The latest act of literary campaigning from English PEN is to publish Jail Verse: Poems from Kondengui Prison by Enoh Meyomesse.
Enoh has been an opposition activist in Cameroon for decades. In 2012 he stood in the presidential elections against authoritarian strong-man Paul Biya. Soon after he was arrested for apparently trying to organise a coup. The authorities later dropped that accusation, and instead manufactured trumped up charges of robbery. There were no witnesses to this alleged crime, yet he was convicted anyway. PEN International consider the conviction and imprisonment to be a violation of Enoh Meyomesse’s right to freedom of expression.
While in prison, Enoh was able to write and publish Poème Carcéral, a collection of poetry. We at PEN put a call out to our members for volunteer translators, and managed to get the book translated into English. This month I designed a cover graphic, and published the book as a print-on-demand paperback, available from Lulu.com. E-book versions (both ePub and Kindle) are also available for download.
I am particularly pleased that we were able to publish the book under a creative commons licence. Enoh Meyomesse is in prison and this publication is intended to give him a voice once more. The creative commons licence encourages further translation, remixing and performance of the poems, amplifying what once was censored.
I am surprised I missed this as the time: Tweets from Tahrir. Its a compilation of tweets from Tahrir Square during the Arab Spring uprisings, edited by Nadia Idle and Alex Nunns. During the protests I suggested that the protestors in ‘the world’s biggest think-tank’ publish their hopes for the future of Egypt and that new technologies could help them do it very quickly. Idle and Nunns appear to have got this precise project published within a month.
This book obviously owes something to James Bridle’s TweetBook. It is also a companion to books like We Are Iran and Diaries of an Unfinished Revolution, two collections drawn from blogs and activists, and supported by English PEN’s Writers in Translation programme.
The release today of The Reluctant Fundamentalist, based on Mohsin Hamed’s brilliant novel, reminded me to post this article I wrote for InPrint, the magazine of the Society of Young Publishers. It was published last month, in the issue timed to co-incide with the London Book Fair.
Who drives our culture? Conventional wisdom says it is Hollywood. After all, it is the ﬁlm industry that produces the most highly paid artistes and the most visible ‘A listers’. Film is a visual medium and it churns out icons at a steady, lucrative rate. The four-hour Oscars telecast is beamed live around the world.
By contrast, the announcement of the Man Booker Prize does not even get its own TV slot in schedules. The announcement is allowed to interrupt the news broadcasts, but the analysis and reactions are made to wait until a scheduled bulletin and it’s never the lead story.
Film claims global relevance, whereas publishing is parochial. Film claims to be popular, whereas publishing is elitist. Continue reading
I had not read the term ‘fauxtroversy’ before now, but I think Dorian Lynskey uses it perfectly in his New Statesman article about the Kent Youth Commissioner Paris Brown. 17 year-old Paris has been forced to resign from her appointment, following ‘exposure’ of inappropriate tweets… Some written years ago. The views expressed would be surprising coming from the feed of, ooh, let us say, a thirty-something blogger and campaigner for PEN. But not from a young teenager. Outbursts, inarticulacy, immature, ill-thought-out and prejudiced views are as much a part of adolescence as spots, puberty, resentment of your parents, and fancying inappropriate, unattainable people.
The great thing about voicing ridiculous and ill-considered political views, is that people challenge them. There is nothing like being scrutinised on a stupid, unsophisticated political position to realise that life and politics are nuanced and complex.
The great thing about having an all-purpose blog is that you can write about things that are not in the news, and have no relation to current affairs. In this case, I thought I would post something I should have written a few weeks ago.
On the 14 of January, I was delighted to speak at the AGM of the Society of Young Publishers. The theme was banned books, and censorship. One of the questions was regarding Mark Twain’s book Huckleberry Finn. Apparently an academic in the USA named Alan Gribben decided to re-publish the book, replacing the word ‘Nigger’ throughout. What did I think of this?
