December 14, 2015
Short Flight/Long Drive Books is an independent press that emerged from the online literary magazineHobart, founded by writer Aaron Burch in 2001. Hobart, which currently posts a wide variety of new literary and contemporary culture content on a daily basis, launched Short Flight/Long Drive Books in 2006 with fiction writer Elizabeth Ellen at the helm.
Ellen has worn many hats at Hobart since 2002, serving by turns as Hobart’s co-editor, fiction editor, and poetry editor, and she has collected a number of distinguished and daring titles for SF/LD that are smart rather than merely clever, well-crafted without being overwrought.
SF/LD books range from the near-classic NowTrends by Karl Taro Greenfeld, stories mixing absurdity with the dark underbelly of international adventure, to Jess Stoner’s I Have Blinded Myself Writing This, an unsettling meditation on philosophy, memory and pain, to Selected Tweets by Tao Lin and Mira Gonzalez, whose Twitter conversation serves as an apt medium for disjointed narratives to form a story of personal connection in this fractured 21st century.
For Ploughshares, Elizabeth Ellen explains what makes Short Flight/Long Drive tick, as well as what’s on the travel itinerary in their near future.
Kate Flaherty: Like Short Flight/Long Drive, several new independent presses have evolved as an offshoot of a literary website. What motivated Hobart to expand to book publishing?
Elizabeth Ellen: Aaron and I had been working together to edit Hobart (both the print journal and the online journal) for about four years at that point, and while I enjoyed co-editing, it was clear that Hobart was Aaron’s baby, so to speak—that he had the last say-so when it came to anything Hobart-related—and I wanted my own baby to have say-so over. Books seemed a natural offshoot. Click here to read the rest.
November 14, 2015
My latest up at Ploughshares:
Founded in January 2014, Stillhouse Press has one book out of the hopper, five more slated for publication in 2016, and the press is poised to take the literary scene by storm. Stillhouse was founded by novelist Dallas Hudgens, who also began Stillhouse’s sister imprint, Relegation Books, and the press operates as a collaboration between Northern Virginia’s Fall for the Book festival and students from George Mason University’s creative writing programs.
Stillhouse’s first book, Helen on 86th Street and Other Stories, is awonderfully sardonic collection of stories by the late Wendi Kaufman, author and professional champion of authors through her work with Alan Cheuse’s NPR show “The Sound of Writing.” The title story of Kaufman’s collection appeared in the New Yorker, and the rest of her book is equally as strong, with a terrific cast of women narrating their navigations through the modern world at various stages of life. Stillhouse’s other titles, which are slated for release throughout 2016, look to be an exciting mix of poetry and prose by new and established authors.
Currently, Stillhouse accepts submissions of poetry, literary fiction, and creative nonfiction, asking a mere $5 reading fee through Submittable. Stillhouse also awards the Mary Roberts Rinehart prize—$1,000 plus publication; the Rinehart prize alternates between nonfiction and fiction each year for a literary manuscript of 60,000-90,000 words. The 2015 winner is Jacqueline Kolosov, whose manuscript Motherhood, and the Places Between, will be published in September of 2016.
For Ploughshares, Editor-in-Chief Marcos L. Martínez elaborates on the genesis of Stillhouse and shares the essentials of what readers and writers need to know about this exciting new press.
Kate Flaherty: Your website describes Stillhouse as a craft publishing venture, “combining traditional print methods with new technologies and working closely with our authors to develop and promote their work.” Could you explain this in more detail? What’s the benefit of having writers more involved in the process of shaping a book with your editors?
Marcos L. Martínez: Just as craft distilleries and breweries are know for the care they take in making unique batches of libations, we aim to deliver the unique Stillhouse Press voice to readers. The concept of “craft publishing” really stems from this idea of taking our time, working closely with our authors on everything from narrative structure, flow, developmental opportunities, and line edits to font selection, cover design, marketing, and promotional campaigns. We plan to publish 4-6 books a year, which allows us to truly nurture each book project. Click here to read more–
September 13, 2015
My latest up at Ploughshares:
Eighteen years ago, The Backwaters Press was established by poet Greg Kosmicki in Omaha, Nebraska, and immediately made its presence known with the anthology Times of Sorrow, Times of Grace: Writing by Women of the Great Plains/High Plains, which won two Nebraska Book Awards in 2003. The Backwaters Press has continued to produce illuminating anthologies celebrating the work of writers living and working in the Great Plains/High Plains, including Road Trip, a collection of interviews with Nebraska poets, as well as anthologies of personal reminiscences about unsung, brilliant writers Weldon Kees and Thomas McGrath. In addition to these titles, The Backwaters Press also has published literary fiction and nonfiction, but the bulk of its books are collections of poetry.
