By Jane Friedman
April 10th, 2013
Our latest issue is now available! Here’s a brief overview of what’s inside.
On the business of literature:
What Is the Business of Literature? by Richard Nash. As technology disrupts the business model of traditional publishers, the industry must imagine new ways of capturing the value of a book. Our lead piece for the issue.
The Writer’s Dilemma: A VQR Roundtable. In this discussion with writing and publishing innovators and practitioners, we conside the risks and rewards of digital journalism, the tension between Internet giants and scrappy start-ups, and the opportunities at hand in a volatile industry. Featuring Andy Hunter, the publisher and co-founder of Electric Literature; Simon Lipskar, president of Writers House, a literary agency in New York; Amy O’Leary, a writer and editor with the New York Times; Evan Ratliff, who is the co-founder and editor of Atavist; and John Tayman, the founder and CEO of Byliner.
Blood Nation by Kevin Young. A discussion of fake memoir. Young starts by saying, “The confusion the memoir has caused is actually one over form—for despite what its recent practitioners seem to think, the memoir is a form, not a genre. In trying to expand the memoir from a form into a genre rather like the broader field of nonfiction, the authors of memoir often mistake its strengths—hard facts ennobled by the fluid, specific act of memory—as something not to be championed but chiefly ignored. As a result, instead of flirting with fiction, as almost all writing does, the memoir flirts with the truth.”
By Its Cover: 5 Designers on Books That Inspire Them. Featuring designers Craig Mod, Rodrigo Corral, Michael Fusco, John Gall, and Jon Gray.
Amigos by Julia Cooke. An essay that explores the line between source and friend—in Havana, Cuba.
Sound + Vision by Adam Baer. On the future of the sheet music business.
An Interview With Alice Munro by Lisa Dickler Awano. Munro says, “If I had been a farm girl of a former generation, I wouldn’t have had a chance. … I could imagine, from an early age, that I would be a writer. And mind you, nobody else thought so or would think in such terms. But it wasn’t purely freakish. … I think in a way I was very lucky, because if I had been born, say, to a very well-educated family, say a family in New York, people who knew all about writing, the whole world of writing, and so on, I would have been totally diminished. I would have felt, “Oh, well, I can’t do that.”
Much more is available to subscribers, including a selection of fiction and poetry. Click here to review the full table of contents.
Books Publishing Spring 2013: The Business of Literature