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Getting Exposure for Young Writers

23/2/2013

 
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Young writers from Latin America met at the Havana Book Fair to discuss alternative strategies for sharing their work.  Representatives from independent publishing houses in Chile, Mexico, Ecuador, Puerto Rico and Argentina discussed the challenges of self-publishing, alternative publishing and Latin America’s innovative cardboard movement. There were no representatives from the English-speaking Caribbean. Don’t worry. CaribLit is already working with the Havana Book Fair to change that. (See our related story on the Alba Narrativa award.) In the meantime, here are the highlights of the Latin American Young Writers’ chat:

New Ideas, Old Materials
Across Latin America the youth voice is largely one of resistance and protest. Many of the publishing projects discussed were born out of social movements. Young people also find it very difficult to get published by traditional publishing houses, which tend to focus on more established, well-known authors. The region’s cardboard movement has been a major outlet for sharing the youth voice. Libros cartoneros (cardboard books), are handmade books, bound in recycled cardboard. They first appeared in Argentina in the early 2000s and have since become popular throughout Latin America. They are published by small, independent presses, sometimes subsidized by the government, with the goal of promoting writing and making literature more accessible. The intent, explains Ecuador’s Freddie Alaya, is not to compete with the traditional book distribution model. “The main interest is political. It’s a way to give an answer to social needs.”

Thinking Beyond the “Book”
Other examples of strategies for sharing young writers’ work in Latin America rest on a re-thinking of the concept of the book. While the ebook market is evolving, young writers are also developing new conceptions of the physical book to appeal to their market. Dario Cemino from Argentina tells of one young writer who released his “book” of poetry like a pack of cigarettes with each poem rolled on a piece of paper. “We work with the book as an object, a work of art, “says Mexico’s Manuel de Jesus. Thinking of the book as an art piece can help to attract attention and reach new audiences.

Creating New Distribution Channels
Getting into traditional bookstore channels can be difficult for young authors, especially those who choose to self-publish. Creating new distribution spaces for books can provide a valuable outlet and help to build and retain an audience. For Argentina’s Dario Cemino, alternative bookstores are an important ally for young writers.

Cemino’s La Libre bookstore carries a diverse range of titles from Argentina’s growing self-publishing community, allowing young writers a space where their voices can be heard and they can create a community.

Cemino also recommends a more human approach to bookselling. While the traditional model of selling books through stores separates the writer from the reader, Cemino notes that many young Argentinian authors take the books directly to the reader, some selling books from their backpacks as they move around the city. Argentina’s Independent Book Fair also gives its young authors an outlet for reaching readers.

It’s Not Just About the Money
While the returns from the projects described may be low, they provide an outlet for young people’s views and allow for books that would otherwise be ignored to be published. Chile’s El Hecho De, for example, published a book of poems from inmates based on winning submissions to prison poetry contest. The books were then made and distributed to the prisoners.

“Young literature [in Latin America] is very political,” says Ecuador’s Freddie Alaya. Alaya notes that for many young writers, the motive is not to generate profit, but to give young people a voice in the political conversations.  “To create change, you have to have social recognition. [Books] create a dialogue between what is marginal and what is official.”


Inside Cuba’s Book Culture: CaribLit talks to Edel Morales

21/2/2013

 
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Edel Morales
What does it take to pull off a month-long marathon of book-related events? In Cuba’s case, the answer is a web of state agencies dedicated to the development, promotion and distribution of Cuban books. Key among these is the Instituto Cubano del Libro (Cuban Book Institute), the Cámara del Libro (Chamber of Books) and the Agencia Literaria Latinoamericana (Latin American Literary Agency ).

Edel Morales, poet, novelist and Vice President of el Instituto Cubano del Libro and one of the key players on the organizing committee of the Havana Book Fair explains that the purpose of the Book Institute is to organize and implement Cuba’s publishing and literary policies. The Institute organizes weekly book events and runs eight publishing houses that release more than 300 titles per year. The Institute also arranges the distribution of several million titles around the country, through a network of more than 300 bookstores. It promotes Cuban books and authors internationally through the Cuban Chamber of Books and the Latin American Literary Agency. Cuba participates annually in about 30 international fairs mainly in Latin America, but also in Europe, Asia and Africa.

“It’s part of our book policy,” explains Morales. “It seems natural that the book should move around the country, around our linguistic community and then, through translations, [throughout the world.] The book is the main [channel] of communication and human knowledge, so it is important for the country to participate and promote our books and authors in the international arena. We have an important presence in Latin America, a relatively important presence in Spain, and in other parts of the world we try to be present.”

Maintaining a dominant presence in their linguistic community is a key part of the Cuban government’s focus. The Havana Book Fair is one of the main fairs in the Spanish speaking community. As part of the Centro Regional para el Fomento del Libro en America Latina y el Caribe (Regional Centre for Book Promotion in Latin America and the Caribbean -- CERLALC), it participates in a network of Latin American book fair organizers.  CERLALC is an inter-governmental agency under the auspices of UNESCO, headquartered in Columbia. It coordinates state policies on the promotion of books and reading. Through their participation in CERLALC, the fairs throughout Latin America are planned in succession, creating a circuit of events in which all countries can participate and reducing the transportation and coordination expenses of moving books, authors and publishing representatives around the region.

Morales notes that the fairs throughout Latin America are organized in many different ways. For example, the Havana Book Fair is run by the Instituto del Libro, a state organization, whereas the Guadalajara Book Fair in Mexico is organized by the University of Guadalajara. The Buenos Aires Book Fair in Argentina is organized by La Fundación del Libro, a private institution.  Morales notes that in all cases, there is a mix of private and state entities and that strong communication exists between the organizing entities throughout Latin America.

That communication allows organizers to learn best practices in book fair hosting from each other as well as to learn the policies and practices that affect book marketing, distribution and sales in each country, such as customs policies, tariffs and taxation. “The ultimate goal”, says Morales, “is to have higher levels of reading across Latin America. It’s both a cultural interest and a commercial interest.”

 Edel Morales’ top three tips for hosting a successful book fair:
1.     Focus on the readers. The goal is to have a vivid, dynamic book fair, with intelligent dialogue between authors and readers. Morales notes that Cuba’s highly educated population gives it a distinct advantage in programming book-related events.


2.     Focus on the books. Morales underscores that content is what matters. Publishers should focus on creating books that transmit knowledge, culture and pleasure.

3.     Focus on the writers. The writer should feel that the fair is their space, says Morales. They should be happy to participate. These are the main pillars on which the fair is built. Morales notes that buy-in must be sought from the government and private companies, but in all cases, they should understand that the main pillars are the readers, the writers and the culture.

Translation by Vladimir Dominguez.

Major Latin American Book Fairs

Bógota International Book Fair
Bógota, Colombia
April 18 – May 1, 2013

Buenos Aires Book Fair
Buenos Aires, Argentina
April 25 – May 13, 2013

Sao Paolo International Book Biennial
Sao Paolo, Brazil
August 9 - 19, 2013

Guadalajara Book Fair
Guadalajara, Mexico
November 30 – December 8, 2013

Havana Book Fair
Havana, Cuba
February 2014



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