Statement on immigration order from AAUP/ARL

The Association of American University Presses along with the Association of Research Libraries has released the following joint statement, re-posted here in full from the AAUP website.

Research Libraries, University Presses Oppose Trump’s Immigration Order

January 30, 2017—President Trump’s recent executive order temporarily barring entry into the US by individuals from seven countries is contrary to the values held by libraries and presses, and the Association of Research Libraries (ARL) and the Association of American University Presses (AAUP) stand unequivocally opposed to this immigration ban.

The order blocks some members of our communities as well as students, researchers, authors, faculty, and their families from entering or returning to the United States if they are currently abroad or leave the country, even if they hold the required visas. The ban will diminish the valuable contributions made to our institutions and to society by individuals from the affected countries. This discriminatory order will deeply impact the ability of our communities to foster dialogue, promote diversity, enrich understanding, advance the progress of intellectual discovery, and ensure preservation of our cultural heritage.

The work we do—particularly the books we publish and collect—illuminates the past and sheds new light on current conversations; informed by this work we believe that the rationale for the ban both ignores history and places assumptions ahead of facts. More importantly, this decision will greatly harm some of the world’s most vulnerable populations. The United States should not turn its back on refugees who are fleeing their war-torn homes and have already endured long, extensive screening procedures in the relocation process.

Finally, while temporary, the ban will have a long-term chilling effect on free academic inquiry. This order sends a clear message to researchers, scholars, authors, and students that the United States is not an open and welcoming place in which to live and study, conduct research, write, and hold or attend conferences and symposia. The ban will disrupt and undermine international academic collaboration in the sciences, the humanities, technology, and global health.

ARL and AAUP have longstanding histories of and commitments to diversity, inclusion, equity, and social justice. As social institutions, research libraries, archives, and university presses strive to be welcoming havens for all members of our communities and work hard to be inclusive in our hiring, collections, books and publications, services, and environments. The immigration ban in its current form is antithetical to notions of intellectual freedom and free inquiry fundamental to the missions of libraries and presses. By serving as inclusive communities, research libraries, archives, and university presses have deeply benefited from the contributions of students, faculty, staff, and scholars of all backgrounds and citizenships.

ARL and AAUP support all members of their communities and all students, researchers, authors, and faculty who are impacted by this executive order. The two associations urge President Trump to rescind this order and urge Congress to intervene on behalf of those affected by the immigration ban.

Media Contact
John Michael Eadicicco
jeadicicco@aaupnet.org
+1 917 244-3859

About the Association of American University Presses
The Association of American University Presses (AAUP) is an organization of over 140 international nonprofit scholarly publishers. Since 1937, AAUP advances the essential role of a global community of publishers whose mission is to ensure academic excellence and cultivate knowledge. The Association holds integrity, diversity, stewardship, and intellectual freedom as core values. AAUP members are active across many scholarly disciplines, including the humanities, arts, and sciences, publish significant regional and literary work, and are innovators in the world of digital publishing.

About the Association of Research Libraries
The Association of Research Libraries (ARL) is a nonprofit organization of 124 research libraries in the US and Canada. ARL’s mission is to influence the changing environment of scholarly communication and the public policies that affect research libraries and the diverse communities they serve. ARL pursues this mission by advancing the goals of its member research libraries, providing leadership in public and information policy to the scholarly and higher education communities, fostering the exchange of ideas and expertise, facilitating the emergence of new roles for research libraries, and shaping a future environment that leverages its interests with those of allied organizations. ARL is on the web at ARL.org.

An interview with Pamela Schnitter, member of the Book, Jacket & Journal Committee

The Book, Jacket, and Journal Show is a juried design competition, open only to AAUP member publishers. Every fall the call-for-entries is distributed, and in January, the jurors gather in AAUP’s New York offices to examine hundreds of submissions and select the very best examples of book, journal, and cover designs. The Book, Jacket & Journal Committee comprises seven members who are charged with selecting judges for the AAUP Book, Jacket, and Journal Show, soliciting donations of paper and printing for the call for entries, as well as the catalog and the award certificates. The committee members are also responsible for designing the call for entries, the web theme, the catalog, the signage, and the awards certificate itself. Chris Lapinski, Design Coordinator at PUP, interviewed Pamela Schnitter, a designer and member of the Book, Jacket & Journal Committee.

Pam Schnitter

Judges discussing submissions. From left to right: Kimberly Glyder, Henk van Assen, Daphne Geismar, Benjamin Shaykin

 

What inspired you to join the Committee?

I was determined to keep the show vibrant and current, especially in terms of publishing e-books and thinking of additional award categories, such as marketing and web design. It might be too early to implement a straight e-book design category — that seems to be out of our hands currently — but maybe in the future. As the publishing world evolves, I strongly believe there are other categories we need to think about in order to remain relevant and vibrant.

What was your most challenging responsibility?

