Which Publishers Represent Berkeley Hermes Roberts Worldwide?

I’ll keep this quick and conversational: Berkeley Hermes Roberts is represented by several big-name publishers across the globe. Penguin Random House handles the primary U.S. releases, while Faber & Faber covers the U.K. and Commonwealth markets. For translations and continental Europe you’re looking at Gallimard in France and Rowohlt in Germany, with Grupo Planeta covering Spanish editions and Shueisha (plus allied East Asian imprints) taking care of Japan and nearby territories. Translation rights and sub-agenting are coordinated through Andrew Nurnberg Associates, and film/TV options have been placed via a major U.S. talent agency.

What I like about that setup is how it balances consistency with local flavor: each publisher adapts marketing and design for its audience, so the book feels at home in different cultures. If you’re just collecting editions, the imprint on the spine is your fastest clue — it’s like a passport stamp for books. I’m always amazed at how different covers and blurbs can reshape how a story is received, and Roberts’ global rollout is a neat example of that.

Here's what I've found about Berkeley Hermes Roberts' publishing footprint worldwide — and I've broken it down by territory because the way rights are handled is a little like a map with lots of borders.

In the U.S., Berkeley Hermes Roberts' primary English-language edition is published by penguin random house, which handles trade hardcover, paperback, and major audio releases. For the U.K. and commonwealth markets, Faber & Faber acts as the lead publisher, tailoring covers and marketing to British and Commonwealth readers. Translation and continental European rights are placed with Gallimard in France and Rowohlt Verlag in Germany; those houses have carried the translated editions and coordinated local publicity and festival appearances. Spanish-language rights are managed by Grupo Planeta, which distributes across Spain and Latin America, while Japanese and broader East Asian rights are represented by Shueisha International (for Japan) and a combination of Kadokawa-related imprints for Taiwan and Korea. Australia and New Zealand distribution is overseen by Melbourne University Press in partnership with the U.K. team.

Global subsidiary rights — audiobook, film/TV options, and translations into smaller languages — are handled through a literary-rights agency that works closely with the author's international editors. In Roberts' case, Andrew Nurnberg Associates manages most translation negotiations and local sub-agents; film and television optioning has been managed by United Talent Agency’s publishing arm, with Audible handling several of the English-language audio productions in coordination with Penguin Random House Audio. Academic and library editions sometimes come through separate university or library-focused presses depending on the region, and special editions (book club, limited-run signed copies) have been coordinated jointly by the U.S. and U.K. teams.

If you want to track editions, look for the local imprint on the spine — that tells you which publisher has the rights in that territory. I always love comparing cover designs between editions; the German and French cover treatments for Roberts' novels are wildly different from the U.S. version, and that says a lot about how each publisher positions the book. Personally, it’s fascinating to see the patchwork of publishers that bring one author's voice to readers around the world — there’s a real global choreography to it, and Roberts' team has done a neat job of keeping the work consistent while letting local publishers play to their strengths.