• What and why is literaturhaus?

Art has been a great compass for us and while there is no shortage of great art, the conversations around it have been trivialized, sometimes by their own purveyors. Turned into fluff, entertainment, content for the purposes of attracting sales, views, visits, clicks, likes; instead of buying into short-term sustainability, we wanted to focus our attentions on sincere reflections of our cities, our industries and institutions, our leaders, and ourselves, to create a space for just these reflections. Our souls yearn for these honest, frank conversations on the state of things.

All that said, we are a federally recognized 501(c)(3), not-for-profit literary organization, incorporated in the state of New York – PO Box 20192, NY, NY 10017.


  • Is literaturhaus open to submissions?

Yes! Please review our different series and email a proposal with a writing sample of no more than 500 words to read@literaturha.us with the following subject line – RE: Submission [Series Name] (i.e. RE: Submission [pianetino]).


  • What about authors and their rights?

We believe in supporting multi-publisher collaborations, building on the model developed by Matthew Stadler and Publication Studio. In doing so, there will be more opportunities to share our publications and to cultivate such discussions around art & culture.


  • Why handcrafted books?

In a day and age where the production of books (whether they be digital or physical) has never been easier, we are afraid something is being lost in the process. Our attention is being scattered and overwhelmed by the potential for instant gratification, but it is for the slow-simmering processes and development of the art of publishing, of literature, and of design that we long desire.

We are a press devoted to the cultivation of stories and to uncover the strings, showing the connections that bind us all, revealing source events and their consequences that ripple across our spaces and time. It is this call that inspired our four series (citizen journalism, monografía, pianetino, and série) and our decision to create handcrafted editions, both as a reminder to readers of the processes of construction and to create more intimate objects that do not just transfer information but are bridges sharing their own stories while also offering a deeper understanding of the ones they carry.


  • What about ebooks?

Yes, we are not complete luddites and believe our publications should be available to as many people as possible. Whether in print or digital editions, we are still fine-tuning the best ways to make our publications available to readers in well-crafted forms.


  • Where are we and from where have we come?

We are packed to the gills with information, yet cannot seem to subdue this nagging anxiety of the unknown. We crave more information but without the means to digest it. The corporatization of publishing in its current form is a stopgap to this world in flux as we come to terms with our digital lives. But it does not address a basic need, what is essential, what is fundamental to our books, to our chronicles and the stories we tell, and the roles of critics, booksellers, and publishers alike – it is to give books a context, to share, challenge, and juxtapose their ideas, to analyze, reflect, and connect them to our times and ourselves. Our greater literary culture is a giant community, interconnected, and we are all bridges and tunnels.

In 1494 Venice, Aldo Manuzio (Aldus Manutius) started Aldine Press, the prototype for modern publishing. Roberto Calasso describes Manuzio and his Press as “the first to imagine a publishing house in terms of form. And here the word form has to be interpreted in many different ways. Form is crucial, first of all, in the choice and sequence of titles to be published. But form also relates to the texts that accompany the books, as well as the way in which the books are presented as objects.” As Aldine Press, so too do we.