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ABSTRACT
This article explores the dynamics and tensions between literature and publishing through the lens of a Lagos-based publishing company, Parrésia, that began publishing in 2012, considering the ways in which its outputs have been shaped in particular ways by its position within the Nigerian publishing landscape. In doing so, it asks questions such as: How is the business end of the book balanced with the literary and how does this affect the sustainability of publishing ventures such as Parrésia? How has the digital revolution helped to reinvent the physical book form? How are these interventions foregrounding African voices and identities in a global world? This paper argues that despite the challenges faced by Africa-based publishers — the disconnected value chain in the book industry, strained economies, unfriendly business environment and the dominance of western canonisation of literary works — companies like Parrésia through innovation and sheer determination can still eke out a stake in the competitive and ‘not so profitable’ literary publishing sector. It highlights in particular Parrésia’s responsive publishing strategy that works against challenges faced by the Nigerian publishing industry, and embraces opportunities presented by the Nigerian literary space.
Notes
1 Since 2015 when Shercliff’s article was published, many more literary activities and societies have joined those mentioned in this article, including Minna Book and Arts Festival (MinnaBaf), Kaduna Book and Arts Festival (KABAFest). Poets in Nigeria (PIN) is spreading rapidly across cities and institutions of higher learning in Nigeria.
2 He is the author of City of Memories (Parrésia 2012) and The Anguish and Vigilance of Things (KonyaShamsrumi 2017).
3 When publishing under the Origami imprint Parrésia does not compromise its quality standards, the major difference being the authors having greater control over the publishing process and marketing of their books (Omoluabi-Ogosi Citation2020). It has a five-step process of (1) manuscript submission, (2) proof reading, (3) layout and design, (4) production, and (5) handing over of the book to the author. However, there is room for the author to collaborate with Parrésia to market the work through its established distribution and marketing channels.
4 Ọmọde Mẹ́ta has published titles including Princess Izuagba’s House of Ezyron and Basirat Razaq-Shuaib’s I Am Not Naughty, I Really Mean It!
5 See www.parresia.com.ng. Publishing decisions usually take between six weeks and six months.
6 Over 100 titles have now been published through the Origami imprint. Notable titles include Chido Onumah’s We Are All Biafrans, Reward Nisirim’s Fresh Air and Other Stories, Maryam Bobi’s Bongel and Salim Hussaini’s Bionic Evolution. This imprint has also published poetry collections including Laura M. Kaminski’s Dance Here, Saddiq Dzukogi’s Sunbeams and Shadows and Kukogho Iruesiri Samson’s What Can Word Do?
7 In early 2013 through the window of a sandcastle was shortlisted for the NLNG prize for poetry in Nigeria. It also won the 2013 Association of Nigeria Authors prize for poetry. nnadi writes in lower case and without punctuation.
8 Although some contractual disagreements may be part of the reason for parting ways, both parties were civil about this. See “Abubakar Adam Ibrahim, Award Winning Author jumps ship from Parrésia publishers to Cassava Republic Press.” www.pulse.ng/lifestyle/food-travel-arts-culture. 20-9-2018. Accessed 21/11/2018.
9 Chukwuemeka Ike, “Book Publishing in Nigeria.” https://eprints.convenantuniversity.edu.ng. Accessed 6/7/2018.
10 Litigations are very expensive and time consuming. It is therefore not economical to pursue that line. Unscrupulous marketers seem to understand this dilemma and use it to their advantage.
11 Adenekan (Citation2014) has x-rayed the role of the digital revolution in African literature, arguing that perhaps the future of African literature is online and for the ways in which a new generation of writers are using online platforms to project ‘self and society’.
12 See “Are physical books making a comeback?” https://www.businesslive.co.za/fm/fm-fox/digital/2018-06-28-are-physical-books-making-a-comeback/. Accessed 20/1/2019.
13 This resonates with Bibi-Bakare Yusuf’s keynote address at the 2018 Abantu Book Festival. She mused about how empty shelves in middle-class homes in Nigeria signifying erasure of African voices and vibrancy ignited her passion to want to fill some gaps. See the keynote address at https://www.dipsaus.org/exclusives-posts/2018/12/29/ihbijoa397wfc7xsghodvlr2l6wlvn.