2. Royalties for Punjabi Language Authors

After the first post, i received some feedback questioning the need to raise the issue of royalties for authors of MaaNboli mothertongue languages, and asking why even after getting royalty on my novel Skeena, i am still keeping on about it.

It is the historic discrimination faced by MaaNboli languages in Pakistan where most of the meager resources earmarked for the development of languages, art and literature are awarded to the ‘national’ language Urdu at the expense of all local languages. So now the MaaNboli literary organizations, authors and publishers of Punjab (Punjabi, Seraiki, Potohari), Sind (Sindhi, Behari), Balochistan (Balochi, Brahvi) and the NWFP (Pushto, Pukhto) face depreciation due to the persistent non-recognition of native languages by national and provincial cultural agencies. It is a miracle performed by writers, intellectuals and publishers of maaNboli literature that any of our languages have survived the last sixty one years of Pakistani politics.

Punjabi writers and publishers, artists and patrons, musicians/dancers and producers are facing decreasing markets and lesser value for their creative work and hardship because of the ever-increasing conservatism of the political environment that does not encourage or allow creativity in art and literature. Nahid Siddiqui, a master of Kathak classical dance, and i assure you there aren’t many left in the country, does not get a chance to perform on stage or on television very often; and so, she sustains herself with a percentage of student fees from her dance classes with a community-based non-profit cultural organization that struggles each month to pay its own bills in the absence of any core funding or structural support.

The perpetual lack of government funding and public resources has pushed Punjabi cultural communities to operate at ‘charitable’ levels from before the Partition of 1947; and, now the defensive strategy once adopted to help the ailing art and literary institutions recover, has become the only ‘possible’ way to continue. This has flung most Punjabi literary organizations into an overall low-lying introvert stance where work is valiantly carried on even in the absence of ‘basic necessities’ such as scanners and printers. A living example of it appeared in my inbox yesterday in the form of a general request to help fundraise for Publisher/Distributor Kitab Trinjan to get a UPS, a printer and a scanner (For more information and to extend your support, email Zubair Ahmed at kitab.trinjan@gmail.com).

I had the unique opportunity to travel within Pakistan from May to August last year to launch my novel Skeena; and, it was most rejuvenating to meet poets, fiction writers, prose writers, publishers, musicians and cultural/social activists in nine different places including my own city of Lahore. This was made possible by many individuals and organizations but most of all by Amjad Salim of Sanjh Publications who took a big step forward by launching what may well be the first actual promotion campaign for a Punjabi book in the Punjab; Columnist Hasan Nisar who gave the campaign his unconditional support by dropping the first cash donation; Mohammad Tahseen of South Asia Partnership (SAP) who supported the Campaign by approving funds for it. I am most grateful to the cultural communities of Gujranwala, Kot Adu, Multan, Sargodha, Islamabad, Jhung, Karachi, Hyderabad and Lahore who supported this action by organizing the events to launch ‘Skeena’ in their cities.

My gains are unlimited. Just getting the feel of different places and meeting some of the most inspiring people there would have been enough for me but i got luckier than ever; great exchange of ideas, strong cultural impacts, heated discussions, hot and cold weathers, home-cooked foods, great Hasheesh, and no kidding. On the question of royalties, most authors and publishers said that since Punjabi books do not sell it will be meaningless to ask for or grant royalties to authors; some reject the very idea of running a self-sustained Punjabi publishing business as being a ‘commercial’ and so negative activity while others feel it will be impossible to make a Punjabi literary publishing business a commercial success in a market catering to Urdu and English.

The most important factor in resolving this situation is to push for language reforms as has been suggested by Shahid Mirza in his comment on Uddari-Home: “It is so unfortunate that in the new provincial assembly there is no party/individual/group to voice the right of children to study in the mother tongue. maybe we need to start a signature campaign to promote the cause”; and, the comments made by Shumita Madan Didi here, and there. As well, this is the reason for Publisher Amjad Salim and I to launch an extended promotion campaign for Skeena that included discussion on language rights, and for Mohammad Tahseen, and others to support it. I believe that winning author royalties for Punjabi writers is an important part of developing Punjabi language and literature.

The sentiment behind rejecting the concept of author royalties is well expressed by Author Amarjit Chandan in his comment on the previous post: “…In principle there can’t be any debate about royalty rights for Punjabi writers. A Punjabi writer should assert his/her rights while dealing with big publishers, but sadly we don not have any in Punjabi book industry.” I understand this view but do not share it; to me, its not a question of whether a publisher is big or not, an author is ‘successful’ or not, a publisher is ‘commercial’ or not. “Everyone has the right to the moral and material interests resulting from any scientific, literary or artistic production of which (s)he is the author.” (UN Universal Declaration of Human Rights, Article 27). It is a matter of human rights; of how creative work is used and valued in a society; of how creators of art and literature are recognized for their work. To me, it is important to see that a system contains at least a semblance of the ‘possibility’ for writers and artists to sustain ourselves through our creative work; and, may also improve the quality of our work as suggested by Jatinder in her comment.

Amarjit Jee further says, “I belong to the old tribe of writers who wrote and published for the love of it without asking for any reward.” Yes, in South Asia as elsewhere, writing has been a noble profession and the profession of the nobility as it required not just intellect but also education, a commodity still inaccessible to a large majority of people. I shirk from it also because it reminds me of all those other ‘recommended’ and ‘favored’ roles that are created to dupe people into feeling good about themselves while they are made to serve larger vested interests; for example, the ‘sublime motherhood’ concept for women where a woman is prompted to negate all other aspects of her person to fulfill that one role.

