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in2003),almost50percentofpurchasesrelatetotextbooks.
Intermsoftranslationflow,60percentoftranslationspublishedinEuropeare
ofworksoriginallywritteninBritishorAmericanEnglish;afurther14percent
areoriginallywritteninFrenchandanother10percentinGerman.
Nonetheless,itispossibletodistinguish‘zonesofinfluence’specificto
particularlanguageareas.IntheLITERARYfield,forexample,thecultural
cohesionofnorthernEuropeancountries(Belgium,Denmarkandthe
Netherlands)isdemonstratedbythefactthatGermanisthesecondmost
translatedlanguageafterEnglish,whileinsouthernEuropeFrenchiseverywhere
thesecondmosttranslatedlanguage.Obviously,itisnotpossiblehereto
presentapictureoftheglobalpublishingindustry,butitislikelythatananalysis
ofpublishingpracticesinotherregionsaccordingtotranslationrate,category
andflowwouldrevealsimilarpatterns.
Generaltradepublishers
GiventheextentofAngloAmericanhegemony(notonlyinEuropebutalsoin
Africa,AsiaandSouthAmerica),itisusefultodiscusstheorganizationofthe
publishingindustryinBritainandtheUSA.AsFeather(1993:171)hasnoted,
the1970sand1980swerecharacterizedinbothcountriesbyapatternof
conglomeration.By2007,thishasresultedinasituationwherebythepublishing
industryinBritain,NorthAmerica,andincreasinglyinmuchofEurope,is
dominatedbyasmallnumberofinternationalgroups.Thelargestplayersare
ReedElsevier(anAngloDutchmediacompany);Pearson(aUKmedia
company);RupertMurdoch’sNewsInternational(whichownsHarperCollins,
thelattercreatedbythetakeoverofCollinsintheUKandHarperandRowin
theUSAintheearly1980s);theGermanmediagroupBertelsmann(which
ownsRandomHouse);andHachetteFilipacchi(whichisinturnpartofamuch
largerFrenchconglomerateandwhichownsatrancheofwellknownUK
publishingimprints).TheRandomHouse‘family’,forexample,nowincludes
Knopf(acquiredin1960),Doubleday,Bantam,Dell,Ballantine,DialPress,
ClarksonPotter,ThreeRiversandDelacorte(amongstothers)intheUS;and
theBodleyHead,Chatto&Windus(acquiredin1987),JonathanCapeand
Virago(amongstothers)intheUK.Aswillbeseenfromtheexampleof
RandomHouse,theprocessofconglomerationhasresultedinthedefacto
disappearanceofalargenumberofindependentpublishers,somewithhistories
datingbackahundredyearsormore.
Chatto&Windus,forexample,emergedin1873whenAndrewChatto,a
juniorpartnerofthedisreputableJohnCamdenHotten,enteredintobusiness
withaminorpoetnamedW.E.Windus.UnlikeotheremergentVictorian
publishers,suchasVizetelly(whoclearlysawtranslationfromFrenchasthe
primarystrategyonwhichtocreateasuccessfulbusiness),Hotten’sstrategy
involvedproducingpirateeditionsofNorthAmericanwriters,particularlyMark
Twain.ThoughChatto&Windusdevelopedintoahighlyreputablepublishing
houseinthetwentiethcentury,theinitialproblemforanypublisher,but
especiallythosespecializinginfiction,concernstherecruitmentofasuitable
stableofauthors.Inthe1920s,theAmericanpublisherAlfredA.Knopf
regularlytravelledasfarafieldasSweden,Norway,Denmark,Germanyand
SouthAmericainsearchofauthors:hisfirm’s1925list,forexample,included
KnutHamsum,AndréGideandThomasMann(Tebbel1987:229–31).
EvenaftertheSecondWorldWar,Americanpublishersstillcontinuedtoissue
a‘largebutselectbodyoftranslationsmostlyfromEuropeanlanguages’(Venuti
1992:5).Sincethen,however,therehasbeenasteadydeclineinthepublishing
oftranslations–adeclinewhichhascoincidedwiththeconglomerationofthe
Americanpublishingindustry.Thepursuitofprofitor,moreprecisely,the
redirectionofinvestmenttowardsmorepotentiallyprofitableareasofa
conglomerate’sactivities,canleadtotheeclipseofculturallysignificantimprints,
includingthosespecializingintranslations.IntermsofEnglishlanguage
publishing,recentyearshavealsobeenmarkedbyadeclineinthephenomenon
oftheoccasionaltranslationwhichbecomesabestseller,suchasUmberto
Eco’sTheNameoftheRose(1983)orPeterHøeg’sSmilla’sSenseofSnow
(1993;UKtitle:MissSmilla’sFeelingforSnow).
Oneparticularlyimportantissueisthechangingroleoftheeditor.Inlargerfirms,