Guest post by independent publisher, Peirene Press

As part of my coverage of this year’s Republic of Consciousness Prize for Small Presses I invited a number of the publishers whose books made it onto the longlist to contribute a guest post. I am grateful to those who responded so generously as the articles and Q&As they provided offer a window into the variety of output and current state of play of the innovative publishers whose books I am always eager to read.

Today I welcome Molly from Peirene Press whose book, Soviet Milk by Nora Ikstena (translated by Margita Gailitis), I reviewed here.

The aim of Peirene Press is a simple one – to bring the best of European fiction to the UK market and expose English-speaking readers to unfamiliar authors, ideas and worlds. To do this, we specialise in publishing contemporary European novellas for the first time in English in translation. Once all this hard work is done, 50p of each sale is donated to our chosen charity (currently Basmeh and Zeitooneh, who work in refugee camps in Lebanon and Turkey) – as our publisher Meike Ziervogel says, ‘a good book should change the world for the better beyond the last page.’

I guess you could say that we are a rather niche publisher. But even we did not realise quite how niche we are until we did some digging into the statistics of translated fiction. Surprisingly, only between 3-5% of books published in the UK are works of translation. Of that only 30% are written by women authors – and so, with some quick maths we can see that translated books by women writers actually make up only 1-1.5% of our literary market!

Over the last 10 years we are pleased to say that 60% of our writers and 70% of our translators have been women. That’s already double the amount of women writers that make up the UK’s translated fiction market, and we hope that this number only continues to grow.

So this year our mission is even more focused. In 2019, we are only publishing books written by women.

Soviet Milk, our novel longlisted for the Republic of Consciousness Prize is an excellent example of the power of women in translation. As Jeremy Davies from Dalkey Archive Press said, Soviet Milk ‘opens up new paths not only for Latvian literature in English translation but for English literature itself.’

This makes being longlisted for the Republic of Consciousness Prize extra special. Not only are we raising the profile of small presses, but also all those women writers and translators that we have worked with for the past 10 years. We’ve been part of the 1% of the market taken up by women in translation and we couldn’t be prouder. In the future we hope to grow this unique part of the publishing industry and publish authors that would otherwise not have reached UK readers.

If this sounds like something you fancy head to peirenepress.com to get yourself some translated goodness! If you subscribe you’ll be supporting our work in the long term and you’ll also have access to our Subscriber Book Club which includes; discussions, giveaways and author Q&As!

You may keep up with all the news from Peirene Press on Twitter: @PeirenePress 

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Guest post from independent publisher, Fairlight Books

As part of my coverage of this year’s Republic of Consciousness Prize for Small presses I invited a number of the publishers whose books made it onto the longlist to contribute a guest post. I also offered to review the books should they wish to send me a copy. Throughout February I will be posting these reviews and the articles or Q&As received from the presses that responded. These offer a window into the variety of output and current state of play of the innovative publishers whose books I am always eager to read.

Today I welcome Lindsey from Fairlight whose book, Bottled Goods by Sophie van Llewyn, I will be reviewing tomorrow.

Fairlight Books is an independent publisher based in Oxford. Our aim is to promote literary fiction and quality writing by new and established authors. Literary fiction has been under threat in recent years and with our attractive books and illustration-led covers we are trying to reconnect readers to this strand of literature.

Established in 2017, we publish 7-10 titles per year, including hardback and paperback novels. For us, it’s all about quality, rather than quantity. We also publish novellas, as part of our Fairlight Moderns series.

One of the reasons writers of high-quality and literary fiction find it so hard to get published these days is because the system over the last few years has become very geared towards finding and promoting genre fiction, particularly the hugely popular genres of crime and thriller writing. In fact, The Arts Council recently suggested that literary fiction in the UK was in crisis.

Because of this, we think it’s important for us, as a publisher of literary fiction, to be innovative in how we source and promote literary fiction for readers.

One of the ways we do this is by focusing primarily on receiving our submissions direct from writers – not with windows that open for short periods of time at random moments, but through a constantly open submissions process. We review every single manuscript we receive and although sometimes it can take us a few months, we do get back to every single author with a response one way or the other.

We’re also unusual in that we are happy to publish and promote novella-length literary fiction. Our Fairlight Moderns series is quite unconventional in being made up of novellas of new English-language writing (not translations) from literary writers worldwide. With their gorgeous jewel-like covers, each with a unique illustration by New York-based Sam Kalda, this eclectic collection of stories from around the world is proving popular with readers. They are a great way of introducing new literary authors’ writing to a wider readership.

