Masala mix

We’ve got the Booker, the Pulitzer, the Commonwealth, Dublin Impac, the Orange and now there is a prize for South Asian writers. The DSC prize is worth US $50,000 and is to “raise awareness of South Asian culture around the world”. It is open to works by authors of “any ethnicity from any country which predominantly features themes based on South Asian culture, politics, history, or people”. South Asia is defined as “India, Pakistan, Sri Lanka, Bangladesh, Nepal, Bhutan, Maldives and Afghanistan”. Interestingly the shortlist includes Atlas of Unknowns by Tania James, a US citizen born and bred. It’s a novel about two Indian sisters, one of whom takes up a scholarship to New York.

Strangely, or perhaps strategically, the shortlist was announced at a “prestigious gala dinner” at Globe Theatre in London. The winner, though, will be announced in India – at the DSC Jaipur Literature Festival in January 2011. DSC is an infrastructure company. See the DSC prize.

On the Jellicoe Road

For some reason I read Melina Marchetta’s Looking for Alibrandi when it came out in 1992, YA in a contemporary Australian setting not really being my thing, and I was surprised by how much I enjoyed it. Although the book, and the film that followed it, were very successful, it took Marchetta 11 years for her next book Saving Francesca to be published. This was followed by On the Jellicoe Road in 2006. I noticed this book because I was attracted to the cover. Something about it reminded me of country towns with big shady trees, gravel roads and empty school playgrounds. I spent two years of my senior schooling at Leeton in the Riverina and I have a nostalgic pang for the flat land, ­­­big skies and swimming in the Murrumbidgee. I hadn’t twigged until I finally got around to reading On the Jellicoe Road that the book is set in that area.

Nostalgia aside, I loved On the Jellicoe Road. The novel has a complex structure set around a mystery that resolves itself slowly through the eyes of our heroine, seventeen year old Taylor Markham. Marchetta’s brilliance is to make the reader totally accept Taylor’s viewpoint. It’s hard to describe the plot without giving away details that would make the unravelling of the mystery less satisfying. Suffice to say it deals with a modern day group of teenagers, some from a boarding school, some from the town and some from a group of cadets who camp there every year. The various groups are involved in a territory war every summer. Taylor is head of her ‘house’ at the school and she has to lead the school’s group against the townies and cadets. The enclosed nature of the ‘wars’ and the lack of adult interference is expertly handled by Marchetta but we soon find out the wars are a backdrop to Taylor discovering things about her past that for unknown reasons are being kept from her. The pleasure of the novel is all in the unfolding, and in the development of the relationship of the teenagers (or should I say young adults?), Marchetta’s forte. There are really two stories in one – what happens to five friends after a tragedy twenty years before and how this interweaves with the present day characters. I found this relationship cryptic to begin with – it was brave of Marchetta to just go with the story, confident her YA readers will follow Taylor and be patient enough to let the scenario play out at its own pace.

I was surprised, given the many awards Marchetta has garnered, that in Australia On the Jellicoe Road has only won a category of the 2008 WA young readers award. Last year she won the US Michael Printz Award for excellence in young adult literature, an award associated with the American Library Association. Why, I wonder, is Craig Silvey’s Jasper Jones categorised as literary fiction, and short-listed for the Miles Franklin Award, and On the Jellicoe Road relegated to YA? Could it be that Silvey’s book has a male protagonist and overtly references literary classics?

Apropos of the cover I loved so much, the B format cover makes the book look like a soft relationships novel for teenage girls and has none of the sense of place and intrigue of the first cover. As a point of contrast, on the cover for Marchetta’s latest book, The Piper’s Son, the publisher has gone 180 degrees the other way – a monochrome photo of a young man walking down a depressing looking inner-city street. It shouts ‘take me seriously’. I checked just in case the book was categorised as adult fiction. But no, despite the protagonist being in his late teens or early twenties, it’s still YA according to Penguin.

Survey of US book buyers

A 2010 US  survey of book buying behaviour finds two thirds of avid readers (ie spend more than five hours per week reading books) are female, one third male. The percentage of avid readers increases with age ie there are more avid readers in the 45-54, 55-64 and 65+ categories than in the younger age groups. Older people also buy more books. The most favoured place to buy books is the local bookstore, closely followed by chains and online. The survey also found most people who browsed in independent bookstores did not then go on to make their purchase on-line (only 10% did this).

Very interesting is what influences the purchasing decision. Top of the list is reputation of the author, next personal recommendation, then price. Book reviews were fourth (37%), cover, art work and blurbs was next (22%) and advertising came in last at 14%.

