NoNo VerlagA - Z
- Germany, Berlin
- Contact Persons / Persons Involved:
- Ben Böttger
- Main Language Published:
- Other Language(s) Published:
- English, Portuguese, Turkish, French
NoNo Verlag was founded in 2009/ 10 by Ina Schneider and Ben Böttger Itbegan with Rita Macedo and Ben Böttgers’ book project, namely their development of a concept for non-normative literature for children, which led in turn to the children’s book »Unsa Haus [Our House]«. The first edition of the book can be downloaded for free in English, Portuguese, Turkish, and French while the third revised edition is meanwhile available in hardback from the publishing house edition assemblage.
»With our list we hope to help raise the profile of experiences and lifestyle choices that are otherwise largely neglected in German-language literature. Gender identities are our primary focus, in the fields gender_queer, trans* and inter*, for example. This means that our books are about people whose gender identity doesn’t match the common stereotypes of how to be male or female. Another focus is to integrate in children’s books diverse forms of family life in varied contexts. It is important to us that our texts and illustrations avoid normative notions of any kind, and also support and encourage respectful interpersonal relations.« (NoNo Verlag statement, 2010)
NoNo Verlag has also published a photo calendar, a second children’s book, and nonfiction. In 2013, after Ina Schneider had left the project, Ben Böttger ended NoNo Verlag’s publishing activity. In 2015 NoNo Verlag cofounded the book fair »Queeres Verlegen« and participated in it also in 2016. In May 2017 NoNo Verlag handed over its backlist (i.e. previous publications) to the publisher edition assemblage.
- Content Focus:
NoNo Verlag is a publisher of non-normative literature for children, nonfiction, and self-help books.
- Organization and Decision-making Process:
Most of the time NoNo Verlag was a one-person-business and operated from a home office.
- Financing and Support:
The publishing work was mostly unpaid. The children’s books could be produced thanks to a private advance that was later paid back from sales revenue. All the other work involved was unpaid. Funding was acquired to produce the nonfiction books. This meant that the authors could be paid, but the publishers only barely; and even the authors received nothing but a token fee.