Episode 109 Bringing Perspectives Together : Enrique Moras

“Complexity makes life more interesting. Stories need to evoke these complexities, to generate questions. We need questions more than answers.”

What journey are YOU on?

What questions are you creating, the language of which can create more openings to understanding, connections, and possibilities than “answers” ever can?

What talent in yourself are you cultivating? How do you name it? How do you define it? What parts lead you to positive action? What parts confuse you, or lead you to try new definitions of who you are and what you’re good at? What contributions to the welfare of the the world and to the hope in individuals does your talent bring?

What talents in others do you notice? How do you help others to cultivate their talents? In your sphere of influence, how do you point out other people and other environments that can connect developing talent to positive impact in the world?

Where and how do YOU “get in touch with life” as this week’s guest Enrique Moras puts it?

Where and how do provide a syncretic approach to life — helping to bring perspectives together for the good of the world?

What’s your journey?

Enjoy the podcast.

Enrique Moras’ bio and resources

Enrique is the founder and Managing Editor of Syncretic Press, an independent publishing company located in Wilmington, Delaware. With a strong emphasis on publishing Latin American authors and illustrators, his company has established itself as a reference for quality books in Spanish in the US. While the majority of their collection is published in Spanish, Syncretic Press has recently expanded its scope by introducing English versions of their titles.

The heart of their catalog resides in children’s literature, particularly fiction, although they have also ventured into genres such as poetry and current affairs.

Originally from Uruguay, Enrique has resided in the United States since 2000. He pursued studies in History at the University of Granada in Spain, followed by finance at Georgia State University in the US.

Enrique perceives his publishing venture as an exciting journey that fosters connections among individuals from diverse cultures and geographies. Each published story acts as a bridge, beckoning readers to embark on a rewarding experience. These narratives can bring forth new perspectives or reveal commonalities shared by different people.

To date, Syncretic Press has published over 40 titles, with their books being distributed across the United States, Canada, and numerous countries in Latin America. Additionally, the press collaborates with like-minded small presses from South America, distributing a selection of their work with readers across the US.

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Enrique J. Morás | Syncretic Press, LLC | PO Box 7401 – Wilmington, DE 19803
(443) 723-8355 | emoras@syncreticpress.com | http://www.syncreticpress.com
FOLLOW SYNCRETIC PRESS ON: INSTAGRAM – FACEBOOK – TWITTER – LINKEDIN
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Transcript

Norah Jones:

Norah Jones: And it’s a pleasure to welcome my guest today. I’m really excited to talk about the various stories and the purposefulness of stories with Enrique Moras. We’ll also pronounce it Moras because after all, with time spent in the United States, you just got to make it work. Welcome Enrique.  

Enrique Moras: Thank you Norah, it’s a pleasure to be here.  

Norah Jones: Tell our listeners around the world about Syncretic Press and what it does, what it is, how you got it started, and what your heart is in it for the world.  

Enrique Moras: Sure. Well, Syncretic Press was born in 2016, where I started searching for stories. It took us all the first year to come out with the first list of titles that we published. Syncretic Press is focusing on publishing Latin American authors. We publish mostly in Spanish and mostly for children. The journey of the company has taken us to progressively expand from Spanish only to Spanish and English versions of some of our titles and from just publishing children’s books to start exploring other areas like current affairs and poetry most recently. The idea of the company is to introduce the talent that is out there in Latin America. that for some reason is better known in other areas of the world besides South America, but not so much in the US.  

Norah Jones: Interesting.  

