Somehow I convinced myself that the official release date for info on this year’s National Endowment for the Arts Awards was on Thursday instead of yesterday, otherwise this would’ve been online earlier.
Anyway, here’s the official press release with my comments below:
National Endowment for the Arts Awards More Than $27.6 Million Across Nation
Includes $30,000 awarded to Open Letter Books.
Rochester, NY—In its first 50 years, the National Endowment for the Arts (NEA) awarded more than $5 billion in grants to recipients in every state and U.S. jurisdiction, the only arts funder in the nation to do so. Today, the NEA announced awards totaling more than $27.6 million in its first funding round of fiscal year 2016, including an Art Works award of $30,000 to Open Letter Books to publish four works of literature in translation.
The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.
NEA Chairman Jane Chu said, “The arts are part of our everyday lives—no matter who you are or where you live—they have the power to transform individuals, spark economic vibrancy in communities, and transcend the boundaries across diverse sectors of society. Supporting projects like the one from Open Letter Books offers more opportunities to engage in the arts every day.”
“The NEA’s funding to Open Letter is one of the key reasons for our continued success,” stated Chad W. Post, founder and director of Open Letter. “It allows us to continue to introduce English readers to important and innovative voices from around the world, both by helping subsidize the costs of translation, and by allowing us to do additional marketing for these books.”
The four titles included in this project are: The Brother by Rein Raud, translated from the Estonian by Adam Cullen (Estonia), One of Us Is Sleeping by Josefine Klougart, translated from the Danish by Martin Aitken (Denmark), Gesell Dome by Guillermo Saccomanno, translated from the Spanish by Andrea Labinger (Argentina), and Chronicle of the Murdered House by Lucio Cardoso, translated from the Portuguese by Margaret Jull Costa (Brazil). All four titles will be published in 2016, and both Josefine Klougart and Guillermo Saccomanno will go on reading tours in the fall.
To join the Twitter conversation about this announcement, please use #NEAFall15. For more information on projects included in the NEA grant announcement, go to arts.gov.
To see the complete list of grantees by category, download this PDF. Here are some of the highlights that I think Three Percent readers will most be interested in:
Center for the Art of Translation: $35,000
Coffee House Press: $65,000
Graywolf Press: $80,000
Milkweed Editions: $50,000
Archipelago Books: $70,000
Words Without Borders: $30,000
Rain Taxi Review of Books: $10,000
Ugly Duckling Presse: $15,000
White Pine Press: $15,000
Nightboat Books: $10,000
Feminist Press at CUNY: $55,000
BOA Editions: $25,000
Copper Canyon Press: $70,000
Our grant for 2016 isn’t quite as high as the one for 2015, which makes it even more important than ever to donate to Open Letter so that we can continue to offer internships, maintain the Translation Database, pay translators a decent rate, introduce readers to international voices, run the Three Percent website, administer the Best Translated Book Award, and provide numerous benefits (tangible and not) to book culture as a whole. Without significant support, we won’t be able to keep all of these things going, so please consider donating to us. Every dollar helps.
As the year comes to a close, we thought we’d take a minute to look back at what we’ve done over the past twelve months. It’s also that time of year when we thank you for your continued support, and ask for your help in the year to come by participating in our Annual Campaign.
You probably already know that Three Percent and Open Letter are nonprofits housed at the University of Rochester, and, as such, our annual revenue comes from a few diverse sources, including book sales, foundational support, and governmental support (from here and abroad). Our most important source of funding, however, comes from individuals, like you, interested in furthering the appreciation of international literature.
Thanks to the support of our readers and fans, we’ve accomplished more over the past year than ever before:
• We published 10 critically-acclaimed titles from around the world, including two that made Kirkus’s Best Fiction of 2012 list;
• We were awarded our first NEA Publishing Art Works grant for an amazing $45,000, one of the largest prizes awarded to any literary organization in the U.S.;
• The Reading the World Conversation Series entered its fifth season;
• Awarded the fifth annual Best Translated Book Awards;
• Continued to expand Three Percent, celebrating literature in translation;
• Offered internships and fellowships to students from around the world interested in getting into the publishing field.
