Category Archive: Duncan Jepson

NOTA DE PRENSA

Peony Literary Agency se complace en anunciar la venta de dos libros de su cliente Duncan Jepson, novelista de éxito y cineasta

Londres, febrero de 2013. Emperors Once More, el primer título de la serie policíaca de Duncan Jepson, presenta en sociedad al detective Alex Soong, encargado de destapar una conspiración que se remonta a la Rebelión de los Bóxers. La novela será publicada en 2014 por Quercus, la editorial inglesa de Stieg Larsson.

La primera novela de Duncan Jepson, el best seller All the Flowers of Shanghai (www.alltheflowersinshanghai.com), fue publicada en Estados Unidos por HarperCollins. Jepson es también coautor y guionista de la novela gráfica Darkness outside the Night, ilustrada por Xie Peng y publicada por Tabella, que ha sido alabada por el Premio Nobel Mo Yan.

“Estoy muy contento de haber encontrado en Quercus un hogar para mi serie negra” Duncan Jepson

”Duncan Jepson es una voz destacada del thriller internacional… Emperors Once More es el comienzo de una excitante aventura para el autor y la editorial” Jon Riley, Quercus

Peony Literary Agency es una de las agencias literarias multilingües más dinámicas de Asia. Una pequeña pero ambiciosa empresa que representa a los principales autores asiáticos, sin olvidar a las nuevas voces, y que, en tan sólo dos años, ha vendido libros en más de 20 países.

Para más información, no dude en contactar con Marysia Juszczakiewicz de Peony Literary Agency:

marysia@peonyliteraryagency.com

www.peonyliteraryagency.com

COMMUNIQUÉ DE PRESSE

 

Peony Literary Agency a le plaisir d’annoncer la vente de deux livres pour son client Duncan Jepson, romancier à succès et cinéaste

Londres, février 2013. Emperors Once More, le premier titre de la série policière de Duncan Jepson, suit le détective Alex Soong dans sa découverte d’un complot qui remonte à la Révolte des Boxers. Le roman sera publié en 2014 par Quercus, l’éditeur anglais de l’auteur Stieg Larsson.

All the Flowers of Shanghai, le premier roman et best-seller de Duncan Jepson (www.alltheflowersinshanghai.com), a été publié aux États-Unis par HarperCollins. Jepson a aussi écrit le texte du roman graphique Darkness outside the Night, illustré par Xie Peng et publié par Tabella, qui a été très bien accueilli par le Prix Nobel Mo Yan.

«Je suis très heureux d’avoir trouvé une maison à Quercus pour mes romans policiers» Duncan Jepson

«Duncan Jepson est une voix exceptionnelle du polar sur le plan international… Emperors Once More est le début de quelque chose d’excitant pour lui et Quercus» Jon Riley, Quercus

Peony Literary Agency est l’une des plus prolifiques agences littéraires multilingues basés en Asie. Une petite mais ambitieuse entreprise qui représente un grand nombre d’auteurs majeurs et débutants d’Asie et qui, pendant les deux dernières années, a vendu des droits dans plus de 20 pays.

Pour plus de détails, veuillez communiquer avec Marysia Juszczakiewicz de Peony Literary Agency

www.peonyliteraryagency.com

marysia@peonyliteraryagency.com

www.peonyliteraryagency.com

 

PRESSEMITTEILUNG

Peony Literary Agency darf mit Freude berichten uber Verkauf fur einen ihrer Autoren , den

beruhmten Schriftsteller. und Film Verfasser, Duncan Jepson, von zwei seiner Bucher.

London, Februar, 2013: ‘Emperors Once More‘  heisst der erste einer Krimi Serie von Duncan Jepson in dem  sein Detektive Alex Soong folgt den Spuren einer Verschworung zuruck bis die Boxer Rebellion ( 1900). Das Buch wird von Quercus ( auch Stieg Larssons Verleger) in 2014 herausgegeben.

