Vance – 9780062300560 – (Harper)17. Dereliction of Duty by H. Hillbilly Elegy by J. D. Echoes in Death by J.D. Delaney – 9780425285053 – (Random House Publishing Group)4. The Marriage Lie by Kimberly Belle – 9781460396353 – (MIRA)7. 44 Cranberry Point by Debbie Macomber – 9781459254855 – (MIRA)10. McMaster – 9780062031181 – (HarperCollins e-books)14. Burn by Helen Hardt – No ISBN Available – (Waterhouse Press)6. Fifty Shades Darker by E L James – 9781612130590 – (Knopf Doubleday Publishing Group R. Heartbreak Hotel by Jonathan Kellerman – 9780345541444 – (Random House Publishing Group)16. With the movie adaptation of The Shack hitting theaters this weekend, William P. Just Friends by Billy Taylor – 9781530511518 – (Billy Taylor)9. Right Behind You by Lisa Gardner – 9780698411432 – (Penguin Publishing Group)11. Fifty Shades of Grey by E L James – 9781612130293 – (Knopf Doubleday Publishing Group)19. Fifty Shades Freed by E L James – 9781612130613 – (Knopf Doubleday Publishing Group)8. The Girl Before by J.P. My Not So Perfect Life by Sophie Kinsella – 9780812998276 – (Random House Publishing Group)18. Everything, Everything by Nicola Yoon – 9780553496666 – (Random House Children's Books)15. Martin's Press)5. Luring a Lady by Nora Roberts – 9781488027130 – (Silhouette)20. Young – 9780964729292 – (Windblown Media)3. Young's Christian bestseller slid into the #2 slot, and J.P. Liane Moriarty's Big Little Lies makes a big gain, climbing to the top of the iBooks bestsellers list with its TV miniseries adaptation now airing on HBO. Devil in Spring by Lisa Kleypas – 9780062371904 – (Avon)12. Delaney's The Girl Before comes in at #3.iBooks US Bestseller List – Paid BooksRank, Book Title by Author Name, ISBN, Publisher 1. Robb – 9781250123145 – (St. The Shack by William P. The Whistler by John Grisham – 9780385541206 – (Knopf Doubleday Publishing Group)13. Big Little Lies by Liane Moriarty – 9780698138636 – (Penguin Publishing Group)2.
The store currently employs 20 booksellers and staff.As customers navigated the Dedham store on Tuesday, reviews were mixed. She pointed to the Dedham store’s café as one of the many parts of the store that resulted from customer feedback. You get to see the book covers, but it’s not a place where you’re going to find that one unique wine.”Bass said that Amazon is still new to the business of bricks and mortar bookselling, and that it's relying on customers to share their preferences as it establishes its presence. The 5,800 sq. Endcaps and displays feature nontraditional sections like “100 Books to Read in a Lifetime.” Customers who are members of Amazon’s Prime membership service receive the same discounts they already get for online purchases. store, in Dedham, Mass., which is the first of the e-tailer's physical stores featuring a cafe, is located at Legacy Place, a large commercial retail center ten miles from downtown Boston. After opening its Seattle store, Amazon opened locations in San Diego and Portland.Located in a mall complex that once housed a Borders, the Dedham Amazon Books features 5,700 titles as well as a selection of Amazon-branded digital devices. Situated in the company's home state of Washington near the University of Washington campus, the store encouraged something most bricks and mortar booksellers despise: showrooming. All titles are faced out. “We want to hear that,” she said, “we encourage them to tell us what they think, and we definitely listen.” Once all six bricks and mortar locations are open, Amazon will have a total of nine stores across the country.Amazon opened its first physical bookstore in 2015. ft. Culled from Amazon and Goodreads, customer reviews and ratings are featured as shelf talkers for every book. A customer named Diane McCafferty, who said she buys all her books online from Amazon, was happy for the chance to browse, but she a bit disappointed by the limited selection. (Showrooming is the consumer practice of browsing products in a physical store with the intention of buying them later, online, likely at a cheaper price.) The three other Amazon bookstores–the company calls its physical locations Amazon Books–currently slated to open on the East include a store in New Jersey, one in New York City, and a third in Lynnfield, Mass. Amazon opened the doors to its first East Coast bricks and mortar bookstore on Tuesday. The opening is part of Amazon’s nationwide push to open six physical bookstores by the spring. Much of the store is dedicated to children's, young adult, cooking, and travel titles.Rather than attempt to mirror the company's vast digital catalogue, spokesperson Deborah Bass called the bookstore “a highly curated space.” For instance, instead of carrying all 55 titles in the popular Magic Tree House series, the store will stock a handful of titles in the series that the company feels are of particular interest to readers.Bass said the careful selection process is indicative of the company’s desire to “make sure that these are really great books that are really going to resonate with our customers.”Many aspects of the store reflect the company’s two decades of experience as an online retailer, and mimic what Amazon has done in its other physical stores. Books are full price for non-members. “It’s sort of like buying wine, you’re looking at the labels, asking what is the grading, what is the vintage.
Erica Armstrong Dunbar, author of Never Caught: The Washingtons' Relentless Pursuit of Their Runaway Slave, Ona Judge (Atria/37 Ink, 978-1-50112-639-0) will appear on The Exchange on New Hampshire Public Radio on Thursday, March 2.Due to the nature of live programming, scheduling is subject to change.To be included in the Authors on the Air compilation, email information—at least TWO days in advance, please—to firstname.lastname@example.org.
