Graphic novel

200px Will Eisner's A Contract with God (1978). Eisner is often credited with having popularized the term "graphic novel".
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A graphic novel is a narrative work in which the story is conveyed to the reader using sequential art, either in an experimental design or in a traditional comics format.^[1] The term is employed in a broad manner, encompassing non-fiction works and thematically linked short stories as well as fictional stories across number of genres.^[2]

Graphic novels are typically bound in longer and more durable formats than familiar comic magazines, using the same materials and methods as printed books, and they are generally sold in bookstores and specialty comic book shops rather than at newsstands. Such books have gained increasing acceptance as desirable materials for libraries, which were once ignored when titled or viewed as comic books.

Definition[link]

The term is not strictly defined, though one broad dictionary definition is "a fictional story that is presented in comic-strip format and presented as a book."^[3] In the publishing trade, the term is sometimes extended to material that would not be considered a novel if produced in another medium. Collections of comic books that do not form a continuous story, anthologies or collections of loosely related pieces, and even non-fiction are stocked by libraries and bookstores as "graphic novels" (similar to the manner in which dramatic stories are included in "comic" books). It is also sometimes used to create a distinction between works created as stand-alone stories, in contrast to collections or compilations of a story arc from a comic book series published in book form.^[4][5]

Whether the Japanese form manga, which has had a much longer history of both novel-like publishing and production of comics for adult audiences, should be included in the term is not always agreed upon. Likewise, in continental Europe, both original book-length stories such as La rivolta dei racchi (1967) by Guido Buzzelli,^[6] and collections of comic strips have been commonly published in hardcover volumes, often called "albums", since the end of the 19th century (including Franco-Belgian comics series such as "The Adventures of Tintin" and "Lieutenant Blueberry", and Italian series such as "Corto Maltese").

History[link]

As the exact definition of graphic novel is debatable, the origins of the artform itself are open to interpretation. Cave paintings may have told stories, and artists and artisans beginning in the Middle Ages produced tapestries and illuminated manuscripts that told or helped to tell narratives.

The first Western artist who interlocked lengthy writing with specific images was most likely William Blake (1757–1826).^{[citation needed]} Blake created several books in which the pictures and the "storyline" are inseparable, such as Marriage of Heaven and Hell.^{[citation needed]}

The Adventures of Obadiah Oldbuck, the 1837 English translation of the 1833 Swiss publication Histoire de M. Vieux Bois by Swiss caricaturist Rodolphe Töpffer, is the oldest recognized American example of comics used to this end.^[7] The United States has also had a long tradition of collecting comic strips into book form. While these collections and longer-form comic books are not considered graphic novels even by modern standards, they are early steps in the development of the graphic novel.^{[citation needed]}

1920s to 1960s[link]

The 1920s saw a revival of the medieval woodcut tradition, with Belgian Frans Masereel cited as "the undisputed king" of this revival.^[8] His works include Passionate Journey (1926).^[9] American Lynd Ward also worked in this tradition, publishing the first wordless, woodcut-picture novel, Gods' Man, in 1929 and going on to publish more during the 1930s.^{[citation needed]}

Other prototypical examples from this period include American Milt Gross' He Done Her Wrong (1930), a wordless comic published as a hardcover book, and Une Semaine de Bonté (1934), a novel in sequential images composed of collage by the surrealist painter Max Ernst.

The 1940s saw the launching of Classics Illustrated, a comic-book series that primarily adapted notable, public domain novels into standalone comic books for young readers. The 1950s saw this format broadened, with popular movies being similarly adapted. By the 1960s, British publisher IPC had started to produce a pocket-sized comic-book line, the "Super Library", that featured war and spy stories told over roughly 130 pages.^[10]

In 1950, St. John Publications produced the digest-sized, adult-oriented "picture novel" It Rhymes with Lust, a film noir-influenced slice of steeltown life starring a scheming, manipulative redhead named Rust. Touted as "an original full-length novel" on its cover, the 128-page digest by pseudonymous writer "Drake Waller" (Arnold Drake and Leslie Waller), penciler Matt Baker and inker Ray Osrin proved successful enough to lead to an unrelated second picture novel, The Case of the Winking Buddha by pulp novelist Manning Lee Stokes and illustrator Charles Raab.^[11][12] In 1955, EC Comics devised the label "Picto-Fiction" when it attempted to graduate from the conventional comic book format to typeset graphic stories with a line of experimental magazines—Confessions Illustrated, Terror Illustrated, Shock Illustrated and Crime Illustrated.

