Wednesday, August 15, 2018

Throw Your Mama’s Smelly Shoe Awards & Other Malaysiana Miscellany

“HELL is empty, and all the devils are here.” WILLIAM SHAKESPEARE, in THE TEMPEST
* * *
“IF you want to know what God thinks of money, just look at the people he gave it to.” DOROTHY PARKER
* * *
STRANGELY, in every Malaysian company, there is always, without fail, a ridiculously stupid parasitic secretary who thinks and behaves like she is the CEO. Fortunately, there is a cosy little nook in Hell specially reserved for constipated fools like her.
* * *
“PLEASE don’t pluralize all the ethnic and subethnic groups in Sabah and Sarawak.” They are of course referring to the Bidayuh, Bisaya, Dusun, Kadazan, Kelabit, Kayan, Kenyah, Melanau, Murut, Orang Ulu, Penan, Ukit, etc. I then asked: “What about the Dayaks and Ibans?” And their response: “Except the Dayaks and Ibans.”
* * *
IT’S HARD TO EDIT when the publishers are breathing down your neck, hurrying you endlessly, demanding that you put the book to bed when it is neither drowsy nor sleepy: “Quick! We must go to print now! We need the book out in the shops immediately!” There must be a long queue outside the shops waiting to get their grimy hands on that excremental nonsense.
* * *
TRAVEL is no longer what it used to be. It is overrated. It doesn’t open up our minds. You need the right attitude for travel to be meaningful. Otherwise, it is just a meaningless exercise in passing time, a meaningless exercise in wasting one’s existence.
* * *
MALAYSIAN PUBLISHERS will publish anything and everything—even the crappy school assignments you have thrown away. If you had known this then, you would have kept them. Who would have thought that they would be worth something some day?
* * *
I DON’T KNOW WHY I am wasting my life on this stupid manuscript. The author is obviously not interested in her own work. She must have dubious reasons for wanting to get it published. I must learn not to care too much and just let it go. The writing is so bloody atrocious that I am opting for state-assisted suicide to end my mental anguish.
* * *
THE THING ABOUT working in a Malaysian office is that you tend to meet more stupid than intelligent people. Most of the time it makes you wonder where the cleverer Malaysians are. (Gone the way of the dodo, most probably.) All one can do is try to stay afloat in a sea of stupidity, or risk drowning.
* * *
YOU REALLY NEED oodles of patience and perseverance when editing badly written manuscripts because most of the time the authors have no idea what they are writing about and you have no idea what you are editing. But no matter what, the editor is still expected to turn turd into gold in the quickest time.
* * *
STUPIDEST QUOTE OF ALL TIME: “I want this yesterday.” Only idiotic people use this line. Those who use it set up a precedence for human stupidity. Intelligent people and real corporate leaders avoid such nonsensical clichés because they say absolutely nothing at all.
* * *
MALAYSIAN “writers” have fantastically big egos—especially those who can’t write, strangely.
* * *
MALAYSIA is not exactly the friendliest country in the world (despite what the paid commercials say): most of the time the people are bloody rude, downright discourteous, boorishly loudmouthed, deeply disrespectful, and selfishly materialistic, among other things. Asian values? What Asian values? There is no such thing as Asian values. Malaysia is truly NOT Asia. Don’t believe the ads. They are just ads, and as you know, they are meant to deceive.
* * *
THEY bake one bloody generic cupcake or muffin, and the next thing they want is their own cookbook and a food show on telly! It’s all in a day’s work for someone who bloody can’t write.
* * *
EDITING another dumb Malaysian manuscript ought to be a breeze or a walk in the park after so many years of doing the same thing … but it really doesn’t get any easier despite the years and experience. In fact, it gets worst because the whole process saps your energy and snuffs out your passion for the printed word.
* * *
MALAYSIAN WRITERS who write in English should make an effort to read up on the basics of grammar instead of jumping to conclusions when editing their “writing”. I know that you have an honours’ degree in English and all, but surely, it’d do you good to relearn some of the basics once in a while. After all, you don’t really learn much in the university nowadays, do you?
* * *
HERE’S another observation about Malaysian writers. When launching their magnum opuses, they want other people to write their speeches. They always say they don’t know how to write speeches. Why am I not surprise at all? And to think that we are talking about people who have gone through the school system and graduated with distinction from some of the best universities in the universe. Also, they like to pepper their speeches with hackneyed phrases like “a passion for excellence”, “to be the best”, “in pursuit of excellence”, “best talents”, among other similar bullshitised nonsense.
* * *
ONE leading Malaysian publisher told me that they are the purveyors of some of the finest crappiest books on the planet and they have always been rather proud of this fine tradition of theirs. “We have been in business for decades. We must be good at what we do. There is and has always been a surprisingly lucrative market for such books in Malaysia.” Who am I to argue with them when their publishing success is truly a clear testament to this fact?
* * *
I WAS ONCE TOLD that life is short, and there is only so many bad manuscripts one can edit. That’s really nonsense! You’d be surprised at the endless number of bad manuscripts there are to edit in Malaysia. You could build a successful lifetime career doing this. I did.
* * *
THERE is only one decent enough bookshop in Kuala Lumpur. There is only one decent enough bookshop in the whole of Malaysia. The rest are just stationery shops pretending to be bookshops. Lately many of them have started selling potato chips and poppadom crisps. I wonder, do people actually think that such addictive titbits are going to save book retailing? What a depressing state of affairs.
* * *
WHY DO MALAYSIANS write like this? I like chicken rice because I like anything with chicken and rice in it. Three more examples to whet your appetite: I enjoy eating because eating is enjoyable. It is unique because it is one of a kind. I really enjoy eating cakes because they are so delicious to eat. I am rolling on the floor with laughter. Write like this and you will most definitely win the THROW YOUR MAMA’S SMELLY SHOE AWARD for ridiculously good sinfully bad writing!
* * *
If I AM FORCED to edit another datuk’s or mak datin’s so-called manuscript, I will have to seriously consider joining the rebel forces in another galaxy far far away. They are killing me brutally with their prose (or lack thereof).
* * *
I AM JUST an editor—not some kind of magician. I can’t twitch my nose and make all your misplaced punctuations, misspellings, fractured grammar and other gibberish disappear in the blink of an eye. I know you’ve baked your cake and all that and you’ve invited all your friends and your mummy and daddy for the launch, but the fact of the matter is, your book is still ... well, half-baked. But you go ahead and launch it. Don’t let me stop you.
* * *
IN MALAYSIA, anyone can be a writer nowadays. Everyone, in fact, is an author nowadays. Sadly, our so-called standards have slipped to a historic nadir. We just received a manuscript from someone who actually wrote his entire chef d’oeuvre without using articles and prepositions. Malaysians have no qualms about submitting incomplete and unedited manuscripts. What an amazing feat of human imagination!
* * *
THE DEVIL’S back in town, and these are the darkest days. We are going through hell editing another stupid manuscript. Almost seven hundred pages of pure fire and brimstone. By the time I die editing this nonsensical treatise, I would most probably gain a useless PhD in Stupidology with Honours. Believe me when I say that the deterioration of the modern human mind is real, and has begun. Perhaps we should consider starting a fund to stop the doofus from writing for the rest of his life?
* * *
WHEN Malaysian writers complain about the tedious editing process, I have eight words of advice for them: “Don’t write. Go watch Beauty and the Beast.” (No offence to Beauty and the Beast.)
* * *
ANOTHER crappy Malaysian “book” is being launched before it is ready to be published. (Not that it was good enough to be published in the first place.) And as always, without fail, the sumptuous food has been planned, the opulent venue booked and paid for, the entertainers and guests and the press have been invited. All is ready—except the book. They will never learn that that’s not the way to do it. Well, what can I say? People just don’t realize that every time a crappy book is published, the world dies a little bit.
* * *
I’M close to tearing my hair (not that I have much of it left in the first place) and hitting my head against the pillar over a new manuscript (which was initially rejected) that landed with a thud on my desk. I was told it had been “professionally edited” (whatever that is supposed to mean) to perfection. It was supposed to be “good to go”, they said with confidence. But going through it now, it is almost like deciphering hieroglyphics. Why are there no full stops at the end of sentences? Why does the writer start sentences with small letters? Why are commas not employed when required and in all the odd places? Why are the hyphens and dashes and colons and semicolons placed incorrectly? Why does he bold or italicize words as and when he feels like it—sometimes both at the same time? Why does he resort to ellipses with random scattering of dots? Why are the definite and indefinite articles and prepositions all wrong? Why leave spaces before punctuation marks? Why are paragraphs of text repeated wholesale? Let’s not go into singulars and plurals; it’s a jungle of a mess over there. Sad to say the so-called writer is not too bothered with his own writing. But he wants to be on the cover of magazines.
