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The Literary Institution in Portugal since the Thirties

An Analysis under Special Consideration of the Publishing Market

Margarida Rendeiro

Despite the numerous studies of the politics, economy, culture, and society of the Estado Novo, the relations established between publishers, authors, and governmental institutions and their contribution to the making of the literary canon are still marginal subjects of analysis. Based on the systems theories developed by Bourdieu, Dubois and Even-Zohar, this study focuses on the cultural production produced during the Estado Novo (1933-1974) and after the Revolution (1974-2004), within their political, economic and social framework. The chapters on José Saramago and José Luís Peixoto show them as examples of literary consecration that confirm the systemic relations in the Portuguese literary field. This research makes use of a survey on habits of purchase of Portuguese fiction, interviews with publishers, original statistical analyses, and takes a new approach to the study of Portuguese literature.


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Appendix 2 Interview with Marcelo Texeira (Editorial Coordinator) e António Lobato Faria (Editor) at Oficina do Livro on 17th November 2004 349


349 Appendix 2: Interview with Marcelo Teixeira (Editorial Coordinator) e António Lobato Faria (Editor) at Oficina do Livro on 17 November 2004 1. Oficina do Livro is a recent publishing house, who has set it up? [António Lobato Faria] Gonçalo Bulhosa and me. Gonçalo had worked at a bookshop with his brothers for many years and then moved to Difel. I worked also at Difel as advisor to the board. We drew up a project that we believed filled in the market’s needs uncovered by other publishers. We offered that project to Difel and they turned it down. We decided to resign and set up another publishing house in 1999. By 2000 we were being supported by a major company, Lusomundo and later by PT. We have always preserved publishing and management autonomy, though. 2. What is the mission of Oficina ? [António Lobato Faria] Money is the mission. [Laughs]. Working with books is not financially rewarding. It is rewarding only when you like to work with books. We had the project of setting up a publishing house to promote books, make them popular and of mass consumption, leisure and we wanted to make books that made history because that is added value. People do not under- stand this. In the short run, if we do not have quality books, we will be punished for that. I am not interested in selling many books by authors like Margarida [Rebelo Pinto] because I know that they will...

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