“走出去”

朱鳳娟

2012年倫敦書(shū)展4月16日在倫敦伯爵宮會(huì)展中心開(kāi)幕。倫敦書(shū)展，是僅次于德國(guó)法蘭克福書(shū)展的世界第二大國(guó)際圖書(shū)交易會(huì)。本屆書(shū)展上，浙江出版聯(lián)合集團(tuán)主辦“中國(guó)當(dāng)代兒童插畫(huà)展暨中國(guó)繪本圖書(shū)展”。浙江少年兒童出版社特地趕制了10種“中國(guó)原創(chuàng)繪本系列”，展出并列入“中國(guó)國(guó)際經(jīng)典出版工程”項(xiàng)目的英語(yǔ)版“繪本中國(guó)故事”和法語(yǔ)版《熊亮繪本系列》。這兩種圖書(shū)是浙少社分別與美國(guó)海馬出版社、法國(guó)東方書(shū)局合作出版的。書(shū)中采用水墨水彩插畫(huà)，不僅表現(xiàn)出兒童心靈世界的奇幻與瑰麗，而且向世界展現(xiàn)了中國(guó)文化的迷人魅力。

少兒出版是目前版權(quán)貿(mào)易非?；钴S的出版領(lǐng)域，但是和成人圖書(shū)出版一樣，版權(quán)貿(mào)易上的巨大“逆差”一直是中國(guó)少兒出版界的重要話(huà)題，雖然近些年隨著少兒出版的發(fā)展，富有遠(yuǎn)見(jiàn)的少兒社在努力推介優(yōu)質(zhì)圖書(shū)“走出去”，但優(yōu)秀原創(chuàng)作品真正融入世界范圍的閱讀依舊任重道遠(yuǎn)。

《文化交流》雜志繼今年第三期刊發(fā)《徐海榮踐行“文化走出去”》一文之后，本期關(guān)于“文化‘走出去‘引進(jìn)來(lái)”話(huà)題的專(zhuān)訪嘉賓是浙江少年兒童出版社副社長(zhǎng)孫建江。

記者：孫社長(zhǎng)，您好。在來(lái)之前，我大致了解了一下浙江少兒出版社，發(fā)現(xiàn)它2003年至2009年連續(xù)7年保持了全國(guó)少兒讀物市場(chǎng)占有率第一，而且其中令人詫異的是，它基本不出版教輔類(lèi)書(shū)冊(cè)，這是怎么做到的呢?

孫建江：我們浙江少年兒童出版社成立于1983年，是一家以少年兒童為主要服務(wù)對(duì)象的專(zhuān)業(yè)出版社?，F(xiàn)在全國(guó)有30多家專(zhuān)業(yè)少兒出版社，在570多家出版社中有520多家也都在出版少兒圖書(shū)，所以競(jìng)爭(zhēng)非常激烈。對(duì)于一個(gè)出版社來(lái)說(shuō)，選題結(jié)構(gòu)或者說(shuō)圖書(shū)產(chǎn)品結(jié)構(gòu)是至關(guān)重要的。選題結(jié)構(gòu)關(guān)乎出版社的市場(chǎng)定位、早期獲益和后續(xù)發(fā)展。好的選題結(jié)構(gòu)一定是可抗風(fēng)險(xiǎn)的、前瞻性的和具有市場(chǎng)競(jìng)爭(zhēng)力的。

浙少社之所以能連續(xù)7年保持童書(shū)市場(chǎng)占有率第一，這和我們有一個(gè)較為合理的選題結(jié)構(gòu)有關(guān)。比如，我們?cè)趯?shí)施“整體推進(jìn)，重點(diǎn)突破”戰(zhàn)略時(shí)，需要有百科工具書(shū)選題布局，但既有的編輯條件又不允許我們自己來(lái)做這類(lèi)書(shū)，這時(shí)版權(quán)貿(mào)易就為我們提供了極大的便利，我們及時(shí)從日本小學(xué)館引進(jìn)了《最新21世紀(jì)少年兒童百科》，從英國(guó)DK引進(jìn)了《最新21世紀(jì)中學(xué)生科學(xué)百科》，從英國(guó)馬歇爾引進(jìn)了《最新21世紀(jì)動(dòng)物百科》等。

記者：除了合理的選題結(jié)構(gòu)之外，我們知道浙少社在進(jìn)口圖書(shū)品牌運(yùn)作方面的獨(dú)具匠心也是一大優(yōu)勢(shì)，能否為我們介紹一些經(jīng)典的案例？