It’s great to see such prizes as The Republic of Consciousness Prize out there supporting small independent presses, and celebrating literary fiction. It offers a good opportunity to get visibility for our authors and expand our readership. Since one of our Fairlight Moderns, Bottled Goods by Sophie van Llewyn, was longlisted we’ve had a great response from the industry which has really raised awareness among readers as well.

Find out more about Fairlight Books on their website

You may also wish to follow them on Twitter: @FairlightBooks

Guest post by independent publisher, Peepal Tree Press

As part of my coverage of this year’s Republic of Consciousness Prize for Small Presses I invited a number of the publishers whose books made it onto the longlist to contribute a guest post. I also offered to review the books should they wish to send me a copy. Throughout February I will be posting these reviews and the articles or Q&As received from the presses that responded. These offer a window into the variety of output and current state of play of the innovative publishers whose books I am always eager to read.

Today I welcome Peepal Tree Press who published Kitch by Anthony Joseph. On their website we are told that Peepal Tree

“aims to bring you the very best of international writing from the Caribbean, its diasporas and the UK.”

“We publish fiction, poetry and a range of academic and non-fiction titles. Our goal is to publish books that make a difference”

Do please read on to find out more.

Founded in 1985 by our Managing Editor, Jeremy Poynting, Peepal Tree press had humble beginnings. Our first title, Backdam People by Rooplall Monar, was typeset on a daisywheel printer after hours in college. In the last 34 years, we have brought readers around 350 titles by Caribbean, Asian, and Black British authors, making a name for ourselves as the leading publisher of Caribbean literature.

The inspiration for our name came to Jeremy in the form of a poem by Indo-Guyanese poet Jacob Chinapen. In the poem, workers tell stories under a peepal tree after a day at work. The peepal tree, which originated in India but was brought to the Caribbean, seemed to Jeremy to be a perfect metaphor for something transplanted – symbolic of putting down roots. And so, Peepal Tree Press was born, out of a desire to help Backdam People be published in a time of Guyanese oppression.

Since then we have survived on various shoestrings, prioritizing great literature that says something new to the world, and editing those books with the utmost care. We have evolved through the development of different printing technologies and are now in a place where we are publishing 20 or so books a year, members of the Arts Council’s National Portfolio, and home to Inscribe, which delivers writer development and support. Peepal Tree is based in Leeds, part of a growing independent publishing sector outside of London and the South East, and a proud founder member of the Northern Fiction Alliance. It has been an honour to have the brilliant Anthony Joseph’s innovative fusion of novel and biography, Kitch, longlisted for the 2019 Republic of Consciousness Prize. Discovering the books on the longlist has been a delight, and prizes like ROFC are hugely valuable in helping readers discover amazing books from indies that they might not otherwise have come across. Similarly, ROFC’s nomination of Marcia Douglas for the 2016 longlist was hugely beneficial to us, attracting new readers.

We hope to continue developing and contributing to conversations about Caribbean literature and culture, publishing wonderful books, and opening up this world to readers and writers. Our new anthology, for example, The Peepal Tree Book of Contemporary Caribbean Short Stories, featured on BBC Radio 4 Open Book, shines a light on a wide range of authors across the Caribbean and its diasporas, with a strong focus on women and LGBT writers. You can see a list of the books we have planned for 2019 here, and look out too for the New Caribbean Voices podcast, launching soon on Soundcloud. We’d love it if you followed us on instagram, twitter, or facebook – or you can even subscribe to our newsletter.

We wish luck to all of the authors longlisted for the 2019 Republic of Consciousness Prize.

 

Guest post by independent publisher, Splice

As part of my coverage of this year’s Republic of Consciousness Prize for Small presses I invited a number of the publishers whose books made it onto the longlist to contribute a guest post. I also offered to review the books should they wish to send me a copy. Throughout February I will be posting these reviews and the articles or Q&As received from the presses that responded. These offer a window into the variety of output and current state of play of the innovative publishers whose books I am always eager to read.

Today I welcome Daniel from Splice whose book, Hang Him When He Is Not There by Nicholas John Turner, I will be reviewing tomorrow.