This is quite possibly the perfect question for this blog, focusing as I do with questions of free expression and political correctness, and also how digital technologies affect publishing. How to reconcile the rights of people to publish what they want, with the uncomfortable Orwellian overtones that happens when you replace one word for another in a text? How to reconcile the bullying and harm that the dreaded ‘N-word’ can cause, with the historical context?
Leveson Report, printed via Lulu.com. The pretty spectrum of blue hues is an intentional difference from the official version.
The Leveson Report is over two thousand pages long, and is published in four volumes. You can download the forty-two page Executive Summary and the four large PDFs that make up the full report from the National Archives (at the grandly named official-documents.gov.uk doman).
If you want a hard copy of the report, The Stationery Office will charge a whopping £250.
However, there is a cheaper option to get a printed version of the report. I have taken the four PDFs and uploaded them to Lulu.com, the print-on-demand website. Each document (I, II, III, IV) costs around £12, and so (with delivery included) one may obtain the entire report for under £60.
Is this legal? Yes. The Leveson Report carries an Open Government Licence (a variation on a Creative Commons Licence) which states that anyone is free to “copy, publish, distribute and transmit the Information”. There is no creator mark-up on the documents (i.e. I do not make any money), so ordering them in this way is analagous to clicking ‘print’ on the PDFs and feeding two-thousand sheets of paper into your office printer!
Why is there such a disparity in price? The answer is colour. The design of the report available via The Stationery Office is printed with a blue spot colour, used in various tints throughout the report. In the cheaper Lulu versions, the content is simply black-and-white.
Back in 2006 or so, when blogging was The Next Big Thing That Everyone Was Doing, there was much discussion over whether a blog could kickstart a literary or journalistic career. Writers News even commissioned me to write an article about it, in which I quoted the economist and blogger Tim Worstall:
Tim Worstall, editor of the anthology 2005: Blogged, agrees. “I’m not sure that it is possible to make a living from blogging,” wrote Worstall, in his Second Anniversary blog post. “But”, he continued, “it is entirely possible to make a living out of having blogged.” Worstall sees blogging as an alternative to apprenticeships and unpaid internships, a route to paid writing.
I think we can cite many examples of writerswho gained exposure through blogging and then found paid writing gigs: David Allen Green and Laurie Penny at the New Statesman; book deals for PC David Copperfield and The Girl With A One Track Mind.
Another route is that taken by the creators of the Pornokitsch Blog, which takes the transatlantic Science Fiction & Fantasy culture as its beat. They have used their blog as a springboard into the publishing world, leveraging using the contacts and credibility developed over four years of blogging, to produce a series of short story collections. The blog as route not into journalism, but publishing.
And who should be one of the authors they publish? None other than… yrstrly. My story (0,0) is in the Crossroads anthology, released on the Kindle in August 2012. Its a companion book to Lost Souls, “tales of woe and angst, loneliness, redemption and humour” including stories by Arthur Conan-Doyle, Benjamin Disraeli and Mary Coleridge. If you order the limited edition copy of Lost Souls, you get Crossroads on the Kindle for free. You cannot say fairer than that.
Over the past year, I’ve been working on a creative publishing challenge I set myself. It’s time to blog about it here and draw a line under the project.
A few years ago, my parents showed me a faded typed manuscript of a memoir, The World of an Insignificant Woman. It was written in the mid 1980′s by my grandfather’s sister, Catherine Thackray, about their parents and family. It is based in a large part on the handwritten memoirs and letters of my great-grandmother, Hilda Marjory Sharp (born 1882).
In recent years I’ve taken a particular interest in new forms of publishing. I drink in the columns of Cory Doctorow and the experiments of James Bridle (two London-based thinkers I have had the pleasure of meeting a few times, through English PEN and Free Word Centre activities). The potential of print-on-demand and eBook publishing is huge, and I had begun to think seriously about getting in on the micro-publishing action.