Werner Mark Linz, Director of The AUC Press talks about changing the image of Arab publishing
If you are browsing for an English-language book about Egypt, be it a translation of one of the classics of Arabic literature, a book about Ancient Egyptian history, or a collection of essays on local culture and society, chances are it is published by The American University in Cairo Press.
The Arabic publishing world is considerably small in comparison to global publishing activity. Whereas some one million titles are published internationally in all languages, only a few thousand are published in the Arab world.
Founded in 1960, the Press boasts over 600 titles in print. The AUC Press was able to respond to a growing demand for their publications in Egypt, the Middle East and internationally, taking the lead as the region’s foremost English-language publisher. At its helm is Director Werner Mark Linz.
Though still only a relatively small portion of global publishing, “The publishers in the Arab world have made major changes and advances in recent years to become part of the international publishing community,” says Linz. “That means also becoming part of the standards of quality of marketing and sales and production that is generally practiced around the world.”
Linz believes that AUC Press has contributed a great deal to these developments. The Press has responded to the market and has evolved its practices to meet international standards. But this was a result of a conscious effort to revamp and revisit the university press’ publishing philosophy.
“Although the press was established in the 1960s, it was initially simply an outlet for some of the university departments to publish some research. Publishing meant producing something,” Linz explains about the transformation, “while we [now] see publishing as distributing something. That is, to publish means to make public … For us, it was not published until it was sold.”
Linz was initially recruited as a consultant by the university in the 1980s to assess whether and how the Press should continue. Until that time, the press had published merely 75 books in the first 34 years since its foundation; approximately three books a year. “It wasn’t a dynamic, professional publishing house,” remarks Linz.
The press underwent a major “redirection and reorganization” in 1984. “First of all, we had to become a professional publisher. We had to develop a staff that was able to edit, design, produce, promote and distribute books nationally and internationally,” recounts Linz. “Then we focused on some areas: literature in translation, Ancient Egypt, Islamic art and architecture, the history, politics, economics, culture, social development, travel and local guide books.”
“Not easy to do. First of all we had no idea there was a market for this. We discovered that it wasn’t only AUC and the larger AUC community, plus the large expat [community] in Cairo, Egypt and in the region, but surprisingly also Egyptians who preferred to read about their culture, their literature in foreign languages; English primarily. Then of course, the big market of tourists that come to Egypt. Finally, the potentially huge market for these kinds of books, outside of Egypt, outside the Arab world, in Europe and North America,” Linz outlines.
He took on the role of acting Director for a couple of years (until a permanent hire was made), and in that time transformed the way in which the press operated. “We decided what to publish, we couldn’t publish things randomly. We had to focus on something that was going to make an intellectual impact, a market impact, and that was going to create a kind of position of reputation to you that would bring authors to you,” explains Linz.
Linz’s notable career in publishing made him the ideal candidate to turn around the AUC Press. He started off in 1954 at the Frankfurt Book Fair, and held senior executive positions with Herder & Herder, McGraw-Hill and the Seabury Press before he establishing the Crossroad and Continuum publishing companies in New York; those are only a few of the positions he has held in the field.
“I was a publisher in New York for many years; this was a midlife adventure,” remarks Linz about taking up his position in Cairo. “It was very obvious to an experienced publisher that this was a terrific opportunity.” From 1984 to 1986, and again since 1996, Linz has served as the Director of AUC Press.
The biggest impact the Press, under Linz’s leadership, has made on an international level is introducing the world to the works of Naguib Mahfouz. In 1985, AUC Press signed a general agreement with Mahfouz to become the author’s independent publishers and his worldwide agent in all languages, except the original Arabic. Following Mahfouz’s award of the Nobel Prize in Literature three years later, the press was in an ideal position to meet international demand for his works. That, however, was only a windfall of their main contribution: that of bringing Mahfouz’s work to the attention of the global literary scene.
“When [Mahfouz won the prize] we were ready. About half a dozen books were published, not only in English but also in other languages. But [Mahfouz] also said that these translations are probably a major reason why he was considered for the Nobel Prize in Literature,” says Linz.
Though icing on the cake, the press has been active in promoting other Arab authors to English readers. “Equally important, we immediately began to find other authors we wanted to translate. Since 1985, we have published or have currently in translation about 100 titles; that means Mahfouz plus another 60 or so writers,” explains Linz. “The majority come from Egypt, but also come from as far away as Morocco, Algeria, Iraq, and include of course, writers that live in exile. They write in Arabic; that is the key issue.”
The Naguib Mahfouz Medal in Literature, awarded annually by AUC Press, is case in point. They encourage as many writers as possible to submit their work for consideration.
“We want to [publish] classic modern writers, like from Taha Hussein to now. And we want to have newcomers, new voices, younger writers, more women than were published in the past, all those good things,” Linz adds.
“We decided a couple of years ago, to move over the next few years from 50 books a year to 100 books a year. That’s it. That will be the plateau, up to 100 books a year,” says Linz.
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