The first thing to know about Splice, for readers who have found it recently, is that the small press is only one part of its activities. The second thing to know is that it’s not a commercial enterprise; it’s a not-for-profit organisation. This means that its remit is a lot broader than simply publishing books and making some money off sales and prizes. There’s more to it than that, but naturally you’ll need to take a step back to see the bigger picture.

I set up Splice in 2017 with just one idea in mind: I wanted to create a system for supporting the production of formally unconventional literature. Let me define some of those terms. By “formally unconventional literature” I mean books of any type (short stories, novels, essays, memoirs, etc.) that somehow push the boundaries of style and structure, whether subtly or in revolutionary ways, adopting and defending their own terms of formal “success”. I didn’t grow up in an especially literary household, and in fact literature didn’t begin to speak to me until I was in my twenties and out of university, so the notion of literature as some sort of refined pleasure, or something with cultural cachet, is absolutely anathema to me; it doesn’t jibe with my gut feeling. I like value irreverence, iconoclasm, edginess, messiness, stylistic abandon, wilful disregard and even disparagement of literary politesse. If a work of literature plays by the rules stylistically and structurally, I’m flat-out not interested. I don’t care how provocative its subject matter might be; a book’s “success”, for me, is entirely a question of its aesthetics and their deviation from the centre of the literary landscape.

Two more key terms and then I’ll get to the heart of Splice. By “system” I mean a series of interlocking mechanisms that could offer support to these sorts of books at different stages on their journey from the mind of a writer to the hands of readers. And by “supporting the production” of these books, I mean supporting the authors who write them — but this is a very complex, multifaceted activity, and it’s worth looking at some of the nuances.

To my mind, support for an author isn’t worth much if it doesn’t help the author take a step towards writing something new in future, beyond whatever work that has captured your attention here and now. At the same time, chances of future work greatly diminish if the current work isn’t accorded some value and future possibilities aren’t invested in from the get-go. So, in setting up Splice, I knew I had to create a system that would do at least five things in order to realise my one overriding goal:

  • It had to pay writers up-front, offering a fee as a reward for the labour that has already produced the work. No royalties-only arrangements, where all income is contingent on sales, but something to recognise that the work already has value.
  • It had to pay writers on an ongoing basis, in a way that recognised them as co- creators. That means fifty per cent royalties, higher than an industry standard of ten per cent, from the sale of the very first copy, with no advance to earn out.
  • It had to commission future work from writers at the same time as arranging the publication of their early work, guaranteeing no-strings-attached publication and an additional fee. As a result, Splice’s standard contract for its small press authors involves purchasing publication rights for an existing manuscript and pre-arranging the purchase of two new, as-yet-unwritten works of prose — one for the website and one for the Splice anthology — with extra cash attached.

These three planks of Splice form the basis of all its activities in print, i.e. the small press publications and the anthology. That’s because they do the lion’s share of the tasks I mentioned above, according value to an author’s current work and investing in future work sight unseen. But still, in sketching out the various components of Splice, I realised it couldn’t fulfil its purpose if it didn’t do at least two other things:

  • It had to go to bat for authors of formally unconventional literature even if it wasn’t publishing them, and even if something that would benefit an author published by Splice would work to the detriment of Splice itself. This is a large part of why Splice is a not-for-profit enterprise; there’s just a huge amount of advisory work and advocacy work going on behind the scenes, pro bono. This includes providing detailed editorial advice to authors whose manuscripts have merit but won’t be purchased by Splice; alerting writers to opportunities for grants, bursaries, and workshop opportunities, which can help them to access further remuneration for their work, and assisting with their applications; liaising with publishers overseas who may be interested in acquiring territorial rights to titles, in cases where Splice doesn’t stand to profit because the rights still reside with the author; and so on. There are many more people involved with Splice than can be seen on the surface, and much of the pro bono work entails striking connections, soliciting feedback, helping people get together to help one another — again, with an eye on the future. And ultimately, on Splice’s terms, it would be a success, not a disappointment, if our authors ended up jumping ship and publishing their next books with bigger presses, just as long as they’re not compromising on their unconventional aesthetic visions.
  • It had to reward writers of formally unconventional literature published by other publishers, especially other small presses that take chances on adventurous work, by offering them a degree of serious attention they don’t typically receive. This is the rationale behind Splice’s online activities: we publish at least one long review of a recent book each week, at least 2,000 words in length, and we often supplement the review with an author or translator interview. On one level, it’s a real morale booster for these writers to have their work read in depth and written about at length in an intelligent way, rather than as a superficial publicity exercise. On another level, this can also yield further financial rewards for writers, and thereby help them to snag an investment in future work, because grants and bursaries often require applications to be supplemented with serious, insightful reviews. And on yet another level — which takes up probably one-third of my time — it allows literary critics of great skill to exercise their talents and get paid for it as well. It is excruciatingly difficult to be a critic with a knack for writing these sorts of reviews; it’s even more difficult when you don’t get paid for your work, and when you don’t get the editorial support and encouragement you need to keep going. The Splice website exists as a platform to reward these critics, to commission future work from them as well, to honour their abilities as creative readers and writers — and to acknowledge the indispensable role they play in sourcing, appraising, and adding to the value of exciting new books.

