When: April 5, 2018 @ 7–9pm Where:Red Room at KGB Bar, 85 E 4th Street3rd Floor, New York , NY10003
The New York Writers Workshop is hosting a reading by four authors from two independent publishers–Akashic Books and Feminist Press. From Akaschic Books, the readers will be: Adam Smyer, author of Knucklehead; and Lauren Stahl, author of The Devil’s Song. From Feminist Press, the readers will be: YZ Chin, author of Though I Get Home; and T Kira Madden, author of the Go Home! anthology. Come out and support these authors while having some drinks and mingling with fellow book lovers. Continue reading “Around Town | April 3rd – 10th”
June 15 – TheSALON & Akashic Books presents: Reverse Gentrification of the Literary World
Book Court 163 Court Street Brooklyn, NY 11201
New York City launch event for The Anger Meridian and Little Beasts! Part of The Salon reading series. Moderated by series cohost Martin Rowe. With Kaylie Jone and Matthew McGevna.
June 16 – Aziz Ansari with Modern Romance
Barnes & Nobel Union Square 33 East 17th Street, New York, NY 10003
Modern Romance combines Aziz Ansari’s irreverent humor with cutting-edge social science to give us a tour of our new romantic world. An exploration of the pleasures and perils of modern romance from one of this generation’s sharpest comedic voices.
Books must be purchased at this Barnes & Noble location or BN.com for attendance and priority seating.
June 16 – Katherine Taylor with Malcolm Gladwell
Housing Works Bookstore Cafe 126 Crosby Street United States New York, NY 10012
Time: 7:00pm – 8:30pm
Join us for the launch of Katherine Taylor’s new novel Valley Fever. Long awaited since her acclaimed debut, Rules for Saying Goodbye came out eight years ago, Valley Fever is a lush novel about inheritance, family, and betrayal set in California’s wine soaked, sunbaked Central Valley. Katherine will be in conversation with Malcolm Gladwell. With books for sale from our friends at WORD.
Stories are cornerstones of culture, whether they be communicated orally, by manuscripts copied by hand, or through the modern publishing system. What we produce is said to be a reflection of who we are as a society. So what does the lack of diversity in publishing say about the industry and its important role as a promoter of culture?
Publisher’s Weekly held a panel discussion on October 16th to discuss diversity in the publishing industry workforce and the effect it has on what books are published. Publishing is not well-known for its racial and cultural diversity, and the discomfort regarding this problem is increasing. We Need Diverse Books, a “grassroots organization created to address the lack of diverse, non-majority narratives in children’s literature” (Source) was launched last spring in a three-day campaign that was designed to raise awareness, brainstorm solutions, and take action on behalf of diversity. Even Buzzfeed and NPR have contributed to the discussion on why diversity is important to readers, culture, and the publishing industry.
One of the highlights taken from the discussion was the issue of power within publishing. Publishers often explain the lack of diversity in books as a problem of an unwelcoming market, but authors who are trying to wade into these controversial waters pin it on an unwelcoming industry. Blame for why there is a lack of diversity can be pinned on anyone and anything imaginable, but pointing fingers won’t bring change. As Jim Milliot, PW’s editorial director, said, “It can’t just be one segment of the industry working on this. We all have to get involved in changing this situation” (Source).
Daniel José Older, a contributing writer at Buzzfeed, agrees that the responsibility to promote diversity falls on the shoulders of everyone who is involved, but he goes a step further. “Ultimately, editors and agents hold exactly the same amount of responsibility that writers do in making literature more diverse,” he said. “The difference is, editors and agents have inordinately more power and access in the industry than writers do. As Arthur A. Levine’s executive editor, Cheryl Klein said: ‘It’s important to have advocates at every stage, from editing to marketing, from librarians to authors, so it’s an industry-wide effort'” (Source). There’s something to be said about agents and editors who recognize the need for diversity and seek out ways in which they can affect change for both the author and for the industry as a whole. Agents and editors may not have the most power, but they are the ones that stand between authors and the publishers; they are the ones who have the power to make the industry listen.
“Your ability to imagine that there is a market has to do with your ability to imagine that those people exist. And if [you] can’t imagine that people of color actually exist and can buy books, then you can’t imagine selling books to them. That’s not just about a company corporate diversity policy; it’s about actually knowing what’s going on in communities of color.”
Ken Chen, poet and director of the Asian American Writers’ Workshop
But what if the industry refuses to listen, and instead relies on the traditional, and increasingly out-dated, way of doing business? Johnny Temple is the founder of Akashic Books, an independent publishing company that is “dedicated to publishing urban literary fiction and political nonfiction by authors who are either ignored by the mainstream, or who have no interest in working within the ever-consolidating ranks of the major corporate publishers” (Source). “If the industry doesn’t get more economically and ethnically diverse, it’s just going to be a pit that people are not going to be able to climb out of,” Temple said, “as this certain cultural sphere becomes less relevant to the population at large” (Source).
What good is a publishing industry that doesn’t maintain its responsibility to the culture as a whole? Diverse voices are relevant and necessary to shaping and reflecting modern culture as it really is. Diversity shouldn’t remain an option, or a “mission,” so to speak, but should become something that occurs organically. We’re not there yet, but with the changes that the digitalization of publishing is bringing, what better time to do some restructuring?