Ocnos (2019), 18 (3): 7-17 DOI 10.18239/ocnos_2019.18.3.2053

Ocnos

Revista de Estudios sobre lectura Open Access http://ocnos.revista.uclm.es/ Full Text Article

The author as a brand or the hardship of fame: the Rowling case El autor como marca o las inestabilidades de la fama: el caso Rowling José Antonio Cordón-García https://orcid.org/0000-0002-8569-9417 Universidad de Salamanca María Muñoz Rico https://orcid.org/0000-0002-7333-4832 Universidad de Salamanca

Received: 25/04/2019

Accepted: 16/09/2019 Abstract Resumen The importance of an author’s brand Se estudia la importancia de la imagen ISSN: 1885-446 X ISSNe: 2254-9099 image is studied, and the influence it has de marca de un autor, y la influencia que for its visibility. The case of JK Rowling is tiene para su visibilidad. Se analiza del caso analyzed as an example of migration from de J. K. Rowling como ejemplo de migración Keywords: its original niche, children’s and youth desde su nicho original, la literatura infantil Rowling, J. K. (1965-); Harry literature, to adult literature, studying y juvenil, a la literatura de adultos, estudian- Potter; Galbraith, Robert (1965-); visibility indicators such as editions of his do los indicadores de visibilidad como edi- Literature, Youth Literature, work, presence in the best-selling lists, web ciones de su obra, presencia en las listas de Publishing Industry. presence, and appearance in national and más vendidos, presencia web, y aparición en international databases. The viability of bases de datos nacionales e internacionales. Palabras clave: leaving the market niche protected by con- Se discute la viabilidad de salir del nicho de Rowling, J. K (1965-).; ; Galbraith, Robert (1965-); solidated editorial and communication mercado amparado por estructuras editoria- Literatura, Literatura Juvenil, structures is discussed, as well as the ano- les y comunicativas consolidadas, emplean- Industria editorial. nymity file. do además el expediente del anonimato.

Contact: [email protected] [email protected]

Cordón-García, J. A., & Muñoz-Rico, M. (2019). The author as a brand or the hardship of fame: the Rowling case. Ocnos, 18 (3), 7-17. https://doi.org/10.18239/ocnos_2019.18.3.2053

Ocnos: Revista de Estudios sobre lectura. Editada por CEPLI; Universidad de Castilla-La Mancha se distribuye bajo una licencia Creative Commons Atribución-NoComercial-SinDerivar 4.0. Internacional 7 Ocnos (2019), 18 (3): 7-17 Cordón-García, J. A., & Muñoz-Rico, M. DOI 10.18239/ocnos_2019.18.3.2053 The author as a brand or the hardship of fame: the Rowling case