I suppose you could read back over all the things I’ve just said about Splice and think it’s all hokum, overly technical, or too industry-centric, or whatever. But the bottom line is that I believe passionately and absolutely in the value of formally unconventional literature — I’m driven by an evangelising zeal for it — and I’m anxious to do whatever I can to see more of it come into being, to not let authors become dispirited because their work isn’t taken seriously, to not let them fall silent just because their books don’t sell enough to allow them to quit their day jobs. Splice was conceived as a means to that end.

One last note on this point: if you want proof of all this, you’ll find it in the system of Splice itself. If you’ve heard me on the Republic of Consciousness Podcast, or you follow Splice on Twitter, you’ll know that I handle all the editorial stuff while the logistics (slush pile sifting, royalty payments, postage, contracts, etc.) are dealt with by Alec Dewar. I came to know Alec in the months before Splice started publishing online. He’s a young academic based in Scotland, specialising in Scandinavian literature, and I approached him in the dying days of 2017 to ask him if he’d be interested in reviewing a bevy of Icelandic titles that were due to be published throughout 2018. He agreed, in principle, but on two conditions. He hadn’t written for a non-academic audience before, so he needed some hands-on guidance, and he also wanted an opportunity to try out other things as he planned to leave academia. Long story short, in exchange for being able to delegate a lot of the day-to-day stuff to Alec, I arranged to mentor him in his reviewing activities for Splice. In other words, the advisory and advocacy responsibilities of Splice are baked into the structure of it, even at the level of the people who run it with me. And I’ve learned a great deal from Alec, too, such that I’ve now built in a mentoring “scheme” for young critics as part of my editorial activities, helping newcomers to build a portfolio of high-quality work as reviewers and essayists.

Again, there’s nothing to be gained from this financially — it costs Splice money to pay for something like MacKenzie Warren’s recent long essay on Nocilla Lab — but the benefit, in terms of Splice’s mission, is  immense. I get to hone my Socratic skills by pushing MacKenzie to look closer, dig deeper, keep writing, find another way of saying this or that. MacKenzie ends up with a piece of high-quality criticism, plus some cash for her efforts, and hopefully Fitzcarraldo Editions and Agustín Fernández Mallo and the translator Thomas Bunstead get a financial kickback, and some extra prestige, as part of the same exercise. Ultimately, the winners are readers who appreciate formally unconventional literature, either because they become aware of Nocilla Lab or because they have a new perspective on it, a little bit of added value for their £12.99, and so Splice functions exactly as it was intended to do.

It’s hard to say how things have changed in publishing since I started, because Splice is only eighteen months old and its small press activities are even younger than that, but I’ve certainly been surprised by some of the things I’ve seen since I started looking under the bonnet. There are a few questionable practices, to be sure, but most of all I’ve been surprised — and humbled — by the staggering generosity of small press publishers who share the spirit of Splice, even if not in a codified way. There are plenty of publishers who’ve offered me advice and support when they have no financial incentive to do so, purely because they love the art of literature and want to help kindle the flames no matter where they may be burning. I reckon that at least half of the small press economy is powered by charity, goodwill, and quid pro quos, with publishers copping a hit (sometimes financially, certainly in terms of energy) so they can raise the standards of the entire small press scene, with no expectation of material rewards. There are a lot of unsung heroes out there — a great many more than I imagined when I was watching this scene develop from the outside.