The quarterly was briefly relaunched online in 1998 by Rosset and his wife, Astrid Myers Rosset, before shutting down in 2013.Asked about the ER archive, a collection of writing by an array of international literary stars, Peck said he and his staff are still trying to figure out how best to use the material. “We’re focused on publishing new, original material. The online version of the historic publication went live earlier this week.Originally founded in 1957 by Rosset, the relaunched Evergreen Review is being published by John Oakes, cofounder of OR Books, who worked for Rosset at Grove Press early in his book publishing career. To oversee the new iteration of the publication, Oakes assembled an editorial staff that includes novelist Dale Peck (in the role of editor-in-chief), novelist Calvin Baker (in the role of executive editor) and author Zia Jaffrey (who is serving as international editor).Calling the original ER “an unbelievable publication” featuring a “roster of writers that can’t be duplicated,” Peck said that nonetheless he will look to Rosset's original print version for guidance. Two years ago he began to work on drafting a new incarnation of ER and said the publication is being financed initially by funds raised by the nonprofit Evergreen Review Foundation. With that in mind, Oakes claimed that the revived ER is also intended to be a tribute to Rosset, who died in 2012. But we think Barney would be sympathetic to what we’re doing.”Speaking to how the project got off the ground, Oakes said the ER board approached him after Rosset’s death about reviving the publication. We’re going to make the new ER an international forum for un-sayable things.”To mark the relaunch, OR Books, an independent publishing house Oakes runs with Colin Robinson, will release the first three issues of the original Evergreen Review as paperback facsimile editions, recreating the original volumes. “We’re not trying to recreate Evergreen Review. He was amazing,” Oakes said. But the Evergreen Review archive is just too good to not make it available. Oakes added: “We’ve raised money to fund the publication and we’ll continue to raise money.” The new ER launched with articles by, among others, novelist Jeffrey Renard Allen, poet (and former PW editor) Michael Coffey, writer Gary Indiana and artist Katie Merz. Oakes said is looking to change that.The original Evergreen Review featured a wide range of cutting edge literary, pop culture and radical political writing by such authors as Jean Paul Satre, LeRoi Jones/Amiri Baraka, Borges, Malcolm X, Susan Sontag and Marguerite Duras. We’ll find a balance.” Although all contributors are paid, currently, the editorial staff is not. Evergreen Review, the legendary counterculture and literary quarterly founded by celebrated Grove Press publisher Barney Rosset, is being revived as an online publication. (The original quarterly issues were paperback volumes.) The facsimile editions will be published under a partnership between OR Books and Foxrock Books, Rosset's last publishing imprint.“No one can claim Barney’s mantle. When ER initially launched, Peck explained, Rosset “didn’t overplan it, so I’m trying to follow that. But we’ll come up with some way to connect to the archive.”Peck added: “We don’t want to just publish on Rosset’s coattails.
And they also give us advice, which is very key. Founded in 2014 as a children’s imprint of Bonnier Publishing USA, Manhattan-based Little Bee Books is dedicated to publishing “creative and fun books for busy little bees.” Its parent company is a division of Bonnier Publishing, which is in turn the English-language book publishing division of Sweden’s enormous Bonnier Group. “The books present facts and claims of sightings, and leave it up to the reader to decide if they believe the creatures exist—or not.”Little Bee’s marketing efforts hinge on personal outreach to booksellers, librarians, and teachers, said sales and marketing director Sarah Rucker. Little Bee is now adding fiction to its lineup with the debut of Little Bee Chapter Books, aimed at newly independent readers ages 6–8.Though Little Bee’s 2015 list was primarily comprised of children’s books that were originated by Bonnier’s U.K. We make an effort to have our authors visit local stores so that booksellers get to know them—and we then build on those relationships.”Rucker also emphasized the importance of reaching out to other major “gatekeepers” in the children’s book world. “It takes time to build a list, but from the start we knew we wanted to create originals and do something different in the board book, picture book, and nonfiction categories,” explained Sonali Fry, publisher of Little Bee as well as its sister imprint, Sizzle Books, which is devoted to licensed properties, media tie-in books, and pop-culture titles. Ella and Owen, which introduces two mischievous dragon twins, starts up on March 7 with The Cave of Aaaaah! Featuring art by Theodore Taylor III, this picture book spotlights the first African-American woman to dance for a major classical ballet company.Nonfiction for slightly older readers is also high on Little Bee’s editorial agenda. “From the very beginning, we’ve focused on deliberately building relationships through personal connections. The publisher hit the ground running: its top-selling title, Freedom in Congo Square by Carole Boston Weatherford, illustrated by R. In spring 2016, Little Bee’s first list of books originating in this country contained 10 titles. The publisher will further expand its fiction offerings next year with a new, yet-to-be named imprint focusing on middle-grade and YA novels.In the picture book arena, the editorial mission is to continue building a list that “is varied and offers something for everyone,” Fry said. In the end, keeping all communication channels open is what it is all about.” Little Bee releases books in an array of genres, including board and novelty books, picture books, activity books, and nonfiction. divisions, including Templar, Studio Press, and Autumn Publishing, in 2016 the American editorial team began to develop its own titles. We also connect with buyers and readers through bloggers, social media, and email blasts. and Attack of the Stinky Fish Monster! Due out this summer are the first two installments of another nonfiction series, Behind the Legend: Bigfoot and The Loch Ness Monster, written by Erin Peabody and illustrated by Victor Rivas. Just one year later, Little Bee’s spring 2017 list offers 28 new releases, and the publisher expects to issue some 50 books in spring 2018. “We want to publish some biographies, and some commercial titles as well. “We like to hand ARCs personally to people at trade shows and talk with them about the book,” she said. The books of both imprints are distributed by Simon & Schuster in the U.S. We make sure that our S&S sales reps know exactly what we’re doing, and what feedback we’ve heard. “Our list of originals has been growing by leaps and bounds, and we decided that moving into chapter books was a natural progression for us,” Fry said.Little Bee Chapter Books launches this season with two very different series. Gregory Christie, won a 2017 Caldecott Honor, and has close to 50,000 copies in print. The series is written by Alexa Pearl and illustrated by Paco Sordo. and Canada.Little Bee’s original publishing program has expanded quickly. Newton, which centers on a boy who realizes that there is something a bit different about the new kid at school. Doom! Blast Back!, a series introducing kids to historical milestones, debuted last April with Ancient Greece and Ancient Egypt by Nancy Ohlin, illustrated by Adam Larkum. “This is a kind of myth-busting series,” Fry explained. A spring 2018 release that also heralds an unsung heroine is Trailblazer: The Story of Ballerina Raven Wilkinson by Leda Schubert. by Jaden Kent, illustrated by Iryna Bodnaruk. The novels will be published simultaneously in jacketed hardcover, paperback, and e-book editions, and each series will add two additional titles in summer and fall 2017.Two more chapter book series will debut in spring 2018: The Major Eights by Melody Reed, starring four eight-year-old girls who form their own band; and The Alien Next Door by A.I. “I think handselling is the most important thing in this job—and then following up with as many people as you can. Tales of Sasha, which debuted in January with The Big Secret and Journey Beyond the Trees, relays the story of a horse that sprouts wings and discovers a land of similarly magical flying horses. The books, said Fry, “offer snapshots of moments in history, told in a conversational tone.” Future additions to the series will focus on Pearl Harbor, the Civil War, the Titanic, and the Vikings. We are committed to releasing picture books featuring stories that haven’t been told yet.”To that end, in January Little Bee issued Deborah Blumenthal’s Fancy Party Gowns: The Story of Fashion Designer Ann Cole Lowe, illustrated by Laura Freeman, which chronicles the life of the African-American designer, who succeeded despite racial prejudice.
