Imprints

Independent Editorial Projects

Twenty years ago, when I began writing the things I needed to say, I couldn't find a place to publish them. What I produced was too uncomfortable for academic journals, too technical for the market, too hybrid for independent publishers, and too “other” for everyone else.

(Probably also too imperfect. Maybe it still is.)

That's how Wayrachaki Editora was born — and, in time, El Zorro de Abajo Editora.

These are not commercial imprints. Nor are they collective projects — at least not yet. They are tools I built with what I had at hand: words, memory, anger, and an urgent need not to stay silent. Spaces to edit, release, and distribute texts with editorial quality, but without the absurd rules of the publishing industry. Books made from below, with stolen time, scarce resources, and limited skills — but with an intact desire to say what others leave aside. With all the rigor they deserve and none of the chains they're expected to wear.

So far, every book published here bears my name. But that doesn't mean they all have to. If another voice arrives with its own ideas, and what it brings resonates with the pulse of these imprints, the door is open.

One Single Compass

No content is produced here.

Here, memory is gathered. Traces are reconstructed. Sounds and silences are recovered.

This is not a space for reach or approval. Books are built here like shelters are built: with borrowed materials, unstable structures, and a will to resist.

Each text is a language experiment and an act of archiving. Each page wants to be a space of friction, a gesture of recording, a strategy for survival.

Writing happens from the margins —geographic, epistemic, personal— for those willing to read without catalog, without permission, without filter.

The Imprints

Wayrachaki Editora

Libraries without walls. Texts on critical librarianship, memory, rebellious archives, information guerrilla, biodiversity, and classification as resistance. What academic review committees dismiss as "subjective." What mainstream publishers don't know how to label.

El Zorro de Abajo Editora

Sound and silence. Materials on traditional music, instrument-making, experimentation, oral sound traditions, and cultures that use rhythm to remember. What doesn't play on the radio. What doesn't fit in a score. What musicology has whitened, reduced, or erased.

How We Publish

Each book is self-managed: written, edited, laid out, and released from within these imprints. Almost always in digital format (PDF), always with ISBN and open license.

Some follow industry standards. Others blow them up — because they weren't made to fit in. They were made to leave a mark.

There are no committees. No filters. No submission calls.

What For?

To leave marks where no one bothers to look. To light up words in the middle of silence. To build, one page at a time, the archives of what must not be lost.

Because if we don't write what matters, someone else will — and they won't ask us. Or no one will, and silence will come. Just like it always has.

And because if we don't make memory, identity, and history, they will be made for us. Fractured. Trimmed down. Tamed.

Just like it always has.