#ReadIndies: Poetry Presses

One area where the independent publishers really excel is poetry. Probably because there is little money to be made from it on the whole (presidential inauguration ceremony effect excepted – hurrah for Amanda Gorman!), and so most big publishing conglomerates won’t touch it with a bargepole.

Many of these poetry publishers are tiny, often one-person outfits, operating on a shoestring, often run by other poets. And all of us who love (or write) poetry are all the richer for having them: they are worth every penny of arts funding that they can get (although many don’t get any). I have written about discovering and splurging on poetry books back in 2018, so I won’t mention Ignition, Sad Press, V Press, Tapsalteerie, Bad Betty Press, Midsummer Night’s Press, Stranger Press or Burning Eye Books again here, other than to encourage you to seek out their beautifully produced volumes of poetry (occasionally flash fiction) and explore the boundaries of both English language and translated poetry written today.

In this post, I will wax lyrical about the slightly better-known poetry publishers that appear most frequently on my bookshelves and show some of their most beautiful covers.

The cover to the bilingual edition of the epic poem by Adnan Al-Sayegh.

Seren Books is the book imprint of Poetry Wales, but does not publish poetry exclusively. It does, however, focus on English language writing from Wales, although its range has expanded more recently, for example this fine dual language (English-Arabic) edition of the epic poem Uruk’s Anthem or recent poetry from Latin America. I also admire their beautiful anthologies about Women’s Work or Motherhood, and the way many of their ‘classic’ books reflect the enormous changes in Wales over the past hundred years.

Out-Spoken Press arose from the Out-Spoken monthly poetry and music events which were started in London in 2012 by Anthony Anaxagorou and other poet friends. The press was established in 2015 to give voice to writers that had been under-represented by mainstream poetry magazines and publishers, and it has demonstrated a real knack for finding talent. I’ve been following them since their creation and have had the opportunity to read poets such as Raymond Antrobus, Sabrina Mahfouz, Wayne Holloway-Smith, Hannah Lowe before they became prize-winning household names.

An example of a beautiful Peepal Tree Press cover.

Peepal Tree Press is the Leeds-based home of Caribbean and Black British writing and literary or social studies. They always punch well above their weight and, most recently, have won the Costa Book of the Year Award with Monique Roffey’s The Mermaid of Black Conch. However, I encountered them through poetry, and one particular favourite is Tiphanie Yanique’s moving, by turns tender and broken, combative and submissive, Wife.

The Emma Press is the brainchild and labour of love of Emma Dai’an Wright and publishes lovely poetry chapbooks, anthologies and children’s books, including some in translation. I’ve attended a couple of their launch events and they are brilliant at creating a wonderful sense of community. I would recommend their anthologies on love, aunts and the sea (to just name a few), as well as Poems the Wind Blew In – an anthology of children’s poems translated from Spanish by Lawrence Schimel, with amusing illustrations by Riya Chowdhury. It’s never too soon to expose children to poetry from all over the world!

Carcanet Press barely needs any introduction – it is one of the leading publishers of both classical and modern poetry (and literary criticism). Most recently, I’ve been smitten with Caroline Bird’s The Air Year and Eavan Boland’s The Historian, both shortlisted for the Costa Book Awards for Poetry (Boland’s posthumous work went on to win the prize). One of my favourite poetry collections, that I keep returning to again and again, is Her Birth by Rebecca Goss, which might explain why I was so delighted that Rebecca agreed to work with me as a mentor back in 2019.

Last and possibly the best-known of these poetry publishers is Bloodaxe Books, which, in its 40 years of existence, has really redefined poetry for the English-speaking world, always one step ahead in terms of discovering new voices, both in English and in translation. Best known perhaps for their thick, diverse anthologies such as Being Alive, Staying Alive, Being Human, I love them especially for their translations of Romanian poets (naturally!). They have introduced me to far too many poets to mention here, but let me just call out a few on my shelves: Pascale Petit’s Mama Amazonica, Gillian Allnutt’s Wake, Denise Levertov and Anna Akhmatova (translated by Richard McKane).

#ReadIndies: What is indie on my shelf?