Prize listings are beautiful things, especially the Republic of Consciousness Prize and the Goldsmiths Prize, because, much as Splice is intended to do, they raise the profiles of formally unconventional books and bring them to the attention of new readers. My experience with them is limited, of course, since Hang Him When He Is Not There is only the first title from Splice to be longlisted for a prize, but across the board I have to say that the entry costs and conditions are reasonable except for major awards like the Costa and the Booker Prize. Splice has also entered books into the Edge Hill Prize, the Desmond Elliot Prize, the James Tait Black Prize, and other competitions, and none of these have ever threatened to break the bank. Moreover, the potential rewards are wonderful. The longlisting for Hang Him has certainly garnered the book some new readers, and I hope it will also act as a springboard for it to reach other parts of the world.

Since Splice has such particular and idiosyncratic foundations, it probably won’t surprise you to learn that it also has an unusual future — at least insofar as I can picture it. Perhaps this is  a silly thing to admit, but I’ll admit it anyway: when I was putting together a cadre of writers for Splice, approaching critics and authors to see who was interested in signing up, my model was Nick Fury bringing together the Avengers. And that’s still the case because, like Fury, my ultimate aim is to step away from Splice and let all parties involved in it continue to run it collectively. I founded it as a five-year initiative for myself, creating it in a way that would allow me to disseminate some institutional knowledge to various other people and open up windows for yet more people to own a stake in it, and at the end of those five years I want to shepherd it from a two-person not-for-profit into a co-operative enterprise. I’m hoping to do this by liaising with editorial programmes at universities and creating a mechanism for editorial transparency, so that students of publishing (that is, editors-in-waiting) will be able to watch me running Splice, alongside Alec, as if through a one-way mirror. I also want to step up fundraising activities so that we have a subscription model for our books, as well as a Patreon-style system in which financial contributions at different tiers will give people shares in the Splice co-operative, including voting rights and a say on editorial matters. And I want to continuously increase the rates of payment for everyone who writes for Splice. It remains to be seen whether all of this is achievable by, say, 2022, but I’m hopeful, I’m encouraged by the raw passion I see from those who appreciate small press titles, and I’m not the kind of person who likes to say “no”. My door is always open to anyone who wants to be involved in any way, and if Splice is to have a long-term future, I’ll keep it open as long as I can to ensure that everything ends up in safe hands.

Find out more about Splice on their website

You may also wish to follow them on Twitter: @thisissplice 

Q&A with Istros Books

The Republic of Consciousness Prize for Small Presses rewards brilliant and brave literary fiction published in the UK and Ireland by publishers with fewer than 5 full-time employees. Now in its third year, the 2019 longlist was announced last month.

I invited a number of the small presses who made the cut to contribute a guest post as part of my coverage of the prize this year. I also offered to review the books should they wish to send me a copy. Throughout February I will be posting these reviews and the articles or Q&As received from the presses that responded. These offer a window into the variety of output and current state of play amongst the innovative publishers whose books I am always eager to read.

Today I welcome Susan from Istros Books whose longlisted book, Doppelgänger by Daša Drndić (translated by S.D Curtis and Celia Hawkesworth), I will be reviewing tomorrow.

1.Why did you decide to set up Istros Books?

After having spent some years working and living in South East Europe, and always being interested in the literary scene, I decided to move back to London and wanted to change my career from teaching. It was obvious to me that writers from that region very rarely made it into English, and that the ignorance of many British people about that region partly came from the very one-sided ‘cultural exchange’ which consisted – and still consists – of pushing our TV, film and literary culture on other countries (‘the other’) but not returning the favour. Cultural imperialism if you like. This was nowhere more evident that in the Bosnian war, where a lack of cultural and historical knowledge led to the most blatantly ignorant explanations for the carnage.

And so, after a brief period of contemplating being an agent for writers from the region, I decided to go the whole way and actually publish them. The whole thing started on a grant from the EU, and the goodwill of one particular translator, Will Firth, who has translated ten of Istros’ total production of 40 titles.

2. On your website you explain that Istros is the old Greek and Thracian name for the lower Danube River, which flows through the countries whose literature you focus on, and that you wish to evoke the image of the river flowing carelessly across the borders of Europe and encapsulating the ideal of the free-flow of knowledge and the cultural exchange that books promote. How do you go about finding and signing authors from this region whose writing reflects your ethos?

