which allows access to content for a set period; at the end of that time the institution selects titles to licence, based on how much they were borrowed during the trial. Pay-per-view now also exists in various models. Wiley, working in conjunction with ReadCube, offers those without institutional access options to access individual journal articles and Elsevier’s ScienceDirect offers guest users the option to download a pdf or html version through a PPV transaction.

This means libraries can better allocate their budgets to the most used materials and have greater flexibility to access content which may only be used a few times without having to purchase it outright. Economies of scale can be reached with publishers’ bundles, which can be tailored to suit reading lists.

Management and keeping track of assets are improving constantly. We have most recently seen the launch of Cambridge Core, CUP’s own in-house developed platform, which brings together more than 30,000 books and 360 journals, and offers a wide variety of new functionality.

Learning resource ecosystem Analytics are now an embedded part of the learning resource ecosystem providing essential feedback on both usage and text understanding to the learner, educator and librarian, albeit for different reasons. As publishers, we are now able to understand the impact of and use of learning materials in ways we would never have with the physical book. Learning Management Systems, coupled with publisher platforms and digital textbook resources, can now provide feedback on text understanding, allowing students to better tailor their study and revision, and educators to offer a much more personalised experience to individual pupils.

Last year Springer became the first publisher to offer title and chapter-level metrics across all their books via the Bookmetrix platform, with data shown on Springer’s content platform SpringerLink.

All this innovation can only be expected to intensify. As students (and their parents) increasingly look for value for money from the Higher Education experience, and as institutions have to prove their effectiveness in teaching and learning much more, so resources will increasingly fall under quality and efficacy microscopes. In response, many publishers are reinventing their textbooks and learning resources–and the results can only be exciting.

■ Emma House is Director of Publisher Relations at the Publishers Association.

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photo: Alamin Mutunga

December 7, 2016 New YorK CitY

Across Africa millions of people are unable to reach their potential because of a basic lack of books, reading materials and information, writes Jessica Faulkner. This is especially acute for Lang’ata Women’s Prison in Nairobi people without freedom of movement, such as those living in refugee camps or prisons.

Literacy, education and access to information are instrumental in the fight against poverty, ill-health and marginalisation, but for people in such situations, their chances of accessing the books they need are slim. This can create a cycle of disadvantage, which affects people’s quality of life, health and opportunity.

Book Aid International has been working to provide books where they are most needed for more than 60 years.

Refugee camp libraries For the estimated half a million people living in Kenya’s two largest refugee camps, life can be hard. Kakuma and Dadaab refugee camps were established in the 1990s and many of their inhabitants have been living there ever since. The camps have developed informal infrastructure such as schools, hospitals and markets, but resources such as books are still very hard to access. It is vital for people, especially children, to be able to continue with their education while living in the camp. Not only does Girls in class in Kakuma Refugee Camp this provide them with skills to rebuild their lives outside, it also provides one of the few routes out of the camps by way of overseas scholarships.

Book Aid International supplies books to the Dadaab and Kakuma refugee camps through its partner Windle Trust Kenya, which runs educational programmes in the camps.

In the summer of 2016 we partnered with Hachette on its “Book for a Book” campaign, which seeks to raise awareness of the plight of refugees and provide them with new books.

For every copy of The Bone Sparrow (by Zana Fraillon) sold, Hachette will donate a new book to Book Aid International for the refugee camp libraries we support. Alison Tweed, Director of Book Aid International, explains: “We are proud to be partnering with Hachette, one of our long-term publisher supporters, on this important campaign. We have supported libraries in refugee camps in Kenya for many years and for many of the camps’ inhabitants, these libraries represent the only chance to read, to learn and to progress in their education.”

Our main geographical area of focus is sub-Saharan Africa, but as the refugee crisis in Europe has worsened, we have felt moved to respond to the needs of the many thousands of people now within the borders of Europe who find themselves without

Friday 21 October 2016

rough reading

SAVE THE DATE APRIL 20, 2017

homes or resources. We recently signed a partnership agreement with Norwegian NGO A Drop in the Ocean, which is currently supporting refugees in Chios, Greece. We are sending an initial shipment of 1,000 books that will support a library set up in the camp by the NGO. Most of these books will be for children–a chance for them to continue reading and learning, as well as providing moments of joy and escapism. Jamie Osborn, a long-term volunteer with A Drop in the Ocean, reflects on the importance of the library for the camp’s young inhabitants: “Yesterday morning a young boy from Sudan, who arrived last week, came to the library. He had very rarely spoken to anyone and never wanted to play with the other children. After being very shy at first he began to really smile and talk excitedly over the books.

It was one of the most transformative moments I’ve seen yet.”

Supporting prison libraries

photo: Alamin Mutunga

Books are also a vital resource for many prisoners. They provide escapism from life behind bars, and an opportunity to learn new skills for life after release. Book Aid International works with NGO African Prisons Project (APP) to provide much needed books in prison libraries.

Book Aid International has supplied new books for a prison library set up by APP in Luzira Upper Prison, Uganda.

The books we send to prisons range from vocational and legal textbooks, to fiction and inspirational biographies. To make the most of the books we send, the book club meets once a week to encourage prisoners to read, discuss reading materials and help one another to read more fluently.

