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The Rowling Case. El Autor Como Marca O Las Inestabilidades De La Fama

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The Rowling Case. El Autor Como Marca O Las Inestabilidades De La Fama 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-).; Harry Potter; 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 8 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 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.
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