Overwhelming and underwhelming: that’s the phrase that some bloggers and I settled upon to describe this massive event. It’s overwhelming in the sense that it is truly massive (as any big industry trade show must be), with endless rows and rows of booths where publishers big, small, (and self-) hawk their wares. There is a seemingly endless spray of people flowing into the giant exhibition floor from all entry points, and you are jostled constantly as you thread through the crowds. On top of this there are wacky promotions going on at nearly every juncture – an author dressed up like an Elizabethan princess, dancing dogs and grannies wearing matching outfits, a balloon animal sculptor – along with lots of promotional freebies being thrust at passersby who must also avoid the snaking lines of people waiting to see some personality or another signing books at a publisher booth. The independent row felt like a safe haven – much less crowded and populated by less frenzied folks. But it was underwhelming too in that the interactions I have with some of these folks over email already are far more valuable than the hurried face to face meetings that end up happening at this event. While the Expo itself is an exercise in endurance, the parties that came after – including the LBC affair – were much more fun and relaxed. But more on that later, I need to get downtown to dive in again. I’ll wrap things up with a more detailed report – including my finally meeting so many great bloggers whose blogs I read daily – by the end of the weekend.
I have been at the London Book Fair for approximately eight minutes when I officially decide that I am not meant to be at the London Book Fair.
Don’t worry: I haven’t snuck in or anything. Well, it is a little iffy — at the entrance, I manage to bypass some sort of elaborate form-filling-out process when they ask for my press card and I say, almost by way of a challenge, “I’m American?” as though Americans do not have press cards. (Obviously it’s just this particular irresponsible American who doesn’t have a press card.) Miraculously, the helpful woman behind the desk nods, takes my letter of intent, and whips off a press pass. I stride blithely into the main hall at Earls Court Exhibition Centre and stop short.
It’s not the books — there are, admittedly, a lot of books, but I expected that. If anything, I expected way more books. Every stall has some sort of display of new titles, lined up and facing outward, and the big fancy stalls of the big fancy publishers have enormous images of dust jackets and headshots of celebrity authors lining their walls. There is a whole other enormous room, I learn later, and a corner of it is devoted to wholesalers and remainders and they’ve got plenty of books. I’m not exactly sure why, because I presume they have warehouses stocked with millions of them somewhere; a few-odd hundred on display strikes me as strange. But who knows — I don’t actually know much about book fairs. That much becomes abundantly clear.
What’s most noticeable in the main hall are the little tables — hundreds (thousands?) of small square tables populated by groups of two or three, heads bent close together, scribbling in notebooks. (I have never seen so many notebooks in my life, at least not in the past five years.) The conversations all look so serious, and so intimate — though the collective sound of a thousand intimate conversations is deafening. I feel adrift amongst all of this, utterly out-of-my-depth, so when I see the escalator in the center of the hall, I make a beeline for it. But it’s the second level that seals my fate: row upon row of long rectangular tables, with the names of literary agents and agencies printed above each row, and hundreds of people sitting face-to-face in deep conversation. It looks like a massive speed-dating event, except everyone has a whole lot of papers strewn around them, and they appear to actually want to talk to each other. I walk up and down the rows too quickly — no, I don’t have an appointment! — and then I do the sort of quick retreat of the overly paranoid as I rush back towards the down escalator.
I’d come to Earls Court to observe the book industry, and here it was, very “industry”-like — I am eventually given the full run-down, that the London Book Fair is specifically a rights fair, for things like international publishing rights to be orchestrated or, in the case of some of the big books of the week, for previously negotiated rights to be announced. There are author events, but not terribly many; this is primarily about business, for people who create and sell books, not for regular consumers. I’m in some sort of weird liminal space here: mostly a consumer, but a critic, of books and of the industry that makes them more broadly. Perhaps my sense of unease comes down to the fact that this isn’t the ideal place from which to do any of this criticism.
