Panamerica, a new publishing imprint under the broadsheet periodical County Highway, has officially launched, declaring a distinct mission to "rescue American publishing" by rejecting the use of "sensitivity readers or censors" and committing to a significant revenue share with its authors. The announcement, made via a tweet from the entity "Panamerica," signals a direct challenge to prevailing practices within the industry.
The tweet, posted by Panamerica, stated, "Knopf won’t do it. Farrar, Straus can’t do it. Random House can’t imagine doing it. We publish books we like. No sensitivity readers or censors. Then we split the dough with our authors. Help us rescue American publishing." This statement positions the new venture in opposition to traditional publishing houses and their editorial processes.
Panamerica aims to be a home for the "American voice in the genres of literary fiction and reportage," focusing on works that highlight distinctive American writing, including a mix of high and low subject matter, humor, and narratives about ordinary people. The imprint's literary editor is Gary Fisketjon, a veteran editor known for his work with prominent authors like Cormac McCarthy and Richard Ford during his tenure at Knopf. Fisketjon's involvement underscores Panamerica's literary ambitions.
The imprint's explicit rejection of sensitivity readers enters a contentious debate within the publishing world. Sensitivity readers are professionals hired to review manuscripts for potentially offensive content, stereotypes, or inaccuracies related to marginalized groups. While proponents argue they promote inclusivity and prevent harm, critics, including Panamerica, often view their role as a form of censorship that can stifle artistic freedom and authentic expression. The controversy has intensified recently, particularly concerning the re-editing of classic works.
By emphasizing "splitting the dough with our authors," Panamerica suggests a business model designed to be more financially beneficial for writers, contrasting with traditional royalty structures. This approach aligns with their broader goal of "rescuing American publishing," implying a desire to empower authors and prioritize creative output over perceived industry constraints. The launch of Panamerica marks a notable development in the ongoing evolution of literary publishing.