Enrique Moras: So it’s always a treat for us to identify folks that are at times, you know, they’ve been finalists in the Christian Anderson award and other, you know, world recognized awards, but they are not so well known here. So we bring them in. Either we publish works that have been published before in South America but never made it to the US or at times They just we just have you know titles that have never been published or published for the first time by Syncretic Press We also partner with small presses in Latin America and in this case we work more like a distributor if you will we curate small collections from small independent publishers in Latin America that we identify and that we love their work. In this line of work, you start connecting during book fairs with like-minded publishers. And then so we bring some of those works as well here. And that’s what makes up our catalog. We don’t have a fixed vision, if you will, for the company. I’m just really enjoying the journey. I’m enjoying the folks that I meet. I come from finance, where it’s a complete different environment, if you will. And it’s been really a treat to get to know authors, get to know illustrators, get to know the trust that is out there in the industry, which is always a welcoming surprise. And projects keep coming, and I’m always excited about exploring new projects. Right? When the first, for example, I mentioned how we, if we started as a publisher focused on children literature, and then all of a sudden we started publishing things that were not for children.   Norah Jones: Mm-hmm.   Enrique Moras: That was a project that came up after the election in 2016, where we were… We were shocked, perhaps, that’s the word. And I decided to explore what could we do as a publisher to contribute an increased participation of folks in the US in the electoral process. And so that’s the way that that project came up. And I connected with a journalist from CNN that is a good friend as well. He works for South America, for the South America area. And we ended up interviewing a former president from Uruguay, Pepe Mujica is his name, but at the time he was known as the poorest president in the world. He lived in his farm even during his presidency. Quite an interesting character.  

Norah Jones: What’d I imagine?  

Enrique Moras: And basically had a conversation in his farm, six hours of interview talking about the power that people hold and the power that people lose when they don’t participate in the electoral process. That was a great project. We ended up winning the Latin Book Award in California for the English version and for the Spanish version and then sold the rights to Penguin. So the book has been published in Europe and in South America. That was fun. Had nothing to do with what we normally do. But it’s what I realized as a publisher, that these projects keep coming up and they are exciting. So sometimes. It’s difficult to say I have a clear vision for syncretic press. I think Syncretic Press is about that. It’s about syncretism. It’s about bringing new points of view, new perspectives, new topics to the table and continue perhaps the fine tradition of putting out good stories out there for people to read and hopefully enjoy. And maybe. bring something new, some new perspectives to the way they see the world.  

Norah Jones: there’s a vitality of expression that you have used there. I mean, I do mean in the energy in which you’ve described it, but also the vitality of standing in the midst of the path. walking a path and watching where it leads. The story that you’ve just told us briefly there about the election in 2016 and a sense of turning to it as a possibility of thinking about how people participate. You learned much from that. What are some of the things that have unfolded that continue to tap into your imagination, bring stories to bear? through your work, the press’s work and your work preparing for it, what kind of stories are still unfolding in front of you now?  

Enrique Moras: You know, since I started with the company, I always get the sense that the publishing business is in a rink of a big revolution from self-publishing, which is such a huge thing now, and all that it means when it comes to folks putting out their work out there without a lot of filters. and going directly to the reader, if you will, the ability to publish on demand, which as a publisher also is very unique and different. If we think decades ago where folks had to make massive commitments, when they had to go to press to make it viable. And right now, those limitations in many cases don’t exist so much. And then technology. we are in the last six months with all the arrival of, well, artificial intelligence has been around for a long time, but the way that it’s hitting the mass market right now with chat GPT and other such developments. All those things I think are impacting how publishers work and you’re always having to… remain very open about what are we going, what is the industry heading. Now, Having said all that, I still think, and what moves me still on this business is the unending ability for artists, which I am not. I’m mainly a curator, if you will, of constantly generate questions that are interesting and put them into stories. I have mentioned in the past, I can’t remember if when we spoke in New York. that I’m more moved for stories that generate questions more than answers. It is about the question. And I, I melt when I see somebody that has the ability to generate the text and the art that creates a fiction that just moves people to ponder at a different level. and have fun in the process or cry in the process or just get in touch with life in a different level.

Enrique Moras: That is what continued to move me to the search for that kind of material. Sometimes even I would say developing relationships with artists that they don’t have the story yet but I know their work and I know their story is coming and I want to be there when they come up with it.

Enrique Moras: I want them to think about us when that story comes to fruition. Because I know they have that sensitivity. There’s this author that I enjoy very much. There’s several, right? But let’s mention one or two. Silvina Rocha is this writer from Argentina. And I like her style. And we published one of her works several years ago. Mateo y su gato rojo. And I only met her in person and spent more time with her just perhaps three years ago or so. And in my mind I was thinking, well, I want to know Silvina more and more. I want her to think about us when she comes up with the next story. And we talked about different topics and different things that I had in mind or that she had in mind. Nothing came to fruition for some time until one time she mentioned, Enrique, I have this idea, and I’m working on it, and I want you to look at it. And that to me was phenomenal, and it was a thrill to actually eventually reach an agreement to publish a book from her. So those are things that I always look forward to, to have that level of connection with artists. I think I was not given the… that I don’t have that gift, but I do have the ability to recognize quality in art. And I’m very thankful for that. And so it’s constantly, it’s always exciting, right? To connect with these folks and be there as a point of support on their work at the end of the day. It’s a big responsibility, but it’s one that I’m very excited to take and help them, you know, basically show what they do.  