孫建江：比如，我們自2001年開(kāi)始引進(jìn)奧地利暢銷(xiāo)書(shū)作家托馬斯·布熱齊納的《冒險(xiǎn)小虎隊(duì)》系列，歷經(jīng)“超級(jí)版”、“超級(jí)成長(zhǎng)版”、“奇幻女生版”和“升級(jí)版”不斷補(bǔ)充、修訂和維護(hù)，至2010年，已累計(jì)出書(shū)60冊(cè)，總銷(xiāo)量近3000萬(wàn)冊(cè)，銷(xiāo)售碼洋逾3億元，成了中國(guó)最為知名的超級(jí)暢銷(xiāo)童書(shū)品牌。而且，該系列的推出，還催生并引發(fā)了國(guó)內(nèi)帶工具互動(dòng)式閱讀的熱潮。

再比如，我們從2007年開(kāi)始引進(jìn)德國(guó)繪本大師雅諾什的《睡鼠的睡夢(mèng)時(shí)光》等四冊(cè)繪本，投入市場(chǎng)后反響良好。次年，我們以“繪本博物館”為品牌，大規(guī)模進(jìn)入繪本領(lǐng)域，僅“繪本博物館”中“大師經(jīng)典”這個(gè)子系列，到目前就已推出了雅諾什、大衛(wèi)·威斯納、約翰·席斯卡和蘭史密斯、露絲·布朗、托尼·羅斯等經(jīng)典繪本圖書(shū)近二十冊(cè)。再加上“繪本博物館”中“小書(shū)蟲(chóng)”、“我愛(ài)我家”等子系列的同時(shí)推出，我社繪本圖書(shū)開(kāi)始發(fā)力，“繪本博物館”品牌贏得了更多讀者的喜愛(ài)和認(rèn)可。繪本圖書(shū)板塊成為了新的利潤(rùn)增長(zhǎng)點(diǎn)。

記者：無(wú)論從銷(xiāo)售量還是影響力來(lái)看，應(yīng)該說(shuō)進(jìn)口圖書(shū)都已成為浙少社非常重要的一部分，您能否為我們介紹一下，這幾年浙少社在版權(quán)貿(mào)易引進(jìn)和輸出方面的情況？

孫建江：1990年至2010年，浙少社版權(quán)貿(mào)易方面引進(jìn)和輸出的年均比大約為1.7：1，即引進(jìn)1.7種書(shū)，輸出1種書(shū)。與我國(guó)圖書(shū)版權(quán)貿(mào)易引進(jìn)和輸出年均6.5：1相比，浙少社1.7：1的圖書(shū)版權(quán)貿(mào)易引進(jìn)和輸出比例，遠(yuǎn)遠(yuǎn)高出了全國(guó)的平均值，應(yīng)該說(shuō)情況還是比較理想的。

但如果從版權(quán)引進(jìn)地及數(shù)量和版權(quán)輸出地及數(shù)量對(duì)比看，兩者間呈明顯的錯(cuò)位現(xiàn)象，即我們引進(jìn)的版權(quán)大多集中在歐美和日本等發(fā)達(dá)國(guó)家，而輸出的版權(quán)大多集中在我國(guó)臺(tái)港地區(qū)及東南亞漢文化圈。浙少社也只是到2007年，才開(kāi)始將版權(quán)輸出到歐美等發(fā)達(dá)國(guó)家，而且相比同等國(guó)家的版權(quán)引進(jìn)，數(shù)量上呈明顯逆差。

要改變這一錯(cuò)位現(xiàn)象，當(dāng)然不是一朝一夕的事。這受到綜合國(guó)力、強(qiáng)勢(shì)文化及出版社自身實(shí)力等等因素的制約。但我們有信心搭乘中華文化全面復(fù)興的“航母”迎頭趕上。如果說(shuō)早期的版權(quán)貿(mào)易多少還帶些點(diǎn)綴、裝飾和“完成任務(wù)”性質(zhì)的話(huà)，那么如今的版權(quán)貿(mào)易，對(duì)于我們來(lái)說(shuō)，早已置換為實(shí)實(shí)在在的、看得見(jiàn)的、融入整個(gè)出版產(chǎn)業(yè)鏈的自覺(jué)行為了。

記者：當(dāng)然信心很重要，可是行動(dòng)更重要。大家很想了解，在版權(quán)貿(mào)易輸出方面，浙少社做了哪些有益的探索，可否分享一下經(jīng)驗(yàn)？