I maintain strong links with the Serbo-Croatian speaking countries due to ties of family and friendship, as well as with Romania. Over the past seven years, I have also attended a number of publishing fellowship programmes, book fairs and literary festivals. So I have an eye on the writers who are making an impression, winning prizes and getting noticed. My taste in narrative and author orientation is always one of inclusion rather than exclusion, and therefore it reflects the ethos of free cultural exchange and tolerance.

3. Do you work directly with your authors and translators?

Yes, I sign all the authors myself and very rarely go through an agent. I have very good contacts in the region, which makes this possible. I also work closely with translators once they have produced the first draft. I edit thoroughly and ask questions and comments when something is not clear. This annotated script then goes back to the translator and we may have a final phone conversation or Skype call to go through any remaining issues.

4. You set up Istros in 2011. Has your experience of publishing and marketing books in translation been as you expected when you started out?

Well, the biggest change for me is the ever decreasing amount of review space in mainstream media, coupled with ever few reviewers who are interested in indy books or books in translation. With Nick Lezard no longer reviewing for the Guardian and the recent tragic death of Eileen Battersby, there are so few places for us to go. And this directly results in fewer sales.

5. There are a good number of small, independent publishers in the UK and Ireland publishing some fine literature. Do you consider yourself different and, if so, how?

The only real difference is that Istros has a very specific geographical remit and publishes exclusively translations. This can be an advantage in the fact that specialsization leads to expertise, but can also appear too narrow to potential readers.

6. Latest trend or totally original – what sells?

I’m sure that latest trend is what sells. A lot of people want ‘more of the same’ and this is why larger publishers follow bestsellers with copycat novels. But what really sells, as we know, is having the financial and industry clout to secure front window displays in bookshops, posters on underground stations and in the press, and using economies of scale to print many books for a lower price per unit.

7. Ebook or hard copy – what do your customers want?

eBooks only account for about 10% of our sales, so our readers still want real paperbacks, although our print-runs are very modest.

8. Do you consider Istros to be niche or mainstream?

Publishing literature in translation from the Balkan region can really only ever be a niche activity. The odd book from the region will occasionally break through into the mainstream if its published by a bigger publisher than us, but even then we are not looking at anything like the sales to be had from Scandie crime.

9. You have impressive experience of prize listings. What are the costs and benefits, monetary or otherwise?

We have had many books on all the longlists of all the prizes that accept translations except the Man Booker International (and this means just the Oxford-Wiedenfeld Prize, the International Dublin Literary Prize and now the EBRD Literature Prize). I proposed the new translation prize back to the EBRD in spring 2015 and acted as chief consultant on its development up until its launch in 2017.

I was inspired to do this because I know that prizes, after reviews, are an excellent way to get publicity for your books and, by extension, your publishing house. Since Eastern European literatures don’t fall under the large language groupings, the EBRD prize helps to balance this a little. In the future, it would be wonderful to have some eastern European languages in the Society of Authors Translation Prizes: Polish has close to 40 million speakers, and Romanian roughly 26, quite apart from Russian!

The Republic of Consciousness prize is a wonderful support because it is the only prize that rewards the publishers. We were proud to have a Bosnian title – Quiet Flows the Una by Faruk Sehic – on the very first longlist, and now again with Drndic’s Doppelganger.

10. What plans have you for the future?

Apart from trying to facilitate the above, I strive for what every small publisher must be striving for: more publicity, more sales. Surviving in this market, with huge wholesale discounts, limited review space and a decreasing reading public is tough.

I’d also love to get a book on a shortlist or even win a prize soon – that would be a real encouragement.

Find out more about Istros Books on their website

You may also wish to follow them on Twitter: @Istros_books

Guest post by independent publisher, Henningham Family Press

The Republic of Consciousness Prize for Small Presses rewards brilliant and brave literary fiction published in the UK and Ireland by publishers with fewer than 5 full-time employees. Now in its third year, the 2019 longlist was announced last month. I felt privileged to be invited to join the panel of judges for the previous year’s prize as this enabled me to discover some of the best literary fiction published in 2017. Having experienced the process I was eager to read the books this year’s judges were putting forward for further consideration.

When the longlist was announced I invited a number of the small presses who made the cut to contribute a guest post as part of my coverage of the prize this year. I also offered to review the books should they wish to send me a copy. Throughout February I will be posting these reviews and the articles or Q&As received from the presses that responded. These offer a window into the variety of output and current state of play of the innovative publishers whose books I am always eager to read.