Norah Jones: You have a gift indeed of paying attention to other people’s gifts, listening for what they can say and being very patient. And that will tell me that also that gift can be applied to the readers. Let’s start with young readers. When you began, or the heart of your catalog, as you say. is children’s literature, especially fiction. Talk about some of the things that you see within children that respond to the stories and begin to open their lives with these questions, as you put it, rather than the answers.  

Enrique Moras: Well, I think… Something that always amazed me with how children interpret a story is that their perspective is difficult to forecast or to guess. Enrique Moras: They come up with questions or they’re reacting ways that you just didn’t factor in. And that’s the beauty of it. And that’s perhaps the magic of the stories and how they are told as well. Because something happens that is phenomenal when you don’t tell the kid what he or she should be thinking, or what he or she should be learning from this story. I think it’s great to let the kid face a, you know, experience a text and a story without having a moral element overimposed on it, right? And directing the kid in one way or the other. The kids, because of their, in many occasions, lack of bias, right? Or they will have less bias than an adult, they have less history, right?

Enrique Moras: They might go in it with a perspective that we just cannot imagine. It’s just out of our reach, unfortunately. And I think that’s a very special moment. It’s something that, again, is challenging to achieve when it comes to stories. That I see a lot, where there’s always stories that loop to move a certain idea onto the kid. And that limits, that puts limits on the whole experience. Right? So yeah, I think we’re always trying to generate a space where kids can have that kind of experience.  

Norah Jones: You mentioned earlier that you had business background, but you actually pursued studies in history at the University of Granada in Spain. And you have about you then this perspective of history and its implications. How has that experience? been part of who you were before you began to study it and potentially have an impact on the decisions you’ve made to found the press and to follow these pathways.  

Enrique Moras: Hmm. Well. It is hard to tell. I do see… I do see a study of history, or at least the impact that it had on me, a little bit similar to what… somebody that studies art, let’s say, gets when it comes to appreciating, say, a painting. An artist will appreciate a certain art form in a deeper way because they are educated. They have developed a sensibility to different elements of the work that folks that haven’t worked on that just don’t have it. When it comes to history, I think people that study history develop a certain sensitivity of the day to day, because we live in, we are making history all the time. Things that are happening now are happening because something else happened before, and on and on. So the study of history, I always find that can provide that kind of pleasure. And literally, it’s an enjoyment when you are reading something or just walking down the street on any city in the world. And if you are familiar with the history of that place and the different elements that made up that reality, you are seeing a lot more variables at work right there. And that makes life more interesting because complexity makes life more interesting, right? Perhaps back to your question. I see that stories need to have some of those complexities in them and hopefully trigger those questions that I mentioned earlier, right? I see that connection. I see that I have young kids myself and that is something that I try to bring to them. You know, you try to bring them joy but a… A joy that is deep, that is not always, is not equal to laughter or particularly equal to fun, is something that is just rewarding. Sometimes immediately, sometimes in the midterm, sometimes in the long term. And I’m not sure. Maybe that comes from the style of history. I have no idea. I’m guessing. But no, I do see that perhaps that element there. Maybe I am biased when I’m looking for stories. I’m making some connection to achieve some kind of depth. And yeah, as I mentioned, a depth that does not necessarily mean that it has to be dense and impenetrable. It can be fun, but not necessarily. I don’t know. handle those variables, mix them up, and see what comes out. And handle the uncertainty.  

Norah Jones: That sounds like a great stew to me. When you think about the young people and some of the materials that they have already been exposed to, what do you think has been especially evocative, inviting for some young people that you have heard of or that you know with regard to the stories that they have come across?  

Enrique Moras: Repeat my question again. I’m sorry. See if I understand it well.  