The figure of the author in the publishing sold millions of copies. Due to the horror vacui market: between prestige and communi- around the author’s figure, the fact that she has cation strategies repeatedly rejected any kind of reference that can identify her has further multiplied speculation Generating mystery surrounding the author on her true identity: Godofredo Fofi, Michele is another marketing strategy used in litera- Prisco, Fabrizia Ramondino, Marcella Marmo, ture. It is not new or recent and there are many Doménico Starnone or his wife, Anita Raja who authors who have resorted to it, either by convic- precisely worked as a translator for Edizioni E/O, tion, or by commercial calculation, pursuing the the publisher of Ferrante’s books1. In any case, commercial logic of supply and demand, which whether it is a marketing operation or a volun- underlies the publishing business and the pro- tary identity concealment, this determined duction and circulation processes of literature. anonymity has borne fruit in the media (Falkoff, Don DeLillo, Thomas Pynchon and Salinger are 2016). In 2016, Time magazine named Ferrante some of the most emblematic figures and para- one of the most influential people that year. The doxically some of the best-known figures in the author was a finalist of the Man Booker Price in context of this phenomenon. 2016, and also of the Strega prize. In the 75th edition of the Venice Film Festival, in September More recently, Elena Ferrante has gener- 2018, the series inspired by the Neapolitan saga ated interest and in a way mystery around her of the writer, produced by RAI and HBO, will figure, voluntarily kept anonymous even by feature 32 chapters. her publishers, who only contact her through correspondence related to the publication Carmen Mola is considered the Spanish Elena of her works. Protective of her invisibility, Ferrante, not because of the genre she cultivates, Ferrante (2017) reflects there on in her workLa but because of her desire to keep herself away Frantumaglia, which includes, inter alia, part of from the media, using a pseudonym and staying her correspondence with her publisher, where it away from all sorts of contact but the epistolary is stated: one. The success achieved with her first novel, The media system attributes great importance to La novia Gitana, a bestseller in 2018, figured on this link. It does not tell about the story of the book the list of the most sold and whose rights have but about the writer’s aura. If there is such a thing been sold to different languages, has increased as an aura and the media promotes it, the publishing interest in revealing her identity, boosted by the industry will be delighted to open its doors and the publication, in 2019, of her second book, called market will be more than delighted to welcome you. La red púrpura. If there is not such a thing but the book is sold like hot cakes, the media make up the author-character In any case, both cases are not marked by the by triggering a mechanism whereby the writer does use of pseudonyms, a very common resource in not only sell his/her work but himself/herself, his/ the field of literature, but by the fact that such her reputation (p. 238). use is linked to success, and it is inconceivable without an identifiable attribution that works as a referent in a society influenced by spectacu- This case would be nothing exceptional if larisation. According to Polo (2009), marketing she were not an international bestseller thanks engineering shapes a very wide range where the to her tetralogy called Neapolitan Novels (My consumer is excited by a bewildering variety of Brilliant Friend (2012), The Story of a New Name claims that turn the whole of society itself into (2013), Those Who Leave and Those Who Stay a huge supermarket, and the author’s claim is (2014), and The Story of the Lost Child (2015)), a placed at the centre of a promotional network series that first appeared in 2011 and that has articulated around its presence as the main

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commercial and strategic device. This is not p. 194), “the reader is now compelled to give a trivial strategy and is adapted to the buying himself/herself to a strategic undertaking that patterns of society, both at national and inter- is an actual test even for the most furiously national level. In Spain, the survey Reading vigorous individual...”, waiving to contextual Habits and Purchase of Books includes a question benchmarks that can be used as reception about the factors have a certain impact when it logbooks is a paradoxical and peculiar position, comes to buy a book. In the 2018 report (Spanish as it is contrary to normal practice in this Federation of Booksellers Guilds [FGEE, as per its industry, which usually imposes its commercial Spanish acronym], 2018), the theme is the first criteria on the author’s interests, the latter have factor with 83.4%, but the author ranks second prevailed boosted -it is true- by an unexpected with 49.4% by far compared to the reviews and publishing success. According to Paolo di Paolo, the professionals’ opinion (28.3%), the title “Ferrante’s strength lies in the fact that she is not (14.8%), the cover (8.8%), the price (17.3%) and there rather than in her own books” (Noguera, the publisher (1.6%). The impact of the author 2016). has become increasing important over time. In the first study of the series, in the year 2000, this Michel Foucault considered the creation of a factor represented 23.3%. The reports published literature market where the writer produces a in other countries emphasise this fact too. In a specific type of goods, linking it to its creator. study published by the Australia Council of the In his zeal to encrypt the author’s genealogy, Arts (2017) on reading practices, when respond- he wondered: “Who is speaking? Who, among ents are asked about the reasons for choosing a the group of speaking individuals, is entitled book, the author ranks seconds with 78%. The to use this type of language? Who is the holder same applied to France, Germany, the United thereof? Who gets his/her singularity and States and other countries. prestige therefrom...?” (Foucault, 2013, p. 54). Just like Foucault, Roland Barthes and Jacques In general, cultural industries, and the pub- Derrida proclaimed the author’s death, the lishing industry in particular, have a series crisis of certain kinds of authorship arising from of mechanisms that can be used -to a certain intellectual property that had become brands, extent- to articulate a field structure inherent signatures of a qualifying nature. According to to them (Bourdieu, 2018) that reinforce the pro- Barthes (2009), the author is a romantic concept totype character of each title (Cordón-Garcia, that implies a presence metaphysics, justifying a 2010), on one hand, and the substitution of the unified, centralised and supervised knowledge2. creative nature of the work for the author’s brand as an identification and reference element in the In spite of Roland Barthes, the author’s name receptive pole, on the other hand. According is still in the centre of the system of social and to Roth (2018), becoming a celebrity means economic relationships of literature as a brand becoming a brand somehow. and as a marketable product in other subprod- ucts, which lead Hutcheon (2014) to defend the Both Bourdieu, with his theory of the Literary creator’s position as a discursive authority in Field, and Even-Zohar, with his Polysystem many spheres of contemporary art. Theory (Díaz-Martínez, 2014), highlight the interdependence of the various factors articu- The debate on authorship and the anonym- lated around books, without identifying any ity sought by some authors suggests the need hierarchies or prevalences in relation to one to relocate the author’s status in the centre of another. However, the author as a brand sim- a context where his/her purposes necessarily plifies and removes any complexity related to have to be linked to certain devices shaped by reading. As pointed out by Eagleton (2013b, the machinery of the publishing industry. At

