Also, here's The New Press About Us page, which gives some, but not much, information on how it functions (a missing bit of info in the Punk Planet interview). The crucial part, for our interests, is posted below:
How does The New Press work?
While The New Press is guided by its not-for-profit mission and not by the bottom line, it functions in many ways like a commercial trade publisher: it identifies new authors, generally pays standard advances and royalties, and distributes its books nationwide. The difference is that at The New Press, any profit earned on a particular title does not go to owners, but back into the production of other books. Indeed, many commercially successful authors—including Studs Terkel, Marguerite Duras, and John Leonard—have chosen to publish their books with The New Press to support the non-for-profit publishing principle. As a 501C3 organization, The New Press uses foundation support to publish important books whose commercial potential is much less assured.
A wide range of foundations have recognized the need for the kind of broad non-profit publishing program The New Press has undertaken, and since its inception The Press has received support from nearly 40 private foundations.
I have been following the progress of The New Press with pleasure and pride. In these days of declining publishing, it is good to know there are independent editors at work.
The New Press is affiliated with the Technical, Office, and Professional (TOP) Union, Local 2110 UAW, AFL-CIO.
1 comment:
Well, that was a nice walk down zinemory lane. The culture goes back even further than that in history. Egypt, even tribal peoples before advanced cultures came to be -scientists consider these cultures having the earliest productions resembling the form of zine-ology. Most forms of graffiti, we all know, hold a similar quality. Feeling left out of the hive mind of human consciousness is 'at least' a pain in the rear, so it isn't hard to believe that the origin of the zine comes from purely wanting to talk the kind of tale you tell because the tales you've heard don't quit do it for you ... and you can't see any reason why they can do what ever it is they're doing and you can't!
On money. In the zine world it really depends on who you are when you look at monetary ethics. Some zines are made to catch the eye of main stream publishers and others are more cut to the definition most agree to. They can be used to get attention in the corporate world, though it is a long shot, a good idea goes far with luck and wisdom lingering in the air.
In any case being in the professional world or the underground scene there is a benefit of being acquainted with small press activity. If it's a piece of cardboard cut out to make a book cover or designing your own business card to stand out at company picnics,I think the main point in these articles is to find a way to perform a task that allows you to find a path of... nothing is going to stop you from doing what you love! The artists who trade work for work still have to make money in the world in order to participate and people who zine and sell them probably need the money. I guess what I am getting at is being the judge and jury on the subject is pointless. Figuring out how the subject matter can enrich my artistic progression as an independent and participant of mainstream culture will be my exercise.
In any event, there are sides to choose from. Why not choose both? If you can that is; like I said in class the other day, "Most of us have fallen in to the place we stand on guard in the realm of art. What ever we have is all we've got, so you'd better protect it!" Meaning, the right to think freely even if that means not getting the support of the 4% with old money. I like being an independent, but I do have to say I wouldn't mind more activity in the world of financial progress!
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