孫建江：在圖書(shū)輸出領(lǐng)域，我們最大的體會(huì)是如何變慣常的國(guó)內(nèi)作者——國(guó)內(nèi)圖書(shū)制作——國(guó)外版權(quán)輸出，為國(guó)外作者——國(guó)內(nèi)（或國(guó)外）圖書(shū)制作——國(guó)外版權(quán)輸出，和如何變單純的圖書(shū)版權(quán)輸出為雙方（或多方）共同打造的由單純圖書(shū)衍生出的文化產(chǎn)品?！秳?chuàng)造力——孩子成長(zhǎng)的第一要素》即是我們?cè)谶@方面的一個(gè)嘗試。

2006年，我們開(kāi)始策劃“創(chuàng)造力”這個(gè)項(xiàng)目。是年，芬蘭作者吉姆和碧雅·索拉迪爾夫婦來(lái)訪，雙方談及合作“創(chuàng)造力”項(xiàng)目一拍即合。我們選擇吉姆和碧雅·索拉迪爾，是因?yàn)椋逃亲髡咚趪?guó)芬蘭最成功的出口產(chǎn)品。在芬蘭的教育體系中，創(chuàng)造力是這個(gè)“智勝”小國(guó)的關(guān)鍵詞。

吉姆和碧雅·索拉迪爾夫婦是芬蘭知名的尼爾市場(chǎng)調(diào)查公司的創(chuàng)始股東和合伙人。吉姆曾擔(dān)任芬蘭市場(chǎng)研究協(xié)會(huì)主席，還擔(dān)任歐洲民意和市場(chǎng)研究協(xié)會(huì)的芬蘭代表。20年來(lái)，夫婦倆致力于創(chuàng)造力培訓(xùn)工作，幫助如雀巢、阿斯利康制藥、阿拉乳品等一流國(guó)際公司成功應(yīng)對(duì)了艱巨的商業(yè)挑戰(zhàn)。選擇芬蘭作者吉姆和碧雅·索拉迪爾，我們當(dāng)然也看中了圖書(shū)產(chǎn)品推向歐美市場(chǎng)的前景；而吉姆和碧雅·索拉迪爾選擇我們，是因?yàn)椋袊?guó)是巨大的文化產(chǎn)品市場(chǎng)，浙少社是全國(guó)一流的優(yōu)秀出版社，不僅國(guó)內(nèi)聲譽(yù)卓顯，而且在國(guó)際上也有一定的知名度。

《創(chuàng)造力》策劃的靈感來(lái)自一個(gè)由芬蘭兒童合作創(chuàng)作的童話(huà)故事。幾個(gè)芬蘭孩子在旅行中，想象了一只小狗的形象，隨后的旅行過(guò)程就成了那只小狗的歷險(xiǎn)，并由那只小狗生發(fā)出了一個(gè)小狗的星球……被童話(huà)打動(dòng)之余，那些童話(huà)創(chuàng)作過(guò)程中所體現(xiàn)的經(jīng)科學(xué)培訓(xùn)而得的素質(zhì)，讓我社編輯有感而發(fā)，將未來(lái)的書(shū)名確定為“創(chuàng)造力”。

為了讓圖書(shū)的內(nèi)容更貼近中國(guó)市場(chǎng)，2007年，我們請(qǐng)來(lái)作者和部分芬蘭孩子在杭州專(zhuān)門(mén)舉辦了一次“頭腦風(fēng)暴訓(xùn)練營(yíng)”。主要目的是對(duì)書(shū)中提及的培養(yǎng)方案進(jìn)行市場(chǎng)驗(yàn)證。訓(xùn)練營(yíng)效果相當(dāng)正面，吉姆夫婦也收獲頗多。作者在對(duì)中國(guó)孩子較深入了解的基礎(chǔ)上，及時(shí)調(diào)整了圖書(shū)的內(nèi)容，收入了許多具有中國(guó)特色的例證，例如曹沖稱(chēng)象、司馬光砸缸等中國(guó)智慧故事。在這本書(shū)的結(jié)尾，作者還適時(shí)附錄了中芬兩國(guó)孩子運(yùn)用創(chuàng)造力訓(xùn)練共同創(chuàng)作的一個(gè)童話(huà)故事。這些在后來(lái)圖書(shū)版權(quán)輸出芬蘭的時(shí)候，起到了意想不到的文化融合作用。

記者：我們欣喜地看到浙少社的這種有益探索，開(kāi)拓了圖書(shū)從單純的平面出版向立體綜合型發(fā)展的模式，那么接下來(lái)對(duì)這種模式還有沒(méi)有實(shí)踐性的延伸呢？