By the late 1960s, American comic book creators were becoming more adventurous with the form. Gil Kane and Archie Goodwin self-published a 40-page, magazine-format comics novel, His Name is... Savage (Adventure House Press) in 1968 — the same year Marvel Comics published two issues of The Spectacular Spider-Man in a similar format. Columnist and comic-book writer Steven Grant also argues that Stan Lee and Steve Ditko's Doctor Strange story in Strange Tales #130-146, although published serially from 1965–1966, is "the first American graphic novel".^[13]

Meanwhile, in continental Europe, the tradition of collecting serials of popular strips such as The Adventures of Tintin or Asterix had allowed a system to develop which saw works developed as long form narratives but pre-published as serials; in the 1970s this move in turn allowed creators to become marketable in their own right, auteurs capable of sustaining sales on the strength of their name.

By 1969, the author John Updike, who had entertained ideas of becoming a cartoonist in his youth, addressed the Bristol Literary Society, on "the death of the novel". Updike offered examples of new areas of exploration for novelists, declaring "I see no intrinsic reason why a doubly talented artist might not arise and create a comic strip novel masterpiece".^[14]

Modern era[link]

Gil Kane and Archie Goodwin's Blackmark (1971), a science fiction/sword-and-sorcery paperback published by Bantam Books, did not use the term originally; the back-cover blurb of the 30th-anniversary edition (ISBN 978-1-56097-456-7) calls it, retroactively, "the very first American graphic novel". The Academy of Comic Book Arts presented Kane with a special 1971 Shazam Award for what it called "his paperback comics novel". Whatever the nomenclature, Blackmark is a 119-page story of comic-book art, with captions and word balloons, published in a traditional book format. It is also the first with an original heroic-adventure character conceived expressly for this form.

The first six issues of writer-artist Jack Katz's 1974 Comics and Comix Co. series The First Kingdom were collected as a trade paperback (Pocket Books, March 1978, ISBN 978-0-671-79016-5),^[15] which described itself as "the first graphic novel". Issues of the comic had described themselves as "graphic prose", or simply as a novel.

European creators were also experimenting with the longer narrative in comics form. In the United Kingdom, Raymond Briggs was producing works such as Father Christmas (1972) and The Snowman (1978), which he himself described as being from the "bottomless abyss of strip cartooning", although they, along with such other Briggs works as the more mature When the Wind Blows (1982), have been re-marketed as graphic novels in the wake of the term's popularity. Briggs notes, however, "I don't know if I like that term too much".^[16]

First self-proclaimed graphic novels: 1976-1978[link]

In 1976, the term "graphic novel" appeared in print to describe three separate works. Bloodstar by Richard Corben (adapted from a story by Robert E. Howard) used the term to define itself on its dust jacket and introduction. George Metzger's Beyond Time and Again, serialized in underground comics from 1967 to 1972, was subtitled "A Graphic Novel" on the inside title page when collected as a 48-page, black-and-white, hardcover book published by Kyle & Wheary.

The digest-sized Chandler: Red Tide (1976) by Jim Steranko, designed to be sold on newsstands, used the term "graphic novel" in its introduction and "a visual novel" on its cover, although Chandler is more commonly considered^{[citation needed]} an illustrated novel than a work of comics.

The following year, Terry Nantier, who had spent his teenage years living in Paris, returned to the United States and formed Flying Buttress Publications, later to incorporate as NBM Publishing (Nantier, Beall, Minoustchine), and published Racket Rumba, a 50-page spoof of the noir-detective genre, written and drawn by the single-name French artist Loro. Nantier followed this with Enki Bilal's The Call of the Stars. The company marketed these works as "graphic albums".^[17]

Similarly, Sabre: Slow Fade of an Endangered Species by writer Don McGregor and artist Paul Gulacy (Eclipse Books, August 1978) — the first graphic novel sold in the newly created "direct market" of United States comic-book shops^[18] — was called a "graphic album" by the author in interviews, though the publisher dubbed it a "comic novel" on its credits page. "Graphic album" was also the term used the following year by Gene Day for his hardcover short-story collection Future Day (Flying Buttress Press).

