Jo Lendle talking "We are fewer books ! Make "
less books, but more close to readers: These resolutions are the DuMont get going. As Jo Lendle wants to replace quantity with quality, the new publishing director said in an interview with FAZ
Relentless subjectivity: Jo Lendle gives his readers only what he wants
26th May 2010 Thirteen years ago, the DuMont publishing house has started his literary program. Since that time certain Jo Lendle with the literary profile of the Cologne publishing, most recently as program manager for German-language literature. Now the Lendle born in 1968, the successfully self as an author is - "In martens" (1999), "The Cosmonaut" (2008), "My last attempt to save the world" (2009) -, the editorial board for the Literary and non-fiction book publishing program of the DuMont taken. In April
is the former editorial director of book publisher DuMont, Lutz Wolff (66), resigned at his own request to the publisher. That was surprising when he was only a year earlier - after his retirement as an editor at the Deutscher Taschenbuch Verlag - had come to DuMont, and had big plans with the publisher. Apparently there were differences regarding the direction of the program. divorced in peace one is in any case not even if it is expressed only behind the scenes. has to go from here now with the literature and nonfiction by DuMont, what to do in terms of electronic reading devices and repositioned as the ascent to the publishing director's own perception changes, Jo Lendle told in the interview.
you know the publishing house that you are the head, as for many years editor. How big is the change? Could afford the reader to be partisan?
The editor must be even partisan, he is a minister who is fighting for his portfolio. On the other hand, we have at DuMont, the boundaries between the editorial always left quite open, as is the Home Secretary no less proud translated to a novel, and the Foreign Minister also attends once a German author.
Have you in your new role, a role model? One of the great old publisher? Siegfried Unseld
I met for the first time as an intern on the men's room of the Suhrkamp publishing house. A comparatively unauratischer moment. Yet he is undoubtedly one of the publishers, who deserve admiration for their author list. The image of the publisher shape the monarch today - even if some grand gesture to me now no longer appears necessary. In the end, everyone finds themselves his style. I have read some correspondence between the large publishing cartridge, which we consider now other, more understanding eyes.
And what about Suhrkamp today? See you in the move to Berlin in the mid-awaited return to the center of the intelligentsia? In
Suhrkamp appears to be a significant part of the important contemporary literature. That's what counts. It would be presumptuous to expect that the only way a publisher for generations to monopolize the literary conversation.
live in Berlin, too many of the DuMont-authors. Then maybe some other major cities, but few in Cologne. The book publishing remains bound to his headquarters? There should be
DuMont authors who live outside of Berlin? In general writer in other cities? I had heard of it. Manuscript submissions, we now no longer arrange alphabetically, but according to the Berlin districts, because hardly anything comes from elsewhere. One advantage of Berlin, the author visits straightforward: simply click on the Kollwitzstraße sit in the sun, and before you've finished your drink, all of which are already passed. To read one quite like back then returns to the Rhine.
The Royal Question: Will you give the audience what it wants or what you think is right?
Relentless subjectivity, without people having the same name has a sense of mission. But it has noted: only those who loved our books were where we ourselves caught fire had. Whenever we squinted again with a book on an imagined audience, we are still sitting at the end of it.
your short-term predecessor, announced at his inauguration, a new paperback series. They also have a new project in mind or a change of course?
If I'd have to invent anything new, I would have worked poorly in recent years. What is already certain: We will make fewer books, and we will consider each individual as it refers to his readers. These are the two most noble tasks of publishing: Selection and monitoring. As for the programmatic fixes: Recent books were also purchased, which set quite pure on entertaining. What to expect here no one understand them more. Each book must have special, individual interest, or we do not have to do it. In nonfiction, we will get less life memories, which may lower the average age in the publishing lie. Ultimately, however, general statements of intent to help in the literature any case any further as you can see the handwriting on each book.
against the routine so ...