All the Flowers of Shanghai war der erste Bestseller von Duncan Jepson der in USA mit Harper Collins erschien. Er ist auch Autor von Darkness Outside the Night, einer Graph Novelle, von Xie Peng illustriert (Tabella Verlag) und hochgeschatzt von Mo Yan ( Nobellist).

‘Es freut mich, dass meine Kriminal Romane mit Quercus erscheinen werden’, so Duncan Jepson.

Duncan Jepson ist eine hervorragende Stimme der Welt Krimi Literatur……. ‘Emperors Once More’

verzeichnet Begin interessanter Zeit fur ihn und fur Quercus’, so Jon Reiley, Quercus.

Peony Literary Agency ist eine der wirksamsten vielsprachigen Vermittlungen in Asien. Klein, aber

ehrgeizig, Vertreter von vielen bekannnten, aber auch Debutanten Schriftsteller Asiens.

In den letzen zwei Jahren wurden von uns Autoren Rechte in uber  zwanzig Landern verkauft.

Fur weitere Information, bitte wenden sich an: Marysia Juszczakiewicz, Peony Literary Agency

marysia@peonyliteraryagency.com

www.peonyliteraryagency.com

Duncan Jepson to Quercus

Quercus has signed novelist and film-maker Duncan Jepson in a two-book deal.

Jon Riley signed world English plus translation rights from the Asia-based Peony Literary Agency.

The first title in a detective series, Emperors Once More follows Alex Soong as he uncovers a conspiracy dating back to the Boxer Rebellion.

Jepson said: “I’m very happy indeed for the stories to have found a home at Quercus Publishing.”

Riley said: “Duncan Jepson is an outstanding voice in international crime fiction . . . Emperors Once More is the start of something exciting for him and Quercus.”

Quercus UK will publish in 2014 as a lead spring title. Jepson’s first novel, All the Flowers of Shanghai, was published by HarperCollins US.

 

http://www.thebookseller.com/trackback/203195

 

Why Asia is Obsessed with Graphic Novels and Comics

Printed graphic storytelling is an extension of all that has been performed for centuries across Asia.

Publishing Perspectives

By Duncan Jepson

Darkness

HONG KONG: Over the last few months there’s been a fair bit of editorializing, some of it appreciative, some not, about the nomination of Days of the Bagnold Summer and Dotter of Her Father’s Eyes for two of the shortlists of the Costa Book Awards, the latter ultimately winning the Biography category. Much of this discussion has centred around the question of whether graphic novels, or comics as some people prefer to describe them, deserve to be taken seriously as a literary form. Viewed from a purely Western perspective, I have to concede it’s a tricky debate.

First of all, it can be difficult to adopt a tone of high seriousness when discussing something described as a comic; and secondly, like many other people, I was raised in a generation where the school system and culture still largely exalted the literary form above the graphic. In the English language, one has a mere 26 letters with which to describe or destroy, page after page. Images and pictures, well, they’re considered something else entirely: the sole preserve of those few individuals gifted with a steady hand and a good eye. But what if each of us shared that same highly developed coordination between hand and eye as well as an appreciation for literature? Not just elegant handwriting — possibly soon to be a thing of the past in the US — but a close personal relationship with the literary and the graphic in equal measure.

“The use of striking images and graphic representation to accompany oral accounts was part and parcel of everyday Asian life.”

With the lunar new year upon us, Asia will soon be adorned with red and gold words, mostly the characters for happiness, prosperity and luck. Thirty years ago when I visited Singapore as a child, I found these repetitive colors and symbols garish and awkward. To me they were just lines or boxes of characters embossed in gold on red tissue paper, pasted to walls, windows and the backs of doors. There seemed to be nothing graceful about the way they were displayed, the larger and brighter the better being the prevailing orthodoxy. They were no subtle enhancement to a space, like a Christmas tree in a living room, but used boldly and frequently enough to change the look of a place entirely. These characters, though, are not just words but symbols which strike to the heart of Chinese culture and society; even foreigners who can’t read Chinese eventually come to appreciate their sense and intent because the word and the graphic symbol are one.

