For Ferran Muñoz Jofre, literature is more than just a profession—it’s a passion that bridges cultures, ideas, and languages. As an editor at Editorial Anagrama, one of Spain’s most prestigious publishing houses, he has played a key role in curating a diverse and high-quality literary catalogue. Starting as an intern and rising to the position of editor, he has worked extensively with translated literature, acquiring works from English, French, Italian, and German authors.
With a Master’s degree in Literary Theory and Comparative Literature from the University of Barcelona and a background in Political Science, Muñoz Jofre brings a deep analytical approach to his editorial work. His experience extends beyond publishing—he has programmed book clubs and literary discussions, worked with MB Agencia Literaria, and engaged in cultural journalism. As a recipient of the Frankfurter Buchmesse’s Frankfurt Fellowship Programme, he is constantly expanding his knowledge of international publishing trends.
In this interview, Muñoz Jofre reflects on the challenges of acquiring literature from smaller language areas, his experience at LitQuest, and the surprising trends in the Finnish publishing industry.
Which languages or literary markets does Anagrama focus on when acquiring foreign books?
At Anagrama, we primarily acquire English-language titles, but we also regularly publish books translated from French, Italian, and German.
Has Anagrama ever published Finnish literature? If so, can you mention a specific title?
Not personally, but Anagrama is the Spanish publisher of Arto Paasilinna’s works.
What factors would make books from smaller literary traditions more attractive for acquisition?
To seriously consider a book from a smaller language market, we need more cultural insight—not just through fellowships and meetings with literary agencies (such as FILI) but also through academic and specialist perspectives that provide a broader context on an author’s significance.
Additionally, having a strong network of translators who specialize in these languages is crucial. A well-organized translator database, similar to the one FILI provides, would make it much easier to introduce lesser-known literary voices into our market.
Do you feel well-informed about translation funding, literary grants, and the publishing industry in smaller countries? Is there anything you still need more insight into?
Yes, I believe my visit to Finland provided clear and detailed answers to all my questions.
What motivated you to take part in the LitQuest residency?
I was particularly interested in experiencing a literary scene that I hadn’t explored before. In fact, the fact that Finland is a smaller country made it even more compelling—it offered a chance to engage with a less globally dominant but still vibrant literary culture.
Beyond that, LitQuest provided an excellent networking platform, allowing me to connect with international publishing professionals and build long-term professional relationships.
What stood out to you about Finnish literature and its publishing industry? Was anything particularly surprising?
One of the biggest surprises was the major influence of digital formats and the way they are reshaping the industry. In Finland, audiobooks and digital ownership models are having a profound impact, particularly on literary fiction. More and more publishers are being absorbed by audio platforms, which is changing the way books are marketed and consumed.
Another interesting observation was the way Finnish professionals perceive their own literature. Despite Finland’s rich literary history, there seems to be a degree of hesitation or modesty when it comes to promoting their national literature internationally.