Following another successful run at this year’s Edinburgh Festival, ever-popular essayist David Sedaris has announced a 2014 tour of England with his show An Evening With David Sedaris (sadly not, as reported by some, the UK as a whole, with his only non-English date a night in Dublin). Beginning in Manchester on 25 March, the tour encompasses dates in Leamington Spa, Dublin, Cheltenham, Brighton, Birmingham, Bristol, Leeds, Newcastle and a four night run at London’s Cadogan Hall before finishing up in Oxford on 12 April. If his Edinburgh engagements are anything to go by, Sedaris will read from his essays and stories, along with unpublished diary entries, and take questions from the audience.
Once again firmly in the zeitgeist following the huge success of Filth, the cinematic adaptation of his 1998 novel of the same name, Irvine Welsh has revealed that he has revisited one of his most infamous characters for charity this festive season. “He Ain’t Lager” – a short story Welsh has written for the International Network of Street Papers (whose output includes The Big Issue) – sees the return of Francis (“Franco”) Begbie, the frequently violent, perpetually terrifying psychopath who first appeared in Welsh’s own debut, 1993’s Trainspotting, and was last seen (chronologically) emerging from a coma at the end of its 2002 sequel, Porno (although his most recent appearance in print was in Welsh’s 2012 Trainspotting prequel, Skagboys).
Alex Ferguson’s record-breaking memoir has had its tenure at the top of the bestseller list ended by the latest entry in Jeff Kinney’s ever popular Wimpy Kid series. Diary of a Wimpy Kid: Hard Luck – Kinney’s eighth book in the series since 2007, having published at the rate of one a year since its inception with an additional title in 2009 – recorded first week sales of 82,999. As noted by The Bookseller, that’s over 10% of its initial print run of 800,000.
One of the more common complaints of those who have held out against eBooks thus far is the comparative difficulty (and subsequent lack of charm) of presenting a book as a gift digitally rather than physically. Gift an eBook, however, launched this past week, is a venture that aims to level the playing field between the two.
Following on from last year’s unexpected partnership with Waterstones that saw Kindles sold in the chain’s brick and mortar stores, Amazon has now announced that it will make its e-readers available for sale in independent bookshops in the USA. Amazon Source offers two different packages for physical retailers: a ‘general retail program’ aimed at consumer electronics shops (i.e. markets more interested in hardware than software) that offers Kindle devices at a 9% discount from their suggested retail price and accessories at a 35% discount, and a ‘bookseller program’, which only offers a 6% discount on the price of hardware but keeps the 35% discount on accessories and adds 10% commission on every e-book bought by customers from Kindles bought at the bookseller’s shop.
Continuing its ongoing efforts to have a finger in every single literary pie that’s going, Amazon has now realised that it hasn’t as yet made any money from the ever popular realm of literary journals, and so has set about remedying that by preparing to make money from the ever popular realm of literary journals. The multi-hyphenate online behemoth has launched Day One in its American Kindle store, a typically ambitious weekly publication that will endeavour to highlight the work of new and emerging authors and poets.
Just as shy, sensitive souls the nation over were enjoying their moment in the sun following the sales triumph of Morrissey’s Autobiography last week, here come the sports fans to beat them back out of the spotlight and into the dark corners to which their limpid skin is more accustomed: Alex Ferguson’s My Autobiography (which, I don’t know Morrissey, kind of seems like a plagiarised title to me) has racked up first week sales that dwarf those of the indie icon, shifting a staggering 115,547 copies in the UK since going on sale last Thursday (24 October). That’s not only over three times as many copies as Morrissey’s opening salvo of 35,000 (an apt demonstration of the eternal popularity of football over all else, no matter how musos might protest), it also makes Ferguson’s memoir the fastest selling non-fiction book since records began in 1998, comfortably outpacing the 112,000 copies sold of Delia Smith’s How To Cook: Book Two in its December 1999 first week (incidentally, in one of those aforementioned dark corners some limpid-skinned sensitive soul is currently starting a band called The Delia Smiths).
In an interview with the New York Times, J.J. Abrams – creator of Lost and director of Super 8, the recent Star Trek films and the forthcoming Star Wars sequels – has spoken of how S., his collaborative novel with Doug Dorst which is published today, ‘was born out of an idea of a love story and the notion of celebrating the book as an object.’ Abrams – whose work in film and television is commonly enshrined in levels of secrecy redolent of a pre-internet age – told the Times’ Logan Hill that ‘In a digital age, it’s a distinctly analog object. It felt romantic to me.’
Driven by the dual motors of a rabidly obsessive fanbase and plenty of gawkers drawn in by its perennially publicity-generating author, Morrissey’s Autobiography has topped the Official UK Top 50 (putting it in the company of Meat Is Murder, Viva Hate, Vauxhall and I and Ringleader of the Tormentors in the Moz corpus). Since its release last Thursday (17 October) the book has sold 34,918 copies (and will probably have crossed the 35,000 mark by the time this post goes live). That means that not only is it the biggest selling title in the UK this week – beating the second week of Helen Fielding’s Mad About the Boy, down to 32,172 copies from its opening week of 48,750 – but it has beaten the 28,213 copies shifted by Keith Richards’ Life in its 2010 first week to become the fastest selling music memoir since records began (although that was only in 1998, and so discounts the massive success of Cilla Black’s 1985 blockbuster Step Inside). Morrissey also recorded the biggest first week sales for a memoir of any kind since the 72,500 copies sold of Kate McCann’s Madeleine in the week beginning 12 May 2011.
Today in news I’ve stared at for a good half hour and still can’t believe is actually happening: next week David Beckham will launch his latest book, the self-titled David Beckham, his fourth volume of memoirs and his first since 2003’s Beckham: Both Feet on the Ground (so watch out Donna Tartt, looks like you’re not the only one publishing this fortnight with a decade’s worth of anticipation behind you). That’s not so unbelievable in and of itself as far as these things go (although michty me, the fourth) but it’s being launched amidst a tsunami of meaningless PR speak lacking the soulful charm of the carnival hucksters to whose spirit it seemingly aspires. Again, not so unbelievable, but this is a particularly pernicious exercise in bilking the public: in what is being billed as a ‘global digital book signing‘, Beckham will sit in a room in central London, whilst ticket winners (ticket winners!) from London, New York, Hyderabad and Sao Paolo receive personalised digital signatures from him, of the kind that could in no way be made up by a lackey with access to Google Images and photo editing software. Just think – in years to come, these lucky ticket winners can tell their grandchildren that they too once saw David Beckham from thousands of miles away on a computer screen, just like everyone else on the planet did thousands of times between 1997 and 2034, when the Great Apple War conclusively wiped out all technology more advanced than the spork. Note, in all of this, that no actual books will themselves be signed.