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the end of the 18th century, Kant described art lectuals, who depend largely on what they say or as carrier of “intentionality without a purpose”. do more than ever. Adorno and Horkheimer then further developed this idea and stated that popular culture “lacks All these phenomena have a special impact on intentionality for the sake of a purpose” and so-called border literature, or crossover litera- suggested that such purpose was regulated by ture instead, according to the specialised termi- the market (Stuart, 2018, p. 228). This status as nology. These works can be read by very different a good precisely leads to such an unequal distri- age groups or have transcended the boundaries bution of success (Lipovetsky, 2015), because the of the specific population segment they were work -as a good- is subject to certain planning initially conceived for. This term also refers to and handling conditions that are inserted in those works that have been treated in different a diffusion device of a mainly technological ways on the media that can convey them (books, nature. As pointed out by Pineda, Fernández- comics, films, television, games, etc.). It is inter- Gómez & Huici (2018), it all has to be reduced to esting to study them as the elements inherent to the status of a good and, in any case, develop- the publishing industry can work in very differ- ments do not occur at the level of “ideas” but to ent ways depending on the recipient’s location the level of “technology”. François Jullien warns and the consideration as a product granted by against the gradual loss of cultural identity the industry. One of the names that best suits promoted by a standardising and egalitarian this definition in its different acceptances is .J market that affects both products and authors: K. Rowling, the author of the acclaimed Harry “The Harry Potter series itself is stacked in all the Potter series, published between 1997 and small corners of the world and formats youth’s 2007, with more than 500 million copies sold imagination identically —which is increasingly worldwide, distributed in more than 200 coun- obvious in the same globish” (Jullien, 2017, p. tries, and translated into 80 languages, and the 33). These spaces have expanded exponentially origin of eight blockbusters and concomitant due to the impact of the social media both of a products. With a strong online presence and a general and specialised nature and of sales plat- website where contents are created and distrib- forms used by publishing conglomerated, which uted, Pottermore has been awarded all kinds of normally include authors’ websites, created to recognition and awards. The first edition of the increase their presence and retain their custom- saga was distributed in Spain in March 1999, ers. But authors are in turn compelled to grease published by a small, independent publishing this mechanism of personal projection, not only house, Salamandra. Three million copies were by conventional means, such as presentations, sold in just three years (Vila-San-Juan, 2003)! reading of their works, meetings with readers, Rowling also attracts interest for her endeavours press conferences, etc. but also working on their to transcend the thematic and chronological own promotion as an integral part of the business niche where she has traditionally been placed, itself. Hence, unlike the pre-web environment, i.e. children and youths, and also because she where the author was not directly connected to has tried to leave it by means of novels that the market as he/she was connected thereto by initially leveraged the author’s brand and then means of his/her publisher, who acted as mid- tried to get do without it, generating an inter- dleman and promoted and planned the author’s esting ignorance-recognition-strengthening work, today these functions are mixed and phenomenon where we can clearly identify the result in ambiguous relationships between the structural strength of the publishing industry, author and the market, but with the publisher the miseries and servitudes thereof, but also the too. As pointed out by Judt (2016), the author is power and inertia the most significant aspects permanently exposed, when referring to intel- of the publishing industry. This change also