Norah Jones: Think about some of the stories that are published by your press.   Enrique Moras: Mm-hmm.  

Norah Jones: Have you come across stories of children’s responses to what they have read? Particular stories that you know are touching young hearts.  

Enrique Moras: Let’s see. I have, we published a book that is called Masaya. We actually published it in Spanish and in English. The English version is called Hereafter. It is a story about a circus where you have several animals and they all perform very, very dangerous pieces, right, skills. So they think often about death. And so the story goes about showing what each of these animals has as a vision for the hereafter. And in that journey, which is with very few words and a very interesting approach, you show different cultures’ perspective about the hereafter. Without naming the religion, you can see clearly some Christian vision. Asian Egyptian vision, Muslim vision, Native American vision. That walk through that diversity of views, right, are, yeah, it’s very refreshing. And to your question, I have gotten some feedback about that of kids that just loved pondering about this. She had never thought about the hereafter for the Native American or the hereafter for the Asian Egyptians. That wondering I find that is, yeah, it’s great to hear directly from kids, right?  

Norah Jones: Yes.  

Enrique Moras: Another one say, you know, that they didn’t find their particular vision of the hereafter. This was a boy that his vision was not there. And so then he told me about his vision, which was phenomenal.  

Norah Jones: Yeah.  

Enrique Moras: And the whole point of the book, in fact, the book ends with all the characters looking at the readers. And so what do you believe? I think those are interesting examples of how the kids really can surprise you. on how they interpret things and the questions that they may generate. I’m a big fan of that particular book. I think it’s almost… Yeah, it’s almost too easy when you see it. The amount of discussion that it can generate is like, this is just a joy. Just throw the book in the middle of a classroom, and they could be talking about it an entire day. It’s phenomenal. And a challenging book, any book that touches elements, it says even if it has the word death in the text, it’s going to be a book that is not for everybody and will have some challenges in the market. And yet, everybody that dares to flip two pages on it, gets hooked and reads on.  

Norah Jones: The biggest question of all. I mean, you talk about asking the questions rather than giving the answers and that’s a biggie right there. You know, the way that you talked about the progression of the different animals reminds me of, you had described for me and you provided me a brochure when we were together in New York about book walks, what you discovered. Can you describe please for our listeners? what book walks are, how they were developed, and where you see that headed as well.  

Enrique Moras: Sure, sure. Well, the concept was already existed. It was called, and many people may recognize, the concept of story walks. Story walks were basically a way to show a book in the outdoors by basically ripping off some pages from the book and pasting them, imagining like yard signs, right? display them along a path. So you read as you walk a particular park. During the pandemic, we received a request from a library that they wanted to use one of our books for one of those story walks. And of course we agree, we were excited and we went to see one of these installations. And… Though we find it a great idea and really moving, considering the circumstances that it was very creative, as publishers, we’re especially sensitive to the quality of the images, how the text interacts with the images in any given context. And so in my mind, it looked very small. In that environment, the text was too small. And I saw a lot of adults that were very excited about the concept, and not so many kids that were excited about it, which happens often in a and sometimes with books, children books. And so we decided to work, evolve from that concept, and that’s where the book walk comes into play. We are the publishers, so we can redesign the book to a larger format. In this case, these are panels that are 24 by 18. We can increase the size of the, enlarge the size of the text. We can make it bilingual, which is something that normally we don’t do with the books. They’re either Spanish or English. And then we started the search of the right material, because it’s going to be on the outdoors. So it needs to take sun, rain, and you name it, bird droppings, which are actually one of the biggest enemies out there for these type of installations. So after some research, we eventually found this material. Then we found a different one. So we have now different options for it. I have some background with working myself during the a couple of years, I just wanted to have more bookshelves and I decided that I didn’t want to buy anymore in IKEA. So I learned some woodworking and I said, you know, I can design this, which is the most fun part, right? Just the thinking about the design. So we designed this place and we started working. Department of Education in Delaware was the first one. We set up installations in three state parks and then we rotate. the stories within these installations. And now we are in California, in Oregon, Alaska, Texas, New Mexico, Arizona, you name it, South Carolina, Florida, and they keep growing. So book walks, what are they? Well, it’s children literature in the outdoors. So you walk the story. It’s a different way to interact with a text. So it opens a lot of doors, a lot of possibilities. And that is something that we continue to explore. We explore different type of displays, we explore different type of supports, we explore different type of design with the stories and different kind of stories as well. And now we are working with a teacher that is specialized in bilingual education and she’s developing activities. So that as kids walk the stories, they can also interact with the story in different ways, right? To kind of, you know, read the text as it is or perform some type of or several kinds of activities that they can so that they can engage with the story in a different way.  

Norah Jones: Interesting.  

Enrique Moras: How do I see this progressing? I think it will continue to grow. I think when the books move from the role to the codex, to the actual book format that we have right now, in antiquity, they would use these roles. And then we came up with the actual book that you opened with pages. Well, And before the role, there were other supports. And I think the book is not the end. Now, obviously, we have electronic books that we can read on a tablet. I think the stories, the written stories, will continue to jump from one support to the other in different formats. And I think this is one of them. I think it has just started. We’ve been. progressing on this type of installations for now for three years, perhaps. And it continues to grow. There’s continued to be demand from schools, from libraries, from parks, from zoos. And I think we’re just scratching the surface on this. It’s exciting. I think very important that the authors and illustrators are excited. When I sent. pictures of some installation in the middle of the desert in Texas. And this illustrator in the Andes mountains sees the pictures of their story out there is exciting. So for us, yeah, it’s a thrill and I go and install as many as I can myself if I’m available. Like tomorrow I’m installing one in Oxford in Pennsylvania for the library there. And, And the ones that are close by, I just love the whole process. People start, they stand by when you’re installing the story because they start reading it on the spot. And then folks can rent the stories, right? So you put the installation and then every month you send them a new story. And you do get questions because we have a QR code that we put in one of the panels. And you get messages from folks telling you when is the next story coming up, right? So you create this level of engagement with storytelling, which is fairly unique. And I think for parks that are constantly focused on, you know, bringing the community to the park, bringing a diverse community into the park, these stories have been, you know, a good chunk of fresh air that they have. And it’s great. It’s great also talking with people from parks because they are just a great bunch.  

Norah Jones: You know, the word diversity you put in there, and one of the things that’s been striking me is that the book and the sitting and reading of books in a group, but separately, has been an aspect of education. And if we look in the long term, we have not that many years that universal education has been in place. And universal education, by definition, has a lot of diverse young people. including a lot of young ones that need to move more. This book walk provides for that physical need. And the way you were just talking about the way people come together in parks, it brings people together in much more of a, it seems to me, asking you to comment on this, much more of a community setting, which is where storytelling began, being in community with everybody being together. and experiencing the storytelling behavior. It strikes me it’s a return to a very ancient and very powerful format.  

Enrique Moras: Yes, it definitely has some of that. It really depends on how the community decides to use the story. But it has those two options. And I must say, both options are very interesting. At the end of the day, you do want to have your time to pause, process, and indulge into a particular story. Yet. there is a lot of value in experiencing it as a group. And you find folks that do read-alouds, and you can actually, this is something that we’re brainstorming about in terms of mixing it up with some type of performance, right? So there’s one story in particular that we don’t have it in that format yet, but it’s about this girl with a violin. As she learns the violin, she faces all these challenges, and eventually, of course, she’s she succeeds at developing some kind of relationship with the instrument and beautiful music comes out of it. And for sure, it would be phenomenal. I know it’s been done in classrooms with that book that somebody is performing with a violin on hand as they read the book. They are playing it at different levels as she improves in her skills. But obviously it lends itself to have some kids playing or somebody playing along throughout the story. So, no, I find that with a lot of opportunities, and I must say, same as with books, what the community does with it is like what parents do with a book. A book could be phenomenal, it’s a great vehicle, but… many times, depending on the age of the kid, it does need some scaffolding, right, so that it starts moving into the story. I think Book Walks for the individual side, I think there is a given. When it comes to community, I think it’s really open to the creativity of that library or that school in terms of what they can do with the installation, but certainly the potential is there. And it is something that we are, as we started with this format, we’re providing more and more ideas. As I mentioned to you, we’re working now with a teacher to provide those activities. And we’re including those documents, some ideas on how the community can leverage those installations.  

