Originally Posted by
Phalucha
Originally Posted by
zelig
Originally Posted by
Phalucha
I am of the view that introductions and afterwords by random people however well known or creative in their own right are meaningless.
As a point of clarification, are you making a general statement, or are you suggesting that we select intro authors at random, based primarily on how big a name they are, as opposed to their connection to the novel? As you mentioned Polanski, I’m assuming your statement was not of a general nature, and specific to this book, but I wanted to clarify.
General statement Paul. I have no insights on your selection process and definitely not suggesting you chase big names. I use Polanski as an example of someone that has a clear and indisputable connection To Rosemary’s Baby and who’s views and signature would enhance the value of the book. At least for me.
Okay thanks. As a general rule, I tend stay away from directors of movies which are adaptations of a novel, for introductions. The movie is the movie, and the book is the book. I sort of compartmentalize each, as different mediums. I'd sooner go after an author whose work was inspired or influenced by the novel in some way. There's definitely exceptions.
From a purely 'surgical' standpoint, I'd actually prefer not to include introductions. They add months to the production cycle of the book, cost more money, and create additional administrative work in shipping signature sheets back and forth. One could say that the work stands on its own, and does not require an introduction (there's one of those on the horizon.)
On the other hand, I understand the importance of a signature to many of our customers, especially in the case of a deceased author. Signatures are something else I could discuss at length, but that's for another time. Also, I do see the value in publishing an introduction. They can add context to a work, or offer an interesting viewpoint. Joe Hill's intro to
Horns comes to mind. I learned something new having read it, which I was not aware of before.
Maybe it's helpful to know that when we consider possible candidates for writing introductions, we look for authors who have a connection to the work. That's a given. We spend a fair amount of time researching this, and we also receive input from the author's Estate from whom we also require approval. Of primary importance is, how is this author connected to the work. This is not the introduction-version of a remarque by an artist who has absolutely nothing to do with the book. I agree, that would not make sense.