10.4 Place presents itself to you in fragments: Ivan Vladislavić and Jeanne-Marie Jackson (MAT)

Posted bydalyr2Posted inIvan Vladislavić, Jeanne-Marie Jackson, PodcastTags:, , , , , , ,

How to write about place is a question that cuts across the career of the South African Ivan Vladislavić. The questions of place and space are pressing ones in the context of South Africa, where the transition to democracy in 1994 included a redrawing of the national map, and the last three decades have seen the large-scale transformation of urban centers such as Johannesburg. What defines Johannesburg a literary city? asks the critic Jeanne-Marie Jackson. From this unfurls a series of reflections about the writer’s relationship to place and the various ways in which narrative form can be bent to capture the experience of place—and in particular the experience of a place as it changes across time. The resulting work may feel fragmentary, Ivan allows, but that is a function of the nature of place rather than an imposition on the part of the writer. Finally, the conversation turns toward Ivan’s choice to study Afrikaans literature in the 1970s. As a tradition often at odds with Afrikaner politics and urgently concerned with the world Ivan himself inhabited, reading the work of Afrikaans writers such as Ingrid Winterbach, Etienne Leroux, André Brink, and Breyten Breytenbach offered a vital counterpoint to Ivan’s training in the English canon. Ivan closes by fondly remembering the teacher who introduced him to the writer’s notebook, a habit that continues to be crucial to his practice today.

Mentioned in this episode:

The Folly
Double Negative
The Near North
Zoë Wicomb, You Can’t Get Lost in Cape Town
Georges Pérec
Gauteng
John Miles, Ampie Coetzee, Ernst Lindenberg, and Taurus Publishers
Marlene van Niekerk
Nadine Gordimer
The Goon Show

Listen and Read:

Audio: Place presents itself to you in fragments: Ivan Vladislavić and Jeanne-Marie Jackson (MAT)

Transcript: 10.4 Place presents itself to you in fragments: Ivan Vladislavić and Jeanne-Marie Jackson (MAT)

11.1 Indie Presses and the Literary Ecosystem: Meg Reid and Will Evans – Novel Dialogue

Meg Reid and Will Evans join Mesha Maren to consider what makes up a literary ecosystem. As leaders of two nonprofit independent presses,Hub City Writers Project and Deep Vellum Press, Meg and Will describe their roles as publishers, booksellers, community builders, and advocates working with the many interconnected players in publishing: writers, readers, translators, critics, librarians, distributors, and funders. They discuss how independent presses create literary infrastructure by staying rooted in their communities, building relationships with readers, and making space for voices and stories that might otherwise be overlooked.The conversation turns to the impact of consolidation across the publishing industry and the effects of a marketplace increasingly shaped by scale. Will explains how Deep Vellum’s origins were tied to a concern that conglomeration was narrowing access to translated literature—and how that same narrowing affects writers and readers in local communities. Meg reflects on Hub City’s intentionally small publishing model and the ways independent presses can offer an alternative built around people rather than volume. Together, they explore the possibilities of a more diverse literary landscape, one where readers are invited to discover books beyond the dominant channels.From bookstores to distribution networks, Meg and Will unpack the systems that determine how books reach readers. They discuss why independent presses have increasingly opened their own bookstores, how distribution consolidation affects which books appear on shelves, and why availability in a warehouse does not necessarily mean availability in a bookstore. They also examine the difficult economics behind publishing: inventory costs, shipping, print runs, pricing, and the challenge of keeping books accessible while sustaining small presses.Closing with the announcement of the Literary Arts Fund’s first round of grants, Meg and Will reflect on what sustained philanthropic investment could mean for literary nonprofits. They describe the importance of long-term support that allows presses to take risks, deepen community work, and collaborate across the literary field. For both publishers, the future of books depends on strengthening the connections among all parts of the ecosystem—and finding ways to invite more people into it.Mentioned in this episode:Meg Reid, Hub City Writers ProjectWill Evans, Deep Vellum PressDan Sinykin, scholar and author of Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature and American Literature & the Long DownturnIngramConsortium Book Sales & DistributionTwo Dollar RadioMilkweed EditionsCenter for the Art of TranslationTwo Lines PressThe Literary Arts FundMellon FoundationNational Endowment for the Arts (NEA) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
  1. 11.1 Indie Presses and the Literary Ecosystem: Meg Reid and Will Evans
  2. 10.5 The Novel as Instrument: Sinan Antoon and Michael Allan (MAT)
  3. 10.4 Place Presents Itself To You in Fragments: Ivan Vladislavić and Jeanne-Marie Jackson (MAT)
  4. 10.3 Just Slightly Outside the Circle: Peter Orner and Sarah Wasserman (EH)
  5. 10.2 Beautiful Sentences Matter. Billy-Ray Belcourt and Matt Hooley (SW)
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Cover design. La Vie Mode d’Emploi, Georges Perec, Hachette Littératures, 1979. Front cover.