Proposals for both books have been making the rounds of New York publishers over the last few weeks and executives had met with both Obamas to discuss a possible deal. The Obamas also plan to donate a significant portion of their author proceeds to charity, including the Obama Foundation.Markus Dohle said: “We are absolutely thrilled to continue our publishing partnership with President and Mrs. PRH CEO Markus Dohle announced Tuesday evening that the company had acquired world publication rights for two books, to be written by President and Mrs. With their words and their leadership, they changed the world, and every day, with the books we publish at Penguin Random House, we strive to do the same. PRH was not disclosing terms of the agreement, but a report in the Financial Times had the package going for $60 million. That figure is substantially higher than rumored figures last week. One high-ranking publishing executive who had been in on the negotiations said last week he thought the combined package for both books would sell for around $30 million.The authors were represented by Robert Barnett and Deneen Howell of Williams & Connolly.While many publication details have yet to be released—rumored publication date was for fall 2018—PRH said that it will donate one million books in the Obama name to First Book, a PRH nonprofit partner and the Washington, DC-based partner for the 2016 White House digital education initiative, Open eBooks. Obama to make each of their books global publishing events of unprecedented scope and significance.” Obama. Now, we are very much looking forward to working together with President and Mrs. Penguin Random House has won the auction for books from former President Barack Obama and former First Lady Michelle Obama. Obama respectively.
Beverly Horowitz at Delacorte Press has acquired Tianxia Bachang's The City of Sand, first in the Ghost Candle series, a bestseller in China. When a glitch in the app surfaces, Allie has to win back her friends and work with the boy she was competing against. Meredith Mundy at Sterling Children's Books has bought world rights to author-illustrator Maryann Cocca-Leffler's picture book Growing Season, about two best friends, an early bloomer and a late bloomer. The novel follows a seventh grader named Allie who builds an app that goes viral, giving her the chance to win a coding competition and one-up a tech-savvy boy in her school. Julie Matysik at Running Press Kids has acquired Beth Vrabel's The Denture Club, about five kids forced to spend a day volunteering in an assisted living facility after committing separate pranks on the last day of eighth grade. Emily Meehan and Julie Rosenberg at Disney-Hyperion have acquired world rights to Click'd, the first middle grade novel by author Tamara Ireland Stone in a six-figure, two-book deal. Nancy Inteli at HarperCollins has acquired world rights to Vivian the Dog Moves to the Big City and a second untitled photographic picture book by debut author Mitch Boyer. Inspired by Asian mythology, it follows Lei, a girl who is taken from her remote village to serve in the Demon King's court. Liesa Abrams at Simon Pulse has bought Amy Reed's Our Stories, Our Voices, an anthology inspired by the election, with essays by top YA authors exploring diverse experiences of injustice, empowerment, and growing up female in America, meant to offer hope and solidarity to young readers. A handsome, friendly boy who offers to help is a welcome distraction, but their relationship hits a snag when he reveals that his father is the developer. Publication is scheduled for spring 2018; Nicole Resciniti at the Seymour Agency negotiated the deal for world English rights. Publication is planned for winter 2019; Sarah Davies at Greenhouse Literary brokered the two-book deal for world English rights. Julia Sooy at Henry Holt's Godwin Books has bought George Brewington's Buckleby & Son's Very Strange Souvenirs, a middle-grade fantasy adventure pitched as Eva Ibbotson meets Diana Wynne Jones, in a preempt. The book is slated for winter 2018; Emily Mitchell at Wernick & Pratt negotiated the deal for world English rights.Kaylan Adair at Candlewick has bought world English rights to Melanie Heuiser Hill's debut picture book, Our Thanksgiving Table, which celebrates the joys of family, community, and a shared table. The book is slated for 2018; Jo-Lynne Worley at Worley Shoemaker Literary Management did the deal. Click'd is set for fall 2017; Caryn Wiseman of the Andrea Brown Literary Agency did the deal. Pitched as a middle-grade The Breakfast Club set in an old-age home, all the action takes place in the course of one day, as the five kids reveal what they've done, why they did it, and what they're going to do now. The books star Vivian the giant dachshund and are perfect for helping young readers deal with big changes. The novel follows a teenage boy and his best friend as they lead an unlikely group of archeologists on an adventure deep into China's Taklimakan Desert in search of the lost city of Jingjue. Jaime Kim will illustrate; publication is scheduled for August 2019. When Lei falls in love with another servant, putting both their lives in jeopardy, she must decide how far she's willing to go to fight for her love and her freedom. Christy Ottaviano at Holt's Christy Ottaviano Books has bought world rights to Papa Brings Me the World, written and illustrated by Ezra Jack Keats Award-winner Jenny Sue Kostecki-Shaw. The story is about a boy who, while helping out at his father's undercover monster-trading store, discovers that the baby troll sleeping in the freezer is being sought by a criminal mastermind plotting the destruction of West Coast America. It's a picture book celebration of inclusivity, imagination, and the rich diversity of global cultures, told through the story of a long-distance love between a child and her father, a photojournalist traveling the world. Publication is slated for spring 2018; Taylor Haggerty at Waxman Leavell negotiated the deal for world English rights. The first book is planned for fall 2017; Boyer