* * *
THIS is not exactly something new. But it is worth talking about to remind us how far we have come as civilized human beings. The date of the book launch has been set and the invitations have all gone out to the most important people in the kingdom. Heck, the cake has already been baked and iced. But the book is yet to be ready. In Malaysia this is never ever a problem. “We will just launch a mock-up of the book then,” they say proudly. Who says dreams don’t come true?
* * *
“I WAS FORMERLY a Chinese; now I am a Christian.” I was once lost; now I am found. Strangely, and surprisingly, many Malaysians don’t seem to know the difference between “race” and “religion”.
* * *
ONE Malaysian author told me the other day: “I don’t understand why you need to edit my manuscript and make so many amendments. My previous publisher published all my books exactly the way I wrote them without any edits or fact-checking or rewriting. I just don’t see the need for this constant back and forth between editor and author.” You should have stuck with your old publisher, if you asked me.
* * *
MALAYSIAN “writers” who engage ghostwriters to write for them (because they can’t or are just too lazy to write) should understand that they are supposed to pay them for services rendered. Even though they are called “ghost”-writers, they are really not ghosts. They are human, just like you and me.
* * *
HSM LUCIFER strides in with his syrupy, drippy-drip smile and asks me why the Japanese lady on the cover of her cookbook is wearing spectacles. I look at him and say: “Perhaps she is short- or longsighted? Maybe she has astigmatism? I don’t know; perhaps she likes designer spectacles? Perhaps it makes her black eyes brown? Perhaps she has yet to go for her lasik? After all she does look good in them. I could give her a call and ask her—if that is really what you want to know?” With his shifty eyes and plumpy apple-ish cheeks, he replies: “There’s no need.” Life’s full of these wasteful, unproductive God-what-was-that-all-about moments! It’s a strange world we live in, and it looks like there’s nothing much we can do about it.
* * *
SO LITTLE TIME, so many terrifying manuscripts to edit. There’s only so much editing one can do to make some of them a tad better. Malaysian university professors and journalists who write like primary schoolers are the worst of the lot. And please stop threatening us by dropping names!
* * *
MALAYSIAN “WRITER”: No, I haven’t written a novel. But I would very much like us to meet up and discuss the story.
Editor: What is there to discuss if you haven’t written it?
Malaysian “writer”: If I write more words, will the novel be thicker?
Editor: Duh! (Of course.)
Malaysian “writer”: How many words must I write?
Editor: One hundred thousand words. Or thereabouts.
Malaysian “writer”: Wah … so many words-ah?
Editor: Why don’t you just give up writing? You are obviously not very good at it.
Malaysian “writer”: But writing a novel is my lifelong dream!
Editor: Looks like you will be dreaming for a long, long time.
Malaysian “writer”: With your experience, what kind of readers do you think will read my book?
Editor: Most probably dumb ones!
Malaysian “writer”: You so bad one-lah!
Editor: I am not bad. Just truthful. Wasn’t it Plato who said that no one is more hated than he who speaks the truth?
Malaysian “writer”: Plato who-huh? Your friend-ah?
Editor: Yes, Plato is indeed my best friend from long long ago!
* * *
IMAGINE editing an author who gets the spelling of his wife’s name wrong! “I will have to get back to you with regard to the spelling of my wife’s name. I will have to ask her if it is spelt with an ‘a’ or ‘e’. I may have to take a look at her birth certificate to ascertain. You just never know.” Yes, you got it right, you just never know.
* * *
ANOTHER prize-winning quote from the very people who gave us the ground-breaking QUOTE OF THE CENTURY (see below): “I don’t agree with all of your edits, but I am quite all right with them.” This is absolutely riveting, nail-biting stuff.
* * *
QUOTE OF THE CENTURY: “Edit, but please don’t change anything, because it is already perfect.” (It was far from perfect.) A classic case of imbecility or existential profundity, perhaps?
* * *
I FINALLY learnt to say no. After all these years. And it felt really, really good. I have always been one of those people who had problem saying no. And because of that I have always ended up with more than I could chew. Now, the weight of the universe is lifted off my shoulders. I must continue using it more often.
* * *
A SENIOR EDITOR at a Malaysian publishing house received the following email the other day. The message, with typos amended (to avoid embarrassment, of course), reads: “I can’t write very well, but I thought I’d like to try writing a novel. I’ve decided to write one about pirates, but I know next to nothing about pirates. Could you please email me information about pirates: their lifestyles, their eating habits, where they like to chill out in the evenings or during the weekends, what they like to do during the day when most of us are at work, what kinds of books they read, etc., so that I can start working on the novel immediately? With much appreciation and best wishes.”
* * *
SOME MANUSCRIPTS are so bloody horrendous that I literally get sick editing them! I feel feverish, headache-y and all-over-the-body-achy. Seriously, one of these days we must consider giving out a slew of THROW YOUR MAMA’S SMELLY SHOE AWARDS for the crappiest Malaysian books of the year—books we absolutely could not care less about, much less read. I know for sure there won’t be a dearth of contenders for these uniquely Malaysian awards where soul-destroying mediocrity is the only yardstick of greatness and celebrated with customary poop/pomp and ceremony! Perhaps I will start the ball rolling with that pathetic attempt at a book ... yes, that particular pseudo-book! It reminds me of the opening lines to Keir Alexander’s excellent novel, The Ruby Slippers: “She stinks. It has to be said. Stinks to high heaven.” She does, believe me, she does.
* * *
THE COST OF DOING BUSINESS is escalating all the time. Maintaining sales have always been a challenge, now more so than ever. There are not many good manuscripts to choose from in a lacklustre marketplace. There’s nothing much we can do about the decline of the English language or the quality of writing in Malaysia in the short term. We have to accept the fact that the only thing we can do as publishers is to enhance our production values: editing standards and marketing efforts will need to be stepped up. Producing a book is not going to get any easier; editors will have to break their backs editing and rewriting substandard manuscripts to a level deemed publishable in a short time. Not that there are many good editors to choose from in a nation that doesn’t care much for reading and writing in the first place.
* * *
AT A BOOK LAUNCH in a five-star hotel (nothing less that five stars will do in Malaysia, or an exclusive golf club) in Kuala Lumpur the other day, everyone invited to attend the event was treated to a sumptuous meal of sweet and savoury Malaysian delicacies (including the obligatory epok-epok (curry puffs) and the all-time Malaysian favourite mee siam, among other things) and given a complimentary copy or two of the book of the day. Suffice to say that the food tasted so much better than the book. This is quite understandable. Let’s not beat around the bush, okay; no one in their right frame of mind would use their hard-earned cash to pay for it. The trick is not to take Malaysian publishing too seriously. If you do, you are in for an early grave.
* * *
WHEN will Malaysian education start focusing on understanding and critical thinking skills? Will it ever? There is a serious dearth of these basic skills: reading, writing, creative thinking, questioning, criticism, creativity and imagination; there is also an absolute lack of interest or intellectual curiosity or empathy about the world we live in. We desperately need graduates who can not only eat but spell chocolate! Education per se is irrelevant; one must have the right mindset to use the knowledge acquired and make one’s life useful and meaningful to society. The idea of education is to make every one of us into critical, empathetic, intelligent, logical and thinking beings. If not, what’s the point of existence? What’s really the point of education if we do not produce intelligent, efficient and productive nation builders? It is frightening when the education system keeps on churning out graduates who don’t read (and have no interest in reading) and can’t write.
* * *
SERIOUSLY, do we really have a publishing industry in Malaysia? I sometimes wonder, more often lately. A sad fact: Malaysian writers can’t write and don’t want to be edited at all. Those who can, the writing is bland, careless, dead, dispirited, hollow, illiterate, inert, insipid, lackadaisical, lazy, lethargic, lifeless, non-informative, puerile, self-indulgent, shallow, tepid, uninspiring and vague. Most of the time the manuscripts are so execrable, possibly written by someone who doesn’t speak or write the language at all, that editing them is next to impossible. (I don’t pray for much, seriously: just good health and happiness for all creatures big and small, being a better human being ... and good writing to land on my desk.)

