A
Festa Literária Internacional de Paraty (
FLIP) é um festival literário que iniciou o no ano de
2003 e realizado pela
Associação Casa Azul. Acontece anualmente na cidade de Paraty no litoral sul do Estado do Rio de Janeiro.
PAGINA OFICIAL DA FLIP
A FLIP é considerada um dos principais festivais literários do Brasil
e da América do Sul. Além de palestras também são realizadas
discussões, oficinas literárias e eventos paralelos para crianças
(Flipinha) e jovens(Flipzona). O sucesso mundial desde seu ano de
fundação se deve principalmente ao envolvimento e participação ativa de
autores de vários países reconhecidos internacionalmente.
 |
| FLIP PARATY |
O festival foi idealizado pela editora inglesa
Liz Calder, da
Bloomsbury, que morou no Brasil e agenciou diversos autores brasileiros, tomando como modelo o festival literário de
Hay-on-Wye, no Reino Unido
.
Fonte: Wikipedia
________________
ESCRITORES HOMENAGEADOS NA FLIP
A cada ano um escritor é homenageado pelo festival.
 |
| Graciliano Ramos - Homenageado da FLIP 2013 |
Bibliografia e informações sobre Graciliano Ramos neste blog
_________________________
ENTREVISTA COM LIZ CALDER
FONTE: BBC - Júlia Dias Carneiro
 |
| Liz Calder - Fundadora da Flip - Fonte: BBC - Brasil |
Mentora da Flip, a Festa Literária Internacional de
Paraty, a inglesa Liz Calder ri ao se lembrar da euforia e do nervosismo
da primeira edição, quando os visitantes eram esperados às centenas,
mas vieram aos milhares.
Calder, que ajudou a fundar a Flip em 2003, diz
que continua se impressionando com o crescimento vertiginoso da festa. O
público dos debates foi de cerca de 20 mil pessoas no ano passado,
contra 6 mil no primeiro ano.
Primeiro festival literário do
Brasil, a Flip. Inspirou festivais em
outras cidades brasileiras, como Porto de Galinhas (Fliporto), Ouro
Preto (Flop) e Poços de Caldas (Flipoços).
Em entrevista à BBC Brasil em Londres, Calder
diz que o sucesso de Harry Potter contribuiu indiretamente para
viabilizar a Flip. As vendas estrondosas da série de J.K. Rowling
catapultaram os lucros da Bloomsbury, editora que Calder ajudou a
fundar, e os lucros viabilizaram um patrocínio para as primeiras edições
da feira.
Conhecida por ter editado os primeiros livros de
autores como Salman Rushdie e Julian Barnes - além de J.K. Rowling -
Liz tem ligação com o Brasil desde os anos 1960, quando morou no Rio
durante quatro anos.
A programação da Flip deste ano foi divulgada
nesta quinta-feira e inclui nomes como Jonathan Franzen, Le Clézio, Ian
McEwan, Enrique Vila-Matas e Adonis. O homenageado será o poeta Carlos
Drummond de Andrade.
BBC Brasil - Como você descreveria hoje a primeira edição da Flip, em 2003?
Feira de Paraty comemora dez anos em 2012
Calder - A primeira Flip foi
uma surpresa completa para nós. Até o mês anterior ao festival,
esperávamos não mais que algumas centenas de visitantes. Tínhamos uma
sala na Casa da Cultura com espaço para cerca de 200 pessoas, e isso era
tudo. Mas estávamos trazendo nomes muito bons, como Eric Hobsbawm,
Julian Barnes e Hanif Kureishi.
Quando esses nomes foram anunciados, despertaram
um interesse enorme, foi um alvoroço. Logo percebemos que não seriam
centenas, e sim milhares de pessoas. No fim das contas, 6 mil pessoas
vieram.
Então foi assim, caótica, empolgante,
absolutamente mágica, porque de repente todo mundo percebeu o que estava
acontecendo. O público ficou muito entusiasmado e perseguiu alguns dos
escritores pelas ruas. A cidade toda já estava infectada pela
Flip-mania. Foi ao mesmo tempo emocionante e nos deixou muito ansiosos,
porque mal sabíamos o que fazer com tanta gente.