孫建江：2010年，浙少社和芬蘭未來(lái)編碼公司、杭州師范大學(xué)初等教育學(xué)院、杭州普達(dá)海文化有限公司初步達(dá)成“創(chuàng)造力”文化產(chǎn)品深度開(kāi)發(fā)意向。由浙少社牽頭，以芬蘭未來(lái)編碼公司為國(guó)際平臺(tái)，依托杭州師范大學(xué)初等教育學(xué)院學(xué)術(shù)資源，由杭州重點(diǎn)動(dòng)漫文化企業(yè)普達(dá)海文化有限公司提供主要培訓(xùn)基地，進(jìn)行有關(guān)“創(chuàng)造力”的人員培訓(xùn)（師資、學(xué)生、家長(zhǎng)）和圖書(shū)出版物及其衍生產(chǎn)品（教具、玩具等）開(kāi)發(fā)、制作和銷(xiāo)售。同時(shí)，杭州師范大學(xué)初等教育學(xué)院和浙少社積極接洽，計(jì)劃申報(bào)相關(guān)課題，成立“中芬創(chuàng)造力培訓(xùn)中心”，將國(guó)際教育界領(lǐng)先的創(chuàng)造力培訓(xùn)方案以及配套相關(guān)資料整理出版。杭州普達(dá)海文化有限公司決定和浙少社進(jìn)一步深入合作，復(fù)制《骨頭城的陰影》動(dòng)畫(huà)片的制作模式：由創(chuàng)造力培訓(xùn)營(yíng)的活動(dòng)切入，讓孩子們創(chuàng)造自己的故事，請(qǐng)國(guó)內(nèi)或國(guó)際知名動(dòng)畫(huà)編劇進(jìn)行深加工，國(guó)內(nèi)制作動(dòng)畫(huà)片，兼顧海外市場(chǎng)發(fā)行，并將動(dòng)畫(huà)片的衍生產(chǎn)品的生產(chǎn)計(jì)劃納入其創(chuàng)意生活館的項(xiàng)目。

記者：這些計(jì)劃聽(tīng)起來(lái)讓人很是振奮。您個(gè)人多年從事文化出版行業(yè)，也直接參與浙少社的“童書(shū)走出去”項(xiàng)目，就個(gè)人來(lái)說(shuō)，您對(duì)我們少兒出版行業(yè)的“文化‘走出去‘引進(jìn)來(lái)”寄予什么樣的希望呢？

孫建江：開(kāi)放的中國(guó)需要融入世界，世界需要認(rèn)識(shí)中國(guó)。別具特色的現(xiàn)代中國(guó)兒童文學(xué)需要走向世界，世界不同膚色的兒童也需要認(rèn)識(shí)和感受中國(guó)兒童文學(xué)。現(xiàn)在已經(jīng)有越來(lái)越多的人認(rèn)識(shí)到，童書(shū)版權(quán)輸出，事關(guān)國(guó)家文化的世界影響力。我們要深入研究國(guó)外受眾閱讀需求和接受習(xí)慣，運(yùn)用國(guó)外讀者看得懂、易接受的方式，認(rèn)真進(jìn)行對(duì)外出版選題認(rèn)證、策劃，從而提高出版物的吸引力感召力；同時(shí)要進(jìn)一步拓展對(duì)外交流合作的渠道和途徑，增強(qiáng)“走出去”的營(yíng)銷(xiāo)能力，努力擴(kuò)大受眾范圍，爭(zhēng)取更多讀者。把“圖書(shū)走出去”的步子邁得更穩(wěn)些、更大些。圖書(shū)“走出去”的路徑有很多條。但無(wú)論有多少條路徑，有一點(diǎn)可以確信，那就是——適合自己的，才是最好的?！?/p>

嘉賓簡(jiǎn)介：

孫建江，男，浙江少年兒童出版社副社長(zhǎng)、編審。浙江師范大學(xué)兼職教授、云南大學(xué)客座教授、中國(guó)作家協(xié)會(huì)會(huì)員。著有《二十世紀(jì)中國(guó)兒童文學(xué)導(dǎo)論》《童話(huà)藝術(shù)空間論》《飛翔的靈魂——解讀安徒生的童話(huà)世界》《童年的文化坐標(biāo)》等學(xué)術(shù)論著八種，《美食家狩獵》等作品集三十余種。

Go International: Mission of Chinese Childrens Books

By Zhu Fengjuan

The 2012 March issue of Cultural Dialogue ran a story on Xu Hairong, a Hangzhou-based publisher who held lec-tures on Chinese culture at UC Berkeley. The publisher is a pioneer on the mission of taking Chinese culture overseas. In or-der to see how Chinese publishers bring in overseas culture to Chinese readers and take Chinese books to international young readers, I recently interviewed Sun Jian-jiang, vice president of Zhejiang Juvenile & Childrens Publishing House, on the topic of Chinese books going international. The following is a gist of the interview.

The Zhejiang Juvenile & Childrens Publishing House, founded in 1983, is spe-cialized in publishing books for children. Nowadays competition for young readers is fierce as 30 some childrens publishing houses competing against each other for the love of young readers and their parents. Moreover, 520 of 570 some publishers in China produce books for children. Zhejiang Juvenile & Childrens Publishing House was Chinas biggest publisher of childrens books for seven consecutive years from 2003 to 2009 in terms of market share. It accomplished the mission impossible without publishing a single textbook. The secret of the success was the well-balanced structure of the books it published. During these years, it reprinted three sets of ency-clopedias, one by a Japanese publisher and the other two by British publishers.

Zhejiang Juvenile & Childrens Publish-ing House is well known for publishing foreign books for Chinese young readers. Since 2001, the publisher has been intro-ducing the “The Knickerbocker Gang” by Thomas Brezina, an Austrian writer of chil-drens books. By 2010, the publisher had published 60 titles in Brezinas bestseller series. The sales volume of the 60 books was more than 300 million yuan. This is one of many writers the publisher has intro-duced. These foreign books add up to a new growth point for this publisher.

Zhejiang Juvenile & Childrens Pub-lishing House plays a high-profile role in introducing Chinese childrens books to international young readers. From 1990 to 2010, the publisher bought copyrights for books from overseas publishers and sold copyrights to overseas publishers in the proportion of 1.7 to 1. In other words, the publisher printed 1.7 books from overseas publishers for every book it sold to foreign publisher. The national average was a rate of 6.5 to 1. Sun Jianjiang is not particularly satisfied with the copyright trade. For many years, the publisher bought copyrights largely from publishers in Europe, America and Japan while sold copyrights to publish-ers in Taiwan, Hong Kong and countries in Southeast Asia. It was not until 2007 that the publisher was able to sell copyrights to publishers of the west.

It takes time for Chinese publishers to sell copyrights to foreign publishers. Many factors play a part in this trade such as com-prehensive national strength, culture as well as publishers themselves. In the early years, pushing Chinese books was something cosmetic to some extent. Nowadays, it is a strategy for the publishers survival and prosperity.

Zhejiang Juvenile & Childrens Publish-ing House has been experimenting a con-structive approach to becoming an interna-tional publisher since 2006. The publisher started the Creativity Project in 2006. That year, Finland experts Pia and Jim Solatie came to visit the publisher and the two sides soon found that both were interested in a creativity project in Zhejiang Province. The Finnish couple is well known for the central role they play in boosting creativity education in Finland. The editors with the publisher were inspired by a fairytale creat-ed by some Finnish children. They thought they had every reason to try this same idea out in Zhejiang and see whether the same process could inspire a new book for young readers in both China and Finland.

In 2007, the Solaties and some Finnish children were invited to hold a brainstorm camp in Hangzhou for the purpose of test-ing the feasibility of some ideas of the new book. The Solaties were deeply impressed with some ancient Chinese stories of crea-tivity and wisdom. These Chinese stories later became part of the new book. Moreo-ver, the book also integrated a fairytale jointly created by Chinese and Finnish chil-dren at the camp. When Zhejiang Juvenile & Childrens Publishing House was selling the copyright of this book to Finland, the content of the book helped a great deal.

Zhejiang Juvenile & Childrens Publish-ing House decided to take further steps in this market exploration. In 2010, the Zhejiang Juvenile & Childrens Publishing House and two other partners in Hangzhou and Futurecode, a Finnish company forged a partnership to further develop cultural products under the title of creativity. A se-ries of activities was planned. As time goes on, the partnership will produce more vis-ible and constructive results.

Sun Jianjiang has a philosophy for the publisher to push Chinese books to in-ternational readers and introduce foreign books to Chinese readers. He says that China needs to merge with the world and that the world needs to know more about China. Modern Chinese books for children should go international and children across the world need have an opportunity to read childrens books from China. More and more people are aware that pushing Chinese childrens books to the international market is a test of Chinas cultural strength. It is a mission. Then no one knows how difficult it is to go international. Zhejiang Juvenile & Childrens Publishing House is willing to explore possibilities. It will do all it can to find a suitable way to market the publishers books to international readers. □