Another sad fact: most editors don’t know how to edit. (Editing is not just about punctuation, grammar and spelling.) Most of them lack basic editing skills (grammar, spelling and writing); if they can’t even handle basic editing, surely they are in the wrong profession, no? Editors are unwilling to learn and tend to miss more than they spot errors (and constantly introducing new ones at the same time). And many are averse to research, checking facts and figures, solving problems and consulting the dictionary. Punctuating dialogue and inconsistent tenses are major weaknesses. Most of them lack imagination and intellectual curiosity and have no idea why they are doing the things they are doing. Many are not (and will never be) aware of the important aspects of book production like bibliography, footnotes, endnotes, indexing, etc. They do not know what a personal or surname is when indexing, etc. Also, not many editors have a nose for business or finance. Publishing is not just about publishing bad books; it is also about selling the bad books you publish. Both are equally important to sustain the business in the long term.

Another sad fact: designers don’t know how to typeset books and design book covers. Most of them are not designers; when you think about it, they are really more like incompetent typesetters than designers. Most, sadly, have no grasp of the aesthetics, whether in the design of covers or the typesetting of pages, are not open to constructive criticism and lack even the most basic of language skills. (They’re practically illiterate when it comes to English and Malay.) (“The kind of designs you don’t really need to go to design school to learn. The idea is to do it blindly. ... And hope someone likes it.”) There is absolutely no passion to push boundaries or to have higher expectations, no sense of accomplishment for a job well done. They do not seem to learn anything from experience. Experience makes no difference. They have no idea whether contents pages are required for the manuscripts they typeset; they have no idea what acknowledgements, forewords, prefaces, introductions, appendices, bibliographies, indexes, afterwords, footnotes, endnotes, figures, tables and charts are. They may have moved their mouse (mouses?) for centuries, but they have not gain any relevant experience at all. They have no idea what consistency is.

Another sad fact: translation standards are (atrociously) abysmal. Translation is not just about translating words (linguistics) to another language; it’s also about translating cultural and other creative nuances; the translated text must make sense and transport you to another world or dimension. “Translation,” in the words of Anthony Burgess, “is not a matter of words only: it is a matter of making intelligible a whole culture.” A good translator must not only possess a solid grounding in both languages but a strong grasp of idioms and metaphors as well. Sadly, it’s rare to find translators who are strong in both English and Malay.