The most challenging responsibility was also the most rewarding, and that was selecting the jurors. They had to be from outside the AAUP community, though they didn’t necessarily have to be designers. So I had to do a lot of research. I reviewed portfolios and websites, read letters of recommendation. It was very tricky because of the pressure to get the right people.

Did you have any preferences?

I felt that some of the jurors should be teachers because of their experience in assessing other designers’ work and giving good feedback. I also wanted individuals with a cutting edge and inspirational style. As it turned out, all except one were teachers. We tried to select a broad range of individuals from the East Coast and the West Coast, though we ended up with a significant number of jurors from RISD [Rhode Island School of Design]. Most had a background in trade publishing.

Did you notice that trade designers had a different outlook than university press designers?

No, I think the two worlds have really come together.

What was the most gratifying part of your experience?

Working with others in the AAUP community, and particularly with other designers, both within AAUP and outside. Learning from them, sharing new ideas about design — that was especially rewarding. And then seeing how it all came together — it was fun watching the jurors get along so well.

Were there any interesting lessons you learned?

When designers become judges, I realized how important it is to give them space to form their own opinions. I felt they should be unhindered in making the best and most honest assessment of other people’s work.

Do you recommend that others consider joining the committee?

Absolutely. It’s great to have contact with other designers and to share our experiences. It’s also a commitment: the committee requests that you stay on for a few years to learn the responsibilities of being a member and to make the transition easier. That’s something to take into consideration, but it’s worthwhile.

Snapping photos at dinner after panel discussion. From left to right: Daphne Geismar, Benjamin Shaykin, Kimberly Glyder, Henk van Assen

University Press Week is next week! #UPWeek

Monday is the start of University Press Week! Join us as we highlight the extraordinary work of nonprofit scholarly publishers and their many contributions to culture, the academy, and an informed society.

What is #UPWeek you ask?

In the summer of 1978, President Jimmy Carter proclaimed a University Press Week “in recognition of the impact, both here and abroad, of American university presses on culture and scholarship.” That influence continues today, as does the increasing vitality of university press publishing programs, the many ways and means by which works are now produced and distributed, and the urgent need for articulate discourse in times pervaded by sound bites. Pretty cool, huh?

This year, we have a lot to celebrate.

All week long, 31 different university presses will be bringing you the latest and greatest news, including what’s trending in their offices, on their shelves, and in their plans for the future. Every day, tune in here for a new roundup of posts from university presses. We’ll visit MIT on out to the University of Washington, with many stops in between. This year’s topics include:

upress week topics

We begin the week with a look at what’s new in press collaboration, and then we’ll give you an inside look at our presses. Can you spot university presses in pop culture? Just you wait — on Wednesday, we’ll provide the latest scoop. Then on Thursday, we take a look back at some terrific projects that have put university presses on the map. On Friday, we’ll recommend some topics and authors for you to follow — in addition to a discussion of social media.

Gearing Up

So what can you do to prep for a week of enlightening posts and great conversations? Check out this map of university presses to find which is closest to you. When it comes to university presses, you’re among friends — lots of them. The AAUP has over 130 members, all sharing a common commitment to scholarship, the academy, and society.

See you back here on Monday!

Upress week

common commitments to scholarship, the academy, and society – See more at: http://www.aaupnet.org/#sthash.ZdvOvvjy.dpuf
common commitments to scholarship, the academy, and society – See more at: http://www.aaupnet.org/#sthash.ZdvOvvjy.dpuf
common commitments to scholarship, the academy, and society – See more at: http://www.aaupnet.org/#sthash.ZdvOvvjy.dpuf

Italo Calvino: Letters, 1941-1985 selected entry in 2014 AAUP Book, Jacket, and Journal Show

AAUPDon’t judge a book by its cover, unless of course you’re at the annual Association of American University Presses Book, Jacket, and Journal Show. According to AAUP’s catalog, “The show recognizes meritorious achievement in design, production, and manufacture of books, jackets, covers, and journals by members of the university press community.” For 2014, there were 268 books and 326 jackets and covers submitted for consideration; Jurors selected 40 books and 22 jackets and covers respectively. For the entire list of 2014’s selected entries, click here.

We are delighted to congratulate Jason A. Alejandro for the selection of his work on Italo Calvino: Letters, 1941-1985. Of this entry, Judge Emmet Byrne said:

“This was by far my favorite book of the competition. When wrapped in the belly band, the book feels elegant and modern, featuring beautiful, serious typography that is well spaced, well sized, and stylishly entered. When unwrapped, the book reveals itself as an enigmatic object—the hip illustration of the author brutally slapped dead center in the middle of the cover, obscuring some of the type. The completely blank white spine and the reversed type on the back—all come together to present a cryptic, somewhat impenetrable face that feels incredibly appropriate for Calvino’s writing.”

This slideshow shows off the book’s cover, typography, and design:

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