was represented by Kim Schefler at Levine Plotkin & Menin. Kate Egan at KCP Loft has acquired world English rights to Alisha Sevigny's YA novel, Summer Constellations, in which a young woman, desperate to keep developers from buying her family's cherished summer campground, is doubly disappointed when her summer love shows up with his new girlfriend. Publication is set for spring 2019; the author-illustrator is unagented. Publication is projected for summer 2018; Amy Tipton at Signature Literary Agency did the deal for world English rights. Claire Dorsett at Roaring Brook has acquired author-illustrator Sarah Lynne Reul's debut picture book, The Breaking News, about empathy and one girl's determination to help make things better after devastating news rocks her community. Carrie Hannigan at Hannigan Salky Getzler represented the author and Claire Easton at Painted Words represented the illustrator. Publication is planned for fall 2017; Jenny Savill at Andrew Nurnberg Associates negotiated the deal for U.S./Canadian/open market rights. Publication is scheduled for spring 2018; Alison McDonald of the Rights Factory brokered the deal.Jenny Bak at Little Brown/Jimmy Patterson has bought a YA fantasy by Natasha Ngan, called Girls of Paper and Fire.
The company is also in talks with additional property owners about expanding its roster of licenses. (Children’s imprint Silver Dolphin is a sibling of Studio Fun within the Printers Row family of five imprints.)Licensors that had been working with Studio Fun include Disney (along with its Marvel and Lucasfilm divisions), Nickelodeon, Hasbro, ASPCA, Mattel, Sesame Workshop, and DreamWorks Animation. That process is expected to be completed this month, according to Simon Tasker, v-p and publisher of Silver Dolphin Books. All are expected to continue with Studio Fun under Readerlink ownership.Tasker says Printers Row will continue to sell most of the interactive and novelty formats for which Studio Fun has been known, including its Movie Theater Storybooks, and plans to add new formats as well. Printers Row highlighted new Studio Fun formats tied to My Little Pony: The Movie at the recent New York International Toy Fair.Readerlink, parent company of Printers Row, purchased a variety of Studio Fun’s assets from Trusted Media Brands in October 2016, after the latter had shut down the division, formerly known as Reader’s Digest Children’s Publishing, the previous July.Printers Row has been selling Studio Fun’s backlist titles since the sale, but was not able to produce new books until the imprint’s many licensing rights were transferred to the new owner. Studio Fun International, now an imprint of Printers Row Publishing Group, is back in business as a frontlist publisher. The list will be repositioned to appeal to a slightly younger demographic and to retail at a slightly lower price point than in the past, according to Tasker.
They used the photo to show how healthy kids were at liberation.Michael: When I saw that, I slammed my hand down. It was difficult. Then he was able to fill in the gaps.Michael: My mother told a story of what happened at Auschwitz. The normal survival rate for children was about two weeks. It opens up difficult but important conversations. And we can’t forget, or history is bound to repeat.How did the limitations of memory color your writing?Debbie: There were places where I had to take some license to imagine how a conversation happened. And they felt it was suitable for middle grade readers. They should never forget. Kids need to hear about this when they’re young. Between Debbie and my wife Judy and me, we found things from diaries, and translations in Hebrew, from relatives and friends. That also makes it a quick, fluid, and digestible read for adults.Michael: Especially with the current politics going on, and the alternative right, the book is very timely. But she was beaten over the head. They should be shocked and horrified, and it should be incomprehensible to a certain extent. In the children’s bunk, the older children were also starving. There were other instances. It’s ridiculous to make comments like that. But now the story is added to the record permanently. Though it was sometimes a very negative position, my father used it to save people. It’s startling to imagine, but it happened.Is there an appropriate age to introduce the history of the Holocaust to young people?Debbie: I’m the mother of three kids. At some moments, he had concerns—that putting out a book like this would make us a target for Holocaust deniers and anti-Semitism. Adults seem as interested as children in the message and the information.Survivors Club: The True Story of a Very Young Prisoner of Auschwitz by Michael Bornstein and Debbie Bornstein Holinstat. At the end, we’re both very happy we did this. ISBN 978-0-374-30571-0 Sometimes it was me telling my father what had happened to him. And we found writings, Hebrew essays, of what happened in the town of Żarki [in Poland] where they lived. He was a very good man.Debbie: It was very difficult to have these conversations with my dad and to see him struggle to find the words, and sometimes the memories. He set up soup kitchens. I used him as a sounding board to make sure the words were digestible for middle grade readers, but also that the concepts were digestible. But I managed to survive. Over one million people were killed in Auschwitz alone. I think in some ways it was easier to forget.Michael: My mother had a saying, “gam zeh ya’avor,” this too shall pass. My daughter Debbie and I were searching for my photo and found a message from the Deniers Club.Debbie: The Holocaust Revisionist Forum used my father’s photo to imply that Jews were liars when they said that children were killed on arrival [at Auschwitz]. And it was a very good experience. Luckily we had enough pieces to put together the story of my father’s survival. But I guess they have an audience. She showed us the marks on her forehead. For many years, Michael Bornstein, one of the youngest prisoners liberated from Auschwitz, at age four, was