Another early graphic novel, though it carried no self-description, was The Silver Surfer (Simon & Schuster/Fireside Books, August 1978), by Marvel Comics' Stan Lee and Jack Kirby. Significantly, this was published by a traditional book publisher and distributed through bookstores, as was cartoonist Jules Feiffer's Tantrum (Alfred A. Knopf, 1979)^[19] described on its dustjacket as a "novel-in-pictures".

Adoption of the term[link]

Hyperbolic descriptions of longer comic books as "novels" appear on covers as early as the 1940s. Early issues of DC Comics' All-Flash Quarterly, for example, described their contents as "novel-length stories" and "full-length four chapter novels."^[20]

In its earliest known citation, Richard Kyle used the term "graphic novel" in CAPA-ALPHA #2 (November 1964), a newsletter published by the Comic Amateur Press Alliance, and again in Kyle's magazine Fantasy Illustrated #5 (Spring 1966).^[21] Kyle, inspired by European and Japanese graphic albums, used the label to designate comics of an artistically "serious" sort.^[22] Following this, Bill Spicer, with Kyle's acknowledgment, edited and published a periodical titled Graphic Story Magazine in the fall of 1967.^[21] The Sinister House of Secret Love #2 (Jan. 1972), one of DC Comics' line of extra-length, 48-page comics, specifically used the phrase "a graphic novel of Gothic terror" on its cover.^[23]

The term "graphic novel" began to grow in popularity months after it appeared on the cover of the trade paperback edition (though not the hardcover edition) of Will Eisner's A Contract with God, and Other Tenement Stories (October 1978). This collection of short stories was a mature, complex work focusing on the lives of ordinary people in the real world,^{[citation needed]} and the term "graphic novel" was intended^{[citation needed]} to distinguish it from the traditional serialized nature of comic books, with which it shared a storytelling medium. Eisner cited^{[citation needed]} Lynd Ward's 1930s woodcuts (see above) as an inspiration.

The critical and commercial success of A Contract with God helped to establish the term "graphic novel" in common usage, and many sources have incorrectly credited Eisner with being the first to use it. These included the Time magazine website in 2003, which said in its correction, "Eisner acknowledges that the term 'graphic novel' had been coined prior to his book. But, he says, 'I had not known at the time that someone had used that term before.' Nor does he take credit for creating the first graphic book."^[24]

One of the earliest contemporaneous applications of the term post-Eisner came in 1979, when Blackmark's sequel — published a year after A Contract with God though written and drawn in the early 1970s — was labeled a "graphic novel" on the cover of Marvel Comics' black-and-white comics magazine Marvel Preview #17 (Winter 1979), where Blackmark: The Mind Demons premiered — its 117-page contents intact, but its panel-layout reconfigured to fit 62 pages.

Following this, Marvel from 1982 to 1988 published the Marvel Graphic Novel line of 10"x7" trade paperbacks — although numbering them like comic books, from #1 (Jim Starlin's The Death of Captain Marvel) to #35 (Dennis O'Neil, Mike Kaluta, and Russ Heath's Hitler's Astrologer, starring the radio and pulp fiction character the Shadow, and released in hardcover). Marvel commissioned original graphic novels from such creators as John Byrne, J. M. DeMatteis, Steve Gerber, graphic-novel pioneer McGregor, Frank Miller, Bill Sienkiewicz, Walt Simonson, Charles Vess, and Bernie Wrightson. While most of these starred Marvel superheroes, others, such as Rick Veitch's Heartburst featured original SF/fantasy characters; others still, such as John J. Muth's Dracula, featured adaptations of literary stories or characters; and one, Sam Glanzman's A Sailor's Story, was a true-life, World War II naval tale.