I may be pottering around Canada this month, but I wanted to take part somehow in the Read Indies month co-hosted by Lizzy’s Literary Life and Kaggsy’s Bookish Rambles. So I decided to have a look through my shelves and see which independent publishers have most caught my eye and made me take out my credit card. There are plenty of newer publishers that I haven’t yet explored – this is a list of those that I have in plentiful quantities. Please bear in mind also that I have a lot of books in other languages, and that the criteria for being an independent publisher is quite different elsewhere, so I will stick to the UK based publishers I own.

Translated Fiction:

Peirene Press – for short, concentrated bursts of brilliance from Central and Northern Europe (originally, although the selection has broadened in recent years). One of my all-time favourites was The Mussel Feast by Birgit Vanderbeke. They were also the first to introduce an annual subscription model (as far as I know).

Istros Books – for SE European literature – or, to be precise – literature from countries bordering the River Danube. A recent favourite was Ludovic Bruckstein’s The Trap, and there is a new translation of Bruckstein’s work coming out now.

Alma Books – particularly for their translations of classics, from the Russian for me and all sorts of other languages for my son. Most recently enjoyed the detailed annotations and translation notes of Chekhov’s Sakhalin Island.

A good selection of Alma titles that I acquired in their annual book sale.

Tilted Axis – predominantly Asian selection of countries, forever grateful for introducing me to Thai literature via Prabda Yoon’s Moving Parts or daring Bengali author Sangeeta Bandyopadhyay.

Strangers Press – a very small outfit, linked to the UEA Publishing Programme and Norwich Writers’ Centre. I’ve been particularly interested in their Keshiki New Voices from Japan series, as you might expect, but they also have a series on Korean literature and another on Dutch literature.

Nordisk Books – contemporary Nordic fiction aimed at proving that there is more to Scandinavia than just crime fiction. Was particularly struck by Zero by Gine Cornelia Pedersen and Love/War by Ebba Witt-Brattström.

Bitter Lemon Press – I like to travel while reading crime fiction, so the mission of Bitter Lemon to cover the dark side of foreign places really appeals to me. They introduced me to Argentinian writer Claudia Pineiro and Spanish writer Teresa Solana, and The Aosawa Murders by Riku Onda is the most recent book which really struck a chord.

Charco Press – an emphasis on striking, even challenging contemporary Latin American literature, with equally striking covers in a rainbow array of colours. Recommended titles include: Ariana Harwicz’s Die, My Love (the first I read from them and still a favourite) and Fish Soup by Margarita Garcia Robayo.

Since I arrange my books by countries, publishers like Charco mess up my system a little, since I cannot bear to not keep all their books together, so I’ve created a Latin American bookcase.

Fitzcarraldo Editions – this publisher straddles two worlds, with their blue-covered translations/fiction titles and white-covered essays/non-fiction. I discovered Olga Tokarczuk thanks to them and most recently was bowled over by Fernanda Melchor’s Hurricane Season.

English Language:

Comma Press – another publisher which straddles two categories, their focus being on short stories, whether in English or in translation. I particularly enjoy their city series, such as The Book of Tokyo or The Book of Shanghai, and of course their Europa 28 (Writing by Women on the Future of Europe).

Persephone Books – how I miss the dinky little Persephone bookshop, which was dangerously close to my workplace! This publisher does reprints of largely forgotten titles by early to mid-twentieth century women authors. I’ve been smitten by Little Boy Lost by Marghanita Laski and The Home-Maker by Dorothy Canfield Fisher, and I’m looking forward to sinking my teeth into the autobiography of Tirzah Garwood, who was the wife of painter Eric Ravilious and an artist in her own right.

Orenda Books – there are far too few independent publishers of crime fiction, and Orenda does a great job of providing readers with both translated and English crime novels. Not only do I admire the publisher’s ability to create a real sense of community around her books and authors, but she is also happy to let her authors experiment with cross-genre fiction, which the bigger publishers are seldom prepared to do. Some of the authors I particularly like are: Antti Tuomainen, Helen Fitzgerald, Will Carver, Agnes Ravatn and Simone Buchholz.