In the absence of royalties, what do writers do? Depend on local monarchs where available, find affluent patrons and befriend wealthy printers; Have dual careers, self-publish through an established publisher, and stay in a position of acute valuelessness for being an author who is often reminded that her/his creative work is not read by many; few want to buy it; and, the publisher is taking a loss by printing it. That reminds me of Poet Arshad Malik in Sargodha who would not publish his collection of poetry because “Ke faida? whats the use?” he said; Mushtaq Sufi, a poet of unique sensibilities who has stopped writing poetry; Painter Shahid Mirza who may have canvases ready for six exhibitions but has not exhibited his work in years outside of his own Lahore Chitrkar, “ke faida?” he says.

In every city, i met some creative artists, poets, writers, singers, dancers who are working on their art day and night without hope to publish, perform or exhibit their creations. I am clear that this situation is caused by larger political realities where literary and cultural communities suffer as a whole regardless of their role in it. But the publishers and producers of Punjabi art and literature in Pakistani Punjab though miraculous in sustaining maaNboli languages, can not continue to overlook the negative impacts on their communities of their non-recognition of creative and intellectual rights. Seen from my perspective, this non-recognition mirrors the same model of projected valuelessness to authors of native languages and literature that is projected by the larger mainstream society in relation to native languages and cultural communities; the model that we are all fighting against.

Meanwhile, we are all in a bind and at this end, even authors who are not dependent on Punjabi publishers feel slighted by them, “Lugda ai Punjab de publishraaN agay sadee koi value nahiN” (It seems punjabi publishers do not value us) says Poet/Playwright Ajmer Rode of Vancouver who has worked with publishers both in India and Canada.

Punjabi Authors and Publishers Page brings this discussion together.
books on Punjab

1. Royalty Rights in Punjabi Publishing

I had the opportunity to publish my novel Skeena in Punjabi (Sanjh Publications, Lahore 2007) last year, and while it was one of the most creative and inspiring experiences for me, it did include, and still does, confrontations with my peers around royalty rights and promotional strategies.

All the wonderful things began happening with Ijaz Syed in California who after reading the English manuscript of Skeena, recommended it to a publisher in Lahore; who in turn, offered to publish it in Punjabi and invited me to come to Lahore to translate it. This was a wonderful opportunity for me, and Ijaz Syed again stepped up by bringing me over to California where i enjoyed his hospitality and that of his family and friends. I am most grateful for the time and attention i received there from Nusrat Syed, Sarmad Syed, Vidhu Singh, Sanjeev Mahajan, Shaista Parveen, Salma, Cesar Love, Nidhi Singh and Rob Mod. Later, Ijaz, Sanjeev and Shaista were prevailed upon to buy me a one-way ticket to Lahore.

This also meant a chance for me to live in Lahore for a meaningful length of time in 2006 after having left it for Canada in 1986.

This was a dream situation for me also because Skeena is a character and story rooted in Pakistani Punjab, that then reaches out into the Punjabi communities of Toronto and Surrey. The very diversity of our communities had shackled the English manuscript with sentences upon sentences of Punjabi while the living culture of Muslim characters had laiden it with shots of Arabic. This was pointed out by most of its readers, and by Editor Michele Sherstan in Vancouver who had worked with me on Skeena in 2004. At that time, I knew that the novel had to be re-expressed in Punjabi before the English can ever be published; yet i had been away for so long that many sounds and words shivered below the surface of my mind as i looked for the courage to draw them out in the open again.

It will be an understatement to say that i am grateful to Skeena’s Punjabi Editor Zubair Ahmed for giving me the courage, the skills and the environment to rewrite Skeena in Punjabi. Zubair is a rare friend who cares for me and my work, and challenges me to do better. He spent countless hours of volunteer work to edit more than three hundred manuscript pages of Skeena as he supported me to shape my voice in Punjabi. Zubair also provided a comfortable and creative environment at Kitab Trinjan, a Punjabi bookstore on Temple Road that he manages on permanent part time voluntary basis for over a decade now. I was also happy to know Trinjan’s only full time employee Ghulam Haider; as well, Zubair introduced me to some most wonderful people there including his wife Samina, and Amjad Salim of Sanjh Publications who later published Skeena in Punjabi.

The publisher who had originally offered to publish Skeena was excited about the submission of the Punjabi manuscript, and we were beginning to discuss production and promotion when i realized that nothing had been mentioned about royalties yet. After a while, i asked the publisher as to how much royalty i was going to get; the question set off a wave of double headed culture shock hitting both the publisher and the writer. The publisher nearly fell off of his chair, so to speak, telling me that the top most Punjabi authors in Lahore pay the production cost to get their books published, where I, a mere writer of unpublished novels, am asking for royalty when my book is being published for free. Across from him, my eyes were popping out of my forehead because years of living in Canada had made me unprepared to deal with a situation where a small or medium level literary publisher was apparently operating for many years without recognizing an author’s right to royalty.

That culture shock helped me to figure out that royalty is NOT one of the rights accepted by Punjabi publishers or writers. So, this was the beginning of many inspiring discussions and fiery confrontations on royalty rights, book promotion strategies and maaNboli language issues in Lahore and other cities. I am aware that fighting for royalty rights for Punjabi writers/creators, and generating a debate on this issue by pushing it on the Net is not going to make me popular in Punjabi literary circles on either side of the border. Still, i will continue to share my ideas and experiences in Uddari Weblog because i think that the non-recognition of royalty rights is central to the ailments of Punjabi publishing industry.

Before i end this post, let me put your mind to rest: Yes, Sanjh did accept, and respect, my royalty rights.

Fauzia Rafiq
2. Royalties for Punjabi Language Authors
3. Author Royalties Down to Definitions in the Punjab

Royalties and Copyrights