With regard to ebooks, the survey found ereader owners buy pbooks as well as ebooks and that ereader owners’ purchasing patterns were similar to those of “avid” readers ie they buy more books than the average. The survey can be viewed here.

Eat prey love

I love it. Move over Elizabeth Gilbert!

“New York Times bestselling author Kerrelyn Sparks pens the next book in her witty Love at Stake series, in which a sexy agent finds untamed passion in a world she never knew existed.”

Now that I might read. How much better than Elizabeth’s “journey in search of three things she has been missing: pleasure, devotion and balance”.

Slate on WSJ plus ebook sales figures

I’m no economist but interesting to see Slate.com backs up my criticism of the Wall Street Journal article (see “Ebook blamed again”) – the WSJ article has “more holes in it than Albert Hall”, they say. Also, depressingly enough, they note the publishing industry’s “rule of thumb is that nine out of 10 books will not earn back their advance”. See the Slate piece here.

Publishing news coming out of the Frankfurt Bookfair is that there are no comprehensive data on sales figures for ebooks so there is no real way to tell how ebook sales are affecting pbook sales. The difficulty in getting any reliable figures, Tim Coronel says in Publishing Perspectives, is the international nature of ebooks. So sales data would need to include figures from Kobo, Apple’s iBookstore, Google Editions and Kindle and the stats would need to be broken down by country and “then be combined with local ebook sales data in each market”. Or, he suggests, publishers could pool their information. I don’t think Tim holds out much hope for the latter.

Ebooks blamed again

Freedom sold 35,000 ebooks in 2 weeks

Some interesting comments in the Wall Street Journal about the impact of ebooks on returns for literary fiction writers. The journalist, Jeffrey A. Trachtenberg, says that the smaller return from ebooks for publishers (albeit compared to the US hardcover price) is making it much harder for agent’s to sell literary fiction to the big publishers, and when they do, the advances paid are much smaller.

It is possible we are starting to see a structural shift in book publishing, and it is starting in the US where ebook sales are much more advanced than in Australia. However, the article states that ebook sales are still only 8% of total book revenue. It’s projected this might rise to 20% – 25% by 2013 (and eventually over take print books).

If ebook sales are only 8%, it’s hard to see why this should be having such a drastic effect on publishers willing to publish debut fiction, or on advances generally. I was staggered to read that big New York publishers typically paid a debut fiction advance of $US50,000 to $100,000 (let’s all move to NY) but now the dreaded ebook monster has reduced that to $US1,000 to $5,000 (welcome to Ozland!).

There’s something about the WSJ article that doesn’t stack up. There are a lot of other pressures on publishers besides ebooks plus there’s no acknowledgement that ebook sales don’t necessarily mean pbook sales forgone.

One thing that was pointed out in the artice that not much has been made of so far in the whole ebook debate, is the promotion/selection of books on the ebook platforms, especially Amazon. Essentially a potential book buyer has to know what they are looking for and this overwhelmingly favours established writers. There is almost zero chance of just stumbling across a title the way we all do in our local bookstores.

Read the WSJ article here.

We Always Lived in the Castle

I stumbled across this novella as a “popular penguin” in a bookstore in the city and recalled that I had enjoyed a short story by Jackson called “The Summer People”, so I bought it and what a amazing book it is. Coincidentally the next day ABC Radio National’s Book Show had a piece on Jackson as she had just had a Library of America commemorative edition of her works published. You can listen to the broadcast here. Apparently Jackson is being “revived” now because her gothic works published in the 1940s and 50s were dismissed – at the time, and up until quite recently.

We Have Always Lived in the Castle is a brilliant piece of controlled narrative. The story is told in the first person by eighteen year old Merricat (a contraction of Mary Catherine) who lives in a crumbling mansion with her older sister Constance and her Uncle Julian, an invalid. Our sense of Merricat’s isolation and strange notions builds as we follow her on her weekly trip into the hated local village for supplies, but Merricat is so single minded, and so witty, that by the time the dark side of her nature is revealed, the reader is completely won over. Or, at least this reader was.

In an essay appended as an afterword (don’t read it first as there are spoilers in it) Joyce Carol Oates likens Merricat to those other famous young narrators of American fiction: Frankie in The Member of the Wedding, Scout in To Kill a Mocking Bird and Holden Caulfield in The Catcher in the Rye. The striking thing about Merricat is that her logic is the logic of a wild animal and her will to survive on her own terms has all the poignancy of The Call of the Wild or Auster’s Timbuktu or Sonya Hartnett’s Forest, for that matter. Jackson brilliantly pulls the reader into the book so that we are helplessly on Merricat’s side revelling in her crystal clear, darkly comic vision.