The special guest is the Korean publishing industry, and they have a huge, slick set-up in the international section, sort of like what a first-class lounge at an airport looks like in my mind, all futuristic white furniture and elegant stemware. The Sultanate of Oman has a kind of Arabian castle structure; Russia’s got this really aggressive looming thing that looks like propaganda, written in red: READ.DEEP. READ.SMART. READ.MOSCOW. I feel like I am at Epcot, but there are no rides, not even educational ones. “This is an especially large fair, right?” I ask one man. He looks a little weary as he sighs and tells me that Frankfurt is by far the biggest, twice as long as this three-day affair. All around me, I see books as pure product, and it’s a little startling. In the café, my friend and I are flanked by people making business deals while they eat lunch. “We’ll take 3,000, then,” the man to our left says to his negotiating partner, and they both make neat marks in their notebooks. On the other side, a man swipes through something on an iPad, a children’s book, maybe, or some kind of interactive platform. (There are gaming people here, too, partly because digital storytelling is blurring the lines between traditional books and games.)
The occasional appearance of an iPad — and eventually learning that in that second enormous room, there’s a whole area devoted to literally all things to do with technology, from Nook and Kindle and Kobo to metadata management platforms to print-on-demand and ebook production outsourcing services — reminds me that I’d come to the London Book Fair with a bit of an agenda: I want to figure out exactly what was going on with tech in the book industry.
Because back in October, I’d attended a day-long conference in Oxford for young people in the publishing industry, once again as more of an observer than anything else. It was illuminating to look at books from somewhere other than my usual perch, but I was more than a little alarmed by the way most people were talking about digital things. “It’s time to admit that we have to adapt,” the general line went throughout the day, which I found, frankly, shocking: the time to admit such a thing must have been a decade ago, at least. I sat and fumed when one presenter urged publishers to “try to get on Facebook and Twitter.” (Pinterest and Tumblr? Too “experimental”.) At the end-of-day reception, I interrogated the circle of people sipping wine around me. “I get the sense,” I said slowly, “that you guys actively fear incorporating technology of any kind into your working lives.” I expected an argument, but people were nodding. One woman admitted to me, “I think that we’re all hoping someone else will come along and do that work for us.”
This doesn’t make book publishing unique, by any means. But it’s strange for me, after most of the past decade embedded in the growing pains of magazines’ difficult transition to digital. The equation there seemed simpler, at least on the surface: old revenue models failed, new ones were tested, publications shuttered and others adapted — in the end, it’s all just another way to share the same information, the physical page or the tweet on a smartphone. I’m deeply biased when it comes to digital publishing, but then, I spent the past five years in a magazine department that regularly got as excited about digital design as print — perhaps more so, where design and great functionality intersected. (One of the biggest losers in the shift-to-digital magazine equation is, of course, me the writer, not me the digital production editor: when the models changed, they made room for more of our words for less of their money. But that’s another issue entirely.)
With books, the endless debate about the medium, the cheap and dirty ebook versus the august printed page, always seemed to obscure the book publishing industry’s somewhat shaky revenue models to begin with: attempts at changing the industry, the bare-minimum embrace of technology, look like weak computerized bandages on older, deeper wounds. At the conference last fall, Amazon loomed like a specter over literally every panel and talk, but it wasn’t just anger and resentment — there was a sense of real regret, too, that a company could understand the digital realities of selling books so well and still appear to actually hate books themselves.
(It’s worth noting, too, how both the LBF and the Oxford conference really hammered home what a tiny fraction of the book industry my colleagues and I interact with — publishing includes every type of book, far beyond literary fiction and what we broadly call “genre,” and there are travel books and books about dogs and sticker books and comic books and tie-in merchandise and whole enormous structures that only an industry analyst could really tackle. So it’s all well and good that I choose to buy my literary fiction at independent bookstores, but I am the tiniest fraction of a tiny fraction; there are millions of books that are being sold every year through channels that hurt writers and publishers, and, in the long run, readers, too.)
Worrying about how we’re going to read books feels like more of a distraction than anything else, the debate of an industry that sees change as something to fear, and nothing more — and I’d kind of hoped we were moving past it. But in the weeks before the London Book Fair, Tim Waterstone, the founder of the eponymous bookstore chain — one of Britain’s largest, even as outlets continue to be shuttered — made news by smugly declaring that ebook revenues were dropping and that print books were returning to exclusive dominance. “I think you read and hear more garbage about the strength of the ebook revolution than anything else I’ve known,” Waterstone told the Oxford Literary Festival. Later, he asserted that, “Anyone who tells you they know the future is telling you the most grotesque lie, because none of us do.”