reticent about telling his survival story, even among his immediate family. We had them translated. Farrar, Straus and Giroux, $16.99 Mar. One of the important things I found was information about my father. The Bornsteins spoke with PW about the process of remembering and reconstructing a traumatic past, and the urgency of documenting the Holocaust for future generations.Why did you feel compelled to share your story at this time?Michael: Holocaust survivors are getting older and I think the story needs to be told. My father was president of the Judenrat—and was selected by the Nazis and the Jewish people to represent them. I have four kids and 11 grandkids, and they all encouraged me to go on.Debbie: He didn’t talk about it when he got here. The other reason is that my children and grandchildren implored me to talk about it more. Whenever things are bad we look forward to the future.What was it like collaborating as father and daughter on such a personal and painful testimony?Michael: Debbie is a fantastic writer. My father had filmed my grandmother at the very end of her life talking about her experience. My son was 10 when I started writing. But the discovery of a photograph of himself as a boy distorted in the hands of Holocaust deniers spurred Bornstein and daughter Debbie Bornstein Holinstat to set the record straight. He could’ve spoken about it when my siblings and I were growing up. And this is the first time I’ve written a book. When I came to the U.S., I could hardly speak English, and I had a tattoo, and I looked odd. When the Nazis came into Żarki, they had a whole family dig a grave. Their middle grade memoir, Survivors Club: The True Story of a Very Young Prisoner of Auschwitz, brings together Michael’s first-person recollections and interviews with fellow survivors. One reason was my mother. Then they had them huddle together and shot them and put them in the grave. I think he wanted to shelter me from the world’s atrocities. Now my kids want to know more. They gave incredible detail of what happened to my father’s family—his family was prominent in the community. I had to trust Macmillan and the incredible people at FSG. My father missed the death march because he was too sick to march. My mother came into my bunk, giving me some of her bread and soup. They took my bread away. I’ve since encouraged friends to show the book to their kids.
At the same time, they said that they rarely look too closely at what comes their way, in order to ensure that the ideas in their books remain free from influence.The importance of character-driven narrative was a recurring theme throughout the panel. I’m constantly circling, ‘why are people the way they are?’ ”The discussion is part of an ongoing series run by Children’s Books Boston, a group formed in 2013 by a consortium of children’s book publishers, scholars, and professionals; the group’s mission is to foster dialogue about children’s books among these groups. The event was hosted by the Simmons College Center for the Study of Children’s literature, a founding member of CBB. Among more recently discovered influences, both spoke admiringly of the mid-20th century British writer Georgette Heyer.The authors, who are also close friends and former college classmates, then shifted to a broad conversation that touched on all aspects of writing and publishing. “Even realism isn’t real,” she told the audience of readers and industry professionals.Both Cashore and Sutherland candidly discussed their relationships with their respective editors, Kathy Dawson and Amanda Maciel. “My mom had this crazy New Zealand accent,” she told the audience, “and she would read Roald Dahl to us, and she sounded exactly like the Witches.”Sutherland spoke fondly of reading Anne McCaffrey’s Harper Hall trilogy and similar fantasy books. “There’s curiosity about how things work,” she said, “and there’s curiosity about how people work, and I think that’s very much the heart of fantasy. Sutherland, who also has a forthcoming book, believes Maciel’s experience as an author helps foster a supportive and successful relationship.Sutherland and Cashore praised the engagement of readers and expressed pleasure that people of all ages write fan fiction and send them ideas and suggestions. Asked whether fantasy books are an escape from reality, they noted that real-world themes are prevalent throughout their series. Sutherland spoke of fantasy writing—and writing in general—as an exploration of character-focused curiosity. Bestselling writers Kristin Cashore and Tui Sutherland discussed the challenges of writing fantasy stories, the importance of doing so for younger readers, and the craft that goes into their work, with moderator Martha Parravano, executive editor of the Horn Book.Billed as an exploration of “what inspires fantasy authors,” the evening kicked off with Sutherland and Cashore’s recollections of the books they read as children. She wrote the first book in the Wings of Fire series while pregnant with her first child and joked that, “I write the worst parents possible as reassurance that I’m not that bad.” Cashore argued that all writing is an escape of some kind or another. Sutherland, author of the Wings of Fire series, grew up in Paraguay with a limited selection of books, but her mother read stories to her and her siblings from a young age. The Graceling author was drawn instead to Agatha Christie and the Nancy Drew series. In contrast, Cashore said she “hardly read any science fiction” or fantasy. Cashore credited Dawson’s diverse background as an editor of non-fantasy books with guiding her to the right voice for her forthcoming multi-genre release Jane, Unlimited (due out in September). Children’s Books Boston hosted a wide-ranging discussion between two prominent fantasy authors at a Midwinter’s Night Fantasy Panel, held at Simmons College on February 23. Sutherland observed that Cashore’s books have political relevance, frequently exploring the danger of “gaslighting”—manipulating a person’s sense of what is true.In Sutherland’s own books, parenting is a common theme.