The Backwaters Press remains loyal to its Great Plains roots by publishing poets such as William Kloefkorn, Marjorie Saiser, Twyla Hansen and Mark Sanders, and the press also celebrates the work of poets around the globe through its annual Backwaters Press Prize. A small sample of The Backwaters titles include To Live in Autumn by Lebanese poet Zeina Hashem Beck, We Grow Old by Taiwanese poet Yu-Han Chao, and Bulrushes, by New York native Michael Madonick.
Current Backwaters Press titles are Only the Dead Are Forgiven, by renowned poet Greg Kuzma, and Wakpá Wanági: Ghost River by Trevino L. Brings Plenty, a collection described by Joy Harjo as “poems of a hardcore rez visionary,” that was recently named Book of the Month by the radio program “Native American Calling.”
Having made its mark in the Great Plains and beyond, The Backwaters Press’s current editor Jim Cihlar shares with Ploughshares what’s on the horizon as Backwaters Press closes in on publishing its 100th title.
Click here to read more: The Backwaters Press
August 13, 2015
It’s been awhile since I’ve posted links to my Indie Press features up at Ploughshares. Guess I’ve been busy reading indie press books. There are so many great presses out there publishing remarkable, exquisite books. Take a look!
February 28, 2015
In the summer of 1995 in downtown Lincoln, Nebraska, Hilda Raz and I met with a few friends for lunch, one of whom was Dika Eckersley. It was my birthday, and I was being treated by the lovely collection of women who produced the literary magazine, Prairie Schooner, where I worked as Managing Editor. Hilda, the magazine’s editor, and I shared office space at the University of Nebraska English Department, but the production team worked at the University of Nebraska Press across town, so Hilda established the birthday lunch tradition, ensuring we’d all get together at least a few times each year. Outside the restaurant that bright day in August, Dika handed me a red clay pot with a newspaper laid flat on top.
“Open it,” she told me with a mischievous smile, so I lifted up the newspaper. I laughed in surprise as out flew a monarch butterfly; attached to a twig inside the pot was what remained of its chrysalis. “I’d been watching it outside my kitchen window,” Dika said, “and I thought it would make the perfect gift.” Indeed it did.
This is the story that came to mind when I heard that Dika had died at home in Lincoln this week, at age 75. Her designs for Prairie Schooner and the University of Nebraska Press were so like that gift, so like the person Dika was: lovely, full of delight, and wrapped in layers of meaning.
Four times a year, Dika collaborated with Hilda to create the cover of Prairie Schooner, and watching them work was one of the best parts of my job. Sometimes Hilda, Dika and I trekked to the Sheldon Art Gallery where the director would let us go into the cool, dry rooms and sift through the terrific breadth of images they had in storage. Other times we’d visit a local studio or meet with an artist in our offices, but more often than not Dika would just create cover art using one of her own photographs or images or using another favorite medium—the copy machine—and the result was always remarkable.
Once we visited local artist Kate Brooke, intending to choose one of her woodblock prints, Dika instead picking a page from Kate’s journal for the cover, littered with scraps of poems and tiny animals that she had reproduced in silver. Another time, Hilda brought in a collection of her own childhood photographs, and she and I selected two perfect images of Hilda at three, smiling beatifically at the camera as she held her older brother’s hand. For the cover, however, Dika picked a photo slightly out of focus where Hilda’s brother has had his head unceremoniously cut off. Of course, Hilda and I immediately realized it as the ideal image to reflect that issue’s particularly troubling stories and poems. For Dika was a designer, but she also was a reader, and she recognized the intimate connection that a magazine’s cover should have with the narrative created from the stories, essays, and poems within. In Dika’s world, books should—and could be—judged by their covers.
One of my proudest moments at Prairie Schooner was when we celebrated the magazine’s 75th anniversary in the fall of 2001. Writers came from around the country to give readings and lectures about the magazine’s impact on American literature in the 20th century, and in conjunction with the conference, Sheldon Museum director Daniel Siedell curated a gallery exhibition, “The Visual Culture of Prairie Schooner.” At that point, Dika had been designing Prairie Schooner covers for about twenty years, and walking through the gallery opening, no one could ignore that it was her designs dominating the show. Dika, however firm she was in her vision, was also modest in accepting praise, and I was so glad that for a time her work shared equal space in the Sheldon with Rothko, Warhol, Hopper, et al, where she absolutely belonged. Dika was a wonderful designer and a good friend, and while her designs will live on, she will be missed by many.
I’ll leave you with this excerpt from Daniel Siedell’s essay that accompanied the Sheldon Exhibition; his praise is more eloquent than mine:
Raz and Eckersley both understood the significance of material and visual culture and used it, through a visual politics of the cover, to “represent” or “image” the shifting focus of the Prairie Schooner. . . . Moreover, Raz’s and Eckersley’s aggressive aesthetic is intended to communicate the significance of the written word within a culture saturated by visual imagery. These cover designs illustrate the significant relationship between the word and image that intertwine the histories of modern literature and art. “The Visual Culture of Prairie Schooner” suggests that if we isolate word from image, literature from art, we do so to the impoverishment of our appreciation of the beauty and complexity of the world of culture.
