Survival guide to a dying industry

I am stepping down as editor-in-chief of Eurozine a title I have worn proudly since 2018 as we weathered many storms together – and I know very well that many a maelstrom are yet ahead for independent and quality publishing. My tenure is over now, and this is conventionally the occasion when I get to thank people and tastefully boast my achievements of six and a half years.

I shall refrain from this convention.

I have, however, learnt a thing or two during this time which I’d like to share, for the benefit of my future successor, as well as anyone considering a career in cultural journalism.

I. This is a dying industry

This is no judgement on the relevance of our work, but it is how things are faring today. Economic success is no marker to judge intellectual production by. If it were, reality shows would run their own science academy by now.

But the fact is that our genres, and quality journalism overall, are in crisis. Our work is necessary but our societies and economies do not allow for it.

The European public sphere is inundated with content, and the core experience in here is noise. This public sphere has been digitalized in a very lopsided fashion, and the intellectual dream of a humanist world wide web has been put to bed in the past few years.

Cultural journals and quality journalism in general are in a conundrum: our work is as needed as it has ever been, to reflect, provide insight, and ultimately, give space to developing ideas. Our work is, however, harder to finance than ever in my lifetime.

Many stand their ground; many are working on changing this public sphere, and all hope isn’t lost. But for most of us sustaining publications, every day is an uphill battle. Whoever sets out on this path has to be aware of this fact.

II. The heroization of journalism is detrimental to our field

I find the heroization of journalism especially dangerous. It creates the illusion that this achievement is that of some exceptional genius, a God-given talent that merely occurs, and the responsibility of a chosen few. In reality talent and expertise need to be nurtured and given opportunity to blossom.

Our colleagues facing open repression and genocidal wars rarely find this experience ‘inspiring’ – even though they conjure the power to transform it into reads that inspire the rest of us. They do, nevertheless, need rest, sustenance, and preferably, respect.

This, by the way, is as true of nurses and teachers as journalists and editors. I do not think that we should make do with some ill-advised intellectual glory. We can, ultimately, want to be fairly rewarded for our work and dedication.

And this leads to my third point.

III. Cultural work is labour and must be treated as such

The editor’s vocation may be a beautiful one, but I haven’t yet managed to pay my rent in metaphors. Quality journalism, along with academia, is being increasingly reserved for those who can afford to not make a living from their work. I find it particularly bitter that now, when ethnic, sexual and social minorities, and women have started to get leading roles in our conventionally white cis-het-male-dominated fields, money practically disappears from this area, leaving a diverse, competent and dedicated cohort of the intelligentsia to wipe their tears with their research papers and dishes with the PHD certificates.

Meaning-making mustn’t relapse to be the pastime of the leisurely classes again. And for this, we must view cultural work as labour and try to provide the circumstances it needs to thrive. This includes those who work on the management side – project managers and administrators, finance officers and producers – everybody who enables this work. We mustn’t be apologetic of our needs, because quality journalism does not survive as a mere feather in our hats. It’s a profession with many facets, and it is best done in collegial bonds. A journal, a newspaper, a broadcaster isn’t just a project of mere dedication; they are employers and it is important that we hold organizations to this standards.

Team members will depart

Now, whoever endeavours to bring a publication to meet the challenges of the day, will have to address these problems. I have done my bidding at Eurozine and have had the luxury of working on it with a fantastic team. All but a few of them are also leaving Eurozine this summer as our current projects run out, and I want to take this opportunity to thank them for their work, devotion, and collegiality:

Art director Merve Akyel
Editor Märta Bonde
Head of finance Judit Csikós
Senior editor Simon Garnett
Project manager Priyanka Hutschenreiter
Heart of the office Csilla Nagyné Kardos
Digital producer Zsófia Papp
Head of translations Julia Sobota
Talk show writer Daniela Univazo
Senior editor Sarah Waring

Along with so many contributing partners.

Relying on these minds has been an absolute pleasure, even at the toughest times. Thank you, colleagues!

New captain on deck

Sweetening my departure is the new managing director coming on board: Maximilian Lehner is taking over management and forging plans to re-shape Eurozine for this troubled time. The departing team members will still be around until July to support his takeover and do all we can to ensure Eurozine’s continued success. Here’s a quick video introduction:

Thank you to all of our readers and supporters!

Sincerely,

Réka Kinga Papp