So, with our achievements higher and our momentum stronger than ever before, your continued interest has never been more vital, or more appreciated. Our goal is to foster a healthy book culture—something that wouldn’t be possible without you.
To that end, please consider supporting Three Percent and Open Letter. Your tax-deductible contribution to our Annual Campaign — online or via mail with this donation form — will ensure that this important undertaking continues to flourish, expand, and engage with more readers than ever before.
Chad W. Post
Art & Operations
So, this past weekend, Salon ran this article about Amazon’s “$1 million secret”—their recently created giving program, which has benefitted a large number of literary nonprofits.. Key word there being “nonprofit,” but I’ll get to that in a minute . . .
On the whole, the article is rather even handed. It includes examples of various initiatives that Amazon has funded that are really beneficial to writers, translators, etc. (such as the OnePage feature of the Brooklyn Book Festival, and our own Best Translated Book Award), along with people like Dennis Loy Johnson of Melville House who are adamantly opposed to any and all things Amazon.
Since I really want to get to my main point/observation, but can’t stop myself from poking a little fun, here’s a quick run down of some fun or confusing things about this piece:
1) In criticizing Amazon, Alexander Zaitchik includes this line, “[Critics] claim that Amazon bullies small publishers into signing price and promotional contracts that threaten their already slim margins, and doesn’t hesitate to unplug the “Buy” buttons of those who resist.” What you can’t see here is that “resist” is a hyperlink . . . to an article about a small press losing their buy buttons? Nope. It’s an article about the standoff between Macmillan and Amazon that took place in January 2010.
OK, OK, that’s what it is, but more interestingly, when did we start believing that it was Amazon’s responsibility to sell every single book? At the start, Bezos had to go around and convince publishers that people would eventually be willing to buy books through the Internet. Now, if Amazon doesn’t like the terms of a deal they have with a publisher and chooses to not sell their books, it’s fucking criminal. Obviously, no one is outraged when Barnes & Noble or an indie store doesn’t carry something (that’s just smart business!), even when the decision not to stock a title is based on a publisher refusing to pay a “co-op.” (Which, for those not in the know, is essentially a kick back to bookstores small and large to promote that particular press’s titles. I wish we could afford this.)
The strength of Amazon’s position is due in part to stocking everything, so when particular books or publishers are delisted Amazon is really hurting itself. Regardless, I just find this curious. Keep in mind, Amazon is a giant corporation driven by giant corporation concerns, which means it’s in business only to make money—nothing else.
2) I’ll get to my quote about translators in a minute, but just to clarify something, the article ends with this:
“The grants give Amazon something to point to, but people don’t see Amazon’s business practices any differently, says Chad Post. “It’s the same as with any corporation. Money is money. I take money from Citibank, and I fucking hate Citibank.”
First off, if I were a journalist and someone handed me that little bit of vulgarity, I’d end with it as well. But to make this clear: I have never received money from Citibank. I said “I would take money from Citibank.” If they want to give Open Letter $25,000, that would be very appreciated. What’s not in question is my “fucking” hatred of them.
3) I wonder what would happen if the “Big Six” publishers really didn’t sign Amazon’s agreements. What’s not mentioned in this article is that Amazon’s offer is likely the first stage of a negotiation—one that the Big Six almost have to reject in order to get the negotiation rolling. In the words of one of my Simon Business School friends, “It’s irresponsible for a corporation not to maximize their profits as fully as possible—by offering unfavorable terms and never paying tax.” Yeah. Yeah, I know.
What’s interesting to me about this—and I know, I sound like a broken record—is that the primary arguments against Amazon is that they’re taking over everything by being aggressive and “mean.” Book publishing has been gentlemanly (sort of, if in a bit of a misogynist, classist way) for so long, that we cringe at these sorts of things. The only real question is whether or not Amazon is doing anything illegal. I’m still waiting to read the article that intelligently—and with examples—breaks down Amazon’s practices and evaluates them against current (not imaginary) anti-trust regulations.
But when it comes to talking about anti-trust and Dept. of Justice investigations, the only people currently under fire are five of the Big Six and Apple. Which leads to this very telling paragraph:
Publishers large and small are on the same side as Barnes & Noble and Apple in challenging Amazon’s attempt to gain a death grip on the exploding e-book market. Amazon’s success, say its critics, will lower price expectations for physical books to the point where they become untenable for the Big Six’s business model.
Emphasis mine. Amazon convinces people they shouldn’t be paying so much for books, which unends the “death grip” the Big Six have had on publishing, which is TOTALLY EVIL.
4) The award Amazon funds is the “Best Translated Book Award.” Not the “Open Letter Best New Translation Award,” and not the “Open Letter Translation Award.” Just a point of clarification.
Also, this is totally true:
Nor has anyone yet heard from a Big Six publisher eager to fund a translation award of their own.
5) I just want to stick by my belief that Amazon’s giving program is really good for the Best Translated Book Awards and translators in general. I try not to ever read quotes that I give (I usually sound like a jackass), but I’ll stick by this one:
This is especially true of literary translators. Along with its own translated feature series, AmazonCrossing, the company funds several original translation projects, including the PEN Translation Fund and Open Letter’s Best New Translation Award, to the tune of $20,000 annually. The result has been some new friends for the Yellow Giant. “Translators love Amazon,” says Chad Post of Open Letter, an Amazon grantee and publisher of translated fiction at the University of Rochester. “They’re working for maybe $500 a book, books no one wants to touch. Then Amazon comes along and suddenly they’re benefiting from an industry that doesn’t help them, ever. Five thousand dollars is enormous to them. I can understand people are concerned with Amazon’s power in the marketplace, but I have a hard time chastising them when they directly benefit people who struggle their whole lives to do what they think is important.”
6) The comments beneath this article are HYSTERICAL and worth reading. I could quote a dozen, but I’ll stick with this one which might cut a bit close to home:
Yeah, Amazon looks really awful until you look a lot more closely and the print publishing industry. I worked in the book publishing industry for nearly 35 years; about half of that time I was in New York City. The print publishers make a profit by scamming the authors and underpaying staff and suppliers. In fact, for many years most of the editing, copyediting, proofreading, and even much of the graphic design and typesetting have been done by “independent contractos” who work without benefits and then wait months to get paid. Decent jobs they can live on? In publishing? Hah.
OK, fun and games over, and on to the main point: nonprofits. The one thing missing from this article—and all the others just like it, and all of Dennis Loy Johnson’s blog postings—is a discussion of nonprofit publishing. The only organizations eligible to receive these grants are nonprofit literary organizations. What does that really mean? That these are organizations that are mission-driven, that publish books, or assist a particular constituency in ways that will almost definitely lose them money.
That’s not to say that for profit publishers always turn a profit, but when it comes to deciding about programming (be it publishing a particular book, starting a reading series, organizing a conference), a nonprofit makes this decision from the perspective of whether or not this activity would help to “fulfill its mission,” NOT whether or not this activity will make money. A good executive director is capable of evaluating a particular project and figuring out how much money it will lose and where he/she will raise that money from, but turning profits isn’t the motivating factor in their decision making.
Bit more fact-dropping for a second: A “for profit” such as New Directions, or Norton, or Goosebottom Books (quoted in the article), or Melville House, spends all of its time undertaking activities that will help it to sell more product. They make editorial decions with literary taste and an awareness of the market, they spend money on promotions in order to sell more books.
Nonprofits spend at least 50% of their time either raising money or doing “educational” activities that don’t have a direct impact on increasing sales. I teach classes. We run a reading series on campus that loses us $20,000 a year. We give away books to prisons. This blog educates, informs, entertains, and makes us no money whatsoever.
Point is, when you’re a nonprofit, you approach the world differently. You are aware of the fifty shades of grey1 that come along with significant donations. Receiving money from Individuals can be as tricky as receiving it from corporations. Rich people have rich people egos. The potential exists for a large donor to shift who you are. If you’re in the nonprofit world, you navigate this as best you can.