The beauty of the art anyway: Routine sets. I have great sympathy for the name of the long-standing Mexican ruling party: Institutionalized Revolution. Who in the book business is not semi-annually invents loses. That makes things unpredictable, but exciting. Launched a few weeks ago Paperback gives us at least a base set of predictability. Paperback
The idea you carry on? Will seem new to and after the backlist in paperback?
Our Paperback we will hold the individual title actually increased in the house. There are also first editions, and individual licenses purchased. This is an exciting field and invites to all sorts of contraptions - appears in the fall about Haruki Murakami's "sleep", the midnight blue and silver illustrations are so beautiful that we even the paperback through two-color print.
separation in the DuMont the fields of literature / non-fiction and art back stronger?
The decision to to create art program in the hands of a publisher's own, is certainly due to the insight that illustrated books requires a completely different way of thinking, of finding, calculating, and producing books to its sale. In recent years, the publisher came from the literature that has helped the art form not always.
will decrease the proportion of German literature at DuMont, stay the same or increase compared with the translations?
Ah, the German-speaking authors are already particularly dear to me, not only because I was from the beginning, the primary responsibility for these books. They are unique relationships, these authors characterize the publisher very much. In pure numbers but the relationship with the translations will remain relatively stable - even when the installation of translated title in the wake of the current law presents a substantial risk.
If the contemporary German literature you think should be sponsored by more publishers in the German speaking? Finally it comes to their own offspring.
protection to sound like battery hens. Surely every sports club has also a responsibility for my e-youth, but that should not sink the claims. The discovery of a yet unpublished manuscript certainly brings the most intense feeling of happiness that our industry has to give. Since we started here twelve years ago with the literature , we attach special importance to German-language debut - whether it was John of duffel or Rammstedt Tilman, published their first book here. Such discoveries I promise to continue.
What is in this context of the attempt by the two German literary schools in Leipzig and Hildesheim keep? A certain conformism is to yes, a description of intensity without too deep foundation.
is really covered by any empirical research, and conformist in the first place but the institute itself Bashing who reads the books of the graduates actually asks itself whether there was not simply a general trend in recent years mismatched. What do authors like Stanišic, Pletzinger, Brodowsky, Klupp, stapler, Rossbach, Randt to do with conformism? I just came back from a seminar at the Swiss Institute of Literature, who wrote poetry and short prose. A squint to the market at least I know not there. And the desire for war coverage, I can not hear anymore.
How will you handle the E-Book/Ipad-Book? DuMont has so far yes, like many medium-sized publishers fell not just on this market segment.
We do now. We have always had a special pleasure in making beautiful books, and will continue to do so. But there is nothing to read both for practical reasons offered parallel ways. On the way to Switzerland, I have read half a dozen manuscripts, because I would have no e-book hard to bear had.
What are the conditions? Same price as the print edition? Do not be afraid of sharing?
The pricing for e-books deals to publishers worldwide. At the moment we assume that this country settles a download price of ten to twenty percent below the price of the book. And of course we try to repeat as few mistakes of the music industry. The music industry but smile at this suggestion.
Which is easier, it was difficult to run a publishing house that belongs to a large Medien-/Zeitungskonzern?
Since the founding of the book publishing more than fifty years, the parent company allows time and again to make extraordinary books that made a difference. This is a back cover, which is very helpful. Furthermore, we use also increases the daily benefit, the non-fiction published books that were written by journalists of the newspaper group, we do joint events and more. The feature itself is independent enough not to let it come to confusion.
Some time ago the parent company of the publishing house also used some money to the poor. Is it also currently required? How strong the economic crisis is felt in the publishing? Is there anything of "wetlands" cushion the hit Charlotte Roches, left?
The book industry is feeling the economic crisis - although they are by hardly any other medium to stimulate profitable and so cheap talk can be like a book. Anyway, it's even in times where one is better off with individual success, know a good feeling that someone behind him.
you have placed in the FAZ-experts ranking the second-most lecturer in Germany. When choosing the best publisher there is no serious competition, right? In silence I
with Wallace Stevens: "Beauty is momentary in the mind" for a real publisher Actor miss you already have the protective sleeves.