The first press to feature is Henningham Family Press whose longlisted book, Dedalus by Chris McCabe, I will be reviewing tomorrow. On the back of this book we are told:

“Henningham Family Press is a microbrewery for books.

Our ingenioous handmade editions can be found in the V&A, Tate and National Poetry Library.

Our Performance Publishing shows compress the creation of printed matter into hectic live events.

Now our Fiction brings to you authors who are reinventing the conventions of Modern writing.”

Thank you to David at HFP for providing me with this fascinating guest post about the press, and his thoughts on literary prizes.

We gave the name Performance Publishing to what we do at Henningham Family Press. We’ve even managed to get newspapers to use the term as if it is a thing.

What Performance Publishing means is that we have been, for more than 12 years now, combining Visual Art, Performance Art and Literature in ways that hope to redefine the act of publication.

For example, in 2016 the British Council commissioned A Line of Five Feet, inviting us to join a delegation of artists and writers representing the UK in Moscow. We taught Art and Art History to Moscow students who went on to help us create, screenprint and bind a monumental concertina book in a bespoke bindery provided within the British pavilion.

That year we also led nine other London Artists in staging The Maximum Wage. An ACE funded show about income inequality. This show gathered, produced and distributed publications with its audience. Teams of volunteers manned our gameshow style print production line producing our own Orwell themed currency, valid in the immediate vicinity. An incredibly diverse crowd of 300 took part in our hectic cycle of production and consumption, going home with the publications they had helped make and contributing their ideas to a later glossy magazine.

When we are not on stage you will find us doing fine printing and master binding in our studio. We often represent the same text in different forms, as we did with An Unknown Soldier; a project based on a poem I wrote about the effect of the World Wars on my family. The National Poetry Library commissioned an exhibition of all the books, artists’ books and screenprints that made up An Unknown Soldier for the centenary year. The exhibition was praised highly in The TLS. We went on to make Letters Home with the librarians; a book teaching children about Modernist Poetry that was praised highly in The TES. (We aim to appear in all the T-something-Ss). Another commission from the time was the Active Service Gospel replica. SGM Lifewords have now distributed about a million copies.

I suppose you could call this an art career, in the sense of a car careering wildly from one side of the road to the other at top speed. The mixture of Art and Literature is hardly surprising, though, given that Ping and myself met at St Martins School of Art. Later, when I was graduating from the Slade MA and Ping was studying MA Modernist Literature at Queen Mary UoL, we started Henningham Family Press together.

Last year (a natural development, or a stab at coherence) we joined Inpress Books so that we could bring our collaborations to the shelves of high street bookshops as paperbacks, as well as to the shelves of Special Collections. 2018 got off to a flying start with us publishing split editions, paperback and artists’ books of Now Legwarmers by Pascal O’Loughlin and the first Ulysses sequel: Dedalus by Chris McCabe. These gained rave reviews (Literary Review, LRB Bookshop, The Idler), effusive endorsements as diverse as Max Porter and Marian Keyes, and our longlisting for the Republic of Consciousness Prize 2019.

We specialise in producing novels by writers coming from other disciplines. Poets, artists and performers who bring to their writing inflections from their training. Especially those who pick up the Modernist canon and kick it further down the road. We like working with people who will take their draft as the starting point for a textual and visual editing process. We think of ourselves as book producers, in the same way that Tony Visconti, Steve Albini and Danger Mouse are record producers.

This is the first year we have entered prizes. Before that our work was mainly given the thumbs up by being collected for the nation by institutions like the V&A, UCL, Tate, National Galleries Scotland and the National Poetry Library. Or they began as commissions for touring shows from places like the British Library, Christie’s, Dundee Contemporary Arts. But for novels there is this whole system that we are dipping our toes into.

We got passed over by the Goldsmiths, which packed no emotional punch for us, but on the day of the longlisting for the Republic of Consciousness Prize I found myself utterly useless and completely pre-occupied.

This is easily explained: The Republic.. became (unconsciously) the biggest prize for me personally. It is so well thought through as a premise that it will make a big difference to our survival. Most big prizes present a financial burden. They are locked gates.