Norah Jones: powerful pathway forward. Why do you think that the authors you said at the very beginning, many of them having won awards, are not as known in the United States? Let’s go there for just a second for our listeners.  

Enrique Moras: You know, I think for the most part it’s because there’s a lot of writing in the US, and there’s a lot of material out there, really great material, and it’s just challenging to get enough shelf space. I think that could be probably the main driving force behind this. I don’t think it’s a predisposition, you know. No, it’s just a… It’s a competitive market with a lot of folks out there. And the fact is the Latin American market and the European market are very strong. So at the end of the day, many of these folks may just work in those markets because they attend those fairs and that’s what the movement is. So we’re happy to act as agents on that end to facilitate this introduction of their work to this market.  

Norah Jones: That’s great. Adding to the treasure trove. Thank you. When you talk about the story, the stories, the publications, be it the literature, poetry and your current affairs, you’re headed more into about acting as a bridge. Talk a little bit more, please, about some of the things, perhaps a story that you have to tell about the bridging that has happened, that is part of what you had as a vision as you were putting together this idea of the syncretic work.  

Enrique Moras: Yeah, and perhaps that book on current affairs that I mentioned could be a good example. With the work from any author, you are bringing a mind frame that went to the book and then you take the book, which means you take that foreign mind frame. to somebody else and then somebody needs to open the book and ventures into that. So that’s why I mentioned the bridge concept. I think there’s value, there’s a lot of value there and there’s challenges about bringing different ways of seeing in this, in a particular case of that book, of seeing politics, right? And in that different perspective, you could find… familiar elements which will support the idea that we are not so different from one another, regardless of culture or language or you name it, that we have many things in common, most things in common. And at the same time, there will be those gems of difference that will make us pause, that at times will make us uncomfortable. that at times will challenge just how to appreciate certain things. And so that’s where I think. where we come in. That’s where these books from foreign creators really can revitalize. Not revitalize, because that’s not the right word. But add, basically contribute to an already very rich debate. But you can always, any conversation can always bring a new perspective from somebody that comes from a completely different area. or in this case, right, from a different part of the world. That’s what I see, you know, the role of publishers like us that are so focused in bringing a foreign, if you will, storytelling concept, right, to the industry or to the market.  

Norah Jones: Mm-hmm. Now, Enrique, as we finish up today, think of the audience, many of whom, most of whom are not in the publishing industry, but invite them to understand something about what publishing can do for the world as it continues to unfold, that they may not be as familiar with or that you want to reinforce in their understanding. How does publishing impact their life and the lives of those around them? How should they think of publishing and its role in their life and in their world coming up?  

Enrique Moras: Yeah. I think publishing continues to be the vehicle for transmission of ideas. We need new ideas constantly. We need to constantly question why things are the way they are and how to manage the change that we are constantly handling. And that is published. We still have. the creative ways of approaching the problems that we face as a community or as a society are being published. That’s how we obtain the new ideas. That’s how we acquire knowledge. I think publishers and publishing in general has that responsibility. And perhaps it’s interesting from outside the industry, right? to observe how you have different approaches on this, where you have publishers that are more business oriented and perhaps will not be so inclined to explore. And there’s kind of a repetition of a formula that already works and is perfectly understandable. To me, it’s not. I hope it doesn’t sound like a critique. But that is one segment of the publishing industry, for sure. And then there’s another one that is a little bit more daring that bring more interesting, at least ideas to the table. And some may work, some may not. But it is on that lab that perhaps you can find something different, something that will. will trigger some thoughts that will trigger questions that you didn’t think about. And those folks are in publishing too. And those are the folks that I like and that I think will really continue to contribute and help people think the world differently. And as perhaps as I mentioned earlier and have fun doing it and cry doing it and feel doing it. That’s what publishing is for me.  

Norah Jones: And as you patiently wait for that artist to have that wonderful idea and with your publishing expertise, bring it to life for the rest of us, we will sit there with you, at least a little bit emotionally.

Enrique Moras, thank you so much for sharing your vision and the understanding of what your company does for the world. And we wish you, I wish you best. as you continue to follow those paths and open those possibilities. Thanks for being with me today.  

Enrique Moras: Thank you, Norah, and thank you to the audience. Take care.

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