Lang’ata Women’s Prison in Nairobi is home to 600 women and their children. This year it opened a Women and Children’s Library, which will provide prisoners and staff, and their children with access to a wealth of relevant educational materials and supported learning opportunities such as book clubs, debates and creative writing. We provided 2,500 new books to stock the library, including children’s, and books on literacy, life skills and fiction.

Many people living in refugee camps and prisons in Africa would have little or no opportunity to read without our support, and the books donated to us from publishers. They are a genuinely invaluable resource for many people.

Book Aid International works with UK publishers to supply around a million books each year to more than 2,500 libraries in sub-Saharan Africa. The charity works in 12 African countries and the Occupied Palestinian Territories, distributing books, providing training for library staff and supporting the development of library services. Visit www. bookaid.org for more information or contact simon.mercer@bookaid. org to discuss how you can support our work. ■ Lang’ata Women’s Prison in Nairobi

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Frankfurt show daily

Friday 21 October 2016

Politics and the US Library of Congress Andrew Albanese asks if politics will paralyse the US Library of Congress When Carla Hayden was sworn in last month as the 14th US Librarian of Congress, she became the first woman, and the first African American ever to hold the post. It was an important moment, which Hayden acknowledged in her remarks after the ceremony. “As a descendant of people who were denied the right to read,” Hayden said, “to now have the opportunity to serve and lead the institution that is our national symbol of knowledge is a historic moment.”

Hayden’s historic moment, however, almost Carla Hayden didn’t happen. It’s no secret that the political landscape in the US has become fractured almost to the point of dysfunction. But after a group of anonymous, ultra-conservative Senators (spurred on by an ultra-conservative think tank called the Heritage Foundation) nearly derailed Hayden’s nomination, politics, for the first time, had reached the Librarian of Congress. And given those political realities, life is not going to get any easier for Hayden, now that she has won her first battle, and been sworn in.

In fact, a number of significant issues loom for Hayden at the Library of Congress–issues that will have a significant impact, not only on the institution itself, but on the publishing, tech and creative industries as well. The world will be watching.

Technology You can add another first to Hayden’s historic appointment: she is the first Librarian of Congress to be appointed in the internet era. Hayden succeeds James Billington, who was appointed by Ronald Reagan in 1987. Without question, much has changed in the world of libraries, publishing and information technology since 1987–so what does it will mean for Hayden, to be the first librarian appointed in the digital age?

First, she faces a challenge in upgrading the libraries internal technology. Over the past decade, the library has faced mounting criticism for mismanagement and technological blundering.

During Hayden’s confirmation hearing in April, Senator Roy Blunt acknowledged the library was “struggling, really, to adapt to a new century”. And a 2015 report from the US Government Accountability Office (GAO) identified widespread informationtechnology weaknesses. In a New York Times article last June, Joel C Willemssen, the author of that GAO report, specifically called out Billington for not having the “necessary skills” to lead the library in the digital age.

In her post-swearing in remarks, Hayden acknowledged her role as the first Librarian of Congress for whom the internet– not books–will be at the centre of the universe. Noting that her ceremony was being streamed live online, said she was “overwhelmed with the possibilities” offered by technology to expand the reach of the library beyond its traditional mission.

Now, will Congress give her the latitude, and more importantly, the resources, to do so?

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The Copyright Office Perhaps the biggest battle looming for Hayden will revolve around the copyright issues, and specifically, the future of the Copyright Office, which falls under the Librarian’s leadership.

Last year, two legislators introduced a controversial proposal to remove the Copyright Office from under the purview of the Library of Congress and to establish it as an independent agency. Everyone agrees that the Copyright Office needs more funding and a significant technological upgrade. But, while publishers and authors have publicly supported the idea of an independent Copyright Office, the library community and the tech sector, including Google and Amazon, have come out against the plan.

Regardless, copyright issues and copyright reform are going to hit the agenda at some point for Congress, and that could put Hayden in a tricky spot between two powerful lobbies– Hollywood and the creative industries on one side, and technology companies on the other. And then, of course, there is the public interest, as well.

For those who would like to see the Librarian of Congress take more of a leadership role on critical information age issues, just consider the long list of thorny litigation, legislation and policy fights that have erupted over the last decade. Imagine the Librarian of Congress–as a political appointee–weighing in on issues like the ill-fated bill SOPA (the Stop Online Policy Act), or on open access to federally funded research (which is generally opposed by the publishing community).

And for those who criticized the library’s slow pace of digitisation under Billington, imagine the political fallout if the Library of Congress had joined forces with or even voiced support for Google as it scanned out-of-print books. Can anyone see a politically appointed Librarian of Congress weighing in for the public–or worse, against the public–on any of these issues, without facing political retribution?

Term limits vs. gridlock Yet another first for Hayden: she is the first Librarian of Congress to be term-limited at 10 years (although she can be reappointed).

Traditionally, the post had no limit, and it grew to become a lifetime appointment. But while proponents see the term limit as guarding against a Librarian being surpassed by developments in the information world–for example, Billington in the internet age–will its real effect be to dissuade the best and brightest from serving?

Hayden will be the test. A highly respected, qualified and experienced leader, if she proves deft at navigating the political challenges of leading the library forward in a complex digital age– and through the hardening political gridlock–the term limit likely won’t matter. But if her appointment has shown anything, it is that politics have now reached the library. If Hayden is blocked at every turn, ask yourself this: who would ever take the job again?

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