BBC Brasil - O que te levou a participar da criação de um festival literário no Brasil?
Calder - Eu sempre gostei muito
de festivais literários internacionais, onde pessoas do mundo todo
podem se encontrar e conversar sobre seus livros. Tendo conhecido
Paraty, um lugar tão maravilhoso e cheio de restaurantes, bares, hotéis e
pousadas, me ocorreu que seria uma cidade perfeita para um festival.
Isso foi ainda no início dos anos 1990. Eu
estava publicando alguns autores brasileiros na época, como Chico
Buarque, Rubem Fonseca, Patrícia Melo e Milton Hatoum. Levamos um grupo
deles para Hay-on-Wye (cidade inglesa onde é realizado o prestigiado Hay
Festival) e foi lá que a ideia realmente nos pegou (em 1997).
O Luiz Schwarcz, da Companhia das Letras, e o
Mauro Munhoz, que hoje dirige a Casa Azul (ONG que realiza a Flip),
estavam conosco e todos embarcaram na ideia. Juntos começamos a
planejar.
BBC Brasil - Quando a Flip começou você
estava na Bloomsbury, que lucrava com os livros do Harry Potter. Isso
contribuiu para a Flip?
"A
festa cresceu mais do que nossas expectativas mais ousadas. As pessoas
me perguntavam se a Flip deveria crescer ou não, e eu sempre dizia que
não, mas claro que continuou crescendo. Mas conseguiu manter algo do
sentimento e do espírito originais. Acho que isso tem a ver com a
natureza de Paraty"
Calder - Sim. Quando começamos
a publicar os livros do Harry Potter, a sorte da Bloosmbury mudou.
Deixou de ser "ok" para ser um sucesso estrondoso. E a Bloomsbury ajudou
muito a Flip no início. O presidente da editora veio nas duas primeiras
edições e foi um dos nossos primeiros patrocinadores. Obviamente isso
também me beneficiou porque eu era uma das diretoras, então isso me
permitiu ir e vir ao Brasil muito mais do que eu poderia antes. Então
acho que podemos agradecer ao Harry Potter.
Eu queria muito convencer a J.K. Rowling (autora
dos livros do Harry Potter) a vir para o festival, mas para ela é
difícil ir para esse tipo de evento, porque seria engolida.
BBC Brasil - E como você vê a Flip hoje, crescida, chegando a sua décima edição?
Calder - A festa cresceu mais
do que nossas expectativas mais ousadas. No início, as pessoas me
perguntavam se a Flip deveria crescer ou não, e eu sempre dizia que não,
mas claro que continuou crescendo.
Mas conseguiu manter algo do sentimento e do
espírito originais, e espero que sempre consiga. Acho que isso tem a ver
com a natureza de Paraty. A festa se expandiu o máximo que pode
geograficamente, e agora não se pode ir muito além, a não ser que se
entre no mar.
Não pode acontecer como em Hay-on-Wye. O
festival sempre era na realizado na vila, mas se tornou tão grande que
já não comportava, e uns cinco anos atrás se mudou para um campo a uns
10 km da cidade. A vila pequena e charmosa era parte da atmosfera. É
como se a Flip decidisse descer a estrada e sair de Paraty, não seria a
mesma coisa. Acho que a festa não deve crescer além do tamanho a que
chegou hoje.
BBC Brasil - E hoje há filhotes da Flip em várias cidades brasileiras. Como você vê essa influência?
Calder - Acho bom que esteja se
espalhando. Espero que continue assim, porque há claramente um apetite
(para isso). Também há que se dizer que Paraty é um atrativo especial. É
como uma recompensa extra para os visitantes. Você não está apenas
tendo uma experiência rica e prazerosa ouvindo os autores, mas está
neste lugar estonteante.
No ano passado, os debates na tenda dos autores contaram com público de cerca de 20 mil pessoas
Encontrar o lugar certo é muito
importante, mas certamente há muitos lugares no Brasil onde eles
(outros festivais) vão surgir e prosperar. E hoje a Flip é organizada
inteiramente por brasileiros. No início, nós (ela e o marido, o
cofundador da Flip Louis Baum) estávamos mais envolvidos.
BBC Brasil - Na festa que celebra os dez anos do festival, quais serão os principais destaques?
Calder - É um aniversário
significativo, e será comemorado com alguns eventos especiais. E teremos
diversas pessoas que estamos querendo trazer há anos, como o Javier
Cercas, um escritor espanhol maravilhoso. Eu pessoalmente estou
encantada com a vinda da Jennifer Egan, porque seu livro,
A visita cruel do tempo, é simplesmente ótimo. E o Jonathan Franzen (autor de
Liberdade) é um ótimo nome.
Também teremos escritores como Hanif Kureishi,
que participou da primeira edição, e Ian McEwan, que estava na segunda.
Como eles estão voltando, vai ser interessante ver a impressão que terão
do festival hoje. O programa deste ano tem uma mistura muito forte, com
brasileiros muito interessantes e um grupo eclético de visitantes do
exterior.
__________________________
NEWS ABOUT FLIP
July 4-8, 2012 marked the tenth annual
Flip (“
Festa Literária Internacional de Paraty”), the literary festival held every July (except for
World Cup
years when it is held in August) in the Brazilian resort town of
Paraty. Although attendance has grown from 6,000 to well over 25,000
every year, Flip itself remains roughly the same as when it started in
2003: Every year, 40 authors (twenty from Brazil, twenty from
other—largely Anglophone—countries) are selected by the Festival’s
committee to come and participate in about 20 round-tables or panels in
front of members of the public. Big ticket international names this year
included
Jonathan Franzen (who, by all accounts, was not a hit with Brazilian audiences),
Jennifer Egan, Ian McEwan, and Syrian
Nobel Prize-nominated poet
Adonis.
When speaking of what Flip has done in the past ten years for
Brazilian literary culture as a whole, most people point to the way it’s
functioned to put Brazil on the (global) “literary map.” The strong
international flavor is unsurprising, given that Flip’s founder,
Bloomsbury Publishing co-founder
Liz Calder
is herself a foreign—although frequent—visitor to Paraty. Flip’s
half-Brazilian, half-international program has guaranteed a steady
stream of big-name foreign authors who might never have otherwise had
personal exposure to Brazilian audiences. In addition, points out
Cassiano Elek Machado, Former Flip Program Director and Publisher of the publishing house
Cosac Naify,
Flip offers Brazilian authors an unparalleled chance to connect with
prominent authors from around the world without leaving their own
country.
- See more at: http://www.publishingtrends.com/2012/07/ten-years-flip-paraty/#comment-6333
July 4-8, 2012 marked the tenth annual
Flip (“
Festa Literária Internacional de Paraty”), the literary festival held every July (except for
World Cup
years when it is held in August) in the Brazilian resort town of
Paraty. Although attendance has grown from 6,000 to well over 25,000
every year, Flip itself remains roughly the same as when it started in
2003: Every year, 40 authors (twenty from Brazil, twenty from
other—largely Anglophone—countries) are selected by the Festival’s
committee to come and participate in about 20 round-tables or panels in
front of members of the public. Big ticket international names this year
included
Jonathan Franzen (who, by all accounts, was not a hit with Brazilian audiences),
Jennifer Egan, Ian McEwan, and Syrian
Nobel Prize-nominated poet
Adonis.
When speaking of what Flip has done in the past ten years for
Brazilian literary culture as a whole, most people point to the way it’s
functioned to put Brazil on the (global) “literary map.” The strong
international flavor is unsurprising, given that Flip’s founder,
Bloomsbury Publishing co-founder
Liz Calder
is herself a foreign—although frequent—visitor to Paraty. Flip’s
half-Brazilian, half-international program has guaranteed a steady
stream of big-name foreign authors who might never have otherwise had
personal exposure to Brazilian audiences. In addition, points out
Cassiano Elek Machado, Former Flip Program Director and Publisher of the publishing house
Cosac Naify,
Flip offers Brazilian authors an unparalleled chance to connect with
prominent authors from around the world without leaving their own
country.
Flip’s popularity has been such that the Brazilian publishing
industry as a whole has adapted a range of techniques for extending its
benefits. During the submission period, publishers lobby fiercely to
have their authors included, but Elek Machado says there’s been a shift
in the Brazilian publishing year overall, even for those books whose
authors aren’t featured at Flip. Before the advent of Flip, “most of the
important releases…were concentrated close to Christmas. But as Flip is
in July, many houses started to release some of their important titles
in May, June, and July to benefit from Flip’s buzz.” Publishers also
take advantage of a town packed with 25,000-30,000 enthusiastic readers
from around the world by paying to bring choice authors to Paraty beyond
those officially chosen by Flip. To further connect with readers,
Brazilian publishers set up “headquarters” in Paraty during the
Festival, and plan elaborate parties to welcome the hordes of
journalists who descend on the town during that week looking for story
leads on books and authors.
Selling actual books is also a huge component, and the Flip bookstore
sees much of the traffic and activity that goes on during the festival
week.
Ricardo Costa, former Managing Editor of the Brazilian book trade publication
Publish News,
says that Paraty’s lone bookstore was in charge of the store the first
year, but was overwhelmed by the volume. The operation is now overseen
by staff from the bookstore chain
Livraria de Vila,
who travel more than 400 miles from São Paulo every year. Costa notes
that in Brazil, unlike in the United States and much of Europe,
bookstores are on the rise—another chain,
Livraria de Cultura, plans to open four new stores this year alone.
When it launched, Flip’s sole focus was adult literature, with a
small area on-site demarcated for children’s books—nothing compared to
the separate partner event,
Flipinha,
into which that original on-site area has grown. Costa says that
preparations for the event are distributed throughout the entire year’s
curriculum for Paraty school children, with teachers assigning books and
research projects based on the authors who will be appearing the
following year.
By staying small and simple—even as it encourages periphery events to
flourish—says Costa, Flip has distinguished itself over the past ten
years as one of the best places in the world to “get in contact with the
world ‘behind’ the book.”
- See more at: http://www.publishingtrends.com/2012/07/ten-years-flip-paraty/#comment-6333
The
Festa Literária Internacional de Paraty (International Literary Festival of Paraty- FLIP) is a
literary festival held yearly since 2003 in the Brazilian city of
Paraty, in the state of
Rio de Janeiro.
[1]
FLIP is considerated one of the most important literary festivals in
Brazil and South America. Funding is provided by a graduated system of
sponsors and is driven by the nonprofit Associação Casa Azul. In
addition to lectures discussions, literary workshops and side events for
children (Flipinha) and young people (Flipzona) are also held. The
worldwide success since its foundation year is mainly due to the
involvement and active participation of internationally recognized
authors from several countries.
The festival was devised by the English publisher
Liz Calder of
Bloomsbury Publishing, who lived in Brazil and was literaryagent for several Brazilian authors, using as a model the literary festival of
Hay-on-Wye, in the United Kingdom. The festival is associated with other similar, such as the
International Festival of Authors in Toronto, Canada, and
Festivaletteratura Mantova in Italy, to show intercultural literature.
uly 4-8, 2012 marked the tenth annual
Flip (“
Festa Literária Internacional de Paraty”), the literary festival held every July (except for
World Cup
years when it is held in August) in the Brazilian resort town of
Paraty. Although attendance has grown from 6,000 to well over 25,000
every year, Flip itself remains roughly the same as when it started in
2003: Every year, 40 authors (twenty from Brazil, twenty from
other—largely Anglophone—countries) are selected by the Festival’s
committee to come and participate in about 20 round-tables or panels in
front of members of the public. Big ticket international names this year
included
Jonathan Franzen (who, by all accounts, was not a hit with Brazilian audiences),
Jennifer Egan, Ian McEwan, and Syrian
Nobel Prize-nominated poet
Adonis.
When speaking of what Flip has done in the past ten years for
Brazilian literary culture as a whole, most people point to the way it’s
functioned to put Brazil on the (global) “literary map.” The strong
international flavor is unsurprising, given that Flip’s founder,
Bloomsbury Publishing co-founder
Liz Calder
is herself a foreign—although frequent—visitor to Paraty. Flip’s
half-Brazilian, half-international program has guaranteed a steady
stream of big-name foreign authors who might never have otherwise had
personal exposure to Brazilian audiences. In addition, points out
Cassiano Elek Machado, Former Flip Program Director and Publisher of the publishing house
Cosac Naify,
Flip offers Brazilian authors an unparalleled chance to connect with
prominent authors from around the world without leaving their own
country.
Flip’s popularity has been such that the Brazilian publishing
industry as a whole has adapted a range of techniques for extending its
benefits. During the submission period, publishers lobby fiercely to
have their authors included, but Elek Machado says there’s been a shift
in the Brazilian publishing year overall, even for those books whose
authors aren’t featured at Flip. Before the advent of Flip, “most of the
important releases…were concentrated close to Christmas. But as Flip is
in July, many houses started to release some of their important titles
in May, June, and July to benefit from Flip’s buzz.” Publishers also
take advantage of a town packed with 25,000-30,000 enthusiastic readers
from around the world by paying to bring choice authors to Paraty beyond
those officially chosen by Flip. To further connect with readers,
Brazilian publishers set up “headquarters” in Paraty during the
Festival, and plan elaborate parties to welcome the hordes of
journalists who descend on the town during that week looking for story
leads on books and authors.
Selling actual books is also a huge component, and the Flip bookstore
sees much of the traffic and activity that goes on during the festival
week.
Ricardo Costa, former Managing Editor of the Brazilian book trade publication
Publish News,
says that Paraty’s lone bookstore was in charge of the store the first
year, but was overwhelmed by the volume. The operation is now overseen
by staff from the bookstore chain
Livraria de Vila,
who travel more than 400 miles from São Paulo every year. Costa notes
that in Brazil, unlike in the United States and much of Europe,
bookstores are on the rise—another chain,
Livraria de Cultura, plans to open four new stores this year alone.
When it launched, Flip’s sole focus was adult literature, with a
small area on-site demarcated for children’s books—nothing compared to
the separate partner event,
Flipinha,
into which that original on-site area has grown. Costa says that
preparations for the event are distributed throughout the entire year’s
curriculum for Paraty school children, with teachers assigning books and
research projects based on the authors who will be appearing the
following year.
By staying small and simple—even as it encourages periphery events to
flourish—says Costa, Flip has distinguished itself over the past ten
years as one of the best places in the world to “get in contact with the
world ‘behind’ the book.”
- See more at: http://www.publishingtrends.com/2012/07/ten-years-flip-paraty/#comment-6333
July 4-8, 2012 marked the tenth annual
Flip (“
Festa Literária Internacional de Paraty”), the literary festival held every July (except for
World Cup
years when it is held in August) in the Brazilian resort town of
Paraty. Although attendance has grown from 6,000 to well over 25,000
every year, Flip itself remains roughly the same as when it started in
2003: Every year, 40 authors (twenty from Brazil, twenty from
other—largely Anglophone—countries) are selected by the Festival’s
committee to come and participate in about 20 round-tables or panels in
front of members of the public. Big ticket international names this year
included
Jonathan Franzen (who, by all accounts, was not a hit with Brazilian audiences),
Jennifer Egan, Ian McEwan, and Syrian
Nobel Prize-nominated poet
Adonis.
When speaking of what Flip has done in the past ten years for
Brazilian literary culture as a whole, most people point to the way it’s
functioned to put Brazil on the (global) “literary map.” The strong
international flavor is unsurprising, given that Flip’s founder,
Bloomsbury Publishing co-founder
Liz Calder
is herself a foreign—although frequent—visitor to Paraty. Flip’s
half-Brazilian, half-international program has guaranteed a steady
stream of big-name foreign authors who might never have otherwise had
personal exposure to Brazilian audiences. In addition, points out
Cassiano Elek Machado, Former Flip Program Director and Publisher of the publishing house
Cosac Naify,
Flip offers Brazilian authors an unparalleled chance to connect with
prominent authors from around the world without leaving their own
country.
- See more at: http://www.publishingtrends.com/2012/07/ten-years-flip-paraty/#comment-6333
uly 4-8, 2012 marked the tenth annual
Flip (“
Festa Literária Internacional de Paraty”), the literary festival held every July (except for
World Cup
years when it is held in August) in the Brazilian resort town of
Paraty. Although attendance has grown from 6,000 to well over 25,000
every year, Flip itself remains roughly the same as when it started in
2003: Every year, 40 authors (twenty from Brazil, twenty from
other—largely Anglophone—countries) are selected by the Festival’s
committee to come and participate in about 20 round-tables or panels in
front of members of the public. Big ticket international names this year
included
Jonathan Franzen (who, by all accounts, was not a hit with Brazilian audiences),
Jennifer Egan, Ian McEwan, and Syrian
Nobel Prize-nominated poet
Adonis.
When speaking of what Flip has done in the past ten years for
Brazilian literary culture as a whole, most people point to the way it’s
functioned to put Brazil on the (global) “literary map.” The strong
international flavor is unsurprising, given that Flip’s founder,
Bloomsbury Publishing co-founder
Liz Calder
is herself a foreign—although frequent—visitor to Paraty. Flip’s
half-Brazilian, half-international program has guaranteed a steady
stream of big-name foreign authors who might never have otherwise had
personal exposure to Brazilian audiences. In addition, points out
Cassiano Elek Machado, Former Flip Program Director and Publisher of the publishing house
Cosac Naify,
Flip offers Brazilian authors an unparalleled chance to connect with
prominent authors from around the world without leaving their own
country.
Flip’s popularity has been such that the Brazilian publishing
industry as a whole has adapted a range of techniques for extending its
benefits. During the submission period, publishers lobby fiercely to
have their authors included, but Elek Machado says there’s been a shift
in the Brazilian publishing year overall, even for those books whose
authors aren’t featured at Flip. Before the advent of Flip, “most of the
important releases…were concentrated close to Christmas. But as Flip is
in July, many houses started to release some of their important titles
in May, June, and July to benefit from Flip’s buzz.” Publishers also
take advantage of a town packed with 25,000-30,000 enthusiastic readers
from around the world by paying to bring choice authors to Paraty beyond
those officially chosen by Flip. To further connect with readers,
Brazilian publishers set up “headquarters” in Paraty during the
Festival, and plan elaborate parties to welcome the hordes of
journalists who descend on the town during that week looking for story
leads on books and authors.
Selling actual books is also a huge component, and the Flip bookstore
sees much of the traffic and activity that goes on during the festival
week.
Ricardo Costa, former Managing Editor of the Brazilian book trade publication
Publish News,
says that Paraty’s lone bookstore was in charge of the store the first
year, but was overwhelmed by the volume. The operation is now overseen
by staff from the bookstore chain
Livraria de Vila,
who travel more than 400 miles from São Paulo every year. Costa notes
that in Brazil, unlike in the United States and much of Europe,
bookstores are on the rise—another chain,
Livraria de Cultura, plans to open four new stores this year alone.
When it launched, Flip’s sole focus was adult literature, with a
small area on-site demarcated for children’s books—nothing compared to
the separate partner event,
Flipinha,
into which that original on-site area has grown. Costa says that
preparations for the event are distributed throughout the entire year’s
curriculum for Paraty school children, with teachers assigning books and
research projects based on the authors who will be appearing the
following year.
By staying small and simple—even as it encourages periphery events to
flourish—says Costa, Flip has distinguished itself over the past ten
years as one of the best places in the world to “get in contact with the
world ‘behind’ the book.”
- See more at: http://www.publishingtrends.com/2012/07/ten-years-flip-paraty/#comment-6333
uly 4-8, 2012 marked the tenth annual
Flip (“
Festa Literária Internacional de Paraty”), the literary festival held every July (except for
World Cup
years when it is held in August) in the Brazilian resort town of
Paraty. Although attendance has grown from 6,000 to well over 25,000
every year, Flip itself remains roughly the same as when it started in
2003: Every year, 40 authors (twenty from Brazil, twenty from
other—largely Anglophone—countries) are selected by the Festival’s
committee to come and participate in about 20 round-tables or panels in
front of members of the public. Big ticket international names this year
included
Jonathan Franzen (who, by all accounts, was not a hit with Brazilian audiences),
Jennifer Egan, Ian McEwan, and Syrian
Nobel Prize-nominated poet
Adonis.
