The mighty Kore Press is a Tucson-based nonprofit independent publishing house and literary justice organization. For 24 years, the press has worked to ensure that marginalized voices: women, people of color, queer and trans folks, have a forum. Founder Lisa Bowden is trying to raise $20,000 for book printing, publishing staff, anthology editorial/artist fees. The
Indiegogo campaign has currently raised 13 percent of its goal. Funding for literary endeavors is never easy, and the odds are stacked. Fewer people are reading books for one thing. That, and Bowden and Kore are publishing voices that’d go unheard into the mainstream.
Creating a people-powered publishing house has become the most sustainable route for extending Kore Press. A significant portion of the budget comes from support by the NEA, NEH and associated funding sources. With NEA and NEH funding on the chopping block in Trump’s 2018 budget, here Bowden opens up about what mainstream publishing is missing today and what we can expect for Kore Press' fall season.
Kore Press has been running since 1993. What made you want to create this press?
After graduating from the UA and working in the Tucson literary community, I wondered why we weren't exposed to more women writers in school, especially when Tucson is so rich with talent. After working for five years with another press learning printing and binding, and acquiring my own equipment, Karen Falkenstrom, Kore Press co-founder, and I discovered we both wanted to make a feminist/social justice impact with the literary arts, and so, Kore Press was born.
The way people consume media has largely shifted to an online format. What is it like running Kore Press in 2017? How has it adapted?
We publish online as well as in print, and have been growing our digital presence as reading, activist and communications culture has shifted. Digital printing allows us to keep producing books in much smaller runs of our titles, which is more economically feasible for small presses.
What does Kore Press look for in a prospective author?
We are focusing in recent years on writers who are interested in experimental forms, or content, that have potential for social impact. We have done, and plan to continue doing, community programming around certain artists or works to create larger public conversations which engage folks in innovative ways.
What is mainstream publishing missing? Why aren’t marginalized groups able to tell their stories in that forum?
Mainstream publishing is commercially driven, market-driven, so, it's missing a lot in terms of diversity. That is and has always been the strength of small presses—to take risks, work with all kinds of writers and voices.
With the proliferation of social media and personal technology, we have experienced a democratization of "publishing"—anyone with access can tell their story, can have an audience. Mainstream publishing, like mainstream media of all kinds, is largely governed by corporate forces, so you tend to see the same issues of systemic racism, sexism, capitalism—intersecting oppressions—that we see in large institutions and governments.