In The Guardian, Nick Harkaway managed to gently chide Waterstone with a relatively even-handed response. “Digital will continue to grow for a while at least, and continue to exist, because it is becoming part of the world we inhabit at a level below our notice, no more remarkable than roads or supermarkets. Ebooks are here to stay because digital is, and quite shortly we’ll stop having this debate about paper vs. ebooks because it will no longer make a lot of sense.” The conversation that develops in the comments (I can’t believe I’m complimenting a Guardian comment thread here) is full of thoughtful, cogent points — and someone brings up Stephen Fry’s remark that, “Books are no more threatened by Kindle than stairs by elevators.”
I’d argue that Harkaway’s “quite shortly” should be right now — this debate makes zero sense to me, and I’m not some sort of technocrat — I do prefer reading a book on the printed page. (I read books both ways, simultaneously, and I mostly don’t think about it much. If a book is mailed to me or is sitting on a shelf in front of me, then paper; if I’m sent a digital galley or I don’t feel like leaving the house and need something ASAP, ebook it is.) But this old, sad debate talks about print and digital books as if they weren’t two sides of the same coin. Worry about book sales dropping more broadly, and start to think about the real ways that digital can reshape books. The sorts of things that were written and printed have always evolved with technological advances in printing and distribution. I want to hear more conversations about breaking structures as they exist now — the size and shape of works that get published, or connecting writers and readers in webs rather than long, bulky, top-down chains, or using technology to make the industry as efficient as possible — to free up everyone to simply publish the very best writers.
It’s easy for me to say. And I don’t actually have any concrete ideas, just some sort of utopian vision of the future of publishing. At my second day at the LBF, I attend a panel on digital copyright, and they, too, see the problems and abstract solutions — but no clear way to implement them, at least not yet. At the “digital hub,” there are some dispiriting presentations, one of which appears to be a woman showing images of her imprint’s print and digital books, side by side, and that’s about it. But there are innovative gamblers from tech companies all over the world, too, pitching new ideas that work to break down the old structures. Some of them seem gimmicky, but some seem like things we might actually need. We just need to get everyone interested in considering breaking the mold a bit — shucking off Band-Aids for a shift in perspective.
The biggest takeaway from the London Book Fair? The free tote bags. Yes, you heard it here first. There are pens, too, but the totes are where it’s at. I collect four on the first day, even though I own duplicates of two already — one from Granta, one from Foyles. It’s near the end of the second day that I see a spate of official LBF totes hanging on peoples’ shoulders — with my seasoned tote-bag eye, I can tell by their stiffness that they have just been removed from a box and distributed within the past half hour, maybe even less. I assault a woman carrying one in her hand, and she points me to the information desk. “It looks like there’s one left,” the woman there says, pointing to a rack maybe thirty feet away. “You might have to —” I break into a sprint.
Image courtesy the author
Readings and panel discussions generally serve as excuses to go see our favorite writers in person. By contrast, the great virtue of the PEN World Voices Festival is the range of discoveries it affords. Now in its fifth year, the festival brings writers from all over the globe to Manhattan for a series of mostly free and brilliantly curated events. Without the PEN festival, I wouldn’t have gotten to know and admire the work of writers including Péter Esterházy, Alain Mabanckou, Tatyana Tolstaya, and Horacio Castellanos Moya.That said, plotting a path through the packed schedule gets a little more difficult each year. Fiendish counter-programming, the imperative to avoid cover charges, and the difficulty of traveling, say 55 city blocks in under 10 minutes in the rain (true story) require that festival-goers muster some strategy. If you’re going to be in New York between April 29 and May 3 (for, say, The Millions’ Walking Tour of Independent Bookstores) I can offer you the following tips for navigating PEN World Voices: Town Hall = long; Joe’s Pub = fun; Austrian Cultural Forum = cramped; NYRB = expensive.Perhaps more productively, here are some highlights from this year’s schedule, free unless otherwise noted:April 29Anagrama: Celebrating 40 Years of Independent Publishing in Spainwith Francisco Goldman, A.M. Homes, Siri Hustvedt, Daniel Sada, and Enrique Vila-Matas; moderated by Jorge Herralde6-7:30 p.m., Instituto Cervantes New York, 211-215 East 49th StreetApril 30Tendencies in Spanish Language Literaturewith Bernardo Atxaga, Javier Calvo, Santiago Roncagliolo, and Enrique Vila-Matas; moderated by Barbara Epler4 p.m.-5:30 p.m., Instituto Cervantes New York, 211-215 East 49th StreetLanguage in New Forms: The Work of Andrey Platonovwith T.J. Clark, Wendy Lesser, Michael Ondaatje, and Francine Prose6-7:30 p.m., Elebash Recital Hall, CUNY Graduate Center, 365 Fifth AvenueKafka in Americawith Louis Begley, Norbert Gstrein, Mark Harman, Lynne Tillman, and Colm Tóibín; moderated by Jonathan Taylor6:30-8 p.m., Austrian Cultural Forum, 11 East 52nd Street (reservations required)The New York Review of Books: The Economic Crisis and How to Deal With Itwith Senator Bill Bradley, Niall Ferguson, Paul Krugman, Nouriel Roubini, George Soros, and Robin Wells; moderated by Jeff Madrick and introduced by Robert Silvers7:30 p.m., The Metropolitan Museum of Art, Grace Rainey Rogers Auditorium, 1000 Fifth Avenue; enter for the event at Fifth Avenue and 83rd Street ($25/$20 PEN members/Metropolitan Museum of Art members and New York Review of Books subscribers)DEFIANCE: The Spirit of ’89with Eszter Babarczy, Jose Dalisay, Nick Flynn, Sergio Ramírez, Hwang Sok-Yong, János Térey, and Paul Verhaeghen9 p.m., Joe’s Pub, 425 Lafayette Street ($15/$10 PEN & ACLU members)May 1Left/Right Literature: The Politics of Taking Up the Penwith Nadeem Aslam, Norbert Gstrein, Mariken Jongman, Khet Mar, and Domenico Starnone1-2:30 p.m., Scandinavia House, 58 Park AvenueThe Language of Fear: A PEN Journal Eventwith Guillermo Fadanelli, Wayne Koestenbaum, Colum McCann, Kathrin Röggla, and Anya Ulinich; moderated by Jeffrey Lependorf6-7:30 p.m., Elebash Recital Hall, CUNY Graduate Center, 365 Fifth AvenueFour/Négywith Eszter Babarczy, Zsófia Bán, László Garaczi, and János Térey6:30-7:30 p.m., Deutsches Haus, 42 Washington MewsArmin Petras: We Are Camera7:30 p.m., Martin E. Segal Theatre Center, CUNY Graduate Center, 365 Fifth AvenueMay 2Mark Z. Danielewski and Rick Moody in Conversation1-2 p.m., The French Institute, Alliance Française: Florence Gould Hall: 55 East 59th StreetWhere Truth Lies: A Conversation on the Art of Fictionwith Marlon James, Jan Kjærstad, Horacio Castellanos Moya, and Roxana Robinson; moderated by Noreen Tomassi1 p.m., location TBAWriters Who Are Translatorswith Brian Evenson, Forrest Gander, Cole Swensen, and Paul Verhaeghen; moderated by Martin Riker3 p.m., FIAF, Tinker Auditorium, 55 East 59th StreetConversation: Pétér Nádas and Daniel Mendelsohn3-4 p.m., Elebash Recital Hall, CUNY Graduate Center, 365 Fifth AvenueThe PEN Cabaretwith Laurie Anderson, Carrie Brownstein, Horacio Castellanos Moya, Steve Connell, David Conrad, Mark Z. Danielewski, James Franco, Peter Hirsch, Nick Laird, Walter Mosley, Parker Posey, Lou Reed, Sekou, and Sean Wilsey7:30 p.m., FIAF, Florence Gould Hall, 55 East 59th Street ($30/$25 FIAF/PEN members/students)May 3The Pan-European Picnic Redux1 p.m., venue TBAFaith & Fictionwith Nadeem Aslam, Brian Evenson, Jan Kjærstad, and Rick Moody; moderated by Albert Mobilio1 p.m., powerHouse Arena, 37 Main Street, BrooklynConversation: Richard Ford and Nam Le2-3 p.m., The Morgan Library & Museum, Gilder Lehrman Hall, 225 Madison Avenue
I was at Whole Foods having a tantrum about vanilla paste, simultaneously aware of the cultural type I was embodying with obnoxious ease, and genuinely annoyed about the paste scenario. “You could always call ahead,” said the employee who had informed me of their lack of vanilla paste, who I’m also sure is a perfectly nice man who rises in the morning hoping to make the best of his day. “I did call ahead,” I said in a tone of voice I modeled after Gregory Peck, “I was told you had it.”
