BookIsh Plaza @ UniArte 2012

14 09 2012





The Global Warming of Self-Publishing

14 09 2012

Decoding the Self-Published Author

Every author knows that producing a book requires an extreme act of concentration, discipline, organization and stamina. It is an achievement requiring enormous effort, time and isolation rarely matched by other forms of artistic creation.

Despite all the revolutionary changes that roil the publishing industry and are currently upending the old methods of presenting books to the public, the bedrock fact remains that a published book, whether presented on paper or on screen, still carries with it a measure of prestige and achievement.

Despite the difficulties involved in a book’s creation, there is no shortage of people determined to produce works that reflect their own vision, whether they are motivated by chasing the false gods of fame and fortune or simply satisfying their overwhelming need to be heard and their views, talents and interests projected beyond the confines of their own minds and imagination. There are perhaps millions of people worldwide currently bent over their desks composing works they hope to share with others.

A few short years ago, the pipeline for these endeavors was strictly regulated by time-honored methods of filtering. A band of business-minded publishers, fed by a gaggle of first look agents, would submit choices to publishing houses whose editors and marketers filtered out their own choices. These choices were then cataloged seasonally, and an army of salespeople was dispatched to book buyers of independent and chain stores who subsequently made their own choices based upon past sales, and perhaps a few gut choices of their own.

The road to marketing and publicity channels was well rutted. Mass media outlets had their own filtering process to determine which books they would feature in their review columns, and advertising sections of books were well established. A few well-respected critics could be relied upon to filter their own choices to public scrutiny.

Continue reading @ Huffington Post





Dutch Caribbean Art Expo Coming Sunday

14 09 2012





Photo impression Dia di Boneiru 2012

12 09 2012





Pioneer Caribbean Publisher to Receive Award

12 09 2012


Publisher Ian Randle Receives the 2012 Prince Claus Award

Ian Randle Publishers announces that pioneering Founder and Chairman, Ian Randle, is one of the 2012 recipients of the Prince Claus Award from the Prince Claus Fund for Culture and Development in recognition of his dedication to culture and development having “transformed the knowledge production and circulation in the Caribbean through his first local independent publishing house.”

An extract from the 2012 Prince Claus Awards Committee report says that, “Ian Randle is awarded for his leadership in reclaiming local ownership of Caribbean intellectual property; for publishing foundational resources of local knowledge; for transcending language barriers to build capacities in Caribbean publishing and increase dissemination of Caribbean thought to the rest of the world; and for championing independent local publishing and self-representation in other post-colonial contexts.”

Continue reading @ Repeating Islands





Writers’ Struggle with Internet-Addiction

12 09 2012

Shutting out a world of digital distraction

Nick Hornby, Dave Eggers and Zadie Smith are among a growing group of novelists who struggle with internet-addiction. Carl Wilkinson investigates the powerful effect of the web on the creative mind.

By Carl wilkinson

Tucked away in the acknowledgements at the back of her new novel NW, along with the names of friends, family, editors and publishers who have helped her, Zadie Smith thanks freedom and self-control “for creating the time”.

Every writer needs the freedom to be creative and the self-control to stick with a project until completion, but Smith has something rather more 21st century in mind: Freedom © and SelfControl© are computer applications that can be downloaded and configured to increase productivity by blocking access to the internet.

These two pieces of software originated in quite different places. Freedom was developed by Fred Stutzman, visiting assistant professor at the University of North Carolina’s School of Information and Library Science, and counts Nick Hornby, Dave Eggers and Naomi Klein among its users. Stutzman has also released Anti-Social, which blocks the social-media elements of the internet. SelfControl, meanwhile, was created in 2009 by American artist Steve Lambert, one of the people behind The New York Times Special Edition – a hoax copy of the paper published in November 2008.

It seems that Smith, Hornby, Eggers and the rest have taken to heart a comment made in 2010 by Jonathan Franzen, who famously wrote portions of The Corrections wearing a blindfold and earplugs to reduce disruptions: “It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.” Clearly the distractions of YouTube cat videos, unsolicited tweets and the ping of an email arriving in your inbox are not conducive to writing an intricately structured 100,000-word novel.

Eight out of 10 people in Britain now have access to the internet and Ofcom’s Communications Market Report 2012, published in July, found that internet users in the UK now spend on average 24.6 hours per month online – more than double the amount of time spent online in January 2004. Meanwhile, internet access in the British workplace increased by 27 per cent between 2004 and 2008, from the equivalent of 5.9 million employees to 7.5 million, according to the Office for National Statistics.

Continue reading @ The Telegraph





BookIsh Plaza Coming Sunday @ Dia di Boneiru

5 09 2012

BookIsh Plaza will be with a bookstand at Dia di Boneiru, the day that people from Bonaire celebrate their national day. Writer/poet Quito Nicolaas will also be there to sign his books and the jazz saxofonist Delbert Bernabela his cd’s.