For instance, one of the first Chinese characters you learn is “wood,” mu. It’s a beautifully uncomplicated little image and possibly the first opportunity one has to unlock the deeper elements of a language written with symbols rather than an alphabet. It is the simplest and perhaps the most effective example of word and symbol combined. Each new student quickly realizes that Chinese characters are learned by rote. One receives a page of printed boxes, each intended to contain a single character, and one painstakingly fills in the whole page. Each character is written, left to right, top to bottom and outside to in — the repetition is relentless. For a Westerner, the beginning of this process is more like an art class than writing, as line, length, proportionality and spatial sense become the biggest challenges to drawing the character correctly. In the most elegant hand there is character, power and sensitivity of touch until, in calligraphy, writing elides into art.

The first eye-opener is to look over a page filled with characters. One suddenly sees a wooded area populated with crooked branches and stumpy trunks, and after five or six pages of practice one has a forest. Trees of all manner cover the paper until, after yet more pages have been completed, they start to assume a consistent form. No letters, no longer even words, just trees. In the character, meaning and image elide. For the reader there are responses on many levels, not just from seeing the word ‘tree’ repeated hundreds of times but in the response to the picture that is formed — a powerful, almost visceral response that has had 5,000 years to evolve, taking root deep in the psyche both of society and the individuals who comprise it

Yet in China, like much of Asia, full literacy was not proffered to the many until the latter part of the 20th century. Prior to that most Asian people knew and recognized the bare essentials but relied primarily on the power of oral storytelling to communicate wisdom and ideas, often enhanced by live performance. Theater, opera, dance and puppetry were used for centuries in villages and towns up and down the continent, from Indonesia to Mongolia, India to Japan. Whether it was Chinese opera, Noh drama, Thai dance or Indonesian shadow puppets, the use of striking images and graphic representation to accompany oral accounts was part and parcel of everyday Asian life. Running deeper still are the stories traditionally associated with different foods, banquets and festivals, where once again everyday life, images and words combine seamlessly.

Printed graphic storytelling is an extension of all that has been performed for centuries across Asia, whether translating the ancient Mahabharata from verse and stage to the illustrated page in India, Cambodia and Nepal, in China’s Shuihu Zhuan (Outlaws of the Marsh or The Water Margin) moved from verse to scrolls to comics, Osamu Tezuka’s reaction to his war experiences in the hugely popular tales of Astro Boy, or Shaun Tan’s stunning The Arrival. These are seen as being as legitimate and masterful as novels solely of the written word because in Asia, and particularly where symbols are used rather than alphabet, the image is also the word and carries perhaps more potency and power than any arrangement of letters.

Duncan Jepson wrote the text for and co-storied the graphic novel Darkness Outside the Night illustrated and co-storied by Xie Peng (Tabella). He is the author of the novel All the Flowers of Shanghai (HarperCollins,US). His second novel, Emperors Once More (Quercus) will be published next year. All works are represented by Peony Literary Agency. He is an award-winning director and producer of five feature films and was a founder and the managing editor of the Asia Literary Review. A lawyer by profession, he lives in Hong Kong.

http://publishingperspectives.com/2013/02/why-asia-is-obsessed-with-graphic-novels-and-comics/

 

Quercus buys HK crime series

Quercus has snapped up a new crime series set in Hong Kong, written by author Duncan Jepson.

Jon Riley, editor-in-chief at Quercus, bought world rights in all languages for the first two books in the series from Marysia Juszczakiewicz at the Peony Agency in Hong Kong.

The first book, Emperors Once More, is set in 2015 and follows detective Alex Soong as he investigates a conspiracy which dates back to the Boxer Rebellion.

Jepson said: “Interest in telling stories about Asia has always been from the perspective of the intersection between East and West. Emperors Once More is about the seismic shift to a new world order, one that is coming because of history, populations, resource needs and the different intentions of different cultures.”

Riley added: “Duncan Jepson is an outstanding new voice in international crime fiction and in Inspector Alex Soong he has created a brilliantly memorable new detective in a thrilling environment. Emperors Once More is the start of something exciting for him and for Quercus.”

 

http://www.thebookseller.com/trackback/201424