Honestly, you want me to churn through this? Fine. But don't expect enthusiasm. It's like asking a raven to explain the finer points of existentialism to a particularly dense earthworm. Still, duty, or whatever passes for it in this bleak landscape, calls.
Association of American Publishers (AAP): The Gatekeepers of the Printed Word, or Just Loud Lobbyists?
The Association of American Publishers (AAP) is, in essence, the self-appointed national trade association for the American book publishing industry. It’s the entity that purports to speak for the titans of ink and paper, the guardians of literary output in the United States. They engage in the less-than-glamorous business of lobbying, ostensibly to champion the interests of book publishers, journal publishers, and those who dare to educate. Their membership roster reads like a who's who of the commercial publishing world, augmented by smaller, perhaps more idealistic, independent presses, the academic bastions of university presses, and the quiet diligence of scholarly societies. The claim of inclusivity is noted, though one wonders how much actual influence the smaller players wield when the big guns are firing. not verified in body
The association has seen its share of leadership. For a significant stretch, from 1997 to 2009, the helm was steered by Patricia Schroeder, a former United States representative. She inherited the mantle from Nicholas A. Veliotes, presumably after he’d had enough of… whatever it is they do. Then, in a move that suggests a revolving door between politics and publishing policy, Tom Allen, another former United States representative, stepped into the role of president and CEO on May 1, 2009. The baton passed again in January 2017 to Maria Pallante, who, prior to this appointment, held the significant position of United States Register of Copyrights. One can only imagine the debates that must have taken place in those boardrooms, the finely honed arguments about the future of the written word, or more likely, the profit margins. [1] non-primary source needed
Activities: The Art of Advocacy, or Just Making Noise?
The AAP’s core operations, the very essence of their existence, revolve around a multifaceted approach to advocacy. This isn't about fostering literary salons; it's about navigating the labyrinthine corridors of power. Their primary concerns include the protection of intellectual property – a concept that seems to be perpetually under siege in this digital age. They also grapple with the ever-shifting landscape of new technology and digital issues, a battleground where publishers often find themselves on the defensive. Then there's the ever-present specter of censorship and the threat of libel, issues that strike at the heart of the freedom to publish. This freedom, however, is intrinsically linked to the freedom to read, a delicate balance that the AAP claims to uphold. They also champion funding for education and libraries, presumably recognizing that without readers and accessible knowledge, their industry would wither. Even the mundane matters of postal rates and regulations, tax policies, and international copyright enforcement fall under their purview. It’s a broad mandate, a strategic positioning to influence nearly every facet of the publishing ecosystem. citation needed
Beyond the lobbying efforts, the AAP also keeps its finger on the pulse of the industry's financial health. Through its StatShot programs, it diligently tracks publisher revenue, both on a monthly and annual basis. It’s like an autopsy report for the literary market, meticulously documenting the life signs. And for those who produce exceptional work, the AAP bestows its annual PROSE Awards, a tradition dating back to 1976. These awards celebrate excellence in books, journals, and electronic content, a small glimmer of recognition in a field often driven by commerce. One hopes the recipients feel a genuine sense of accomplishment, rather than just another notch on the industry’s belt. [2] non-primary source needed [3] non-primary source needed
In a move that sent ripples through the digital landscape, the AAP, in August 2019, took legal action against Audible. The target? Its "Captions" feature, which offered machine-generated text alongside audio narration. The publishers argued this encroached on their rights. The dust settled in February 2020 with a settlement, wherein Audible agreed to refrain from implementing the feature without explicit consent. A small victory for the old guard, perhaps, but the underlying tension between traditional publishing and evolving technologies remains. [4] [5] [6]
Controversies: When Angels Fall, or Just Get Their Hands Dirty
Even an organization dedicated to the printed word isn't immune to the grimy realities of public relations and corporate maneuvering. The AAP's initial support for the arrest of Dmitry Sklyarov in 2001, a programmer arrested under the Digital Millennium Copyright Act (DMCA), raised eyebrows and ignited debates about the DMCA's reach. [7] It was a stark reminder that even those who champion intellectual property can sometimes wield its power in ways that silence dissent or innovation.
Then there was the rather conspicuous decision to hire Eric Dezenhall's crisis management firm. This move, aimed at bolstering their stance against the open access movement, was met with considerable criticism. [8] [9] As Patricia Schroeder herself admitted to The Washington Post, the association felt the need for external help, a tacit acknowledgment that their own messaging, however pure they believed it to be, wasn't cutting through the noise. "We thought we were angels for a long time and we didn't need PR firms," she stated. A telling admission, perhaps indicating a dawning realization that the world of publishing, like all industries, requires a certain… strategic polish. [10]
More recently, in 2020, the AAP found itself at the center of another significant controversy, this time concerning the lawsuit of Hachette v. Internet Archive. The AAP released a series of press statements in support of four of its member publishers. President Maria Pallante didn't mince words, describing the Internet Archive's actions as "illegally copying and distributing online a stunning number of literary works each day," a behavior she likened to that of "the world’s most egregious pirate sites." [11] non-primary source needed This stance, however, was met with strong opposition from a coalition of digital rights organizations, including the Electronic Frontier Foundation, [12] non-primary source needed Public Knowledge, [13] non-primary source needed and the Association of Research Libraries. [14] non-primary source needed The conflict highlighted the deep ideological divide between traditional publishing houses seeking to control digital distribution and advocates for broader access to information.
See Also: A Literary Family Tree
For those who wish to delve deeper into the sprawling, often contentious, world of publishing organizations, a few related entities warrant attention: