At Hispabooks we are totally focused in publishing contemporary Spanish fiction in English-language translation. We do literary fiction titles, though we are flexible (so far we have a couple of memoirs too, which we decided on publishing because of their very literary feel, and because we loved them!). We are set on making available to English-language readers those works of Spanish literary fiction that we feel are really worthwhile for some reason—writing style, creativity, their approach or stake on some issue…
I can answer that with a single acronym: POD (print on demand). It’s the most important force in publishing in my lifetime. It has inadvertently disrupted the corporate monopoly, leveled the playing field and democratized what was essentially a closed (and rigged) system. POD makes it possible for anyone to be a small press publisher and produce quality editions that can potentially reach a worldwide audience. It’s also environmentally friendly.
Those who oppose POD are sociopathic snobs and crypto-fascists. Around here, POD stands for Power of Democracy.
Sylvère Lotringer started Semiotext(e) with a group of friends and grad students at Columbia University in 1974. It quickly evolved from a journal of semiotic theory to a popular magazine, juxtaposing high theory and underground culture, after the publication of the “Schizo-Culture” issue in 1978. The issue brought together artists and thinkers as diverse as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, William Burroughs, and Lee Breuer.