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Publishing

Penguin is synonymous with publishing: a firm of vast influence and market share, whose ‘Classics’ imprint essentially arbitrates the modern canon. The founding myth goes something like this: Allen Lane, eccentric genius and publisher, was standing on a railway platform after a weekend with his chum, Agatha Christie. In want of a decent, cheap read, he visited a ...

Ulysses was the first novel to become a celebrity in the mass media age. Its reputation was ‘enhanced’ by its alleged scurrility, its banning in the Anglophone world in both serial and book form, its having engendered legal proceedings centred on obscenity and copyright, and its notoriety as a wilfully difficult text. James Joyce wrote a novel that aspired to map its author’s home city – he claimed its success would be founded on the ability to reconstruct Dublin brick by brick from the novel, should the city cease to exist – and to ‘keep the professors busy for centuries’ (so far successful, one would have to say). George Bernard Shaw called it ‘a revolting record of a disgusting phase of civilization’, while many other writers and critics dissented, claiming Ulysses to be the wonder of the literary world, a work of genius elevated beyond the ephemera of provincial morals and pearl-clutching citizens’ committees. It encompassed a world in its pages, and created it anew. The novel re-imagined modernity, drawing myth and epic and tragedy into its field of vision, and provided readers with the means to see their lives in the same milieu as that of Leopold Bloom, Stephen Dedalus, Molly Bloom, Blazes Boylan, and all the rest. It changed everything.

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Ben Ball was born in Melbourne in 1970. He grew up in London, New York, and Sydney, and went to school in all of these places. He completed an Arts/Law degree, in Australia, ‘more or less entirely to create the pleasing symmetry B. Ball, BA, LLB’. In the United Kingdom he undertook an M.Phil in Contemporary English Literature. Ball worked in London in publishing for more than a decade, with Bloomsbury, Granta, and Simon & Schuster. He returned to Australia when he began working for Penguin in January 2006. In 2011 he became Penguin’s Publishing Director.

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One afternoon some three decades or more ago in a stuffy conference room at W.W. Norton & Company, the New York publishing firm where I then worked, the semi-annual sales conference was underway. Assembled were the national sales reps and the marketing team, members of the editorial board, the publicity director and senior publicists, and our president and chairman. A formidable array for editors to face – especially young ones, as I was then – as they presented their upcoming books on the next seasonal list.

One had about three to five minutes tops (though this was often honoured more in the breach, to the exasperation of the audience) to get across to the reps – a fairly jaded lot, but for the most part tolerant of newbies like me – an idea of a book’s content; its main sales points; a run-down of competing titles; any scintillating pre-pub blurbs one had been able to secure; and a conviction-filled guarantee that the author was an absolute certainty to be interviewed on the Today Show.

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Mary Cunnane, who has worked in the publishing industry since 1976, laments the laziness and irritation of those publishers who resent and underestimate unsolicited submissions from authors

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The coffin sat on a chrome trolley at the front of the pews. In the end we only need a box six feet by two, and how small it looks ... the imagination falters.

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British author Glen Duncan released his eighth novel this year, the title of which, The Last Werewolf, is fairly self-explanatory. Although a much more philosophical (and entertaining) read than one might imagine in our current supernaturally-dominated ‘box-office’ novel landscape, Duncan’s book was a marked departure from an author better known for h ...

‘Thank God I have done with him!’ – the words uttered by Dr Johnson’s publisher when he received the final proofs of the dictionary from its author – might well have been Peter Ryan’s own in 1988 when Manning Clark confessed that he had changed his mind about the character and career of Robert Menzies. No longer did Clark consider him an ‘imperialistic booby’. Melbourne University Press was about to publish the final volume of Clark’s History of Australia, and the book was printing as the author confessed that he no longer believed his own, uncomplimentary text. This, for Clark’s publisher, Peter Ryan, was ‘the last straw’ in their tumultuous publishing relationship of twenty-six years. He boycotted the launch, and five years later he let fly in the pages of Quadrant with a critical attack on the press’s most profitable author, his methodology, and his work.

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It’s not often that literature makes the front page of the Sydney Morning Herald, but on 3 November 2006 the lead story was a report by David Marr about the National Library of Australia’s purchase of a collection of Patrick White’s papers, previously thought destroyed. Other media, both in Australia and internationally, picked up the story. The T ...

Since well before the global financial crash of 2008, there has been pessimism about the future of the book in an age of new paradigms: electronic transmission and gadgetry, all thus far untested, in a screen culture age. This uncertainty still hovers, like a pungent doom-cloud, despite the furious conversion of new and backlist files into multiple formats in publishing houses everywhere in readiness for the e-revolution. This is expensive and time-consuming work, done in good faith as an investment for the future. One by-product has been a chilling realisation that file archiving is poorly managed by many houses and that finding print-ready files of backlist books to convert to e-format isn’t as easy as was anticipated.

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