January 11, 2015
My latest up at Ploughshares:
Queen’s Ferry Press, based out of Plano, Texas, since 2011, is the brainchild of Erin McKnight. While it’s hardly the first independent press with the lofty goal of printing and promoting the best literary fiction, in just a few short years Queen’s Ferry has managed to attract an impressive stable of writers at the top of their fiction game—Sherrie Flick, Sarah Van Arsdale, and Phong Nguyen to name a few. As Queen’s Ferry has grown its catalog, it has garnered awards and accolades along the way for its wonderfully eclectic range of titles. Queen’s Ferry ventures also include the imprint firthFORTH, which publishes fiction chapbooks, and The Best Small Fictions, an annual anthology compiling the best short fiction in a calendar year. The inaugural collection, to be published in 2015, will be guest edited by Robert Olen Butler. Tara L. Masih will serve as series editor.
Publisher Erin McKnight shares with Ploughshares the key to Queen’s Ferry’s success, and what’s in store for readers and writers in the New Year.
To read the rest of the post, click here
September 22, 2014
My latest on the Ploughshares blog:
Hobblebush Books, founded in 1991 by author, editor and publisher Sidney Hall, Jr., is a small press in southern New Hampshire known best for its Granite State Poetry Series and its eclectic list of prose titles. While its poetry series only publishes authors who live in or have a strong connection to New Hampshire—most recent titles are the dark and playful Talismans by Maudelle Driskell and Falling Ashes byJames Fowler, a collection primarily of haiku and haibun on “war and love and the rest”—prose offerings are slightly more wide-ranging.
For prose at Hobblebush you’ll find Poor Richard’s Lament, a fascinating novel by Tom Fitzgerald exploring the what-if scenario of Benjamin Franklin plunked into the twenty-first century; you’ll discover Creating the Peaceable Classroom by Sandy Bothmer, a wellness guide for educators, parents and students; and finally, you can pick from an assortment of memoirs that take you anywhere from the top of Mount Washington to the ports of New Orleans and Nova Scotia to the plains of East Africa.
For the Ploughshares blog, Sidney Hall, Jr. discusses Hobblebush’s mission, acquisitions, and its increasing public presence in the region (let’s just say they have a reputation for throwing great readings).
July 11, 2014
My latest up at Ploughshares:
During the war, we felt the silence in the policy of the governments of English-speaking countries. That policy was to win the war first, and work out the meanings afterward. The result was, of course, that the meanings were lost. You cannot put these things off. One of the invitations of poetry is to come to the emotional meanings at every moment.
—Muriel Rukeyser, The Life of Poetry
Paris Press began almost twenty years ago with the simple mission of resurrecting Muriel Rukeyser’s The Life of Poetry, a collection of essays originally published in 1949 that explore how resistance to poetry is connected to the modern world’s fear of individual thought and emotion, which then lends itself to a world that seems ever more fractured and confusing.
Over the years, Paris Press continued to publish works by Rukeyser as well as other women writers who had “been overlooked by commercial and independent publishers,” and these books immediately began earning attention from national publications including the New Yorker and New York Times Book Review, along with features on programs like NPR’s Fresh Air.
Paris Press publishes all genres by women writers from all over the map, but every text—whether poetry, play, or prose—deeply explores and illuminates those “emotional meanings” Rukeyser describes as essential to confronting and defying a world that remains as chaotic and volatile as it was in 1949.
Today, Paris Press is on the brink of several new developments: a more comprehensive website and blog launching this summer; a new award for a short story collection that will include publication by Paris Press; and an increased focus on educational outreach. Jan Freeman, poet and Executive Director of Paris Press, shares what’s in store for readers, authors, and educators.
Q: Due to backlog, Paris Press is not currently accepting new manuscripts. When will the press once again be opening the floodgates?
A: That’s about to change. We are just finishing updating our website for the press, and the new and improved site will be launched by the end of July. With the launch, we’ll be expanding our programming. We’ll include a blog, we’ll start publishing individual works by writers—bothcontemporary as well as writers from earlier time periods—and we’ll be accepting submissions of poetry, fiction, and nonfiction for our online site. We also will soon begin accepting book-length submissions online, so we’re joining the twenty-first century. The Internet opens things up in an exciting way that Paris Press is now embracing.
We’ll also have a book length short-story manuscript competition in honor of Alice Munro receiving the Nobel. We are still finalizing who our judge will be, and then we’ll announce on the website the timeline and guidelines for submitting manuscripts.
For the rest of the post click here: