The New Statesman Daily The best of the New Statesman, delivered to your inbox every weekday morning. World Review The New Statesman’s global affairs newsletter, every Monday and Friday. The Crash A weekly newsletter helping you fit together the pieces of the global economic slowdown. Select and enter your email address Morning Call Quick and essential guide to domestic and global politics from the New Statesman's politics team. The same month, the Twitter account – an “online support group for trans and non-binary publishing employees/hopefuls and authors” – was forced to close after lists the group had compiled (of people in UK publishing that they deemed sympathetic and unsympathetic) were leaked. “Children’s book publishers are more scared than anybody,” he said, describing “a culture of fear” born of polarised politics and a terror of social media outrage. Is publishing undergoing an identity crisis? Should it defend its authors at all costs, or realign itself with the values of the digital age?Īt the Hay Festival in May, the children’s author Anthony Horowitz said that he was “absolutely shocked” by the rewrites Walker Books had asked him to do on his most recent work, Where Seagulls Dare. But in recent months many of its core tenets have been tested.
UNHERD CHILD LABOR FREE
There is a tacit assumption, naturally attractive to those who work in and around it, that the book business is inherently progressive, championing free speech and inclusivity. The changing of the guard at Picador was just the latest chapter in British publishing’s increasingly furious fight with itself. Clanchy and Picador parted ways in January. Gwyn Jones had first defended Clanchy, their former teacher, and then distanced himself from the author, tweeting: “I must use my privileged position as a white middle-class gatekeeper with more awareness to promote diversity, equity, inclusivity”. In 2021 concerns were raised by readers on about the book’s descriptions of pupils of colour, as well as of working-class and autistic children. Gwyn Jones, a respected publisher with long experience, had been criticised for his handling of a row over Kate Clanchy’s memoir, Some Kids I Taught and What They Taught Me. On 5 July Picador, which is part of the Pan Macmillan conglomerate, announced that its publishing director, Philip Gwyn Jones, was stepping down “by mutual agreement” after two years in the role.
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