NEW! BookIsh Plaza Ezine September Issue

5 09 2012

The September issue of the BookIsh Plaza Ezine is out. Some highlights Nicolaas donating books in the Dutch Caribbean islands, 3 booklaunches in September,  Meet&Greet BookIsh Plaza @ two big events and the Tip of the Month a Dutch Caribbean Book Club and more.

Check it out BookIsh Plaza Ezine nr 8, SEPTEMBER 2012





Curaçao through the eyes of Pierre Lauffer

5 09 2012

Publishing house In the Knipscheer organises an evening with reading, interview, lecture, film and music around the Curaçao poet Pierre Lauffer in response to the presentation of the biography Het bewogen leven van een bevlogen dichter [The life of an inspired poet] by Bernadette Heiligers.

Pierre Lauffer (1920-1981) belongs to the most important poets of Curaçao. He is the man who defied the spirit of the times in order to create literature in his beloved Papiamento, the language that when, under the influence of the colonial thinking, was branded by many as ugly and indeficient. Through his poetry the reader learns about the society in which he grew up. And his stories written in Dutch written shows the Dutch reader how much beauty his country has to offer.

Two more books will be launched that evening:
– the debut novel Woestijnzand [Desert Sand, ed.] by Elodie Heloïse and
Terug tot Tovar [Back to Tovar, ed.], the new novella by Hans Vaders.

Sign session with authors afterwards

The following persons give their cooperation: biographer Bernadette Heiligers, Prof. Dr. Wim Rutgers (connected as Professor at the UA on Aruba and UNA on Curaçao), translators Lucille Berry-Haseth and Fred de Haas and artist Robin Akkerman.

Date: september 16th, 2012
Time: 3 p.m.  (hall open 2.30 p.m.)
Location: Podium Mozaïek, Bos en Lommerweg 191,  Amsterdam
SOLD OUT





Does Literature Capture a Moment?

5 09 2012

The truth about memory and the novel

By Richard Lea

The International Forum on the Novel produced intriguing theories about the relationship between fact, fiction and forgetfulness – as far as I can remember.

I’m trying to remember what Orhan Pamuk said about memory and the novel in The Museum of Innocence … or maybe it was in The Naive and the Sentimental Novelist. I’m trying to remember it partly because I don’t have a copy of either book to hand – if only I had them on a Kindle – but mostly because memory and fiction, and the distortions of memory in fiction, is pretty much exactly what we were talking about at the International Forum on the Novel.

It was a couple of weeks back, and like my reading of Pamuk, the event has already begun to subside into the fog – the French psychoanalyst Caroline Eliacheff, one of the writers on the panel that night,  isn’t the only one to suffer from a poor memory. But I’m sure Swiss novelist Bernard Comment started off with a claim that for him writing is a “stubborn regaining of the past”, an attempt “to engrave time somewhere”, despite its “relentless flow” partly because he wrote that bit down, or engraved it, if you prefer, right here. The Polish writer Hubert Klimko agreed that as a novelist he fights a daily battle against “memory … also against time”, but went on to claim that for the novelist, the most important memories are those you make up. He said he called Les Toutes Premières Choses a “novel” precisely to blur the question of how much or how little of his life story he had invented – while insisting that the three wildly different and increasingly baroque accounts of the day he was born were “nothing but the truth”, as he claims in the introduction, since he remembered each one of them clearly.

Continue reading @ The Guardian





BookIsh Plaza @ Dia di Bandera

5 09 2012





Poet/Writer Quito Nicolaas Donates Books

5 09 2012

Aruban poet/writer Quito Nicolaas donates a set of his books to school libraries in Curaçao and Bonaire (Dutch Caribbean).

Last June teachers of the secondary schools MIL and the Radulphus College in Curaçao were very pleased to receive a set of books by the author, like the novel Verborgen Leegte [Hidden Emptiness] and Bos pa Planta [Constructing Voices], among others. The set consists mostly of poetry books, a novel and short stories. They are written in different languages and the native tongue Papiamento.

proud teachers of MIL showing the books

The idea according to Nicolaas is to stimulate reading of local authors amongst the youth, to discuss them in literary classes and maybe read it for their exams. The schools were very pleased with this gesture by the author.

the RC teachers also rejoiced

At the beginning of the year he donated also a set of books to the OSB in Bonaire.





On the Future of the Novel

5 09 2012

The death of the novel will presage a rebirth of writing

Anxiety about narrative fiction’s survival might be quietened by reflection on how poetry has reinvented itself for changing times

At the Edinburgh International Book festival last August, China Miéville gave the final World Writers’ Conference keynote speech on the future of the novel. The conversation between delegates ebbed and flowed afterwards but one of the most notable remarks came from Jackie Kay, who responded to what she perceived as an atmosphere of gloom about the novel’s survival with bemusement. “Why do novelists so fear the death of the novel?” she asked. “Poets don’t fear the death of the poem.”

There is constant and loud debate about the death of the novel – Will Self was voicing his doubts about it only this week – but far less debate (though not none) about the death of the poem. The true distinction, however, is not between novels and poems, but between poems and storytelling.  The novel is a specific but not fixed form of storytelling, in the same way as the romantic lyric, or the sonnet, is a form of poetry. The two deep patterns are story and poem.