Interview by Oliver boys 26th May 2010 Thirteen years ago, the DuMont publishing house has started his literary program. Since that time certain Jo Lendle with the literary profile of the Cologne publishing, most recently as program manager for German-language literature. Now the Lendle born in 1968, the successfully self as an author is - "In martens" (1999), "The Cosmonaut" (2008), "My last attempt to save the world" (2009) -, the editorial board for the Literary and non-fiction book publishing program of the DuMont taken. In April
is the former editorial director of book publisher DuMont, Lutz Wolff (66), resigned at his own request to the publisher. That was surprising when he was only a year earlier - after his retirement as an editor at the Deutscher Taschenbuch Verlag - had come to DuMont, and had big plans with the publisher. Apparently there were differences regarding the direction of the program. divorced in peace one is in any case not even if it is expressed only behind the scenes. has to go from here now with the literature and nonfiction by DuMont, what to do in terms of electronic reading devices and repositioned as the ascent to the publishing director's own perception changes, Jo Lendle told in the interview.
you know the publishing house that you are the head, as for many years editor. How big is the change? Could afford the reader to be partisan?
The editor must be even partisan, he is a minister who is fighting for his portfolio. On the other hand, we have at DuMont, the boundaries between the editorial always left quite open, as is the Home Secretary no less proud translated to a novel, and the Foreign Minister also attends once a German author.
Have you in your new role, a role model? One of the great old publisher? Siegfried Unseld
I met for the first time as an intern on the men's room of the Suhrkamp publishing house. A comparatively unauratischer moment. Yet he is undoubtedly one of the publishers, who deserve admiration for their author list. The image of the publisher shape the monarch today - even if some grand gesture to me now no longer appears necessary. In the end, everyone finds themselves his style. I have read some correspondence between the large publishing cartridge, which we consider now other, more understanding eyes.
And what about Suhrkamp today? See you in the move to Berlin in the mid-awaited return to the center of the intelligentsia? In
Suhrkamp appears to be a significant part of the important contemporary literature. That's what counts. It would be presumptuous to expect that the only way a publisher for generations to monopolize the literary conversation.
live in Berlin, too many of the DuMont-authors. Then maybe some other major cities, but few in Cologne. The book publishing remains bound to his headquarters? There should be
DuMont authors who live outside of Berlin? In general writer in other cities? I had heard of it. Manuscript submissions, we now no longer arrange alphabetically, but according to the Berlin districts, because hardly anything comes from elsewhere. One advantage of Berlin, the author visits straightforward: simply click on the Kollwitzstraße sit in the sun, and before you've finished your drink, all of which are already passed. To read one quite like back then returns to the Rhine.
The Royal Question: Will you give the audience what it wants or what you think is right?
Relentless subjectivity, without people having the same name has a sense of mission. But it has noted: only those who loved our books were where we ourselves caught fire had. Whenever we squinted again with a book on an imagined audience, we are still sitting at the end of it.
your short-term predecessor, announced at his inauguration, a new paperback series. They also have a new project in mind or a change of course?
If I'd have to invent anything new, I would have worked poorly in recent years. What is already certain: We will make fewer books, and we will consider each individual as it refers to his readers. These are the two most noble tasks of publishing: Selection and monitoring. As for the programmatic fixes: Recent books were also purchased, which set quite pure on entertaining. What to expect here no one understand them more. Each book must have special, individual interest, or we do not have to do it. In nonfiction, we will get less life memories, which may lower the average age in the publishing lie. Ultimately, however, general statements of intent to help in the literature any case any further as you can see the handwriting on each book.
against the routine so ...
The beauty of the art anyway: Routine sets. I have great sympathy for the name of the long-standing Mexican ruling party: Institutionalized Revolution. Who in the book business is not semi-annually invents loses. That makes things unpredictable, but exciting. Launched a few weeks ago Paperback gives us at least a base set of predictability. Paperback
The idea you carry on? Will seem new to and after the backlist in paperback?