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has a formal nature, as the last Harry Potter Results and discussion book was published in 2016, Harry Potter and the cursed Child, is a theatre play, a genre without a J. K. Rowling was an unknown author, with market. However, in the case of Rowling, two difficulties to publish her first work (the first million copies were sold just in the first few days manuscript of Harry Potter was rejected by a in the United States and one million copies in the dozen publishing houses). However, in 1995, a United Kingdom approximately. publishing house called Bloomsbury decided to publish Harry Potter and the Philosopher’s Stone, Objectives and Methodology which will soon become one of the most popular international bestsellers (Pollack & Belviso, In order to study the status of Rowling as an 2016). The formation of the name, its constitu- author and the consolidation of her brand, we tion as a reference and as a consumption item is analysed the editions of Rowling’s works pub- linked to the success and the diffusion structures lished in Spain, on one hand, and their success put in place by the publishing house. Rowling’s and impact, on the other hand. Academic vis- success in Spain leaves no doubt at all. ibility was also dealt with by studying her pro- duction in the main international databases. The Harry Potter series spread and consoli- dated quickly as a bestseller in Spain. According For phase one, which dealt with the editions to the ISBN database, 270 editions of it have been of J. K. Rowling’s works in Spain, we analysed published, 282 according to the database of the the ISBN databases and the union catalogue of National Library of Spain. Rowling’s name was the National Library of Spain, using editions of a soon linked to a success story consumed around distinctive nature only, made for Spain, or from the world. This presence became even more Spain for Latin America. punchy thanks to the complementary material published by some publishing houses such In order to measure the success and impact as Ediciones B: calendars, posters, stickers, of Rowling’s work, we analysed the annual diaries, colouring books, etc. The foregoing reports prepared by the Spanish Federation of became an extension of the brand image that Booksellers Guilds (FGEE, as per its Spanish significantly helped to its implementation. Such acronym) and the Ministry of Culture, Education consolidation was confirmed by the release of a and Sport (MCED, as per its Spanish acronym), series of films based on the saga between 2001 to analyse the rankings that follow different and 2011. criteria (most popular, bestsellers, most popular and best fold authors, etc.) used to model the The annual reports published by the Spanish preferences of the reading public. Federation of Booksellers Guilds between 2000 and 2018, with the exception of 2013 and 2017, The visibility of J. K. Rowling’s work was the survey Reading Habits and Purchase of Books studied by analysing the Isi Web of Science, in Spain, include headings related to the most Scopus, Proquest and MLA databases, in the popular books and authors in different age case of international scientific production, and groups and categories. The Harry Potter series the databases of the Spanish National Research and its author, J. K. Rowling, rank among the Council (CSIC, as per its Spanish acronym) and bestsellers and the most popular books. the Bibliography of Spanish literature, in the case of national scientific production. Digital visibility of her books is articulated through the website created by J. K. Rowling,