A vicious cycle. Definitely. So, do we really have a publishing industry in Malaysia? Of course not. I believe what we have here is more akin to some kind of stunted, constipated offshoot of public relations, rather than publishing as we know it. Publishing good books (and finding a readership for these books) has always been a Sisyphean struggle. Books are never published for the right reasons. It never fails to amaze me how publishers always find stupid reasons to justify the publishing of substandard books as though producing as many such books as possible is some kind of noble calling or something!
* * *
EVIL, THEY SAY, NEVER DIES ... it claws its way back from the pits of hell to haunt the living. We are in the midst of editing perhaps the worst manuscript on the planet … rejected by all who had a chance to look at it but somehow foisted on us editors for the dumbest of reasons. And to think that the British once colonised us, you would expect a certain standard of English. After the last disaster of a book, we thought we had seen the last and worst of horrendous books. No-o-o-o … that’s too good to be true. Ladies and gentlemen, Evil is back in business and is here to haunt the living daylights out of us. Just goes to prove that there are some things money can’t buy … for instance, to write well and tell a wonderful story (fiction or otherwise). Some publishers claim they publish these rejected manuscripts under the pretext of Corporate Social Responsibility (CSR). Seriously, you can call them anything you want; I prefer to pile them under POO and flush them down the LOO where they belong for all eternity. Of course, under normal circumstances these manuscripts would not see the light of day but the dark of the sewers. I always fail to understand what joy these author-wannabes derive from being published under such circumstances!
* * *
AND THEN there are those so-called Malaysian authors who insist that we do not comply with standards and conventions when editing their so-called manuscripts! As the Backstreet Boys would croon back in the late 1990s, Believe when I say I want it that way! You can have it any way you want, Sweetheart, as long as you pay the production costs and buy up all the stocks and keep them locked up in your bedroom! And maybe toss them in with the carrots, potatoes, onions (the big ones) and tomatoes when Mummy makes chicken soup for the whole family. (Don’t forget the salt and freshly ground black pepper.) The books will also come in handy if you have plans for house extensions. Books, after all, are not just books; they make hardy bricks, too.
* * *
REMEMBER THE GOOD OLD DAYS when we used to have meals and lovely conversations without interruptions? We used to eat and talk, and eat and talk, all the while enjoying ourselves. Those were the days when we used to really talk with one another and conversations were long, and there were jokes and laughter, and time just passed without us realising it. Those days are long gone. People nowadays are more interested in their smartphones, internet, text messaging, etc., and seem to prefer to communicate with people not dining at the table but elsewhere, reading news updates, taking photos of themselves in all manner of poses, etc. You may have the whole wide world at your fingertips, but you don’t seem to be aware of the immediate world around you. Once in a while, think about the person sitting opposite you.
* * *
POMPOUS LASS: Only native speakers can edit my manuscript! No Malaysian editors for me, please!
Publisher: You mean someone from Good Olde Mother England?
Pompous Lass: Of course—if English is their mother tongue!
Publisher: Why’s that?
Pompous Lass: Because my book is for the wonderful people of this planet. I want it to be perfectly edited for all my readers from around the world …
Publisher: Would you like to bear the cost of getting someone from England to edit it then?
Pompous Lass: Will that be cheap?
Publisher: What do you think? Everything is cheap except you?
Pompous Lass: I wouldn’t want to spend my money on that! If it’s too expensive, a local editor should be all right, I guess!
Publisher: Yes, cheap local editors are the best!
* * *
WATERLILY: I want to talk to the editor?
Receptionist: Who’s calling?
Waterlily: Lily!
Receptionist: Lily who?
Waterlily: Water “I-can’t-tell-you-my-real-name” Lily!
Receptionist: How can I help you?
Waterlily: I want to talk to the editor about my manuscript?
Receptionist: What’s your manuscript about?
Waterlily: I can’t tell you that! I don’t know who you are. You may just steal and profit from my hard work! I want to speak to the editor!
Editor: Could you send us samples of your work, Water?
Waterlily: I can’t do that either.
Editor: So what can you do, Watermelon?
Waterlily: My name is Waterlily, not Watermelon! Why do you need samples of my work?
Editor: Duh! So that we could assess your writing and decide whether we want to publish it or not!
Waterlily: Why do you want to review it? I am a famous writer and my work is quoted in all the leading journals all over the galaxy!
Editor: That’s nice and all and I’m happy for you. However, we would still like to assess it.
Waterlily: Will you be distributing my book in the U.S. and the U.K.?
Editor: No. We only sell foreign rights to those markets. And over the internet.
Waterlily: Looks like you are not the right publisher for me then. Goodbye!
Editor: Good riddance.
* * *
AUTHOR: Would you like to publish my manuscript?
Publisher: Well, it depends …
Author: Depends on what?
Publisher: Well, whether you have a written manuscript?
Author: I haven’t written one. Can you get it written for me?
Publisher: Why is that?
Author: I can’t write.
Publisher: But you have studied for a couple of foreign degrees … and you have lived overseas for many years. With your fake accent and all, I’m sure you could write English.
Author: I’m very bad at grammar. Could you get me a writer whom I could talk to, take down notes and put them all in a book for me? I can talk very well. I just can’t write.
Publisher: I can’t imagine how you manage to pass all your exams over the years!
* * *
AUTHOR: Could you label me a bestselling author on the cover of my new book?
Editor: No! You are not a bestselling author! And you’ve never have been one!
Author: It’s a way of MARKETING the book!
Editor: I don’t think that’s MARKETING; that’s shameless CONNING. Your first book sold less than a thousand copies in over five years. That, to me, is a disaster of epic proportions! Your book sounds more like the worst-selling book of the century. And with the way it is moving (or not moving), it looks set to be the worst-selling book in the history of humankind. I believe your book will still be around even after the Apocalypse!
* * *
AUTHOR: And on what grounds are you rejecting my manuscript?
Editor: Well, it sucks, for one!
Author: What! How dare you insult me! Everyone who has read it thinks it a magnificent piece of work!
Editor: Who, pray tell, read your magnum opus?
Author: My darling husband and children, friends and relatives! And my dearest mummy and daddy, too!
Editor: Of course!
Author: So can I take it that you are not interested in publishing my manuscript?
Editor: De Do Do Do, De Da Da Da ... Duh!
* * *
AUTHOR: Yahoo! My book is a runaway bestseller!
Editor: How’s that possible?
Author: I got every one of my best friends to buy 500 copies of my book. Yahoo! Time for a reprint?
Editor: What do you expect them to do with all the copies of your book?
Author: Who cares what they do with them? Hide them under the stairs? Perhaps they can make beef or vegetable stew with them?
* * *
AUTHOR: I would like you to publish my book?
Editor: Your manuscript, you mean? Well, it all depends on the quality of your manuscript.
Author: What? I know your Financial Controller and the TOP HONCHO, you know!
Editor: Ooh, I’m shivering! Of course, we will publish your book—even though it sucks big-time!
Author: What?
Editor: Isn’t that what you want?
* * *
WISDOM, they say, comes with age. I once thought that wisdom was the exclusive province of the elderly. Now that I am all grown up, I have come to realise that that’s all balderdash. Age doesn’t determine maturity or wisdom. Wisdom is the province of those who possess it; age is simply immaterial. Over the years, I have had the good fortune to meet young people who are wise beyond their years, and I have also had the MISFORTUNE of meeting old people who have absolutely no wisdom at all.
* * *
AUTHOR: I don’t like my marriage photograph in the book. We look so bloody fat.
Editor: Of course, both of you are fat. So, what do you want me to do? Both of you should have gone on a diet before getting married. Well, you could always get married again. What’s stopping you?
* * *
AUTHOR: Make sure all numbers smaller than 10 are in figures, not words, okay?
Editor: Numbers from 1-9 will be in words, not numerals. Anything from 10 and above, I will use figures. That’s the standard editing rule.
Author: But I am your client and you do as I instruct.
Editor: So, what else do you want to go with that? Bad grammar? I can do that. What about factual errors? You want some of those? Weak characterization, perhaps? A plot full of holes? We can add a couple of those, if you like. Why don’t I also throw in as many misspellings as I can for you—on the house, of course?
Author: What?
Editor: For your information, you ain’t my client. You can keep your money and go ask your mummy to search and replace all your 1-9s with figures.
* * *
“ANYONE can be an author nowadays. You don’t really have to be a good writer or a whizz in grammar and all that nonsense,” so says the marketing consultant. You can’t write? No problem, we will get you a ghostwriter to write on your behalf for a fee, she says. And if you suck big-time at grammar and vocabulary, also no problem. We have the backroom boys (editors, copyeditors, proofreaders and designers) to clean up your writing (or lack thereof) and make all your dreams come true. After all, most people just like to see their names on the covers of their so-called books. And perhaps launching them at one of the hotels or golf clubs (or fast-food/burger joints or shopping-mall concourses). That’s about it.
* * *
PASSION is, of course, a wonderful thing to have. But let’s talk about ringgit and sense. There is simply no money in editing in Malaysia. I have been editing books for a living for well over 30 years now, and this saddens me a great deal. Perhaps it’s time for me to seriously consider giving it all up and do something else with the rest of my life?
* * *
ONCE IN A BLUE MOON, when all the stars in the heavens are somehow aligned, the perfect manuscript lands on your desk. All is well with the world; the elves and hobbits are having a whale of a time in the playing fields and the flowers are singing and dancing in the wind. There is joy and laughter all over the kingdom. With minimal editing, the manuscript is published to much acclaim and financial success. There are, of course, books that do not capture a readership no matter how good they are or how much they are pushed or promoted. Most of the time, though, bad books fall on your head with a loud thud. Some of these books go on to become successful books after much editing, rewriting, blood, sweat and tears, etc. Publishing is a difficult business; there is no guarantee that a good book will sell. Neither is there a guarantee that a bad book will not sell. Not all bad books sell; most of them end up in the cemetery of lost books.
* * *
ACCORDING to Andreï Makine, “Language is just grammar. The real language of literature is created in the heart, not a grammar book.” Makine—a Russian novelist who writes not in his mother tongue but in French—is not discounting the importance of grammar in writing. However, good writing is more than good grammar. Good grammar, in other words, is just not good enough when crafting sentences. In our reading, we have occasionally come across writing which is grammatically perfect in every aspect but somehow lacks heart, writing that lacks an emotional core: hollow, meretricious, staid, technical and wooden. Good writers know when and how to break rules for good original prose to emerge. The challenging task is to nudge boundaries and push narrative towards places it has not been before.
* * *
I WAS EDITING a piece of tosh the other day. Writers and editors need to be logical when they write or edit. A baby girl is a baby girl. There is no need to be too specific by calling it a “young” baby girl. Is there such a thing as an “old” baby girl?
* * *
WE ARE IN THE MIDST of editing another crappy manuscript by a crappy Malaysian writer. It’s just another crappy day in the life of a Malaysian editor. Possibly another worthy contender for the THROW YOUR MAMA’S SMELLY SHOE AWARDS for the crappiest writing in the world? One that would put us to sleep for a thousand years. We can’t wait for the torture to be over ... until another one comes along (like they always do). Please, please forgive us for unleashing this horror upon humanity and the universe. Bless me, Father, for I have sinned. ...
* * *
MOST OF THE TIME book editors reject more than they accept manuscripts simply because there are more bad than good writing floating around. With modern publishing the way it is, where quantity is more important than quality, decisions on whether to accept or reject manuscripts are no longer the sole preserve of editors but marketing consultants. Editors are no longer the literary gatekeepers of the universe like they once were. They are more of a stumbling block in the seemingly unrelenting contemporary marketing process. The role of editors is to edit good manuscripts and make bad ones look good enough for those who do not know better. As literary gatekeepers, marketing consultants think that they document history and human evolution, but most of the time they dress up trash to look like literature. This explains the glut of bad writing you see flooding the marketplace. That’s just what I think.
* * *
A: Can you read and write English?
B: No.
A: Can you read and write Malay?
B: No.
A: Can you read and write Chinese?
B: No.
A: So, what are you doing now?
B: Studying Korean.
A: You can’t even handle English, your mother tongue or the national language, why would you even want to take up a challenging language like Korean?
B: I just like the way the Koreans speak and sing-mah!
A: Wah, so clever!
* * *
AUTHOR: Could you put my husband’s name (and mine) on the cover?
Editor: No, I can’t do that. He is not the writer. You are the author. Your name will be on the cover.
Author: But he helped me with research, fact-checking and proofreading.
Editor: You may credit him in the acknowledgements page.
Author: But I want his name on the cover with me!
Editor: No!
Author: You know, you are not as nice as some people say you are.
Editor: You could always self-publish and put the names of whoever you like on the cover if that makes you happy!
* * *
ANOTHER turd of a manuscript landed in my lap with a loud thud this morning, turning my life upside down and upsetting the balance in this neck of the universe. Looks like it’s another long month of agony, damnation, sleepless nights, slogging and suffering. A manuscript that is far from stimulating. Somehow one’s opinion of prominent people tend to go down the clogged monsoon drain once you start reading their life stories. Their stories tend to put me to death. What have I done to deserve this? I take care of my family and love all my brothers and sisters (including all my Facebook friends) and buy my mother her 100% Massimo whole wheat bread every other day, yet I still get punished! What have I done to deserve this! What I have done is, I have just edited possibly the worst book of my career. And after countless hours of editing within a tight time frame, it is still the worst book of my entire career.
* * *
WE were at a popular dining establishment in KLCC the other day. We were disappointed with the stuffed chicken breast we ordered. They were clearly below expectations. Not only were they hard, dry and leathery, they were bland, almost tasteless, more like something left over from the night before warmed up. If you enjoy paying First World prices for food that is below average or worse, then this is the perfect place to waste your hard-earned money.
* * *
I HAVE NO IDEA where Malaysians get their education from. Their spelling is the pits. They spell “Barisan Nasional” as “Barisan National”, a blend of English and Malay. Even my dear mother knows that it is spelt as either “Barisan Nasional” (Malay) or “National Front” (English). It is one or the other. It is either Malay or English. Be consistent when you write. First, decide which language you want to write in. I know, a tough decision. Malaysians also can’t tell the difference between “reign” and “rein”, “ferment” and “foment”, and when to use them correctly. They tend to use them interchangeably. Other weaknesses include hyphenation (“long term” vs “long-term”, “fairy tale” vs “fairy-tale”, etc.), italicization, prepositions and word order, punctuations, spelling of names, insufficient fact checking, among others.
* * *
MALAYSIAN authors have the bad habit of editing their books only after their books have been published and distributed all over the universe and beyond. They are never bothered with editing at the manuscript stage. (They submit their manuscripts raw without editing them.) Most of them are so bloody lazy to read their own works. There is nothing much we can do about this because Malaysian writers prefer eating to reading. Most of them can spent the whole day eating but not many can spend the whole day reading. Most of the time I wonder: Why do they even bother to write?
* * *
I get this a lot … from the moment I was born back in the early 1960s to now in 2016.

