{"id":457,"date":"2017-05-10T21:13:06","date_gmt":"2017-05-11T02:13:06","guid":{"rendered":"http:\/\/commons.trincoll.edu\/amst-queer-america\/?p=457"},"modified":"2017-05-10T21:13:06","modified_gmt":"2017-05-11T02:13:06","slug":"the-kitchen-table-women-of-color-press","status":"publish","type":"post","link":"http:\/\/commons.trincoll.edu\/amst-queer-america\/2017\/05\/10\/the-kitchen-table-women-of-color-press\/","title":{"rendered":"The Kitchen Table: Women of Color Press Final Research Paper &amp; Slides For LGBTQ Historic Site"},"content":{"rendered":"<p>The Kitchen Table: Women of Color Press Final Research Paper &amp; Slides For LGBTQ Historic Site<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.slideshare.net\/slideshow\/embed_code\/key\/LaPAoMIKosa6Az\" width=\"427\" height=\"356\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" style=\"border:1px solid #CCC; border-width:1px; margin-bottom:5px; max-width: 100%;\" allowfullscreen> <\/iframe> <\/p>\n<div style=\"margin-bottom:5px\"> <strong> <a href=\"https:\/\/www.slideshare.net\/SofiaSafran\/kitchen-table-women-of-color-press\" title=\"Kitchen Table: Women of Color Press\" target=\"_blank\">Kitchen Table: Women of Color Press<\/a> <\/strong> from <strong><a target=\"_blank\" href=\"https:\/\/www.slideshare.net\/SofiaSafran\">Sofia Safran<\/a><\/strong> <\/div>\n<p>&nbsp;<\/p>\n<p>Sofia Safran<\/p>\n<p>Professor Gieseking<\/p>\n<p>AMST 409 Queer America<\/p>\n<p>Final Paper<\/p>\n<p>Due May 10, 2017<\/p>\n<p>&nbsp;<\/p>\n<p>Setting the Kitchen Table and its Place in History<\/p>\n<p>&nbsp;<\/p>\n<p><em>Introduction<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>In her book <em>Sister Outsider: Essays and Speeches<\/em>, author Audre Lorde wrote of the inequality among disenfranchised people and people in power: \u201cBlack and Third World people are expected to educate white people as to our humanity. Women are expected to educate men. Lesbians and gay men are expected to educate the heterosexual world.\u201d<a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a> In Lorde\u2019s eyes, this education came about through the spread of ideas through books. However, with a largely white and male dominated publishing industry in the 1980s, it was difficult to get the ideas and voices heard from those of disenfranchised groups, such as people of color, women, those belonging in the LGBTQ community, and those who provided intersectional combinations of the three. How, then, could education\u2014and eventually equality\u2014occur?<\/p>\n<p>To address these issues, Lorde, along with author and activist Barbara Smith, created the Kitchen Table: Women of Color Press, a lesbian feminist press that published only works by women of color. Because of its devotion to intersectionality, commitment to social justice, promotion of voices of marginalized groups such as lesbian women of color, and its legacy in the publishing industry today, I argue that Kitchen Table and the site of its founding are important and should become a historic site.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Kitchen Table: A History<\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>The history of the Kitchen Table: Women of Color Press is scattered. Even the in most seemingly comprehensive accounts of Kitchen Table\u2019s beginnings, important dates and other details are lost in the midst of a longer explanation for the Press\u2019 intentions and actions. In 1980, poet Audre Lorde told author Barbara Smith, \u201cWe really need to do something about publishing\u201d while they were both in Boston on Halloween for a poetry reading.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> By \u201cpublishing,\u201d Lorde was referring not only to the American publishing industry as a whole, but also the smaller Women in Print movement.<\/p>\n<p>At this time, racism and homophobia in the publishing industry, as well as the Women in Print movement, were clear. The Women in Print movement sought to unite feminist presses and booksellers alike in order to better spread feminist ideals to the public. However, these feminist ideals were largely white and straight. Smith explains that she and other feminist and lesbian of color writers \u201cknew [they] had no options for getting published except at the mercy or whim of others&#8211;in either commercial or alternative publishing, since both [were] white dominated.\u201d<a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> In addition to rarely being published, Smith also notes that even published works by women of color (including African American, Native American, Latina, and Asian American women) were \u201cbarely noticed by literary and academic establishments, let alone by the general reading public.