I did see him as an abuser. I got some great material, and then I got rid of it all. I built [a model of] the house so I could understand the interior spaces. Every time I had to face a new question I went back to the shore. And how did you find each other?David Wiesner: It grew out of an image, a visual idea which I can trace back to art school. You have to have something you can see every step of the way. Then I had to put what we’d talked about down on paper so we could look at it. She has to enter Fish Girl’s world. It’s got to be connected with action at every second.Did the team you worked with at Houghton have a lot of input, or did you work more independently?Wiesner: I was the one person who saw the whole thing. They’re fantastically detailed and accurate. And I brought back a bucket of sand from the Jersey Shore. I wanted to smell the smells.Did the format present other challenges?Wiesner: You need the visual realization in a graphic novel. I was playing around with a mermaid or folk-tale based story, and she had written a book about a mermaid. It’s a deep kind of loving.Could the story be characterized as a retelling of “The Little Mermaid”?Napoli: Boy, I never even thought of “The Little Mermaid,” not at all. That’s just the kind of thing Livia would do.”Napoli: I’m so glad you said that! PW spoke with Wiesner and Napoli about what makes working on a graphic novel different from other kinds of writing, and why it’s important that this mermaid story wasn’t a romance.Where did the story start? That’s the one that’s going to be yours, Donna Jo.Fish Girl by Donna Jo Napoli and David Wiesner, illus. That gave her the nights alone and this freedom to swim without being seen, and that added some nice imagery.Napoli: Neptune did have some outside life, but we didn’t pursue that. Then I’d go back and forth with Donna Jo.Napoli: [Editor] Dinah [Stevenson] asked a lot of the questions that we were asking ourselves. We’ve been friends for a long time. That took months; it ended up at 300 pages. I hated to have to take it out.Napoli: When I do a novel, I have the luxury of spending time with the person’s internal development and growth—their frustration and growth of the courage to face that frustration. I was determined that it would be in full color. I was really hot to use graphics from carnival sideshows. Then a lot of what we did was make those choices. I wanted to hear the ocean. She’s graceful and it’s a joy to move in the water. When I was in college, MIT was down the road; Jerry Lettvin was a researcher there and he was doing work on the intelligence of the octopus. Especially if you’re a hybrid. I would love to do more of these, but…There was a point at which I looked down and said, “OK, are we finished? Is this it?” And then I thought, “OK, now I have to make it.” It took a year. They’re your captor, but they’re also your company. Clarion, $17.99 Mar. And I went to the shore a lot while I was writing. It’s a German company. She was very integral to the work for different aspects: the paper, the trim size, where it would be printed—oh, and the rules around the panels… and the word balloons. She’s reclaiming the right to that information.I have never been partners on a project like this before. Fish have been part of my work for years, so that was no problem. But she wrote out the first draft—and it was all in there. It has to go both ways. Of course it is! Her writing goes into darker places than mine does. That person loves you and feeds you. The story is very much about having a voice. It was frenzied.The unfortunate thing is that making a graphic novel takes a huge amount of time. I liked that relationship a lot, the relationship between Livia and Fish Girl. It would have added a big learning curve. I had to get him out of the house. That was important. I would love to have colored it digitally, but I’m not skilled at it. I looked at what I had picked to show her, the things that looked like they were part of the same world, and I thought, all of this stuff doesn’t have to be there. It’s a different look, but it’s still painterly.What kind of research did you do for the story?Wiesner: Well, I didn’t have an octopus. We did bring in John Green for that (not that John Green), to make the word balloons and do the type. They were isolated images. A seven-day-a-week thing.I know you usually use many layers of watercolor built up on the paper, but you couldn’t do that here, could you?Wiesner: One of the things that had been holding me up about attacking the graphic novel format was that I can’t paint it the way I usually do. I attended some of his lectures and I was overwhelmed by some of the things he described. we didn’t use it. But anything internal is very difficult if you’re trying to present it visually. It was as if someone had taken a photo album and torn the pages out. With the help of a loyal octopus and a human girl, Fish Girl gathers the courage to question Neptune’s stories, to explore the outside world, and to find her own voice. I was watching the rise of the graphic novel, watching it move out of superhero stories and into other concepts. Children recognize horrendous things even if they don’t understand them fully.Wiesner: Near the end, there’s that moment where Livia comes into the tank and swims with Mira [the name Livia gives Fish Girl], and I thought, “Isn’t that against the rules?” And then I thought “Yes! It was the idea of a house, a row house, filled with water, full of fish. There’s pain in the story but there’s joy in it, too. They had different personalities. Do you know Schleich, those plastic animal figurines? It was totally exciting. And rather than discussing her comments with her, I discussed them with David because they would have consequences for the story visually.Wiesner: Dinah would say, “What’s happening in this picture? But 300 pages in color would have killed me….Napoli: …And it would have cost $100.Wiesner: So we asked how many pages could we have. He had an octopus that waited all night to squirt water at him the moment he opened the door in the morning.Wiesner: There was a mermaid and there was a little drawing of Neptune sitting under water with a newspaper. I’ve worked with her for a long time. by David Wiesner. I scanned those, and they gave me a nice, dark line. When his brain is putting something on the page, it can’t be an accident.Wiesner: So it became a back-and-forth between us, with very long gaps, because Donna Jo writes fast and I work slow. ISBN 978-0-547-48393-1 Once I built it, though, I didn’t need to look at it anymore. But I trusted David. And I thought, “It would be neat to do this as a graphic novel.” And almost in the same sentence, I was thinking, “It would be neat to work with somebody.” Within a nanosecond I thought of Donna Jo. We never considered doing a romance. And the answer was 200 pages. I grew up on comics; they’ve been an enormous influence. Basically I just wanted to spend some time with the pictures. There was a point at which Fish Girl goes out and has a little side episode, but at that point, the story turned out to be so emotional that stopping for that… This is what the dialogue seems to be implying.” We had it in the story, but was it coming across in the pictures?And who was the art director?Wiesner: Carol Goldenberg. She worked above and beyond. She did all the technical work. I tried to make a picture book out of it, but it felt bigger than that. It was heroic. Carol is a master type person. How you figure out who you are. For the longest time Neptune lived in the house. Because romance is not the only way for somebody to find strength. So I did the drawings one and a half times as large as they are in the book in pencil, 2B pencil. There was a sequence that I loved that we had to cut where Mira carries the fish back and forth to the ocean in a bucket and takes the octopus with her so they can watch the ocean with her, and then she brings them all back. This is the most luminous dark story I’ve ever worked on.Wiesner: Like the painting where Mira stands in front of the ocean with her arms out—the intensity of the joy of that. I see her story as a coming-of-age story, but also a story of reclaiming what is hers. Whatever detail he put into any picture, no matter how small, I took it as something that had to be there.Can you give an example of the small details he included?Napoli: Well, the octopus. Oh, my gosh, that was incredible!Napoli: You have to understand the context: I think David is a genius. The part of her that’s human has been denied, and information about her history has been denied. Color is really important to me. And Donna McCarthy is head of production at Houghton. The first thing we had to do is work out what is this [story] going to look like. Those and watching videos. But it was gorgeous to see the release that David gave to Fish Girl when she swam. I said, “Do you want to do it?” And she said “Yes!” She answered without hesitation.Donna Jo Napoli: David came over with a handful of drawings and spread them out and we talked for a while. Well, 192, in the end. There’s a lot of gentle glory in the book. But that meant that as she was coming out of the tank and exercising at night, we were going to have to explain why he didn’t hear things. Their collaboration follows a girl whose sweet face and mermaid tail make her the main attraction of a seaside aquarium run by a mysterious man named Neptune, who is holding Fish Girl captive. I saw him as quite a pathetic character: a deluded, isolated person. It’s part of complete acceptance. I knew I’d have to put the color down in a more immediate way. Then I shrank them down to print size. Livia knew in a profound way, even if she couldn’t say it verbally, that the abuse was tremendous. She had to go out and buy three external hard drives to hold all the files. Before creating Fish Girl, neither David Wiesner nor Donna Jo Napoli had ever written a graphic novel. The aquarium Wiesner imagined for the story is a star in its own right, a three-story brick house whose water-filled rooms and stairwells are filled with a menagerie of sea creatures. The water was her prison, but at the same time, it was her joy.Livia, the human girl who befriends Fish Girl, is a really interesting character.Napoli: Right; the ally who helps her leave is not a romantic ally. It’s important. There’s joy associated with swimming. It was distracting.Napoli: I couldn’t interview any mermaids, of course, but I did read about people who have been captured, and how they feel about their captors. Then I did the watercolor. Livia had to go in the water.
She was an undercover spy for the Union during the Civil War. But a lot of the rest is just open space, so I got to choose how to fill it in. I really feel like I've found my sweet spot with what I call the bad-ass women of history. For the cast of characters around Kate, I drew on some information about her real colleagues at the time, but mostly I combined and synthesized and created. The Magician's Lie has a complicated structure, jumping back and forth between two timeframes in two voices, between these two-person, confined, almost claustrophobic scenes and a bigger, sweeping, epic story. She was a female detective in the 1850s, when it was completely unheard-of, and she was so good at it that she was assigned by Allan Pinkerton to run her own division. Why then the title, Girl in Disguise?Titles are always a challenge. But her male colleagues see her as a girl, for one thing, and she asks herself at one point whether she's a good girl disguising herself as a bad one or the other way around. Kate Warne is a mature woman, a widow, when she approaches Allan Pinkerton in 1856 and offers to work as a detective. The second, Girl in Disguise, is set in the Civil War era, and features actual historical personages and events mixed up with fictional characters and events. Pinkerton himself wrote and published a lot about his own prowess, so with him it's the opposite–tons of information, but not all reliable. We know the facts on a handful of cases she worked, like the Adams Express case and one where she posed as a fortune-teller to catch a poisoner. How much of her story is based on historical sources and how much did you have to imagine?Those gaps in the historical record made Kate the perfect subject for historical fiction–a little history and a lot of fiction. I wanted that question to resonate. You mention in your author's note that very little is known about Kate Warne; there aren't even verified photos of her–partially because she was a spy and also because Pinkerton Agency records were lost during the Chicago Fire of 1871. Somebody needed to get her story out there, and I figured it might as well be me! Even if all I do is confine myself to writing novels inspired by unsung strong women who lived in America between 1850 and 1900, there are dozens–if not hundreds–more stories to tell. And knowing what I needed to incorporate from history–I didn't set out to write a Civil War book, but the work she did during the war was essential to telling her story–helped me decide on the shape early on. Will you continue to write about strong women in inconceivable situations?Absolutely. Girl in Disguise covers several years, but it's straight forward, all with Kate in the forefront. Her role in thwarting the Lincoln assassination attempt in Baltimore is documented. She helped save Abraham Lincoln's life as he made his way to his inauguration. When I first heard Kate's story a few years ago, I was floored. It's all about balancing story and history to make the best possible experience for the reader. Which book was easier to write and why?Girl in Disguise was definitely easier because I set myself a much more modest challenge. You have now written two novels: the first, The Magician's Lie, is set in 1905, with a fictitious protagonist and fictitious events. Greer Macallister’s historical novel Girl in Disguise (Sourcebooks) is a rollicking mashup of the real and imagined exploits of Kate Warne, the first female operative employed by the famed Pinkerton Detective Agency.How did you come to write Girl in Disguise? It could just as easily be Woman in Disguise. This woman was such a pioneer. Were the lives of Warne's male colleagues–including Allan Pinkerton–similarly shrouded in mystery?Not to the same degree, although some operatives' lives were better-documented than others.