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Pottermore. It is not a regular website, as The work had a costumbrist nature, larded it has gradually incorporated complemen- with some intrigue, following the typical tary contents to Rowling’s work since it was bestseller formula (Herralde, 2019; Jockers launched in 2012: interventions of the author & Archer, 2016; Vila-San-Juan, 2011; Viñas- herself, interactive visits to the world of Harry Piquer, 2009). The author’s name obviously con- Potter and its characters, developments and tributed to this success, as she had significant comments on them and, above all, it has been convening power over an audience fascinated by set as an exclusive sales outlet of her work, on her previous work, confirming the “pull factor” paper and in electronic form (both for e-books theories, namely the author’s ability to attract and audio books) in multiple languages. One of interest in his/her bibliography resulting from Rowling’s milestones is her ability to avoid the momentary (for example, a film, a prize, etc.) or lobbying of large distributors and to impose continuing success (López-de-Abiada & Peñate- her conditions on platforms such as or Rivero, 1996) and acquiring visibility of a deriv- Itunes. This digital visibility is complemented ative nature, mainly supported by the social by thousands of websites and fan clubs devoted media (Cordón-García 2004; Cordón-García & to the dissemination of her work through news, Gómez-Díaz, 2018). comments, community translation of her works before the official translations are published in Its publication in Spain had to be moved each country, etc. It presents a unique case that forward in view of a community transla- has shaped a powerful author brand, and genre tion project launched by Harry Potter fans in switches have been marked by the original September that year. Therefore, the book, which niche, that of children’s and youth literature. would initially be published in April 2013, was finally published in December 2012. The BBC The Casual Vacancy was published in 2012, and HBO produced a miniseries based on the her first novel aimed at an adult audience since book, and the publishing house took advantage the successful entry into the market of the Harry of this fact to launch a new book in 2015 with a Potter saga. One million copies of The Casual new cover, that of the TV series. Vacancy was sold in the first three weeks (Foster, 2015), placing this book in the bestsellers3 slip- The book did not produced the expected stream, an environment where the author had return in terms of publishing, as in the clash for been moving freely since her publishing journey Rowling’s new book, The Cuckoo’s Calling, the started. Moreover, in England it became the publishing house Espasa was finally in charge of best-selling book in a shorter space of time in its publication in Spain, after it was known that the last three years4. In Spain, the publish- J. K. Rowling was behind the pseudonym Robert ing house Salamandra published it in 2012. Galbraith. The book was published in 2013 in The original print run amounted to 300,000 Great Britain. A few months later, in July, retail- copies. With this book, Rowling also changed ers started to return the copies thereof, but the her publishing strategy and publishing house, Sunday Times revealed who was behind the has she left Bloomsbury, the British publisher name on the cover, Robert Galbraith. Robert that trusted her groundbreaking project for a Galbraith turned to be J. K. Rowling. On one young audience, and joined Little, Brown and hand, the author tried this change of narrative Company, a publishing house whose origins register and, on the other hand, she tried this date back to the 19th century, has the advantage risky but encouraging change of name. that it is part of a large publishing group such as Hachette Livre, which acquired it in 2006. The book became a bestseller in the rest of the world after the author’s name was known.

12 Ocnos (2019), 18 (3): 7-17 Cordón-García, J. A., & Muñoz-Rico, M. DOI 10.18239/ocnos_2019.18.3.2053 The author as a brand or the hardship of fame: the Rowling case

Fig. 1. Evolution of the quotes related to Rowling’s works in WOS.

Salamandra published the other two novels of The total number of quotes received in sci- detective series, entific papers amounts to 1,700, 1,650 of which and , published in 2015 and 2016, focus on the Harry Potter series and works derived respectively. Although none of the three books therefrom. The theme perspectives from which produced the commercial return Harry Potter the work is analysed are multiple (figure 2). series and other books derived therefrom, the soon became bestsellers5 due to Rowling’s name Scopus, the other major database, has similar effect on all her works. According to Baggini results, although the number of quotes doubles (2016), using the pseudonym Robert Galbraith and amounts to 3,500. The main thematic areas in her novels aimed at an adult audience had a are Humanities and Social Sciences, just like on positive impact on Rowling, but we should point WOS (figure 3). out that it only occurred after the real name of the author was known. In 2017 and 2018, the The author’s visibility can also be traced in BBC produced three episodes of the Cormoran the media and professional magazines. The Strike series, although it did not have the same Proquest Central website covers more than 160 impact as other works by de Rowling. thematic areas and is the largest aggregated database focusing on journalistic content. This The visibility of Rowling’s work can also be reference resource offers a diversified combi- identifies through references and quotes received nation of resources, including scientific and in the professional and academic sphere. Her professional journals, general information work has been studied from multiple perspec- publications, books, newspapers, reports and tives, ranging from Literature, Didactics, videos. On consulting the Proquest databases, Psychology, Marketing or Neuroscience. Her we obtained 601,712 hits, of which 8,477 are work can be traced in the world’s most important scientific papers, and almost 500,000 are news databases. Web of Science (WOS) retrieves 572 items. It is worth stressing that there are 3,600 hits for the period between 1999 and 2018. The doctoral theses on this subject, which attests to evolution of the quotes related to Rowling’s work the interest in the Harry Potter series (99% is has followed an increasing trend (figure 1). devoted to this work or aspects related thereto)

13 Ocnos (2019), 18 (3): 7-17 Cordón-García, J. A., & Muñoz-Rico, M. DOI 10.18239/ocnos_2019.18.3.2053 The author as a brand or the hardship of fame: the Rowling case

Fig. 2. Thematic areas in research on Rowling’s work on WOS.

from the perspective of basic research. Google compared to her previous works. The Cuckoo’s Scholar offers a perspective of the projection of Calling is quoted 2017, The Silkworm is quoted the works and the author through these quotes. 240 times and Career of Evil is quoted once only. J. K. Rowling is quoted 26,000 times, compared It is true that joint search by the main char- to the Harry Potter series, quoted 172,000 times. acter of the series, Cormoran Strike, delivers The other books, mainly those written under the better results, 450 quotes, but they fall far short pseudonym Robert Galbraith are barely quoted compared to Rowling’s main works.

