Recycling materials, recycling lives: Cardboard publishers in Latin America
Recycling materials, recycling lives: Cardboard publishers in Latin America
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回收材料，回收生命：拉丁美洲的纸板出版商
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发表时间：
2016
期刊：
影响因子：
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通讯作者：
L. Bell
中科院分区：
文献类型：
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作者：
L. Bell
拉丁美洲的editoriales cartoneras是小型的独立出版商，他们用回收的纸板手工制作书籍，并以低于大型出版社的价格出售。这一文化运动最初始于2001年经济危机之后的布宜诺斯艾利斯，当时失业率飙升，人们前一周有家，第二周却无家可归。深度衰退最明显的影响之一是出现了成千上万的cartoneros，他们走上街头收集废料，卖给个人或回收公司。2003年，Eloísa Cartonera的创始成员开始以五倍于市场价值的价格从cartoneros购买纸板来制作手绘书籍。从那时起，纸板出版的概念和做法已被整个拉丁美洲采用和调整：在南美洲（智利，秘鲁，乌拉圭），但也远至北部的墨西哥，现在有最多的社论cartoneras（约20个活跃的项目）。他们共同的身份作为cartoneras隐藏着广泛的不同目的-文学，社会，文化，政治和经济。然而，有一些相似之处倾向于将他们联合起来：对遵循资本主义新自由主义经济逻辑的大型商业出版商的抵制;对传播更年轻、更不知名、更前卫作家作品的渴望;在书籍非常昂贵、阅读通常被视为“少数特权”活动的国家，需要接触更广泛、更不同的公众。虽然许多cartonera组织自己收集回收材料，但其他组织，如Eloísa，已经加强了与拾荒者或回收合作社的联系。在圣保罗的一个案例中，我将在这里深入探讨，出版车间和流程已完全融入现有的回收工厂。为什么要在文学和可持续性的集合的背景下检查editoriales cartoneras？首先，这是一个有趣的文学作品的例子，其中所谓的“三大支柱”的可持续性-环境，社会和经济-被调用，相互交织4
Latin American editoriales cartoneras are small, independent publishers that make their books by hand out of recycled cardboard and aim to sell them at prices lower than those of large publishing houses. This cultural movement first began in Buenos Aires in the wake of the 2001 economic crisis, during which unemployment rates soared and people had a home one week but were homeless the next. One of the most visible impacts of the deep recession was the appearance of thousands of cartoneros, who took to the streets to collect scrap materials to sell on to individuals or recycling companies. In 2003, the founding members of Eloísa Cartonera began buying cardboard from the cartoneros at five times its market value to produce hand-painted books. Since then, the concept and practices of cardboard publishing have been adopted and adapted all over Latin America: in South America (Chile, Peru, Uruguay), but also as far north as Mexico, which now has the most editoriales cartoneras (approximately twenty active projects). Their shared identity as cartoneras conceals a wide range of different aims – literary, social, cultural, political and economic. A number of affinities, however, tend to unite them: the resistance to large commercial publishers that follow the logic of the capitalist, neoliberal economy; the desire to circulate the works of younger, lesser-known, more avantgarde authors; the need to reach a wider and different public in countries where books are very expensive and reading is often regarded as the activity of the ‘privileged few’. Though many cartonera organisations collect the recycled materials themselves, others, like Eloísa, have strengthened their links with waste pickers or recycling cooperatives. In one case in São Paulo, which I shall explore in depth here, the publishing workshop and processes have been fully integrated into an existing recycling plant. Why examine editoriales cartoneras in the context of a collection on literature and sustainability? Firstly, it is an intriguing instance of literary production in which the so-called ‘three pillars’ of sustainability – the environmental, the social and the economic – are invoked, intermeshed 4