A: You are mixed, right?
B: Ah … yeah.
A: So what kind of food do you eat?
B: Grass and lalang … and banoffee pie!
A: Huh! I mean: do you eat Chinese food?
B: No!
A: Why not?
B: Duh! I don’t know! Perhaps I don’t like Chinese food?
A: How can you not like Chinese food when your mum’s Chinese!
B: Why not?
* * *
SELLING BOOKS in Malaysia is a tough business. For most people books are considered non-essential. Bread-and-butter issues take precedence over other matters. My ideal bookshop is one that challenges me intellectually in my reading journey. Not only do I want bookshops to stock the kinds of books I want to read, I also want them to surprise me by introducing me to titles or authors I have not heard of before. I don’t buy books online at all, so the local bookshop is where I buy all my books. However, I think nowadays the role of educating the reading public has been taken over by the internet. After all, there are only so many titles a brick-and-mortar bookshop can stock at any one time.
* * *
HIS SATANIC MAJESTY (HSM) LUCIFER tells the editor that he should edit the manuscript only for grammar and spelling. “Just check the names and spelling, and make sure the grammar is perfect,” he reiterates. HSM goes on to tell the editor to keep his opinions to himself because nobody cares what he thinks about the manuscript. “It doesn’t really matter if the writing is good or bad. Your job is to edit—not to assess or judge the manuscript.” What the heck is he trying to say!
* * *
PUBLISHER: You have offended Big John with all your spot-on edits!
Editor: But his manuscript was full of errors and other inconsistencies!
Publisher: He isn’t happy because you edited too much of his manuscript. I can’t believe you spotted over a thousand errors! I did tell you specifically not to edit it.
Editor: Yes … not bad for a manuscript which is supposed to have been edited thoroughly and ready-to-print. Shouldn’t he be happy that I spotted so many errors in his book? I would if it’s my book.
Publisher: Yes … but, you know, you made him look real bad! And he is awfully hurt. He doesn’t want to work with you any more!
Editor: I did not make him look bad … he really is bad!
Publisher: You shouldn’t be too brutal with the edits.
Editor: Editorial brutality? That’s a new one. I wasn’t brutal at all. All I did what edit the grammar and corrected the spellings and factual errors. No rewriting whatsoever. A walk in the park, really.
Publisher: Where? What park? Whatever it is, he is offended!
Editor: Idiot that I was, I tried to edit the manuscript as best as I possibly could. If it will make him happy, I could easily restore or reinstate all the errors back into the manuscript. It’s no big deal to me. It’s your call; after all, you are the publisher.

Wednesday, August 01, 2018

August 2018 Highlights

NOVELS
1. So Much Life Left Over (Pantheon, 2018) /Louis de Bernières
2. The Verdun Affair (Corsair/Little, Brown UK, 2018) / Nick Dybek
3. Bitter Orange (Fig Tree, 2018) / Claire Fuller
4. Take Nothing With You (Tinder Press, 2018) / Patrick Gale
5. The End (trans. from the Norwegian by Don Bartlett & Martin Aitken) (Harvill Secker, 2018) / Karl Ove Knausgaard
6. An Unwanted Guest (Viking, 2018) / Shari Lapena
7. Now We Shall Be Entirely Free (Sceptre, 2018) / Andrew Miller
8. Flights (trans. from the Polish by Jennifer Croft) (Riverhead Books, 2018) / Olga Tokarczuk
9. Kismet (Little, Brown, 2018) / Luke Tredget

FIRST NOVELS
1. Ohio (Simon & Schuster, 2018) / Stephen Markley

POETRY
1. Playtime (Jonathan Cape, 2018) / Andrew McMillan

NONFICTION
1. Lands of Lost Borders: A Journey on the Silk Road (Day Street Books/HarperCollins, 2018) / Kate Harris

Sunday, July 01, 2018

July 2018 Highlights

NOVELS
1. So Much Life Left Over (Harvill Secker, 2018) /Louis de Bernières
2. The Story of a Marriage (trans. from the Norwegian by Deborah Dawkin) (Hogarth Press, 2018) / Geir Gulliksen
3. The Electric (John Murray, 2018) / Edward Hogan
4. An Unwanted Guest (Bantam Press, 2018) / Shari Lapena
5. My Year of Rest and Relaxation (Penguin Press, 2018) / Ottessa Moshfegh
6. Convenience Store Woman (trans. from the Japanese by Ginny Tapley Takemori) (Portobello Books, 2018) / Sayaka Murata
7. Only to Sleep: A Philip Marlowe Novel (Hogarth Press, 2018) / Lawrence Osborne
8. Eagle & Crane (G.P. Putnam’s Sons, 2018) / Suzanne Rindell
9. The Disappearing (Dutton, 2018) / Lori Roy
10. From a Low and Quiet Sea (Penguin Books USA, 2018) / Donal Ryan