Fig. 3. Thematic areas in research on Rowling’s work on Scopus.

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In Spain, the number of articles devoted to far more modest than those experienced by the Rowling’s work, reviewed in the CSIC database author with the Harry Potter series. Her expe- and in the bibliography of Spanish literature is rience as an author aimed at an adult audience less than thirty. is far more limited, although she benefits from returns derived from previous works. This is evi- Conclusions denced by the low number of works aimed at an adult audience published by her and by the fact A study published in Nature (Liu et al., 2018) that they have no impact from the point of view magazine showed that fame and success are of research. The absence of quotes in specialised seasonal that lasts for five years at most, and is databases is an evidence of the little interest she totally random. Unlike more than 30,000 bib- attracts as an author in her most contemporary liographic profiles of artists under study, this dimension. does not apply to a specific species of authors, and J. K. Rowling is definitely one of them. She On one hand, research shows that the power is a rare example of survival not only at a pub- of those brands that are well worked on from lishing level, but at a media level too. Her works the point of view of publishers, conferring the are published repeatedly and interest therein author a visibility that enables him/her to grease transcends the bibliographic sphere and reaches the marketing mechanisms at his/her disposal, other fields of creation that have expanded its and on the other hand, it also shows that all projection and feed back the name’s brand. authors have difficulties leaving their sphere of According to Zizek (2018), we are now facing a publishing influence, although he/she has all phenomenon whereby identity is globalised that the factors that may promote these moves. is part of cultural capitalism, namely an enter- tainment industry that is the core of cultural Notes industries and that ultimately represents the nature of actual culture (Byung-Chul, 2018). 1. The algorithms of her handwriting were even compared Nevertheless, this generic nature only takes to those of other writers to find out who is behind the shape when it can be enshrined (Lipovetsky & pseudonym. By following this procedure, Professor Luigi Juvin, 2011), when the brand marks the produc- Galetta and Università della Sapienza got to Domenico tion strategies and the reception logics. Startone and Anita Raja, who categorically denied being the author. The case of JK Rowling illustrates these cir- 2. Before them, Brecht and Benjamin had already started cumstances well, world bestseller with the series to tear down this idealised author concept by stating that of books and movies of Harry Potter, present in authors are basically producers, just like any other manu- all kinds of social networks and digital environ- facturer of social products (Eagleton, 2013a) ments, her name is imposed when she decides 3. Nielsen stated that 124,603 copies of The Casual Vacancy to migrate from gender leaving the barracks of were sold in the first weekend in the United Kingdom. It success, linked to children’s and youth litera- may not seem much compared to Harry Potter (2.6 million ture. However, this imposition is a consequence copies thereof were sold in that country), but this number of the pull effect integrated in her name as a is 10 times more than the number of copies of the second brand. When The Cuckoo’s Calling was pub- best-seller of the week (The Power Trip, by Jackie Collins). lished under a pseudonym, sales were very poor Similarly, Little Brown states that 375,000 copies of The and many copies were returned to the stores. Casual Vacancy were sold in the first six days in the United The work was reincorporated in the dynamics of States. The book ranked first in USA Today’s bestseller bestsellers (Visser & Kaai, 2015) only after the classification, beating Fifty Shades of Grey, by E. L. James, publishing house took action and revealed the for the first time in 23 weeks. Nielsen also stated that The author’s name. Nevertheless, such publishing Casual Vacancy ranked 25th in the annual classification projection arises from different dimensions,