“I hope it’s a reminder that you don’t have to have all the pieces to the puzzle in place before you can make a difference in your own life,” she said. Her father had orchestrated the murders of other family members who had tried to leave the cult and, in 1980, was sentenced to life in prison for ordering the murder of a rival. The daughter of an infamous polygamist cult leader, Ervil LeBaron, Anna had reason to fear. “What continues to inspire me is Anna’s remarkably positive attitude toward life,” Atkinson said. But that wasn’t the end of the healing process either.”Ultimately, LeBaron found healing through counseling and teachings from Christianity, and she hopes her memoir will inspire courage in others—particularly anyone who is in a situation of abuse, neglect, or abandonment. “I look back and I don’t completely understand how I was able to walk away. “[And] she speaks about what happened to her with honesty and authenticity.”Marketing and publicity plans for The Polygamist’s Daughter include a Christian and secular media campaign including BBC News, Christianity Today, Good Housekeeping, People Magazine, and more. “You just have to take that next step and do the next right thing. Her father, however, never went without. “I went through a lot of counseling in order to be able to tell it from a place of wholeness rather than pain.”Indeed, for LeBaron, writing the book isn’t just a result of therapy, but is itself a part of the healing process—she says talking about traumatic events in ways and spaces that are safe is one of the ways people can heal.The Polygamist’s Daughter doesn’t shy away from the difficult life LeBaron had as a young girl coming of age in a violent cult, but she chose to focus on her own personal experiences rather than detailing the group’s religious beliefs or her father’s murderous history. “He got steak and potatoes while we weren’t allowed to partake,” she said.Although she was the daughter of the cult leader, LeBaron did not receive any favorable treatment. “I have known for a long time that I wanted to tell my story,” she said. “It took five years just to learn how to allow myself to express grief about what I’d been through,” she said. There is also a social media campaign that includes a Facebook Book Club, targeted ads, and sponsored blog posts with popular bloggers such as Margaret Feinberg. “I’m shaking right now, just talking to you about it,” said Anna LeBaron, recounting how it felt to walk away from her mother, her sisters, and everything she’d ever known at the age of 13. Feeling in more danger than ever, Anna LeBaron sought the help of an older half-sister who had drifted away from the cult.While the decision to escape was a turning point, the danger didn’t end there, and overcoming the trauma of her childhood and young adulthood has taken a lifetime. “I just kept showing up to therapy and hoping for that breakthrough. And even if your knees are knocking it doesn’t mean you don’t have courage.”Sarah Atkinson, associate publisher at Tyndale Book Group, said the sense of hope is what initially drew her to LeBaron’s story. But I did.”Now 48-years-old, LeBaron recounts her anything-but-normal childhood, eventual escape, and lifelong journey of healing in her debut, The Polygamist’s Daughter (Tyndale, Mar.). She describes the refried bean and mayo sandwiches served for lunch and the mush for breakfast, recalling how great life was when she was given Doritos and Oreos. “My father required that he receive the best of what was available,” she said. And once he went to prison, things went from bad to worse.”Ervil LeBaron died in prison in 1981, leaving behind 13 wives and over 50 children, and making way for a new leader who, she says, hated LeBaron’s children. The book is filled with tales of near-starvation, parental abandonment, emotional abuse, and grueling unpaid labor. LeBaron moved constantly between Mexico, Denver, and Houston as the family fled law enforcement, sometimes packed into the back of a truck during the middle of the night. “Our needs were secondary to his, if they were considered at all.
Revenue was up 0.6% over the prior third quarter due entirely to sales from new stores. Despite the sales decline, the company had net income of $3.8 million in the quarter, compared to a loss of $3.6 million in the third period of fiscal 2016Roberts attributed the decline in comp store sales to lower college enrollments, a “competitive market” for textbook sales and a soft retail environment. Comparable store sales dropped 4.9%. The purchase will also give a bump to B&N Education sales.Accompanying news of the MBS purchase, B&N Education released its third quarter financial results for the period ended January 31, 2017. In addition, the acquisitions expand B&N Education’s customer base for its courseware and analytical products. In another move that consolidates the college retail and wholesale market, Barnes & Noble Education has acquired MBS Textbook Exchange for $174.2 million in cash.MBS was privately held and majority owned by affiliates of Len Riggio (founder of Barnes & Noble Inc.), which had owned B&N Education. Additionally, MBS provides inventory management, hardware and point-of-sale software to approximately 485 college bookstores, and operates textbooks.com, an e-commerce site for new and used textbooks.In the fiscal year ended August 31, 2016, MBS had revenue of $499.8 million and EBITDA (earnings before interest, taxes, depreciation and amortization) of $54.7 million.B&N Education CEO Max Roberts noted that the two companies have worked together for more than 30 years, adding that “we are thrilled to bring our two complementary companies together.”Among the benefits that Roberts sees from the purchase are inventory and procurement synergies that will allow B&N Education to offer students a variety of ways to buy a range of different course materials. It also sells new and used textbooks to over 3,700 physical college bookstores, including B&N Education’s 770 campus bookstores. The company services more than 700 virtual bookstores with an e-commerce experience and a suite of new, used and digital course materials.
Bucharest's Only English-language Bookstore Closing: After nine years in business, Anthony Frost, the only English-language bookstore in Bucharest and one of the few independent ones in the city, is closing down starting March 1stWaterstones Opens Three Unbranded Bookstores: The UK chain has opened a trio of bookstores that appear to be independent bookstores, rather than part of the UK's dominant bookstore chain — sparking the ire of competitors. It has just been renovated, mixing tradition with sleek new modern design touches.Toronto Bookstore Location Deemed a Heritage Site: In an effort to slow the expansion of the University of Toronto and the development of a new residence tower, a building that houses Ten Editions bookstore has been declared a heritage site. Susan Duff, the owner of the bookstore, did not offer comment.. Inside the new Pittsburgh store selling over 8,000 titles; A “global bookstore” goes online in the Middle East; Bucharest's only English-language bookstore to close; and more.Pittsburgh's City of Asylum Books Serves Up 8,000 Titles: City of Asylum Books at Alphabet City, which opened in January and is an extension of the eponymous City of Asylum publishing house — which is focused on works from writers in exile — offers 8,000 titles for sale and is housed in a renovated Masonic temple.Dubai's Souk.com to Launch “Global Bookstore”: The Middle Eastern online marketplace has announced plans to offer six million books for sale. “We are aligned with the UAE’s National Reading initiative and this category expansion comes at an interesting time when we are witnessing new momentum in the culture of reading across the region,” said Ronaldo Mouchawar, CEO of Souq.com. Waterstones MD James Daunt has defended the decision, saying that he wanted the stores to have their own identities and it was not a form of “subterfuge.”India's Venerable Higginbothams Bookstore Gets a Makeover: The Branch of Higginbothams bookshop located on the Mahatma Gandhi road in Bangalore dates to 1905 and is known for its dramatic colonial architecture. The stores are located in Suffolk, East Sussex, and Hertfordshire.