Silver Press – a small, recently-founded feminist publisher, with a very promising list of authors including Leonora Carrington, Chantal Akerman, Nell Dunn and Audre Lorde. This is the new Virago in a way. For many years, I was an avid Virago fan, and I still am, but they do not count as independent (they are currently part of Hachette).

This post is getting rather long, so I will leave the poetry publishers for next week.

But before I go, I will just very gently remind you of Corylus Books as well: translated crime fiction with a social edge from countries and languages that tend to get fewer translations. We are currently in the process of reconfiguring our website so that it will work both in the UK and abroad. Our best reviewed books from our first year of operation were Sword by Bogdan Teodorescu and The Fox by Sólveig Pálsdóttir.

Happy Birthday, Asymptote Book Club!

It’s been one year since a minuscule team of volunteers operating on a shoestring budget launched the Asymptote Book Club and what an adventurous journey around the world it has been! Although we are sometimes at the mercy of publishers’ schedules and catalogues, we’ve made a deliberate effort to be as diverse as possible: 12 countries, 12 languages, 7 men and 5 women. 

But it’s about more than just ticking the boxes. Our editors have made a real effort to find not just high-quality literature and sterling translations, but also works which make us ponder, debate, and want to explore more about a particular author or country. And they have a pretty good eye for winners: two of our selections were English Pen Translates Award winners and another two were shortlisted for the inaugural National Book Award Prize for Translated Fiction in the US.

Then there are all of the unseen skirmishes behind the scenes with late arrivals from abroad, postal delays because of snow or holidays, sudden changes in publishing dates… Still, it has been a labour of love and a venture that I’m very proud to be associated with.

And the excellent, superb, phenomenal news is that we are doing a ‘counter-Brexit’, i.e. we are expanding into the EU! In other words, as of immediately, you can subscribe to the Book Club if you have an address in the EU (previously, it was only open for the US and UK).

I have to admit I’ve not managed to read all of the books, as review demands and other reading challenges came in. The three early summer titles are a blur: Brother In Ice by Alicia Kopf, transl. Mara Faye Lethem; The Chilli Bean Paste Clan by Yan Ge, transl. Nicky Harman and Revenge of the Translator by Brice Matthieussent, transl. Emma Ramadan, but I look forward to exploring all of them in the near future.

Of the ones that I did read, each one has meant something special to me.

December 2017: The Lime Tree by César Aira, transl. Chris Andrews – got me started on a love affair with this Argentinian writer 

January 2018: Aranyak by Bibhutibhushan Bandyopadhyay, transl. Rimli Bhattacharya – the dark Bengali horse which most surprised me and which I still find myself thinking about

February: Love by Hanne Ørstavik, transl. Martin Aitken – this short Norwegian novella was the most emotionally wrecking, had me on tenterhooks

March: Trick by Domenico Starnone, transl. Jhumpa Lahiri – the cleverest in its blend of everyday minutiae and intertextuality

July: The Tidings of the Trees by Wolfgang Hilbig, transl. Isabel Fargo Cole – the most personally relatable and relevant

August: I Didn’t Talk by Beatriz Bracher, transl. Adam Morris – the most interesting from the political point of view, can see it becoming a talking point now and in the future, with Brazil descending once more into totalitarianism

September: Moving Parts by Prabda Yun, transl. Mui Poopoksakul – the boldest choice, the funniest and most experimental and also most blatantly contemporary

October: Like a Sword Wound by Ahmet Altan, transl. Brendan Freely and Yelda Türedi – the most ‘moreish’ – really got swept up in the family saga, the political intrigues and historical period

November: The Hotel Tito by Ivana Bodrožić, transl. Ellen Elias-Bursać – have just started this one, which I expect will be very emotionally resonant with me, as one of my best friends lived through that terrible period in Yugoslavia (with a Serb mother and a Croat father)

We had our first ever Book Club meeting in London on Thursday evening and we couldn’t quite agree on an overall favourite. Do I have a personal one? I think each one gave me something different to love and I simply cannot pick between them. But if you were to twist my arm, I might have to choose Hanne Ørstavik and Ivana Bodrožić.

I cannot wait to see where the second year of our travels will take us. If you want to join us in our exploration of world literature, you can find all the details about the Book Club and how to subscribe here.