\u201d<a href=\"#_ftn4\" name=\"_ftnref4\">[4]<\/a> Therefore, it was necessary to diversify the movement by giving disenfranchised yet intersectional lesbian women of color an avenue through which they could share their ideas and be noticed.<\/p>\n<p>While the Kitchen Table: Women of Color Press was formed in the fall of 1980, it was not officially announced until 1981. The announcement of the Kitchen Table was seen as the high point of the 2<sup>nd<\/sup> Annual National Women in Print Conference, a gathering at which feminist publishers and booksellers held panels and discussions about feminist issues in the publishing industry.<a href=\"#_ftn5\" name=\"_ftnref5\">[5]<\/a> Additionally, it was not until two years later in the spring of 1983 that the Kitchen Table: Women of Color Press began its publishing operations with an edition of Cheryl Clarke\u2019s <em>Narratives: Poems in the Tradition of Black Women<\/em>, which had originally been self-published by the author.<a href=\"#_ftn6\" name=\"_ftnref6\">[6]<\/a> <a href=\"#_ftn7\" name=\"_ftnref7\">[7]<\/a><\/p>\n<p>When Kitchen Table was founded, it had \u201cno start-up capital\u2026 no significant grants by major foundations. No corporate donations of equipment. No wealthy patron in the wings.\u201d<a href=\"#_ftn8\" name=\"_ftnref8\">[8]<\/a> Additionally, the nonprofit press was not only founded by Smith (who did all of her work for no pay), but also operated in her home with a \u201cpaid staff that never numbered more than three.\u201d<a href=\"#_ftn9\" name=\"_ftnref9\">[9]<\/a><\/p>\n<p>Despite their minimal funds and lack of staff, the Kitchen Table: Women of Color Press prospered throughout the 1980\u2019s and into the early 1990\u2019s. Kitchen Table published fifteen works from 1983 until 1992, including works by Audre Lorde herself (such as <em>I Am Your Sister: Black Women Organizing Across Sexualities<\/em>), and Mitsuye Yamada\u2019s <em>Desert Run: Poems and Stories<\/em>. <a href=\"#_ftn10\" name=\"_ftnref10\">[10]<\/a> Additionally, Kitchen Table also published Cherr\u00ede Moraga and Gloria Anzal\u00faa\u2019s anthology, <em>This Bridge Called My Back: Writings by Radical Women of Color<\/em>, a text that they picked up from Persephone Press after they were forced to close in May 1983 due to the financial hardships associated with running an independent lesbian feminist press.<a href=\"#_ftn11\" name=\"_ftnref11\">[11]<\/a> At this time, it was not uncommon for independent presses in the market in which Kitchen Table and Persephone were operating to go out of business. Due to the market\u2019s niche with the smaller group of people active in the feminist movement rather than the general population as a whole, business was more difficult. The closure of Persephone Press allowed Kitchen Table to pick up and continue publishing some of their books\u2014bettering their own business.<\/p>\n<p>According to author Kristen Hogan, Kitchen Table: Women of Color Press\u2019 dedication to women of color helped to keep them afloat. She notes that Matt Richardson, a representative for Kitchen Table at the American Booksellers Association (ABA) Convention in 1993 explained that the conversation then among feminist publishers and booksellers was, \u201cLet\u2019s talk about our survival, and not, our survival depends upon having an accountability around race and racism.\u201d<a href=\"#_ftn12\" name=\"_ftnref12\">[12]<\/a> For Kitchen Table, Richardson continued, \u201cIf we suddenly lost an antiracist focus, then our publishing would be in danger. Our economic survival depended upon being clear about that in ways that theirs [white feminist bookstores] didn\u2019t.\u201d<a href=\"#_ftn13\" name=\"_ftnref13\">[13]<\/a><\/p>\n<p>Kitchen Table: Women of Color Press continued printing and selling texts by lesbian women of color with the help of a network of volunteers until 1994. It was then that Smith began to collaborate with Jamie M. Grant of the Union Institute Center for Women, expressing her \u201cneed to develop Kitchen Table into an independent, fiscally sound nonprofit.\u201d<a href=\"#_ftn14\" name=\"_ftnref14\">[14]<\/a> Grant, a white lesbian activist, was fully aware of the importance of race in Kitchen Table\u2019s functioning: \u201cKitchen Table\u2019s strength has always risen from the foundation that its work is defined by women of color, for women of color. As a in a predominantly white-led institution, I understood that our role would be to preserve that strength by providing access to whatever avenues of support we could find.\u201d<a href=\"#_ftn15\" name=\"_ftnref15\">[15]<\/a> Grant was optimistic about this new structure, noting that her goal was to usher Kitchen Table \u201csafely into the next century,\u201d and that support from the Union Institute had already tripled its capacity.<a href=\"#_ftn16\" name=\"_ftnref16\">[16]<\/a> Unfortunately, however, this endeavor was ultimately unsuccessful and the Kitchen Table: Women of Color Press did not make it to the next century\u2014it ceased operations a year later in 1995.<a href=\"#_ftn17\" name=\"_ftnref17\">[17]<\/a><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><em>Topics and Trends in Literature<\/em><\/p>\n<p>Within my research on the Kitchen Table: Women of Color Press, several topics appeared frequently throughout the literature. First and foremost, there was a distinct emphasis on Kitchen Table\u2019s commitment to social justice. Next, and in conjunction with that, was their dedication to making sure that lesbian women of color\u2019s voices were heard and able to empower other disenfranchised women. Lastly, these trends are explored in their relationship with Kitchen Table and its place in the Women in Print movement as a whole.<\/p>\n<p>The Kitchen Table: Women of Color Press\u2019s commitment to social justice in its publishing endeavors are mentioned to some extent in the majority of my sources, but can most be clearly seen in the piece \u201cAfrican American Women in Defense of Ourselves.\u201d This statement from <em>The Black Scholar <\/em>speaks out against the confirmation of African American Clarence Thomas on the Supreme Court. It details his confirmation as a disservice to African Americans in the United States, as he was accused of sexually harassing an African American professor named Anita Hill.<\/p>\n<p>The statement claims that his appointment would both be used to \u201cdivert attention from historic struggles\u201d for African Americans and further the country\u2019s legacy of not taking \u201cthe sexual abuse of Black women seriously.\u201d <a href=\"#_ftn18\" name=\"_ftnref18\">[18]<\/a> While perhaps not written by the Kitchen Table: Women of Color Press, the statement contains a footnote that it is available to order as a poster published and distributed by Kitchen Table. Because the Kitchen Table sold it as a poster, it is evident that the Press supported the statement\u2019s sentiments, and it gives an insight into the Press\u2019 political leanings and the varieties of publishing work that they did.<\/p>\n<p>Social justice is also extensively covered in Audre Lorde\u2019s essay, \u201cThe Uses of Anger.\u201d While the co-founder of Kitchen Table: Women of Color Press never mentions the nonprofit organization outright in her essay, it is easy to see its fundamental ideals for social justice and racial equality in her writing. Lorde notes, \u201cWomen responding to racism means women responding to anger, the anger of exclusion, of unquestioned privilege, of racial distortions, of silence, ill-use, stereotyping, defensiveness, misnaming, betrayal, and coopting.\u201d<a href=\"#_ftn19\" name=\"_ftnref19\">[19]<\/a> She explains that she has seen time and time again the implication that \u201cracism is a Black women\u2019s problem, a problem of women of Color, and only we [black women] can discuss it.\u201d<a href=\"#_ftn20\" name=\"_ftnref20\">[20]<\/a><\/p>\n<p>Thus, it is here that we see her motivation for helping to create Kitchen Table: to use the press as a tool to respond to and fight against racism, to give women whose voices might not otherwise be heard the chances to speak out. She notes, \u201cI am not free while any woman is unfree, even when her shackles are very different from my own. I am not free as long as one person of Color remains chained. Nor is any of you.\u201d<a href=\"#_ftn21\" name=\"_ftnref21\">[21]<\/a> With this in mind, the Kitchen Table: Women of Color Press becomes an even stronger means of freeing women of color from their shackles through the use of print.<\/p>\n<p>Through this printing of feminist literature, and subsequent distribution to feminist bookstores, the Kitchen Table: Women of Color Press not only allowed lesbian women of color\u2019s voices to be heard, but also allowed disenfranchised women around the world to hear them. \u201cBy ensuring easy accessibility of feminist literature,\u201d Hogan explains, feminist bookstores and publishers (such as Kitchen Table) provided \u201cthe necessary theoretical ballast for feminist action.\u201d<a href=\"#_ftn22\" name=\"_ftnref22\">[22]<\/a> Furthermore, she notes that in the case of \u201cThird World Countries,\u201d it was the duty of publishers such as Kitchen Table: Women of Color Press to make their \u201cfeminist literature affordable, so that the fledgling feminist movements in most of these countries can acquire greater momentum than they would otherwise be able to do.\u201d<a href=\"#_ftn23\" name=\"_ftnref23\">[23]<\/a><\/p>\n<p>The themes of social justice and empowerment through allowing disenfranchised voices to hear each other and be heard at all are echoed in the literature that discusses the Kitchen Table: Women of Color Press\u2019 place in the Women in Print movement. Lootens praises the movement, mentioning that feminist presses\u2019 (such as Kitchen Table) \u201cwork exists in the context of an activist movement; if there were no such movement, nobody would buy the books\u201d and that \u201cthe Women in Print movement is not only surviving but expanding\u201d<a href=\"#_ftn24\" name=\"_ftnref24\">[24]<\/a> because of this.<\/p>\n<p>Meanwhile, other literature points to the Women in Print movement\u2019s pitfalls. Grant notes the racism in the movement, explaining that while \u201cwhite feminist communities have eagerly taken up the books of the press\u2026 and yet barely noticed the years of personal sacrifice and unwaged work by women of color that have sustained this resource.\u201d<a href=\"#_ftn25\" name=\"_ftnref25\">[25]<\/a> Smith, on the other hand, ties the movement\u2019s success and shortcomings together when she explains that \u201cfreedom of the press belongs to those who own the press\u201d and that this is \u201ceven truer for multiply disenfranchised women of color who have minimal access to power\u2026 except what we wrest from an unwilling system.\u201d<a href=\"#_ftn26\" name=\"_ftnref26\">[26]<\/a><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><em>Discussion: Arguments for Site Inclusion<\/em><\/p>\n<p>The site of the founding of Kitchen Table: Women of Color Press should be a historical one for two main reasons. First, without the establishment of Kitchen Table, the state of diversity and inequality in American publishing would not be as diverse as it is today. Second, Kitchen Table, unlike other defunct lesbian feminist presses of the time, lives on through the work of other individuals in the present day. Last, Kitchen Table also allowed for the initial and continued publication of feminist texts and feminist authors who are still read today.<\/p>\n<p>Unfortunately, when looking at the statistics, it is clearly visible that diversity in publishing is still a major issue. Of the Top 100 Bestsellers of 2016, people of color wrote 16 books. Of those 16, only 4 were written by women\u2014all of whom were straight.<a href=\"#_ftn27\" name=\"_ftnref27\">[27]<\/a> With this, it is not unreasonable to conclude that marginalized groups, such as LGBTQ women of color, are not getting their voices and heard by the American public nearly as loudly as the other 84 straight white cisgender authors on the list.<\/p>\n<p>In an NPR article from 2016, novelist Angela Flournoy (a woman of color) commented on this issue. When asked about \u201cthe extent to which writers of color are asked in interviews about publishing&#8217;s diversity gap,\u201d she responded, &#8220;I think it&#8217;s an undue burden for the writer of color that&#8217;s just trying to get people to care about their book as much as other people&#8217;s books, to then also be the one to have the answers.&#8221;<a href=\"#_ftn28\" name=\"_ftnref28\">[28]<\/a><\/p>\n<p>The statistics are there to provide concrete evidence of the lack of diversity. In 2014, <em>Publisher\u2019s Weekly<\/em>, a magazine targeted at those in the literary industry, conducted a survey on salaries and demographics in the publishing industry. The survey found that 89 percent of participants identified as white.<a href=\"#_ftn29\" name=\"_ftnref29\">[29]<\/a> In 2015, publisher Lee &amp; Low Books responded to this by starting an increasingly well-known study on staff diversity in the publishing industry, known as the \u201cDiversity Baseline Survey.\u201d The findings here reinforced the harsh lack of diversity: of the over 40 publishers and review journals that participated, 79 percent of people in the industry as a whole identified as white. Furthermore, of those same people, 88 percent identified as heterosexual, 78 percent identified as cis-women, and 21 percent identified as cis-men. <a href=\"#_ftn30\" name=\"_ftnref30\">[30]<\/a><\/p>\n<p>While Flournoy points to the inequality in race, Author and activist Sarah Schulman, who identifies as a lesbian, discusses the inequality for the LGBTQ community. In an interview with Andrea Freud Lowenstien, she explains that despite being published in the \u201cmainstream press,\u201d her sexuality causes her to be seen as \u201ca deviant person\u201d rather than a \u201cvalued\u201d one. She notes, \u201cReviews that I now get say things like \u2018This isn&#8217;t a gay book, this is a universal book.\u2019 That&#8217;s called a good review; because if it was a gay book, there&#8217;d be something wrong with it. How I have experienced \u2026 my life\u2026 and how all the people who I love\u2026 have experienced \u2026 their lives, is not a valid perspective in the mainstream world.\u201d<a href=\"#_ftn31\" name=\"_ftnref31\">[31]<\/a> Although this interview took place in 1990 when Kitchen Table was still up and running, we can see from the aforementioned statistics that the sentiments still greatly apply to the industry today.<\/p>\n<p>Why is there so much disparity in the publishing industry? Shulman revisited the issue of LGBTQ inequality in publishing in her 2007 article, \u201cThe Invisible Lesbian.\u201d She explains that conservative culture of the 1990s created a pushback to the work done to bring \u201cmodern lesbian literature\u201d to the \u201ccultural inroads\u201d by Kitchen Table and other lesbian feminist presses, as well as the feminist and lesbian movements as a whole, in the 80s.<a href=\"#_ftn32\" name=\"_ftnref32\">[32]<\/a> Schulman also notes that \u201cniche marketing,\u201d which arose in the 90s, \u201ccontinues to keep lesbian literature from being considered an integrated part of American letters.\u201d<a href=\"#_ftn33\" name=\"_ftnref33\">[33]<\/a><\/p>\n<p>In terms of racial inequality in the industry, <em>Publisher\u2019s Weekly <\/em>points to the &#8220;entrenched leadership that includes few people of color, low starting salaries and unpaid internships that together discourage minorities from applying to entry-level jobs, and not enough effective outreach to minorities.&#8221; However, Kitchen Table: Women of Color Press provided the beginning of the long process of diversification in the publishing industry by acknowledging that while women of color are disenfranchised, their voices deserve to be heard just as much as anyone else\u2019s\u2014and we would be much further behind than we currently are if not for their work and the inspiration they provided to future generations.<\/p>\n<p>While Kitchen Table ceased operation in 1995, its legacy clearly continues today\u2014specifically through publicist Kima Jones and an organization called Kitchen Table Literary Arts. Jones is a queer woman of color and the owner of a publicity company. According to NPR, she is \u201can expert in culturally specific marketing.\u201d Her company, Jack Jones Literary Arts, attempts to give writers from disenfranchised groups a leg up: \u201cthe agency partners exclusively with writers who have been historically underrepresented in publishing.\u201d<a href=\"#_ftn34\" name=\"_ftnref34\">[34]<\/a> With a 95% of her clients being writers of color, it is a business model much like that of the Kitchen Table: Women of Color Press.<\/p>\n<p>The Kitchen Table: Women of Color Press\u2019 legacy continues additionally through an organization known as Kitchen Table Literary Arts. The organization that honors Kitchen Table in name and mission: their website explains that they \u201cwork to discover and develop new poets, writers, and readers through workshops, seminars, and showcases that investigate the intersections of our past and present voices by featuring the work and experiences of contemporary women of color writers and poets.\u201d<a href=\"#_ftn35\" name=\"_ftnref35\">[35]<\/a><\/p>\n<p>Finally, Kitchen Table: Women of Color Press deserves recognition as a historic site because of its contributions to the corpus of LGBTQ and feminist literature. The aforementioned and highly influential <em>This Bridge Called My Back<\/em> is currently in its fourth edition, and, according to professor and author Teresa de Lauretis, expanded the intersectionality within the feminist and Women in Print movements by making &#8220;available to all feminists the feelings, the analyses, and the political positions of feminists of color, and their critiques of white or mainstream feminism.&#8221;<a href=\"#_ftn36\" name=\"_ftnref36\">[36]<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><em>Conclusion <\/em><\/p>\n<p>With the state of diversity in publishing still being an issue today, it is important that we recognize the women who spearheaded the effort to diversify it. The Kitchen Table: Women of Color Press\u2019 commitment to bringing diversity and intersectionality to publishing, particularly with lesbian women of color, helped to bring the industry to the point at which it stands today. As is clear, however, from recent statistics, their mission is not yet complete. In order to continue this mission, as well as bring recognition to the particularly marginalized and silenced group of Black lesbians, it is important to recognize the space in which they got their start.<\/p>\n<p>While we do know that Kitchen Table was conceived in Boston and moved to New York several years later, more research must be done in order to decide where exactly to place its historical monument. I believe that the marker should be in Boston, and with the help of Barbara Smith, the correct location can be found. Should the marker become a reality, I propose the following as its inscription:<\/p>\n<p>&nbsp;<\/p>\n<p>Welcome to the birthplace of the Kitchen Table: Women of Color Press. You may be surprised to hear it, but you are standing near an important site in LGBTQ history. It was here in 1980 that Barbara Smith and Audre Lorde decided to \u201cdo something about publishing,\u201d to ensure that straight and lesbian women of color\u2019s voices were no longer silenced because they did not have the virtue of being spread to wide audiences via a mass medium. This was part of a wider movement, the Women in Print Movement, which called to bring more women into the highly male publishing industry. Notable works published by Kitchen Table: Women of Color Press include <em>This Bridge Called My Back: Writings by Radical Women of Color, Home Girls: A Black Feminist Anthology, <\/em>and Audre Lorde\u2019s <em>I Am Your Sister: Black Women Organizing Across Sexualities<\/em>. An entirely volunteer run operation with minimal capital, Kitchen Table worked tirelessly for fifteen years, before it shut down operations, to fight for diversity in the United States publishing industry. While they were successful at planting the seeds, this is unfortunately a problem still faced today.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Bibliography<\/p>\n<p>\u201cAfrican American Women In Defense of Ourselves.\u201d <em>The Black Scholar<\/em> 22, no. 1\/2 (1991): 155\u2013155.<\/p>\n<p>&nbsp;<\/p>\n<p>Baker, Jennifer. \u201cFirst Diversity Baseline Survey Illustrates How Much Publishing Lacks Diversity.\u201d <em>Forbes<\/em>. Accessed May 1, 2017. http:\/\/www.forbes.com\/sites\/jenniferbaker\/2016\/01\/26\/first-publishing-diversity-baseline-survey\/.<\/p>\n<p>&nbsp;<\/p>\n<p>Bianco, Marcie, and Nathaniel Frank. \u201cCan Sarah Schulman Win Mainstream Success With\u00a0The Cosmopolitans?\u201d <em>Slate<\/em>, March 17, 2016. http:\/\/www.slate.com\/blogs\/outward\/2016\/03\/17\/sarah_schulman_s_novel_the_cosmopolitans_should_win_her_mainstream_success.html.<\/p>\n<p>&nbsp;<\/p>\n<p>Grant, Jaime M. \u201cBuilding Community-Based Coalitions from Academe: The Union Institute and the Kitchen Table: Women of Color Press Transition Coalition.\u201d <em>Signs<\/em> 21, no. 4 (1996): 1024\u201333.<\/p>\n<p>&nbsp;<\/p>\n<p>Ho, Jean, and owner of publicity company Jack Jones Literary Arts. \u201cDiversity In Book Publishing Isn\u2019t Just About Writers \u2014 Marketing Matters, Too.\u201d <em>NPR.org<\/em>. Accessed April 30, 2017. http:\/\/www.npr.org\/sections\/codeswitch\/2016\/08\/09\/483875698\/diversity-in-book-publishing-isnt-just-about-writers-marketing-matters-too.<\/p>\n<p>&nbsp;<\/p>\n<p>Hogan, Kristen. <em>The Feminist Bookstore Movement: Lesbian Antiracism and Feminist Accountability<\/em>. Durham: Duke University Press, 2016.<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cKitchen Table Women of Color Press | Lesbian Poetry Archive.\u201d Accessed May 5, 2017. http:\/\/www.lesbianpoetryarchive.org\/node\/87.<\/p>\n<p>&nbsp;<\/p>\n<p>Lefevour, Mary Kay. \u201cPersephone Press Folds.\u201d <em>Off Our Backs<\/em> 13, no. 10 (1983): 17\u201317.<\/p>\n<p>&nbsp;<\/p>\n<p>Loewenstein, Andrea Freud, and Sarah Schulman. \u201cTroubled Times: Andrea Freud Loewenstein Interviews Sarah Schulman.\u201d <em>The Women\u2019s Review of Books<\/em> 7, no. 10\/11 (1990): 22\u201323. doi:10.2307\/4020814.<\/p>\n<p>&nbsp;<\/p>\n<p>Lootens, Tricia. \u201cThird National Women in Print Conference.\u201d <em>Off Our Backs<\/em> 15, no. 8 (1985): 8\u201326.<\/p>\n<p>&nbsp;<\/p>\n<p>Lorde, Audre. <em>Sister Outsider: Essays and Speeches<\/em>. The Crossing Press Feminist Series. Trumansburg, NY: Crossing Press, 1984.<\/p>\n<p>&nbsp;<\/p>\n<p>\u2014\u2014\u2014. \u201cThe Uses of Anger.\u201d <em>WSQ: Women\u2019s Studies Quarterly<\/em>, no. 25 (1\/2) (n.d.): 278\u201385.<\/p>\n<p>Low, Jason T. \u201cWhere Is the Diversity in Publishing? The 2015 Diversity Baseline Survey Results.\u201d <em>Lee &amp; Low Blog<\/em>, January 26, 2016. http:\/\/blog.leeandlow.com\/2016\/01\/26\/where-is-the-diversity-in-publishing-the-2015-diversity-baseline-survey-results\/.<\/p>\n<p>&nbsp;<\/p>\n<p>Milliot, Jim. \u201cThe PW Publishing Industry Salary Survey 2015: A Younger Workforce, Still Predominantly White.\u201d <em>PublishersWeekly.com<\/em>, October 16, 2015. \/pw\/by-topic\/industry-news\/publisher-news\/article\/68405-publishing-industry-salary-survey-2015-a-younger-workforce-still-predominantly-white.html.<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cMission.\u201d <em>The Kitchen Table\u00a0 Literary Arts Center<\/em>. Accessed May 1, 2017. http:\/\/www.kitchen-table.org\/mission.html.<\/p>\n<p>&nbsp;<\/p>\n<p>Moraga, Cherr\u00ede, and Gloria Anzald\u00faa, eds. <em>This Bridge Called My Back: Writings by Radical Women of Color<\/em>. Expanded and rev. 3rd ed. Women of Color Series. Berkeley, CA: Third Woman Press, 2002.<\/p>\n<p>&nbsp;<\/p>\n<p>Noble, Barnes &amp;. \u201cThe Top 100 Bestsellers of the Year.\u201d <em>Barnes &amp; Noble<\/em>. Accessed May 10, 2017. https:\/\/www.barnesandnoble.com\/b\/the-top-100-bestsellers-of-the-year\/_\/N-1p4d?page=2.<\/p>\n<p>&nbsp;<\/p>\n<p>Schulman, Sarah, and Marissa Martinelli. \u201cThe Invisible Lesbian.\u201d <em>Slate<\/em>, October 31, 2007. http:\/\/www.slate.com\/articles\/news_and_politics\/book_blitz\/2007\/10\/the_invisible_lesbian.html.<\/p>\n<p>&nbsp;<\/p>\n<p>Smith, Barbara. \u201cA Press of Our Own Kitchen Table: Women of Color Press.\u201d <em>Frontiers: A Journal of Women Studies<\/em> 10, no. 3 (1989): 11\u201313. doi:10.2307\/3346433.<\/p>\n<p>&nbsp;<\/p>\n<p>Teresa deLauretis. \u201cThe Technology of Gender.\u201d <em>Feminist Communication Theory: Selections in Context<\/em>, 1987, 221.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a> Audre Lorde, <em>Sister Outsider: Essays and Speeches<\/em>, The Crossing Press Feminist Series (Trumansburg, NY: Crossing Press, 1984).<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> Barbara Smith, \u201cA Press of Our Own Kitchen Table: Women of Color Press,\u201d <em>Frontiers: A Journal of Women Studies<\/em> 10, no. 3 (1989): 11.<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> Ibid.<\/p>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a> Ibid.<\/p>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a> Tricia Lootens, \u201cThird National Women in Print Conference,\u201d <em>Off Our Backs<\/em> 15, no. 8 (1985): 23.<\/p>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> Ibid.<\/p>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\">[7]<\/a> \u201cKitchen Table Women of Color Press | Lesbian Poetry Archive,\u201d accessed May 5, 2017.<\/p>\n<p><a href=\"#_ftnref8\" name=\"_ftn8\">[8]<\/a> Jaime M. Grant, \u201cBuilding Community-Based Coalitions from Academe: The Union Institute and the Kitchen Table: Women of Color Press Transition Coalition,\u201d <em>Signs<\/em> 21, no. 4 (1996): 1022.<\/p>\n<p><a href=\"#_ftnref9\" name=\"_ftn9\">[9]<\/a> Ibid. 1023.<\/p>\n<p><a href=\"#_ftnref10\" name=\"_ftn10\">[10]<\/a> \u201cKitchen Table Women of Color Press | Lesbian Poetry Archive,\u201d accessed May 5, 2017.<\/p>\n<p><a href=\"#_ftnref11\" name=\"_ftn11\">[11]<\/a> Mary Kay Lefevour, \u201cPersephone Press Folds,\u201d <em>Off Our Backs<\/em> 13, no. 10 (1983): 17<\/p>\n<p><a href=\"#_ftnref12\" name=\"_ftn12\">[12]<\/a> Kristen Hogan, <em>The Feminist Bookstore Movement: Lesbian Antiracism and Feminist Accountability<\/em> (Durham: Duke University Press, 2016). 92.<\/p>\n<p><a href=\"#_ftnref13\" name=\"_ftn13\">[13]<\/a> Ibid. 93.<\/p>\n<p><a href=\"#_ftnref14\" name=\"_ftn14\">[14]<\/a> Jaime M. Grant, \u201cBuilding Community-Based Coalitions from Academe: The Union Institute and the Kitchen Table: Women of Color Press Transition Coalition,\u201d <em>Signs<\/em> 21, no. 4 (1996): 1024.<\/p>\n<p><a href=\"#_ftnref15\" name=\"_ftn15\">[15]<\/a> Ibid. 1027.<\/p>\n<p><a href=\"#_ftnref16\" name=\"_ftn16\">[16]<\/a> Ibid. 1023.<\/p>\n<p><a href=\"#_ftnref17\" name=\"_ftn17\">[17]<\/a> Cherr\u00ede Moraga and Gloria Anzald\u00faa, eds., <em>This Bridge Called My Back: Writings by Radical Women of Color<\/em>, Expanded and rev. 3rd ed, Women of Color Series (Berkeley, CA: Third Woman Press, 2002).<\/p>\n<p><a href=\"#_ftnref18\" name=\"_ftn18\">[18]<\/a> \u201cAfrican American Women In Defense of Ourselves,\u201d <em>The Black Scholar<\/em> 22, no. 1\/2 (1991): 155\u2013155.<\/p>\n<p><a href=\"#_ftnref19\" name=\"_ftn19\">[19]<\/a> Audre Lorde, \u201cThe Uses of Anger,\u201d <em>WSQ: Women\u2019s Studies Quarterly<\/em>, no. 25 (1\/2) (n.d.): 278.<\/p>\n<p><a href=\"#_ftnref20\" name=\"_ftn20\">[20]<\/a> Ibid. 279.<\/p>\n<p><a href=\"#_ftnref21\" name=\"_ftn21\">[21]<\/a> Ibid. 285.<\/p>\n<p><a href=\"#_ftnref22\" name=\"_ftn22\">[22]<\/a> Kristen Hogan, <em>The Feminist Bookstore Movement: Lesbian Antiracism and Feminist Accountability<\/em> (Durham: Duke University Press, 2016). 122-3.<\/p>\n<p><a href=\"#_ftnref23\" name=\"_ftn23\">[23]<\/a> Ibid.<\/p>\n<p><a href=\"#_ftnref24\" name=\"_ftn24\">[24]<\/a> Tricia Lootens, \u201cThird National Women in Print Conference,\u201d <em>Off Our Backs<\/em> 15, no. 8 (1985): 22.<\/p>\n<p><a href=\"#_ftnref25\" name=\"_ftn25\">[25]<\/a> Jaime M. Grant, \u201cBuilding Community-Based Coalitions from Academe: The Union Institute and the Kitchen Table: Women of Color Press Transition Coalition,\u201d <em>Signs<\/em> 21, no. 4 (1996): 1024.<\/p>\n<p><a href=\"#_ftnref26\" name=\"_ftn26\">[26]<\/a> Barbara Smith, \u201cA Press of Our Own Kitchen Table: Women of Color Press,\u201d <em>Frontiers: A Journal of Women Studies<\/em> 10, no. 3 (1989): 11.<\/p>\n<p><a href=\"#_ftnref27\" name=\"_ftn27\">[27]<\/a> Barnes &amp; Noble, \u201cThe Top 100 Bestsellers of the Year,\u201d <em>Barnes &amp; Noble<\/em>, accessed May 7, 2017<\/p>\n<p><a href=\"#_ftnref28\" name=\"_ftn28\">[28]<\/a> Jean Ho, \u201cDiversity In Book Publishing Isn\u2019t Just About Writers \u2014 Marketing Matters, Too,\u201d <em>NPR.org<\/em>, accessed April 30, 2017.<\/p>\n<p><a href=\"#_ftnref29\" name=\"_ftn29\">[29]<\/a> Jim Milliot, \u201cThe PW Publishing Industry Salary Survey 2015: A Younger Workforce, Still Predominantly White,\u201d <em>PublishersWeekly.com<\/em>, October 16, 2015<\/p>\n<p><a href=\"#_ftnref30\" name=\"_ftn30\">[30]<\/a> Low, Jason T, \u201cWhere Is the Diversity in Publishing? The 2015 Diversity Baseline Survey Results,\u201d <em>Lee &amp; Low Blog<\/em>, January 26, 2016.<\/p>\n<p><a href=\"#_ftnref31\" name=\"_ftn31\">[31]<\/a> Andrea Freud Loewenstein and Sarah Schulman, \u201cTroubled Times: Andrea Freud Loewenstein Interviews Sarah Schulman,\u201d <em>The Women\u2019s Review of Books<\/em> 7, no. 10\/11 (1990): 22\u201323<\/p>\n<p><a href=\"#_ftnref32\" name=\"_ftn32\">[32]<\/a> Sarah Schulman and Marissa Martinelli, \u201cThe Invisible Lesbian,\u201d <em>Slate<\/em>, October 31, 2007.<\/p>\n<p><a href=\"#_ftnref33\" name=\"_ftn33\">[33]<\/a> Ibid.<\/p>\n<p><a href=\"#_ftnref34\" name=\"_ftn34\">[34]<\/a> Jean Ho, \u201cDiversity In Book Publishing Isn\u2019t Just About Writers \u2014 Marketing Matters, Too,\u201d <em>NPR.org<\/em>, accessed April 30, 2017.<\/p>\n<p><a href=\"#_ftnref35\" name=\"_ftn35\">[35]<\/a> \u201cMission,\u201d <em>The Kitchen Table\u00a0 Literary Arts Center<\/em>, accessed May 1, 2017.<\/p>\n<p><a href=\"#_ftnref36\" name=\"_ftn36\">[36]<\/a> Teresa deLauretis, \u201cThe Technology of Gender,\u201d <em>Feminist Communication Theory: Selections in Context<\/em>, (1987). 221.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Kitchen Table: Women of Color Press Final Research Paper &amp; Slides For LGBTQ Historic Site Kitchen Table: Women of Color Press from Sofia Safran &nbsp; Sofia Safran Professor Gieseking AMST 409 Queer America Final Paper Due May 10, 2017 &nbsp; Setting the Kitchen Table and its Place in History &nbsp; Introduction &nbsp; In her&#8230;<\/p>\n","protected":false},"author":1628,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[24],"tags":[],"_links":{"self":[{"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/posts\/457"}],"collection":[{"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/users\/1628"}],"replies":[{"embeddable":true,"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/comments?post=457"}],"version-history":[{"count":1,"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/posts\/457\/revisions"}],"predecessor-version":[{"id":458,"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/posts\/457\/revisions\/458"}],"wp:attachment":[{"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/media?parent=457"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/categories?post=457"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/commons.trincoll.edu\/amst-queer-america\/wp-json\/wp\/v2\/tags?post=457"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}