Writer-artist Art Spiegelman's Pulitzer Prize-winning Maus (1986), helped establish both the term and the concept of graphic novels in the minds of the mainstream public.^{[citation needed]} Two DC Comics book reprints of self-contained miniseries did likewise, though they were not originally published as graphic novels: Batman: The Dark Knight Returns (1986), a collection of Frank Miller's four-part comic-book series featuring an older Batman faced with the problems of a dystopian future; and Watchmen (1987), a collection of Alan Moore and Dave Gibbons' 12-issue limited series in which Moore notes he "set out to explore, amongst other things, the dynamics of power in a post-Hiroshima world".^[25] These works and others were reviewed in newspapers and magazines, leading to increased coverage.^[26] Sales of graphic novels increased, with Batman: The Dark Knight Returns, for example, lasting 40 weeks on a UK best-seller list.^[27]

Criticism of the term[link]

Some in the comics community have objected to the term "graphic novel" on the grounds that it is unnecessary, or that its usage has been corrupted by commercial interests. Writer Alan Moore believes, "It's a marketing term... that I never had any sympathy with. The term 'comic' does just as well for me... The problem is that 'graphic novel' just came to mean 'expensive comic book' and so what you'd get is people like DC Comics or Marvel Comics—because 'graphic novels' were getting some attention, they'd stick six issues of whatever worthless piece of crap they happened to be publishing lately under a glossy cover and call it The She-Hulk Graphic Novel...."^[28]

Author Daniel Raeburn wrote, "I snicker at the neologism first for its insecure pretension — the literary equivalent of calling a garbage man a 'sanitation engineer' — and second because a 'graphic novel' is in fact the very thing it is ashamed to admit: a comic book, rather than a comic pamphlet or comic magazine."^[29]

Writer Neil Gaiman, responding to a claim that he does not write comic books but graphic novels, said the commenter "meant it as a compliment, I suppose. But all of a sudden I felt like someone who'd been informed that she wasn't actually a hooker; that in fact she was a lady of the evening."^[30] Responding to writer Douglas Wolk's quip that the difference between a graphic novel and a comic book is "the binding", Bone creator Jeff Smith said, "I kind of like that answer. Because 'graphic novel'... I don't like that name. It's trying too hard. It is a comic book. But there is a difference. And the difference is, a graphic novel is a novel in the sense that there is a beginning, a middle and an end."^[31]

Some alternative cartoonists have coined their own terms to describe extended comics narratives. The cover of Daniel Clowes' Ice Haven (2001) describes the book as "a comic-strip novel", with Clowes having noted that he "never saw anything wrong with the comic book".^[32] The cover of Craig Thompson's Blankets calls it "an illustrated novel." When The Comics Journal asked the cartoonist Seth why he added the subtitle "A Picture Novella" to his comic It's a Good Life, If You Don't Weaken, he responded, "I could have just put 'a comic book'... It goes without saying that I didn't want to use the term graphic novel. I just don't like that term".^[33]

See also[link]

• Artist's book
• Collage novel
• Comics studies
• Graphic nonfiction
• List of award-winning graphic novels
• Tankōbon
• Trade paperback (comics)
• Underground comix
• Visual novel

Footnotes[link]

Further reading[link]

• Graphic Novels: Everything You Need to Know by Paul Gravett
• Understanding Comics: The Invisible Art by Scott McCloud

References[link]

• Arnold, Andrew D. "The Graphic Novel Silver Anniversary", Time, November 14, 2003
• Tychinski, Stan. Brodart.com: "A Brief History of the Graphic Novel" (n.d., 2004)
• Couch, Chris. "The Publication and Formats of Comics, Graphic Novels, and Tankobon", Image & Narrative #1 (Dec. 2000)

External links[link]

• The Big Comic Book DataBase
• "Welcome to Columbia University's Graphic Novels Page", Columbia University

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Mark Waid
Waid at the New York Comic Con in Manhattan, October 10, 2010.
Born	March 21, 1962 (1962-03-21) (age 50)[1] Hueytown, Alabama[1]
Nationality	American
Area(s)	Writer, Editor
Notable works	The Flash, Captain America, Superman: Birthright, 52, Kingdom Come

Mark Waid (born March 21, 1962 in Hueytown, Alabama)^[1] is an American comic book writer. He is well known for his eight-year run as writer of the DC Comics' title The Flash, as well as his scripting of the limited series Kingdom Come and Superman: Birthright, and his work on Marvel Comics' Captain America. From August 2007 to December 2010, Waid served as Editor-in-Chief, and later, Chief Creative Officer of BOOM! Studios, where he wrote titles such as Irredeemable, Incorruptible and The Traveler.

Early life[link]

Waid has stated that his comics work was heavily influenced by Adventure Comics #369-370 (1968), the two-part Legion story by Jim Shooter and Mort Weisinger that introduced the villain Mordru: "It's a blueprint for everything I write."^[2]

Career[link]

Fantagraphics and DC Comics[link]

Waid entered the comics field during the mid-1980s as an editor and writer on Fantagraphics Books' comic book fan magazine, Amazing Heroes.^[3]

In 1987, Waid was hired to serve as an editor for DC Comics^[3] where he worked on titles such as Secret Origins, Legion of Super-Heroes, and part of Grant Morrison's critically acclaimed run on Doom Patrol. He also served short stints as editor on Action Comics, Infinity, Inc., Legion of Super-Heroes, and Wonder Woman, as well as various one-shots like Batman: Gotham by Gaslight. With Gotham by Gaslight, and in tandem with writer Brian Augustyn, Waid co-created DC's "Elseworlds" franchise.

As a writer[link]

Waid at Wondercon 2006.

In 1989 Waid left editorial work for freelance writing assignments.^[3] He worked for DC's short-lived Impact Comics line where he wrote The Comet and wrote dialogue for Legend of the Shield.

In 1992 Waid began the assignment which would bring him to wider recognition in the comics industry, when he was hired to write The Flash by then-editor Brian Augustyn. The comic starred one of DCs flagship characters, and in an acclaimed eight-year run, Waid and a number of artists, most notably Greg LaRocque and Mike Wieringo and in the final year with Augustyn as co-writer, brought the modern Flash out from the shadow of his predecessors and increased his powers dramatically.

Marvel editors Ralph Macchio and Mark Gruenwald hired him as Gruenwald's successor as writer on Captain America, during which Waid was paired with artist Ron Garney.

Although his second run on the character (Captain America Volume 3, issues #1-23) was not as universally praised as his first, Waid's prestige had been boosted by the whole affair,^{[citation needed]} and he went on to be one of the most prolific comic writers of the late 1990s. He also wrote the short-lived spin-off series Captain America: Sentinel of Liberty from 1998–1999, having written 10 of the 12 issues (skipping issues #7 and 10).

In 1996, Waid, with artist Alex Ross, released his best-known work, the graphic novel Kingdom Come. This story, set in the future of the DC Universe, depicted the fate of Superman, Batman, Wonder Woman and other heroes as the world around them changed. It was written in reaction to the "grim and gritty" comics of the 1980s and 1990s, and while many of the events in the story were intense, a steady optimism filled the series. Many of the ideas introduced in Kingdom Come were later integrated into the present-day DC Universe, and Waid himself wrote a less successful follow-up to the series, The Kingdom.

Waid also had acclaimed runs on DC's JLA, the Flash spinoff series Impulse and Crossgen's Ruse.

Waid and writer Grant Morrison tag-teamed on a number of projects that would successfully reestablish DC's Justice League to prominence. Waid's contributions included JLA: Year One,^[4] as well as work on the ongoing series. The two writers also helped develop the concept of Hypertime to help explain problems with continuity in the DC Universe.

In 2003, Waid released a series named Empire (with Barry Kitson), whose protagonist was a Doctor Doom-like supervillain named Golgoth who had defeated all superheroes and conquered the world. The series was originally published by Gorilla Comics, a company formed by Waid, Kurt Busiek and several others, but the company folded after only two issues were produced.^[5] Empire was completed under the DC Comics label but is in its own distinct universe.

Waid began an acclaimed run as writer of Marvel's Fantastic Four in 2002 with his former Flash artist Mike Wieringo, with Marvel releasing their debut issue, Fantastic Four (Vol. 3) #60 (October 2002) at the low price of 9 cents U.S. By the next year, however, Waid's fan-favorite run on the Fantastic Four was threatened when Marvel executives sought to reinvent aspects of the series.^[6] When Waid and Wieringo were replaced on the title after refusing to acquiesce to the editorial changes, the resulting fan backlash led to Waid and Wieringo's reinstatement on the title within weeks.^{[citation needed]} The FF backlash was also a contributing factor to then Marvel Publisher Bill Jemas leaving his position.^{[citation needed]} Waid and Wieringo completed their run on Fantastic Four with issue #524 (May 2005), by which time the previously relaunched series had returned to its original numbering.

In 2003 Waid wrote the origin of the "modern" Superman with Superman: Birthright, a twelve-part limited series which was meant to be the new official origin story of the Man of Steel. Birthright contained several characters and elements from Silver and Modern Age Superman comics and also homages to Superman: The Movie and the Smallville television series.

Waid returned to writing Legion of Super-Heroes in December 2004, teaming again with Barry Kitson. He wrapped up his run on the book in mid-2007 with issue 30.

Waid, along with past collaborator Grant Morrison, and other prominent DC Universe creators Geoff Johns, Greg Rucka, and Keith Giffen played an editorial role in guiding the DC Universe after the events of the company's "Infinite Crisis" event. Together, they wrote a weekly series named 52^[7] that lasted for one year and covered the events that take place during the year in the DC Universe following Infinite Crisis.

In 2005, Waid signed a two-year exclusive contract with DC Comics. Among the projects covered by that contract were a new launch of The Brave and the Bold with artist George Pérez,^[8] and a brief return to The Flash.

Waid's recent work includes working on the Spider-Man creative team, writing several issues for The Amazing Spider-Man, writing the Doctor Strange mini-series Strange,^[9][10][11] and several series for Boom! Studios, notably Irredeemable with artist Peter Krause and its spinoff Incorruptible. In July 2011 Marvel relaunched a monthly Daredevil series with Waid on writing duties.^[12]

BOOM! Studios[link]

On July 27, 2007, at the San Diego Comic Con, Boom! Studios announced that in August of that year Waid would join Boom! as Editor-in-Chief. As his non-creator assignments at DC lapsed, he stated that all his future creator-owned work will be with BOOM!^[13] Waid was promoted to Chief Creative Officer in August 2010. In December 2010, Waid announced he would be leaving his role as Chief Creative Officer, and return to freelance work, though he will continue writing for the publisher.^[14][15][16] Waid has since set up a free digital comics website Thrillbent.

Bibliography[link]

Notes[link]

External links[link]

• Official website
• Mark Waid at the Comic Book DB
• The Unofficial Handbook of Marvel Comics Creators
• Exploring The Multiverse's video interview with Mark Waid at Baltimore Comic Con, August 2010

Paulo Coelho
Born	(1947-08-24) August 24, 1947 (age 64) Rio de Janeiro, Brazil
Occupation	Novelist, Lyricist
Nationality	Brazilian
Genres	Drama, Psychological
Influences Jorge Luis Borges, William Blake, Jorge Amado, Henry Miller

Paulo Coelho (Portuguese pronunciation: [ˈpawlu koˈeʎu]; born August 24, 1947) is a Brazilian lyricist and novelist. He has become one of the most widely read authors in the world today. The recipient of numerous prestigious international awards, amongst them the Crystal Award by the World Economic Forum and France's Legion d'Honneur.

Biography[link]

Paulo Coelho was born in Rio de Janeiro, Brazil.^[1] He attended a Jesuit school. As a teenager, Coelho wanted to become a writer. Upon telling his mother this, she responded with "My dear, your father is an engineer. He's a logical, reasonable man with a very clear vision of the world. Do you actually know what it means to be a writer?"^[1] After researching, Coelho concluded that a writer "always wears glasses and never combs his hair" and has a "duty and an obligation never to be understood by his own generation," amongst other things.^[1] At 16, Coelho's introversion and opposition to following a traditional path led to his parents committing him to a mental institution from which he escaped three times before being released at the age of 20.^[2][3] Coelho later remarked that "It wasn't that they wanted to hurt me, but they didn't know what to do... They did not do that to destroy me, they did that to save me."^[4]

At his parents' wishes, Coelho enrolled in law school and abandoned his dream of becoming a writer. One year later, he dropped out and lived life as a hippie, traveling through South America, North Africa, Mexico, and Europe and started drugs in the 1960s.^[5][6] Upon his return to Brazil, Coelho worked as a songwriter, composing lyrics for Elis Regina, Rita Lee, and Brazilian icon Raul Seixas. Composing with Raul led to Paulo being associated with satanism and occultism, due to the content of some songs.^[7] In 1974, Coelho was arrested for "subversive" activities by the ruling military government, who had taken power ten years earlier and viewed his lyrics as left-wing and dangerous.^[4] Coelho also worked as an actor, journalist, and theatre director before pursuing his writing career.^[7]

In 1986, Coelho walked the 500-plus mile Road of Santiago de Compostela in northwestern Spain, a turning point in his life.^[5][8] On the path, Coelho had a spiritual awakening, which he described autobiographically in The Pilgrimage.^[9] In an interview, Coelho stated "[In 1986], I was very happy in the things I was doing. I was doing something that gave me food and water – to use the metaphor in "The Alchemist", I was working, I had a person whom I loved, I had money, but I was not fulfilling my dream. My dream was, and still is, to be a writer."^[10] Coelho would leave his lucrative career as a songwriter and pursue writing full-time.

Writing career[link]

In 1982 Coelho published his first book, Hell Archives, which failed to make any significant impact.^[7] In 1986 he contributed to the Practical Manual of Vampirism, although he later tried to take it off the shelves since he considered it “of bad quality."^[7] After making the pilgrimage to Santiago de Compostela in 1986, Coelho wrote The Pilgrimage. The following year, Coelho wrote The Alchemist and published it through a small Brazilian publishing house who made an initial print run of 900 copies and decided not to reprint.^[11] He subsequently found a bigger publishing house, and with the publication of his next book Brida, The Alchemist became a Brazilian bestseller.^[11] The Alchemist has gone on to sell more than 65 million copies, becoming one of the best-selling books in history, and has been translated into more than 70 languages, the 71st being Maltese, winning the Guinness World Record for most translated book by a living author.^[7][12]

"The Alchemist," easily known as his most successful story, is a story about a young shepherd who follows his spiritual journey to the Egyptian pyramids in search of a treasure.

Since the publication of The Alchemist, Coelho has generally written one novel every two years including By the River Piedra I Sat Down and Wept, The Fifth Mountain, Veronika Decides to Die, The Devil and Miss Prym, Eleven Minutes, Like the Flowing River, The Valkyries and The Witch of Portobello. This dates back to The Pilgrimage: While trying to overcome his procrastination of launching his writing career, Coelho said, "If I see a white feather today, that is a sign that God is giving me that I have to write a new book." Coelho found a white feather in the window of a shop, and began writing that day.^[9]

In total, Coelho has published 30 books. Three of them – The Pilgrimage,The Valkyries and "Aleph" – are autobiographical, while the majority of the rest are fictional, although rooted in his life experiences.^[5] Others, like Maktub and The Manual of the Warrior of Light, are collections of essays, newspaper columns, or selected teachings. In total, Coelho has sold more than 100 million books in over 150 countries worldwide, and his works have been translated into 71 languages.^[6][7] He is the all-time bestselling Portuguese language author.

Coelho also writes up to three blog posts a week at his blog.^[13]

Adaptations[link]

Several of Coelho's books have been adapted into other media.

• 1998 TV Manchete made a 52-episode miniseries based on Brida. This adaptation was written by Jayme Camargo, Sônia Mota and Agélica Lopes, and directed by Walter Avancini. The Brazilian actress Carolina Kasting played Brida. It was the last novel filmed by TV Manchete. It was an audience failure and this adaptation was even reproved by Paulo Coelho himself. Due to the lack of sponsors, it had a premature ending: the last scenes were not recorded, being replaced by screenshots with narrations.
• 2004 Warner Bros. bought the rights to the film adaptation of The Alchemist. The project stalled and never materialized and the film rights were sold to Harvey Weinstein who will serve as the film's producer.
• 2007 In June Paulo Coelho announced The Experimental Witch Project, a collaborative project based on The Witch of Portobello.^[14]
• 2009 Veronika Decides to Die was made into a film released in 2009.
• 2011 In July Coelho ran Aleph, The Video Contest to collaborate and increase interaction with his more than 5,000,000 friends on Facebook. The winner was Turkish artist Raif Kurt.^[15]

File sharing[link]

Paulo Coelho is a strong advocate of spreading his books through peer-to-peer file sharing networks. A fan posted a Russian translation of one of his novels online. Sales of his book jumped from 3,000 to one million in three years, with no additional promotion or publicity from his publishers.^[16][17] Coelho took to pirating his own books on The Pirate Bay. Coelho provides free translations of many of his books.^[18] He was caught by the head of HarperCollins, Jane Friedman, who noticed that one of the unauthorized versions Coelho linked to had notes from his own manuscript.^[19] The two reached a compromise: each month a new novel can be read for free on the publisher's website.^[19][20] Due to the openness regarding his content, author Jeff Jarvis named Coelho 'the Googliest author' in his book What Would Google Do.^[19]

Personal life[link]

Coelho and violinist Yehudi Menuhin at the annual meeting of the World Economic Forum at Davos, Switzerland, in 1999

Coelho and his wife Christina Oiticica divide their time between Europe and Rio de Janeiro, Brazil.^[21] In 1996, Coelho founded the Paulo Coelho Institute, which provides aid to children and elderly people with financial problems.^[22][23] In September 2007, Coelho was named a Messenger of Peace to the UN.^[24]

• Member of the Board of the Shimon Peres Center for Peace
• Chevalier de la Légion d'honneur (France)
• UNESCO special counsellor for “Intercultural Dialogues and Spiritual Convergences”
• Board Member of the Schwab Foundation for Social Entrepreneurship
• Member of the Brazilian Academy of Letters
• Member of INI International Advisory Council – HARVARD INTERNATIONAL NEGOTIATION INITIATIVE
• Member of the Board, Doha Center of Media Freedom

On May 9, 2006, in Sofia, Bulgaria, Paulo Coelho was awarded by the President of Bulgaria Georgi Parvanov the "The Honorable Award of the President of the Republic".^[25]

Bibliography[link]

Note: Although the biography section of Coelho's website states that his first book was published in 1982,^[7][26] the Official Fan Club Paulo Coelho website lists two additional books published in 1974: The Manifest of Krig-há and Theater For Education.^[27]

References[link]

External links[link]

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Wikiquote has a collection of quotations related to: Paulo Coelho

Wikimedia Commons has media related to: Paulo Coelho

• [1] Paulo Coelho and Ruthie DiTucci interview on SyndicatedNews.NET November 10, 2010.
• Glauco Ortolano Interview, World Literature Today
• Works by or about Paulo Coelho in libraries (WorldCat catalog)
• Paulo Coelho at the Internet Movie Database
• Support the Paulo Coelho Institute
• Paulo's official blog : Read his thoughts and discuss with Paulo
• Paulo's official Quotes Page : Find Paulo's Quotes in english and other languages, comment on them
• Warrior of the Light Online
• Paulo Coelho in Swedish
• What's it like to be the alchemist? Interview with Forward Magazine, April 2009
• Appearance on Desert Island Discs, BBC-Radio July 4, 3 2005
• Articles on openDemocracy
• A 1988 video interview
• Paulo Coelho's Interview with The Himalayan Times, Nepal
• Coelho Paulo
• Paulo Coelho on Goodreads
• Paulo Coelho on Konyv-konyvek
• Paulo Coelho Fanclub Switzerland
• Stephen Capen Interview on Worldguide, Futurist Radio Hour – October 14, 1995
• Interview given to the podcast 'Jovem Nerd' – October 15, 2010