11. The Tempest (trans. from the Swedish by Anna Paterson) (Faber & Faber, 2018) / Steve Sem-Sandberg
12. Clock Dance (Alfred A. Knopf/Chatto & Windus, 2018) / Anne Tyler
13. The Family Tabor (Flatiron Books, 2018) / Cherise Wolas
14. Putney (Bloomsbury Circus, 2018) / Sofka Zinovieff

FIRST NOVELS
1. Fruit of the Drunken Tree (Doubleday, 2018) / Ingrid Rojas Contreras
2. Hold (4th Estate, 2018) / Michael Donkor
3. Everything Under (Jonathan Cape, 2018) / Daisy Johnson
4. The Incendiaries (Riverhead Books, 2018) / R.O. Kwon
5. Find You in the Dark (Atria Books, 2018) / Nathan Ripley
6. What We Were Promised (Little, Brown, 2018) / Lucy Tan

STORIES
1. Elsewhere, Home (Telegram Books, 2018) / Leila Aboulela

NONFICTION
1. Making Oscar Wilde (Oxford University Press, 2018) / Michèle Mendelssohn
2. Calypso (Little, Brown, 2018) / David Sedaris

Friday, June 01, 2018

June 2018 Highlights

NOVELS
1. The Revenge of the Non-Vegetarian (Speaking Tiger, 2018) / Upamanyu Chatterjee
2. Little Green (HarperCollins, 2018) / Tish Cohen
3. The Melody (Nan A. Talese, 2018) / Jim Crace
4. Kudos (Farrar, Straus & Giroux, 2018) / Rachel Cusk
5. The Verdun Affair (Scribner, 2018 / Nick Dybek
6. Old Baggage (Doubleday, 2018) / Lissa Evans
7. The Poison Bed (Michael Joseph, 2018) / Elizabeth Fremantle
8. In the Distance With You (trans. from the Spanish by John Cullen) (Other Press, 2018) / Carla Guelfenbein
9. Southernmost (Algonquin Books, 2018) / Silas House
10. The Mars Room (Jonathan Cape, 2018) / Rachel Kushner

11. History of Violence (trans. from the French by Lorin Stein) (Harvill Secker, 2018) / Édouard Louis
12. A Weekend in New York (Faber & Faber, 2018) / Benjamin Markovits
13. Love and Ruin (Fleet, 2108) / Paula McLain
14. Convenience Store Woman (trans. from the Japanese by Ginny Tapley Takemori) (Grove Press, 2018) / Sayaka Murata
15. Mirror, Shoulder, Signal (trans. from the Danish by Misha Hoekstra) (Graywolf Press, 2018) / Dorthe Nors
16. Lying in Wait (Gallery/Scout Press, 2018) / Liz Nugent
17. Warlight (Jonathan Cape, 2018) / Michael Ondaatje
18. A View of the Empire at Sunset (Vintage, 2018) / Caryl Phillips
19. Visible Empire (Houghton Mifflin Harcourt, 2018) / Hannah Pittard
20. All the Lives We Never Lived (MacLehose Press, 2018) / Anuradha Roy

21. The Removes (Sarah Crichton Books/Farrar, Straus & Giroux, 2018) / Tatjana Soli
22. Never Anyone But You (Corsair/Other Press, 2018) / Rupert Thomson
23. The Secrets Between Us (Harper, 2018) / Thrity Umrigar
24. The Death of Mrs Westaway (Harvill Secker, 2018) / Ruth Ware
25. The Shepherd’s Hut (Picador, 2018) / Tim Winton
25. Upstate (Farrar, Straus & Giroux, 2018) / James Wood

FIRST NOVELS
1. Daphne (Liveright, 2018) / Will Boast
2. Social Creature (Doubleday/Raven Books, 2018) / Tara Isabella Burton
3. Small Country (trans. from the French by Sarah Ardizzone) (Hogarth, 2018) / Gaël Faye
4. The Concubine’s Child (Head of Zeus, 2018) / Carol Jones
5. Crudo (Picador, 2018) / Olivia Laing
6. Bearskin (Ecco, 2018) / James A. McLaughlin
7. A Place for Us (SJP/Hogarth, 2018) / Fatima Farheen Mizra
8. There There (Alfred A. Knopf, 2018) / Tommy Orange
9. Find You in the Dark (Atria Books, 2018) / Nathan Ripley

STORIES
1. Perfect Conditions (Curbside Splendor, 2018) / Vanessa Blakeslee
2. The Collected Stories of Machado de Assis (trans. from the Portuguese by Margaret Jull Costa & Robin Patterson) (Liveright, 2018) / Joaquim Maria Machado de Assis
3. Some Trick: Thirteen Stories (W.W. Norton, 2018) / Helen DeWitt
4. Girl, Balancing and Other Stories (Hutchinson, 2018) / Helen Dunmore
5. Florida (Riverhead/William Heinemann, 2018) / Lauren Groff
6. Half Gods (Farrar, Straus & Giroux, 2018) / Akil Kumarasamy
7. Fight No More (W.W. Norton, 2018) / Lydia Millet
8. Sweet and Low (Blue Rider Press, 2018) / Nick White

POETRY
1. American Sonnets for My Past and Future Assassin (Penguin Books, 2018) / Terrance Hayes

NONFICTION
1. The Immeasurable World: Journeys in Desert Places (Faber & Faber, 2018) / William Atkins
2. The Rise and Fall of the British Nation: A Twentieth-Century History (Allen Lane, 2018) / David Edgerton
3. Returning to Reims (trans. from the French by Michael Lucey) (Allen Lane, 2018) / Didier Eribon
4. City of Devils: A Shanghai Noir (Riverrun, 2018) / Paul French
5. I Will Be Complete: A Memoir (Alfred A. Knopf/Sceptre, 2018) / Glen David Gold
6. Reporter: A Memoir (Alfred A. Knopf/Allen Lane, 2018) / Seymour M. Hersh
7. The World in Thirty-Eight Chapters or Dr Johnson’s Guide to Life (Macmillan, 2018) / Henry Hitchings
8. Broken Lives: How Ordinary Germans Experienced the Twentieth Century (Princeton University Press, 2018) / Konrad H. Jarausch
9. The Stopping Places: A Journey Through Gypsy Britain (Chatto & Windus, 2018) / Damian Le Bas
10. How Democracy Ends (Basic Books, 2018) / David Runciman

11. In Search of Mary Shelley: The Girl Who Wrote Frankenstein (Pegasus, 2018) / Fiona Sampson
12. The Crossway (Picador, 2018) / Guy Stagg

Tuesday, May 01, 2018

May 2018 Highlights

NOVELS
1. That Kind of Mother (Ecco Press, 2018) / Rumaan Alam
2. Tomb of the Unknown Racist (Counterpoint Press, 2018) / Blanche McCrary Boyd
3. Milkman (Faber & Faber, 2018) / Anna Burns
4. Some Rise by Sin (Henry Holt, 2018) / Philip Caputo
5. Slave Old Man (trans. from the French and Creole by Linda Coverdale) (The New Press, 2018)  / Patrick Chamoiseau
6. The Kites (trans. from the French by Miranda Richmond Mouillot) (Penguin Classics, 2018) / Romain Gary
7. The Butcher’s Daughter (Gerald Duckworth, 2018) / Victoria Glendinning
8. Nightfall Berlin (Michael Joseph, 2018) / Jack Grimwood
9. Story of a Marriage (trans. from the Norwegian by Deborah Dawkin) (Hogarth Press, 2018) / Geir Gulliksen
10. Our Kind of Cruelty (Century/MCD/Farrar, Straus & Giroux, 2018) / Araminta Hall