And god bless you if you’re a literary nonprofit who can turn away money. Aside from the National Endowment for the Arts (whose budget is basically the same as it was 25 years ago, you know, because there’s no such thing as inflation), there’s only one foundation in the country that funds nonprofit presses across the country. ONE. Granted, Minneapolis has a solid funding community, but that’s it. There’s basically no money for nonprofit literary publishing in Boston, Chicago, Rochester, Miami, you name the place. But that’s the situation we decided to deal with to accomplish what we feel is important. (That we’re passionate about. Nonprofit publishers aren’t in this for the money. If they are, they live a life of constant disappointment.)
So when I read comments from Dennis Loy Johnson in which he poses as the “great independent crusader,” I get really irritated. He doesn’t deal with this world at all, so for him to criticize decisions that we make is a bit ludicrous. If he doesn’t like it, he doesn’t have to take Amazon’s mon—— wait, that’s right, he can’t. He chose to go a different route, so he doesn’t spend 90% of his life in a state of anxiety about grant deadlines and individual fundraising efforts and trying to be good enough to attract more than a $100 donation. He has other, equally valid concerns. But I would never harass Melville House if they sold $25,000 worth of books through Wal-Mart (would they? I’m willing to bet that all moral issues about that awful company go by the wayside if given the opportunity), even though I hate that store in ways unhealthy. Shit, even if MHP sold $25,000 of product to Citibank, I wouldn’t criticize him.
I don’t understand the pressures—physical, mental, ethical—of being a for profit, in the same way people who haven’t worked in nonprofits don’t understand what we go through. Different presses have different needs, different situations, different goals. I wish an article would be written in which it’s not nonprofits talking nice about the one grant they received all year, and some bitter sounding for profit publishers criticizing them for it.
That is all.
1 Yep, I totally used that phrase to try and attract people searching for mommy porn. I can be devious at times.
We want to graciously thank all of you for the overflowing response to our first $10 fundraising campaign. As we said at the beginning, these contributions truly add up to a very significant total. What’s more, the demonstration that there is a broad base of support for literature in translation is something that can’t be overestimated.
Although donations are always welcome, we are technically the final days of this drive. So, if you have a few dollars and two minutes, please think about clicking here to make a quick contribution before it’s over.
Again, thanks—sincerely—to all of you for your contributions to our very first fundraising effort, and, if you haven’t already, please consider joining in.
Those of you who subscribe to our newsletter or are members of our Facebook group already received this, but for those who haven’t, here’s this week’s newsletter, which also serves as the kickoff for our first ever fundraising campaign.
There was such a great response to last week’s giveaway of Jerzy Pilch’s The Mighty Angel that we’re definitely going to do this on a regular basis . . . Copies of the book (and congratulatory e-mails) went out to the winners yesterday—for everyone else, copies are available at better bookstores everywhere, or via our website. (And yes, the book is even prettier in real life . . .)
This week, we’d like to do two things:
First off, I’d also like to officially kick off our first $10 fundraising campaign. As a nonprofit press (that does a lot of non-revenue generating activity like the Best Translated Book Award, Three Percent, and, well, publishing translations), we have to rely on grants and individual donations to keep doing what we’re doing—making great works of world literature available to readers like you (and me).
Obviously, the more money raised via this campaign, the more we’ll be able to offer, but seeing as this is our first ever online fundraising effort, the real goal is to demonstrate a broad base of support for Open Letter and Three Percent. So, although we’re more than happy to accept gifts of any level, we’re only asking for $10. It’s an affordable amount that adds up to a very significant total, and any show of support for what we do can’t be overestimated.
To contribute—and I really hope you will—simply take two minutes to fill out the online form here.
Second, our new fall/winter 2009 catalog is now available online) with lots of interesting books that I’ll be featuring on Three Percent in the near future and giving away through this newsletter.
Thanks in advance, and next week we’ll be back to our regularly scheduled newsletter. (Unless no one contributes. Kidding, kidding.)
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .