“The Random House Group is supporting the Diversity in Publishing Network to recognise the potential and promote the contribution of people from all ethnic groups in publishing. In partnership with the Arts Council and Faber and Faber we are hosting two Positive Action Traineeships for people from Black African, Asian, Caribbean or Chinese communities to start their careers in publishing and look forward to working closely with DIPNET in the future to enhance equality of opportunity and advancement for all minority ethnic groups in the industry.”
“When I look back over my experience of children’s publishing, I am sorry that minority ethnic groups have played such a small part in it – an immensely valuable and enjoyable part, but why couldn’t there have been more it, more roles, more players, more lines? This has been such an obvious weakness , making the publishing so much less interesting than it could have been, and yet it always seemed surprisingly difficult to get in there and do anything effective about it. The gap still exists, in spite of everything, between how things are and how most of us would like them to be. So I can only be delighted by the setting up of DIPNET – I wish someone had taken on this issue long ago with such clarity and directness. I work with Alison Morrison, in her capacity as Walker Books’ Director of UK Marketing, so I know and respect her energy, determination, vision and intelligence. I look forward to helping her and Elise work towards their entirely desirable aims.”
“We live in a diverse society and world where cross-cultural communication is both essential and a constant challenge. Yet the publishing industry in Britain remains largely white and monocultural. Developing talent in people of diverse ethnic backgrounds needs to be taken much more seriously in every aspect of publishing.”
“A coming together of those of us who have a love of words, books, literature and self-expression is more than welcome and necessary. Essential for the sake of our past and future. The publishing industry, in order to represent the best in artistic creativity has to inject new talent and embrace the concept of cultural inclusivity which will result in consolidating and increasing a talent pool that can only be of benefit to both publisher and reader. The Diversity in Publishing Network has the potential to encourage and exploit - in the most positive sense of that word - the breadth, depth and wealth of all that our history and future have to offer. We wish for it, the very best. Take hold of the torch and good luck to the standard bearers.”
“Diversity in Publishing isn’t about diversity only, or publishing only - its about exploring and including new and different ideas. This has to be good for the future of publishing.”
“Diversity in publishing should be a given. As Toni Morrison said to me 15 years ago when we discussed our mutual experiences as black editors and the necessity for more black people to be an integral to the whole process: “It’s not about patronage, not affirmative action we’re talking about here, we’re talking about the life of a country’s literature.” Since I began my publishing career in the 1960s, through my involvement with initiatives in the 1980s such as GAP (Greater Access to Publishing), I have seen a few but not enough changes within the predominately white publishing industry. How much richer and more exciting the nation’s literary output could coming out of a more varied, imaginative and committed publishing industry. DIPNET is a huge step in the right direction and deserves to be supported by everyone who cares about books and writing.”
“Publishing is still very much a closed world to people from Ethnic minorities. I believe that for publishing to be truly representative we need to encourage the participation of our ethnic minorities, in all areas, and that such a situation is at present far from becoming a reality.”
“I just wanted to let you know how whole heartedly I support the aims of the network and how pleased I am that the network now exists. I am sure it will prove an effective agent for change. Good luck with it all.”
“I often hear publishers wondering aloud why there aren’t more black writers coming through, and in some quarters at least, efforts are being made to find them. However, I suspect that the best way to foster good black British writing is to create a publishing culture which doesn’t just respect people from ethnic minorities, but which actually employs a few more of us to edit, market, design and publicise books. British publishing is, to put it baldly, the whitest creative industry around, and I look forward to the day when I walk into a book launch, scan the crowd, and realise that’s no longer the case.”