The Prize has also formed the backbone of my reading since it started. It feels like a tangible benchmark for ingenuity in art and practice. I went to the launch a couple of years ago as a consumer of canapés. We had no plans to do novels. But when plans began to coalesce they were shaped and encouraged by the existence of the prize and its culture. It would have been harder to focus our wide ranging technical and literary expertise (the unexpectedly prodigious offspring of our dilettantism and a decade-long global recession) into the form of the novel without the reading and solidarity the prize has provided.

Coming from an Art background, though, the big literary prizes (the ones we can’t afford to enter) seem a little over-understated. The ‘party’ finishes and we’re thinking “what, there’s no dancing?” I’ve never seen a fluorescent cocktail at a book event. If book events were an item in the kitchen drawer they would be the wine stopper that keeps wine from going off. We don’t own one, but I saw one once.

What next? 2018 concluded with the first in our series of non-fiction books for children, Colour Experiments for Future Artists, and in 2019 we publish Pattern Power for Future Artists.

Spring sees a second novel from Chris McCabe, Mud, which is a version of Orpheus set in the present day. Borak and Karissa must locate a bubble of air trapped in mud somewhere to end their caustic relationship. The book is “illustrated” with sculptures and concrete poetry.

We are also scouring museums and libraries with Sophie Herxheimer. Looking at Wisdom literature as we embed her sequence of poems 60 Lovers To Make And Do within collages and cutouts.

A version of An Unknown Soldier set to music for the stage with composer John Ringhofer also waits in the wings.

Find out more about Henningham Family Press on their website

You may also wish to follow them on Twitter: @HenninghamPress

Q&A with World Editions

Today I am delighted to welcome Judith Uyterlinde, publishing director at World Editions, an independent publisher set up to bring international literature to a global readership. This year World Editions is bringing the Netherlands’ Boekenweek (Book Week) to the UK by promoting three prize winning Dutch authors they have had translated into English. If you click on the covers below you may read my reviews of these books.

Judith has answered some question I put to her about World Editions. I hope that you enjoy finding out more about this publishing house.

 

Can you tell me a little about World Editions and why it was set up?

World Editions publishes and promotes high quality literary titles from all over the world in translation into English. We believe there are a lot of treasures to discover for English language readers. There are so many great books out there that haven’t been translated into English yet!

You publish books from around the world. With such a wide remit how do you select the titles you wish to acquire?

One has to read a lot and trust one’s taste. I believe I have a nose for good literature. And of course you need the help and advice of other people too. We have a broad network of agents and publishers, translators and authors all over the world. We visit book fairs in London, Paris, Frankfurt and other places all over the world, to find the most beautiful books to translate into English.

What is the most rewarding aspect of independent publishing, and the most challenging?

The most rewarding aspect is getting to know the most wonderful people and ideas. The most challenging is making sure that the books reach the wide readership they deserve.

Is your experience of marketing what you expected when you started out – how do you connect with booksellers and readers?

The books and the authors need to be visible: in the bookshops, at festivals, on (social) media, everywhere. We are a very young Publishing House – we only just got started with a brand new team in the UK and the USA, so there still is a lot of work to do!

There are a good number of small publishers out there publishing some great works. Do you consider yourself different and, if so, how?

We focus on translated books and we all read them ourselves. Coming from a small, international oriented country, the Netherlands, with a strong tradition in traveling, trading and translating, we have the advantage of reading many languages. Within our team we read French, Spanish, Italian, Portuguese, German, Dutch, Polish and English. And on top of that all of us have a lot of publishing experience from working for big international literary houses in both Europe and the USA before.

Latest trend or totally original – what sells?

Selling books is like winning a war – it’s only with hindsight that you can tell who the winner is. But you need to keep trusting that gut feeling and convince others of it!

Ebook or hard copy – what do your buyers want?

Hard copies are still most popular but E-books have their merit too in international publishing.

Do you consider World Editions to be niche or mainstream?

We are specialised in the sense that there are not many Publishing Houses which focus on international literature and translations as intensively as we do. But our ambitions and the quality of our books do not differ from those of the major literary houses.

When working with your authors are you collaborative or dictatorial?

Working together with the authors is one of the things I love most about publishing. There is no use or fun in being dictatorial.

Plans for the future?

To keep on publishing the best books from all over the world! To contribute to an intercultural dialogue. If books can change our view of the world, they can also change the world. Is that enough of an ambition?

 

Visit the World Editions website here.

You may follow them on Twitter: @WorldEdBooks