When speaking of what Flip has done in the past ten years for
Brazilian literary culture as a whole, most people point to the way it’s
functioned to put Brazil on the (global) “literary map.” The strong
international flavor is unsurprising, given that Flip’s founder,
Bloomsbury Publishing co-founder
Liz Calder
is herself a foreign—although frequent—visitor to Paraty. Flip’s
half-Brazilian, half-international program has guaranteed a steady
stream of big-name foreign authors who might never have otherwise had
personal exposure to Brazilian audiences. In addition, points out
Cassiano Elek Machado, Former Flip Program Director and Publisher of the publishing house
Cosac Naify,
Flip offers Brazilian authors an unparalleled chance to connect with
prominent authors from around the world without leaving their own
country.
Flip’s popularity has been such that the Brazilian publishing
industry as a whole has adapted a range of techniques for extending its
benefits. During the submission period, publishers lobby fiercely to
have their authors included, but Elek Machado says there’s been a shift
in the Brazilian publishing year overall, even for those books whose
authors aren’t featured at Flip. Before the advent of Flip, “most of the
important releases…were concentrated close to Christmas. But as Flip is
in July, many houses started to release some of their important titles
in May, June, and July to benefit from Flip’s buzz.” Publishers also
take advantage of a town packed with 25,000-30,000 enthusiastic readers
from around the world by paying to bring choice authors to Paraty beyond
those officially chosen by Flip. To further connect with readers,
Brazilian publishers set up “headquarters” in Paraty during the
Festival, and plan elaborate parties to welcome the hordes of
journalists who descend on the town during that week looking for story
leads on books and authors.
Selling actual books is also a huge component, and the Flip bookstore
sees much of the traffic and activity that goes on during the festival
week.
Ricardo Costa, former Managing Editor of the Brazilian book trade publication
Publish News,
says that Paraty’s lone bookstore was in charge of the store the first
year, but was overwhelmed by the volume. The operation is now overseen
by staff from the bookstore chain
Livraria de Vila,
who travel more than 400 miles from São Paulo every year. Costa notes
that in Brazil, unlike in the United States and much of Europe,
bookstores are on the rise—another chain,
Livraria de Cultura, plans to open four new stores this year alone.
When it launched, Flip’s sole focus was adult literature, with a
small area on-site demarcated for children’s books—nothing compared to
the separate partner event,
Flipinha,
into which that original on-site area has grown. Costa says that
preparations for the event are distributed throughout the entire year’s
curriculum for Paraty school children, with teachers assigning books and
research projects based on the authors who will be appearing the
following year.
By staying small and simple—even as it encourages periphery events to
flourish—says Costa, Flip has distinguished itself over the past ten
years as one of the best places in the world to “get in contact with the
world ‘behind’ the book.”
- See more at: http://www.publishingtrends.com/2012/07/ten-years-flip-paraty/#comment-6333
Source: Wikipedia
Depois
de sua morte, em 1929, o círculo de pesquisadores que havia se formado
em torno de Warburg organizou a edição dos textos publicados em vida por
ele, lançada em 1932. No ano seguinte, diante do avanço nazista na
Alemanha, a biblioteca (já com 60 mil obras) foi transferida para
Londres, onde serviu de base para a criação do Instituto Warburg, que
nas últimas décadas recebeu gerações de pensadores como Ernst Gombrich,
Erwin Panofsky, Carlo Ginzburg e Giorgio Agamben. Hoje integrado à
Universidade de Londres, o instituto tem uma biblioteca de mais de 300
mil títulos, onde permanece em vigor a “lei da boa vizinhança”: seus
quatro andares correspondem a seções batizadas apenas como Imagem,
Palavra, Orientação e Ação.