11. Paper Ghosts (Ballantine Books, 2018) / Julia Heaberlin
12. Whistle in the Dark (Viking, 2018) / Emma Healey
13. Motherhood (Henry Holt, 2018) / Sheila Heti
14. The Wisdom of Sally Red Shoes (Two Roads, 2018) / Ruth Hogan
15. Mr Flood’s Last Resort (Atria Books, 2018) / Jess Kidd
16. The Mars Room (Scribner, 2018) / Rachel Kushner
17. My Ex-Life (Flatiron Books, 2018) / Stephen McCauley
18. Love and Ruin (Ballantine Books, 2018) / Paula McLain
19. Bricks and Mortar (trans. from the German by Katy Derbyshire) (Fitzcarraldo Editions, 2018) / Clemens Meyer
20. Missing (Salt, 2018) / Alison Moore

21. Warlight (Alfred A. Knopf, 2018) / Michael Ondaatje
22. The Nine-Chambered Heart (The Borough Press, 2018) / Janice Pariat
23. The Dante Chamber (Penguin Press, 2018) / Matthew Pearl
24. A View of the Empire at Sunset (Farrar, Straus & Giroux, 2018) / Caryl Phillips
25. A Shout in the Ruins (Little, Brown/Sceptre, 2018) / Kevin Powers
26. All the Lives We Never Lived (MacLehose Press, 2018) / Anuradha Roy
27. Mr Peacock’s Possessions (Zaffre, 2018) / Lydia Syson
28. Brixton Beach (Aardvark Bureau/Gallic Books, 2018) / Roma Tearne
29. Kismet (Faber & Faber, 2018) / Luke Tredget
30. The Shape of the Ruins (trans. from the Spanish by Anne McLean) (MacLehose Press, 2018) / Juan Gabriel Vásquez

31. The Death of Mrs Westaway (Gallery/Scout Press, 2018) / Ruth Ware
32. Six Tudor Queens: Jane Seymour: The Haunted Queen (Headline Review, 2018) / Alison Weir
33. The Paper Lovers (Picador, 2018) / Gerard Woodward

FIRST NOVELS
1. The High Season (Random House, 2018) / Judy Blundell
2. America Is Not the Heart (Atlantic Books, 2018) / Elaine Castillo
3. The Ensemble (Riverhead, 2018) / Aja Gabel
4. The Honey Farm (Liveright, 2018) / Harriet Alida Lye
5. The Water Cure (Hamish Hamilton, 2018) / Sophie Mackintosh
6. The Dead House (Arcade Publishing/Skyhorse Publishing, 2018) / Billy O’Callaghan
7. The House of Half Moon Street (Raven Books, 2018) / Alex Reeve
8. The Valley at the Centre of the World (Canongate Books, 2018) / Malachy Tallack

STORIES
1. Perfect Conditions (Curbside Splendor, 2018) / Vanessa Blakeslee
2. Some Trick: Thirteen Stories (New Directions, 2018) / Helen DeWitt
3. Life Over Two Beers and Other Stories (Penguin Books India, 2018) / Sanjeev Sanyal
4. You Think It, I’ll Say It (Doubleday, 2018) / Curtis Sittenfeld
5. Last Stories (Viking, 2018) / William Trevor
6. American Histories (Canongate, 2018) / John Edgar Wideman

POETRY
1. Girls Are Coming Out of the Woods (Bloodaxe Books, 2018) / Tishani Doshi
2. Now We Can Talk Openly About Men (Carcanet Press, 2018) / Martina Evans
3. Enter, Fleeing (Faber & Faber, 2018) / Mark Ford
4. Scenes from a Childhood (trans. from the Norwegian by Damion Searls) (Fitzcarraldo Editions, 2018) / Jon Fosse
5. After Morning Rain (Tiger Bark Press, 2018) / Sam Hamill

NONFICTION
1. Natives: Race and Class in the Ruins of Empire (Two Roads, 2018) / Akala
2. Arnhem: The Battle for the Bridges, 1944 (Viking, 2018) / Antony Beevor
3. This Great Stage of Fools: An Anthology of Uncollected Writings (ed. Timothy Harris) (Bright Wave Media, 2018) / Alan Booth
4. Stealing with the Eyes: Imaginings and Incantations in Indonesia (The Armchair Traveller at the Bookhaus, 2018) / Will Buckingham
5. The Ink Trade: Selected Journalism, 1961-1993 (ed. Will Carr) (Carcanet Press, 2018) / Anthony Burgess
6. The Blind Spot: An Essay on the Novel (trans. from the Spanish by Anne McLean) (MacLehose Press, 2018) / Javier Cercas
7. Pops: Fatherhood in Pieces (Harper/4th Estate, 2018) / Michael Chabon
8. Behold, America: A History of America First and the American Dream (Bloomsbury Publishing, 2018) / Sarah Churchwell
9. The King and the Catholics: The Fight for Rights 1829 (Weidenfeld & Nicolson, 2018) / Antonia Fraser
10. Tyrant: Shakespeare on Power (W.W. Norton/Bodley Head, 2018) / Stephen Greenblatt

11. The Siege of Acre, 1189-1191: Saladin, Richard the Lionheart, and the Battle That Decided the Third Crusade (Yale University Press, 2018) / John D. Hosler
12. Barracoon: The Story of the Last Black Cargo (ed. Deborah G. Plant) (HQ, 2018) / Zora Neale Hurston
13. Spring (trans. from the Norwegian by Ingvild Burkey) (illustrated by Anna Bjerger) (Penguin Press, 2018) / Karl Ove Knausgaard
14. Lives of the Eminent Philosophers (ed. James Miller) (trans. from the Greek by Pamela Mensch) (Oxford University Press, 2018) / Diogenes Laertius
15. Making Oscar Wilde (Oxford University Press, 2018) / Michèle Mendelssohn
16. Imperial Twilight: The Opium War and the End of China’s Last Golden Age (Alfred A. Knopf, 2018) 20218) / Stephen A. Platt
17. Sympathy for the Traitor: A Translation Manifesto (The MIT Press, 2018) / Mark Polizzotti
18. Mothers: An Essay on Love and Cruelty (Farrar, Straus & Giroux, 2018) / Jacqueline Rose
19. Know Thyself: Western Identity from Classical Greece to the Renaissance (Doubleday, 2018) / Ingrid Rossellini
20. How Democracy Ends (Profile Books, 2018) / David Runciman

21. The Destiny Thief: Essays on Writing, Writers and Life (Alfred A. Knopf, 2018) / Richard Russo
22. Calypso (Little, Brown, 2018) / David Sedaris
23. Figures in a Landscape: People & Places (Houghton Mifflin Harcourt/Hamish Hamilton, 2018) / Paul Theroux
24. Notes from the Cévennes: Half a Lifetime in Provincial France (Bloomsbury Continuum, 2018) / Adam Thorpe
25. Wilding: The Return of Nature to a British Farm (Picador, 2018) / Isabella Tree