Using passive voice to withering effect on a grocery store employee is not what I had expected from my Friday night, but it’s where I ended up when I decided to learn how to make great pie in a weekend.
I have very few absolute goals in life — as far as where I want to be in five years, how much money I want to have, or places to see before I die — but I really want to be good at making pies. Its attractions are threefold. First, a good pie is universally welcome. Second, mediocre pies — from grocery store bakeries or home cooks who use Crisco — are far too common. Third, only a portion of good pie-making can be taught, the rest is learned by experience. It’s not just cooking, it’s craft.
Most of the great pie I’ve had in my life has been at Hoosier Mama Pie Company, my favorite place in Chicago. Owner Paula Haney left a pastry chef job at a more upscale restaurant to focus on perfecting America’s dessert in her own shop in 2009, and the results are divine. A bite of Hoosier Mama pie is like everything good about the world, in your mouth. (A friend of mine once went into the shop and asked if they would let him volunteer. “I’ll chop fruit or wash dishes, anything you want,” he said, “I just want to be involved.” His offer was politely declined.) When Haney published The Hoosier Mama Book of Pie earlier this summer, it felt like a personal gift, like she was rooting for me.
I decided to put myself through pie boot camp, making four pies in one day — Strawberry Rhubarb, Maple Pecan, Hoosier Sugar Cream, and Lemon Chess — and inviting 10 friends over to eat them. My main goal was the crust, the deceptively simple foundation of a good pie. When you’re making pie crust, every detail is important: the temperature of the ingredients, how long you spend on each step, how long you wait in between each step, how much water you add, how long you knead the dough, and whether you’re chronically forgetful about flouring the roller (that’s me).
Haney spent a summer perfecting her crust recipe, and provides 20 pictures of what the dough should look like at various steps. There are instructions, yes, but you’re making all the decisions about whether the dough feels crumbly, soft, cool, or relaxed enough to move on to the next step. The stinger is, a mistake at any point in the process can ruin the crust, like the bad bulb in a string of Christmas lights. No matter how many crusts you’ve made, you still have to pay attention to each one and be able to adjust. I can say that the fourth crust I made that day was better than the first, but that only made me realize how much better I can get. It’s no mistake that on the cover, the word “wisdom” in the book’s subtitle — “Recipes, Techniques, and Wisdom from the Hoosier Mama Pie Co.” — is printed about three times larger than all the other words.
The book wants you to understand pie. The recipes have origin stories, there’s a section titled “In Defense of Canned Pumpkin,” a sidebar on the history of Crisco (spoiler: it’s cautionary), and a Pie Dough Troubleshooting Guide, but the real message is that you need to practice. You may also need to traverse the city in search of vanilla paste.
At one a.m. the night before my party, as I was putting the last dough round into the fridge to rest overnight, pie crust took on greater meaning for me. A great pie is a product of both skill and wisdom; as, I believe, is a great life. You make a long string of intuitive decisions and hope they alchemize into something beautiful. That’s why each good pie that comes out of the oven felt like a win to me; it feels like a small reassurance that you’re good at life. Plus, delicious.
Photo Credit: Tyler Core