There are two essential instincts in engaging with the world through language. The first is the cry of encounter linked to the desire to name; the second is the evaluation of options as a result of the encounter.

The Tyger is a poem by William Blake. Tiger! Tiger! is a story by Rudyard Kipling, introduced by a verse. The first doesn’t tell a story but offers us a burning presence in the imagination: the second doesn’t dwell on presence except in so far as it is an aspect of consequence. Consequence is vital. To take a very brief passage from Kipling:

Buldeo was explaining how the tiger that had carried away Messua’s son was a ghost-tiger, and his body was inhabited by the ghost of a wicked, old money-lender, who had died some years ago. “And I know that this is true,” he said, “because Purun Dass always limped from the blow that he got in a riot when his account books were burned, and the tiger that I speak of he limps, too, for the tracks of his pads are unequal.

“Because Purun Dass always limped”. In stories there is always an implied “and then”, and a “because”. There is neither a ‘then’ nor a ‘because’ in Blake. No one reads a poem like Blake’s to find out what happens in the last line. The end is the beginning.

There are various forms of narrative poem. We can deploy the old categories and talk of epic poems, discursive poems, and dramatic poems as well as lyrical poems, but there is something significant in what Edgar Allan Poe argued: that longer poems are essentially linked short poems, a series of flashes.

Coleridge’s  “The Rime of The Ancient Mariner”, is a ballad and therefore a story. But even here, where story would seem to be the point,  it is not the story that registers most deeply. It is tableau after tableau, each with its own presence: the encounter with nature and the imagination. The Mariner himself is thin as a character, a semi-transparent vehicle for a series of encounters with the world.

Poetry is where the presence burns more than the narrative drive.

Ideas of character and consequence are at the heart of the novel, and inform the story. EM Forster sighed about having to impose stories on characters but he felt obliged to; nor might Oscar Wilde’s Miss Prism have been entirely wrong in suggesting that fiction meant that the good ended happily and the bad unhappily: happiness and worth are issues in novels to an extent they are not in poems, and even the great modernist novels in which voice and character seem almost interchangeable, offer choices and links that prevent the book from breaking up into a series of poems.

Continue reading @ The Guardian





BookIsh Plaza @ Fiesta di San Juan in Tilburg

4 09 2012





Caribbean Women Writing at the Millennium

4 09 2012

One of the new books presented at the annual Caribbean Studies Association’s 2012 book launch organized by Faith Smith (Brandeis University), was Odile Ferly’s A Poetics of Relation: Caribbean Women Writing at the Millennium (Palgrave MacMillan 2012). [See full list of books launched in our previous post Caribbean Studies Association’s 2012 Book Launch.]

A Poetics of Relation: Caribbean Women Writing at the Millennium fosters a dialogue across islands and languages between established and lesser-known authors, bringing together archipelagic and diasporic voices from the Francophone and Hispanic Antilles. This study underscores the socio-cultural impact of emigration and the perpetual self-redefinition that results from this phenomenon. Without denying the enduring impact of former colonial divisions or minimizing the specificities to each bloc in the region, Ferly shows that a comparative analysis of female narratives is often most pertinent across linguistic zones.

ODILE FERLY is an associate professor of French and Francophone Studies at Clark University.

Source: Repeating Islands, June 2012





New Edition on Hispanic Caribbean Literature of Migration

4 09 2012

Vanessa Pérez Rosario’s Hispanic Caribbean Literature of Migration: Narratives of Displacement (2010) was reissued in paperback edition this August by Palgrave Macmillan.

Hispanic Caribbean Literature of Migration: Narratives of Displacement is a collection of thirteen chapters that explores the literary tradition of Caribbean Latino literature written in the U.S. beginning with José Martí and concluding with 2008 Pulitzer Prize winning novelist, Junot Díaz. The essays in this collection reveal the multiple ways that writers of this tradition use their unique positioning as both insiders and outsiders to critique U.S. hegemonic discourses while simultaneously interrogating national discourses in their home countries. The chapters consider the way that spatial migration in literature serves as a metaphor for gender, sexuality, racial, identity, linguistic and national migrations.

Doris Sommer (Harvard University) writes: “Hispanic Caribbean Literature of Migration: Narratives of Displacement is an impressive accomplishment. The essays explore key moments in the history of Caribbean Latino literature and bring expert critical attention to trends over the past 150 years. Latino, meaning of Spanish speaking heritage in Anglo-America, is a word that points to contrapuntal doubling from the richly informative Introduction by Vanessa Pérez Rosario and throughout the dozen excellent essays. The collection foregrounds the work of both established and younger scholars in the field, all of whom tackle a major author and deepen our appreciation through rich contextualization and fine readings. No other book I know on Latino literature is as timely, broad, and welcome.”

VANESSA PEREZ ROSARIO is an assistant professor of Puerto Rican and Latino Studies at The City University of New York – Brooklyn College.

Source: Repeating Islands, August 2012