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of sic-fi books and first in the classification of hard cover visibilidad y recomendación en el ecosistema del books. libro. Madrid: Marcial Pons. 4. This fact confirms the conclusions of a study on the Díaz-Martínez, J. (2014). Teorías sistémicas de la acceleration processes in the consumption of concepts literatura: polisistema, campo, semiótica del teto conducted by researchers of the Manx Planck Institute and y sistemas integrados. Granada: Editorial de la the technical universities of Berlin and Denmark, whereby Universidad de Granada. the rotation rate of popular culture has experienced a Eagleton, T. (2013a). Marismo y crítica literaria. significant acceleration due to the impact of the amount Barcelona: Paidós. of information available and the change in consumption Eagleton, T. (2013b). El acontecimiento de la literatura. patterns (Lorenz-Spreen et al, 2019) Barcelona: Península. 5. Amazon published a list of best books in 2013. The Falkoff, R. (2016). To translate is to betray: on the Elena novel The Cuckoo’s Calling, published by J. K. Rowling Ferrante phenomenon in Italy and the US. Guardian under the pseudonym Robert Galbraith, ranked third in Books Network. Retrieved from https://www. the list of bestsellers for an adult audience. On their part, theguardian.com/books/2016/oct/05/to-trans- both The Cuckoo’s Calling and its sequel, The Silkworm, late-is-to-betray-the-elena-ferrante-phenome- ranked between the first four best-sellers in e-book format non-in-italy-and-the-us. of Apple’s iBook store in 2014. Federación de Gremios de Editores de España (2000/2018). Hábitos de lectura y compra de libros. References Madrid: Ministerio de Cultura. Ferrante, E. (2017). La Frantumaglia: un viaje por la Australia Council for the Arts (2017). Reading the escritura. Barcelona: Lumen. reader: a survey of australian reading habits. Foster, T. (2015). Leer como un profesor. Madrid: Retrieved from https://www.australiacouncil. Turner. gov.au/research/reading-the-reader/. Foucault, M. (2013). La arqueología del saber. Madrid: Baggini, J. (2016). Signing off: From Kierkegaard Siglo XXI. to J. K. Rowling, a look at the history of Herralde, J. (2019). Un día en la vida de un editor. literary pen names and their impact. Inde Barcelona: Anagrama on Censorship, 45(3), 46-47. https://doi. Hutcheon, L. (2014). Una poética del postmodernismo. org/10.1177/0306422016670341. Buenos Aires, Argentina: Prometeo. Barthes, R. (2009). El susurro del lenguaje: más allá de Jockers, M., & Archer, J. (2016). The Bestseller Code. la palabra y la escritura. Madrid: Paidós. Reino Unido: Penguin UK. Bourdieu, P. (2018). Las reglas del arte: génesis y Judt, T. (2016). Pasado imperfecto. Madrid: Taurus. estructura del campo literario. 6º ed. Barcelona: Jullien, F. (2017). La identidad cultural no existe. Anagrama. Madrid: Taurus. Byung-Chul, H. (2018). Buen entretenimiento. Lipovetsky, G. (2015). La estetización del mundo. Barcelona: Herder. Barcelona: Anagrama. Cordón-García, J. A. (2004). La visibilidad en los cir- Lipovetsky, G., & Juvin, H. (2011). El occidente glo- cuitos de la edición y la traducción especializada. balizado: un debate sobre la cultura planetaria. In, V. García-Yebra, & C. Gonzalo-García, (Eds.). Barcelona: Anagrama. Manual de Documentación y Terminología para la Liu, L., Wang, Y., Sinatra, R., Giles, C. L., Song, C., & Traducción Especializada (pp. 127-169). Madrid: Wang, D. (2018). Hot streaks in artistic, cultural, Arco Libros. and scientific careers. Nature, 559(7714), 396-399. Cordón-García, J. A. (2010). El humanismo, la edición https://doi.org/10.1038/s41586-018-0315-8. y la función editorial en la época contemporánea. López de Abiada, J. M., & Peñate Rivero, J. (1996). In, P. Aullón-de-Haro (Dir.), Teoría del humanismo Éxito de ventas y calidad literaria: incursiones en las (pp. 113-137). Madrid: Verbum. teorías y prácticas del best-séller. Madrid: Verbum. Cordón-García, J. A., & Gómez-Díaz, R. (Coords.). Lorenz-Spreen, P., Bjarke-Mørch M., Philipp H., & (2018). Lectura, Sociedad y Redes: colaboración, Sune L. (2019). Accelerating dynamics of collec-

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