So this is a very short Q&A I did for our Wednesday Reads blog post series at work. Bonjour Tristesse is a short read, perfect for summer.
What is your job?
What do you do day to day?
My main responsibility (or at least one which takes up the most time) is putting together design briefs for a wide variety of promotional material from seasonal catalogues to flyers for book launches to goody bag contents. I oversee print advertising so this involves submitting titles to The Bookseller category spotlights, liaison with academic conference organisers to insert adverts in the programmes and working with a range of publications for advert space. One of the great things about working in a small publishers is you are able to shape your role to a certain extent. Aside from these fixed priorities I have commissioned guest blog posts from authors and topical experts to tie in with campaigns, book releases and national events. I love going to conferences and exhibition fairs – I have immensely enjoyed meeting such interesting characters who have spent years researching a niche area of theology.
What are you reading?
Bonjour Tristesse by Francois Sagan – a beautifully evocative portrayal of the south of France and summer romance
Where are you reading it?
When I read I don’t want any distractions so I don’t tend to read whilst commuting. I much prefer to spend a lazy Sunday afternoon absorbed in a good book and it’s the perfect way to relax in the evenings too.
How are you reading it?
I will never be a digital convert. I have a beautiful Penguin Modern Classic edition
What percentage have you read?
I’m sadly nearing the end
Would you recommend it?
Definitely – read it if only because when it was released it caused outrage. But seriously, you know it’s good when you read another page at any given opportunity. It’s a coming of age story (with a twist) that is as relevant today as when it was written. It has the sense of revelling in carefree pleasure which really only comes with living a life of privilege without responsibility.
Why does it matter?
It matters because it brilliantly captures a pivotal moment in most people’s lives. Sagan’s style is so atmospheric, that it’s impossible to not be transported and moved by her words. The characterisation is realistic and the storyline poignant.
What else are you reading?
I do love a good psychological thriller and I find they are the perfect holiday read so I’m also reading Lying in Wait by Liz Nugent and Disclaimer by Renee Knight. Thoroughly recommended!
Over the weekend I read How To Be Alone by Sara Maitland. The simplicity of the basic human desire to have time alone in order to ruminate on life or “recharge your batteries” is reflected in the unembellished book cover design and the unassuming title.
Part of the School of Life series published by Pan MacMillan, it explores the opportunities for solitude in our modern age and addresses the paradox presented by a culture that embraces personal autonomy, fulfilment and independence whilst at the same time often denigrating those who choose to live alone. Maitland makes reference to an almost innate reaction we can sometimes feel when meeting someone who spends the majority of time in their own company; a sense perhaps of compassion or suspicion. The self help genre is one I tend to avoid, encompassing as it does books written by self styled experts who loftily advise on lifestyle amendments but I found this social study immensely engaging and thought provoking.
The book offers a number of convincing answers to the question of “why would anyone want to be alone?” In today’s fast paced and image absorbed world, modern life seems to present an omnipresent stream of mediated contact which keeps us connected to the virtual world. How many friends do I have on Facebook? How many people are reading my blog? We seem to live exclusively in relation to others, the computer creates a web of interconnectivity and social life can often descend in to a tumult of petty concerns.
The act of being alone has been principally seen as a fundamental dimension of religious experience but it need not remain confined within religious parameters. Securing one’s self possession during moments of solitude, detaching oneself from the demands placed upon your time and emotions is so important. Not long ago, it was easy to feel lonely. Nowadays, it is difficult to be truly alone.
For more information on books in the School of Life series, click here
Writing in the Wall Street Journal last week, Yael Goldstein Love examined the question of categorising fiction into various subsections. How does one define women’s literature? “Does it have to by a woman, about women (or) about domestic issues?” she writes. Rebecca Vnuk in an article featured in Booklist Online last year described the field as “novels that explore the lives of female protagonists, focusing on all kinds of relationships, be it lovers, spouses, parents, children, friends, or members of a community. The common thread is that the central character is female, and the main thrust of the story is something happening in the life of that woman as opposed to the overall theme being a romance or a mystery of some sort.”
In her essay, “The Second Shelf”, Meg Wolitzer brilliantly argues against the genre tag of women’s fiction for books which deal with topics such as romance and family while similar subjects explored by male writers earn the more gender neutral label of “literary fiction”. The genre of a book is meant to either encompass its subject matter or its author and the marketing of a particular genre is one way of connecting a book with an extensive audience. However, these arbitrary categories are in many ways restrictive as amongst women’s fiction alone there is such a variety of styles ranging from the comedic Bridget Jones who in many ways combined many of the concerns, joys and events which characterise the lives of twenty first century women to issue-led emotional drama in many different settings: contemporary, historical and fantasy.
Publishing is a business and it certainly makes a title easier to market if published works all subscribe to the same genre. I can understand why it is necessary to make use of sub-genres in bookshops for instance. A typical reader may not have an exact novel in mind. Instead, they may browse under the more general headings of ‘romance’ or ‘science fiction’ and gradually their search for a book narrows. Readers have particular expectations of authors and I would argue that if an author submits works under various genres, they run the risk of ‘diluting’ their audience.
That said, if a trend has come and gone, it may make sense for an author to venture in to new territory. Conversion to digital may well bring changes to the way in which authors are categorised and as ebooks are typically sold at prices on average 50-60% lower than their paperback counterparts and with the added benefit of ebook purchases not incurring additional shipping charges, readers may well be encouraged to buy more books on a broader range of topics. Amazon for instance often makes tailored book recommendations based on previous purchases.
The ideological underpinning of intellectual property framework is that it is a means of encouraging the creativity of any qualifying person of any country by conferring a proprietary right in the end result of the creative process and as a consequence of their personal investment, the right to control the way in which that work is exploited. However, in addition to the continued debate on the value of copyright, new concerns have been expressed in relation to the application of copyright in the digital age and how it is perceived in society. And here we are confronted with the at least ostensible contradiction that copyright is considered by some to be in crisis whilst simultaneously underpinning the creative industry. In truth, this apparent paradox is a product of the ‘digital shift’. It reflects differing views on the function of copyright and an on-going process of change with regards to law, policy, business models and the way technology is employed to make copyright operate more efficiently online.
It is useful to consider how other areas of the creative industry are responding to the issue of copyright infringement. Streaming has established itself as a free source of musical content. Spotify for example, launched a few years ago, was ad-funded which allowed the creators to provide access free of charge. Upon establishing its reputation and in their users’ lifestyle, it started charging for unlimited access and mobile use. This would suggest that consumers are shifting from “owning” to a “having access to” behaviour which ultimately may result in fewer cases of file sharing.
As we negotiate the continued transition in to digital, content control is becoming increasingly important given the ease of access to copyrighted material and technology which allows for illegal activity. Reacting effectively to piracy and copyright infringement is an ongoing challenge, with the digital environment developing on a regular basis as a result of new technologies and emerging markets. One of the recommendations outlined in the Hargreaves review of the intellectual property framework was the development of a Digital Copyright Exchange, whereby content rights could be traded freely with digital rapidity and across global markets. This would result in markets becoming more accessible, which in turn could improve market signals for buyers, sellers and investors. In addition amendments to copyright laws with regards to exemptions appear to be expanding to allow for maximum access of digital content. It is anticipated that the exemption of data analysis will bring the UK more in line with the reality of common digital activities such as data and text, so as to provide thorough support to research organisations.