Our Paperback we will hold the individual title actually increased in the house. There are also first editions, and individual licenses purchased. This is an exciting field and invites to all sorts of contraptions - appears in the fall about Haruki Murakami's "sleep", the midnight blue and silver illustrations are so beautiful that we even the paperback through two-color print.
separation in the DuMont the fields of literature / non-fiction and art back stronger?
The decision to to create art program in the hands of a publisher's own, is certainly due to the insight that illustrated books requires a completely different way of thinking, of finding, calculating, and producing books to its sale. In recent years, the publisher came from the literature that has helped the art form not always.
will decrease the proportion of German literature at DuMont, stay the same or increase compared with the translations?
Ah, the German-speaking authors are already particularly dear to me, not only because I was from the beginning, the primary responsibility for these books. They are unique relationships, these authors characterize the publisher very much. In pure numbers but the relationship with the translations will remain relatively stable - even when the installation of translated title in the wake of the current law presents a substantial risk.
If the contemporary German literature you think should be sponsored by more publishers in the German speaking? Finally it comes to their own offspring.
protection to sound like battery hens. Surely every sports club has also a responsibility for my e-youth, but that should not sink the claims. The discovery of a yet unpublished manuscript certainly brings the most intense feeling of happiness that our industry has to give. Since we started here twelve years ago with the literature , we attach special importance to German-language debut - whether it was John of duffel or Rammstedt Tilman, published their first book here. Such discoveries I promise to continue.
What is in this context of the attempt by the two German literary schools in Leipzig and Hildesheim keep? A certain conformism is to yes, a description of intensity without too deep foundation.
is really covered by any empirical research, and conformist in the first place but the institute itself Bashing who reads the books of the graduates actually asks itself whether there was not simply a general trend in recent years mismatched. What do authors like Stanišic, Pletzinger, Brodowsky, Klupp, stapler, Rossbach, Randt to do with conformism? I just came back from a seminar at the Swiss Institute of Literature, who wrote poetry and short prose. A squint to the market at least I know not there. And the desire for war coverage, I can not hear anymore.
How will you handle the E-Book/Ipad-Book? DuMont has so far yes, like many medium-sized publishers fell not just on this market segment.
We do now. We have always had a special pleasure in making beautiful books, and will continue to do so. But there is nothing to read both for practical reasons offered parallel ways. On the way to Switzerland, I have read half a dozen manuscripts, because I would have no e-book hard to bear had.
What are the conditions? Same price as the print edition? Do not be afraid of sharing?
The pricing for e-books deals to publishers worldwide. At the moment we assume that this country settles a download price of ten to twenty percent below the price of the book. And of course we try to repeat as few mistakes of the music industry. The music industry but smile at this suggestion.
Which is easier, it was difficult to run a publishing house that belongs to a large Medien-/Zeitungskonzern?
Since the founding of the book publishing more than fifty years, the parent company allows time and again to make extraordinary books that made a difference. This is a back cover, which is very helpful. Furthermore, we use also increases the daily benefit, the non-fiction published books that were written by journalists of the newspaper group, we do joint events and more. The feature itself is independent enough not to let it come to confusion.
Some time ago the parent company of the publishing house also used some money to the poor. Is it also currently required? How strong the economic crisis is felt in the publishing? Is there anything of "wetlands" cushion the hit Charlotte Roches, left?
The book industry is feeling the economic crisis - although they are by hardly any other medium to stimulate profitable and so cheap talk can be like a book. Anyway, it's even in times where one is better off with individual success, know a good feeling that someone behind him.
you have placed in the FAZ-experts ranking the second-most lecturer in Germany. When choosing the best publisher there is no serious competition, right? In silence I
with Wallace Stevens: "Beauty is momentary in the mind" for a real publisher Actor miss you already have the protective sleeves.
Pictures: Frank Schinski
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