Sunday, April 01, 2018

April 2018 Highlights

NOVELS
1. Census (Granta Books, 2018) / Jesse Ball
2. The Only Story (Alfred A. Knopf, 2018) / Julian Barnes
3. Eventide (trans. from the Swedish by Marlaine Delargy) (Other Press, 2018) / Therese Bohman
4. Book of Colours (HarperCollins Australia, 2018) / Robyn Cadwallader
5. Ordinary People (Chatto & Windus, 2018) / Diana Evans
6. How to Rule the World (Corsair, 2018) / Tibor Fischer
7. First Person (Alfred A. Knopf, 2018) / Richard Flanagan
8. Varina (Ecco, 2018) / Charles Frazier
9. Sugar Money (Arcade Publishing, 2018) / Jane Harris
10. Paper Ghosts (Michael Joseph, 2018) / Julia Heaberlin
11. The Death of Noah Glass (Text Publishing, 2018) / Gail Jones

12. Greeks Bearing Gifts (Quercus, 2018) / Philip Kerr
13. The Last Watchman of Old Cairo (Spiegel & Grau, 2018) / Michael David Lukas
14. Women in Sunlight (Crown, 2018) / Frances Mayes
15. Circe (Bloomsbury Publishing/Little, Brown, 2018) / Madeline Miller
16. Gateway to the Moon (Nan A. Talese, 2018) / Mary Morris
17. Border Districts (Farrar, Straus & Giroux, 2018) / Gerald Murnane
18. Macbeth (trans. from the Norwegian by Don Bartlett) (Hogarth, 2018) / Jo Nesbø
19. Skin Deep (Penguin Ireland, 2018) / Liz Nugent
20. The Overstory (W.W. Norton/William Heinemann, 2018) / Richard Powers

21. Mary Cyr (Doubleday Canada, 2018) / David Adams Richards
22. Painter to the King (Granta Books, 2018) / Amy Sackville
23. The One Who Wrote Destiny (Atlantic Books, 2018) / Nikesh Shukla
24. The Emissary (trans. from the Japanese Margaret Mitsutani) (New Directions, 2018) / Yoko Tawada
25. The Fire Court (HarperCollins, 2018) / Andrew Taylor
26. Territory of Light (trans. from the Japanese by Geraldine Harcourt) (Penguin Classics, 2018) / Yuko Tsushima
27. The Librarian (Viking, 2018) / Salley Vickers

FIRST NOVELS
1. America Is Not the Heart (Viking, 2018) / Elaine Castillo
2. West (Granta Books/Scriber, 2018) / Carys Davies
3. In Our Mad and Furious City (Tinder Press/Headline, 2018) / Guy Gunaratne
4. Brother in Ice (trans. from the Catalan by Mara Faye Lethem) (And Other Stories, 2018) / Alicia Kopf
5. The Lido (Orion, 2018) / Libby Page
6. Dear Mrs Bird (Picador, 2018) / A.J. Pearce
7. Things Bright and Beautiful (Fig Tree, 2018) / Anbara Salam

STORIES
1. Though I Get Home (The Feminist Press, 2018) / Y.Z. Chin
2. Catholic Boy (Doire Press, 2018) / Rosemary Jenkinson
3. Stream System: The Collected Short Fiction of Gerald Murnane (Farrar, Straus & Giroux, 2018) / Gerald Murnane
4. Property (The Borough Press/Harper, 2018) / Lionel Shriver
5. You Think It, I’ll Say It (Random House, 2018) / Curtis Sittenfeld
6. Venus as a Bear (Carcanet Press, 2018) / Vahni Capildeo
7. The Sing of the Shore (4th Estate, 2018) / Lucy Wood

POETRY
1. Girls Are Coming Out of the Woods (Copper Canyon Press, 2018) / Tishani Doshi
2. The Radio (Wake Forest University Press, 2018) / Leontia Flynn
3. A Distant Center (Copper Canyon Press, 2018) / Ha Jin
4. Wade in the Water (Graywolf Press/Penguin Books, 2018) / Tracy K. Smith
5. My Life as a Painter (Bloodaxe Books, 2018) / Matthew Sweeney
6. Brown (Alfred A. Knopf, 2018) / Kevin Young

NONFICTION
1. Napoleon: The Spirit of the Age: 1805-1810 (Pegasus Books, 2018) / Michael Broers
2. How to Write an Autobiographical Novel: Essays (Mariner Books, 2018) / Alexander Chee
3. Our Place: Can We Save Britain’s Wildlife Before It Is Too Late? (Jonathan Cape, 2018) / Mark Cocker
4. Look Alive Out There: Essays (MCD/Farrar, Straus & Giroux, 2018) / Sloane Crosley
5. Sharp: The Women Who Made an Art of Having an Opinion (Grove Press, 2018) / Michelle Dean
6. Radical Sacrifice (Yale University Press, 2018) / Terry Eagleton
7. Modernists & Mavericks: Bacon, Freud, Hockney and the London Painters (Thames & Hudson, 2018) / Martin Gayford
8. Making the Arab World: Nasser, Qutb, and the Clash That Shaped the Middle East (Princeton University Press, 2018) / Fawaz A. Gerges
9. Seven Types of Atheism (Allen Lane, 2018) / John Gray
10. The Art of the Wasted Day (Viking, 2018) / Patricia Hampl

11. The Death of Democracy: Hitler’s Rise to Power and the Downfall of the Weimar Republic (Henry Holt, 2018) / Benjamin Carter Hett
12. The Recovering: Intoxication and Its Aftermath (Little, Brown, 2018) / Leslie Jamison
13. Follow the Old Road: Discover the Ireland of Yesteryear (photography by Richard Mills) (The O’Brien Press, 2018) / Jo Kerrigan
14. The Feather Thief: Beauty, Obsession, and the Natural History Heist of the Century (Viking/Hutchinson, 2018) / Kirk Wallace Johnson
15. Beneath a Ruthless Sun: A True Story of Violence, Race, and Justice Lost and Found (Riverhead Books, 2018) / Gilbert King
16. The Cost of Living (Hamish Hamilton, 2018) / Deborah Levy
17. The Plant Messiah: Adventures in Search of the World’s Rarest Species (Doubleday, 2018) / Carlos Magdalena
18. See What Can Be Done: Essays, Criticism, and Commentary (Alfred A. Knopf, 2018) / Lorrie Moore
19. Prime Movers (Simon & Schuster UK, 2018) / Ferdinand Mount
20. The Displaced: Refugee Writers on Refugee Lives (Abrams Press, 2018) / Viet Thanh Nguyen (ed.)

21. The Darkening Age: The Christian Destruction of the Classical World (Houghton Mifflin Harcourt, 2018) / Catherine Nixey
22. France: A History: From Gaul to de Gaulle (John Murray, 2018) / John Julius Norwich
23. The Moralist: Woodrow Wilson and the World He Made (Simon & Schuster, 2018) / Patricia O’Toole
24. Dear Zealots: Letters from a Divided Land (Chatto & Windus, 2018) / Amos Oz
25. Air Traffic: A Memoir on Ambition and Manhood in America (Alfred A. Knopf, 2018) / Gregory Pardlo
26. Sympathy for the Traitor: A Translation Manifesto (The MIT Press, 2018) / Mark Polizzotti
27. Denmark Vesey’s Garden: Slavery and Memory in the Cradle of the Confederacy (The New Press, 2018) / Ethan J. Kytle & Blain Roberts
28. Mothers: An Essay on Love and Cruelty (Faber & Faber, 2018) / Jacqueline Rose
29. The Order of Time (Allen Lane, 2018) / Carlo Rovelli
30. The Green Hollow (Faber & Faber, 2018) / Owen Sheers

31. The Road to Unfreedom: Russia, Europe, America (Tim Duggan Books/Crown Publishing, 2018) / Timothy Snyder
32. Rosie: Scenes from a Vanished Life (Chatto & Windus, 2018) / Rose Tremain
33. Among the Living and the Dead: A Tale of Exile and Homecoming (One, 2018) / Inara Verzemnieks
34. God Save Texas: A Journey into the Soul of the Lone Star State (Allen Lane/Alfred A. Knopf, 2018) / Lawrence Wright