Summer update from Valley Press

Dear readers,

We've had our fair share of joy and sadness at Valley Press since the last newsletter. I'll attempt to bring you up to date below - starting with our latest book, which needs to be put in some historical context...

When I met Nigel Gerrans in 2009, he had been writing poetry for 70 years, and I had just taken my first tentative steps into publishing - bringing out two books by myself with the words 'Valley Press' on them (to add a hint of professionalism). It was whilst talking to Nigel that I realised publishing other people might be an interesting and rewarding pursuit. Later that year I published his collection Tenebrae, and a couple of weeks ago I was delighted to re-publish those poems, with many others, in a new volume - It Is I Who Speak: Selected Poems.

Edited by the poet's long-time friend and collaborator Felix Hodcroft, this new publication collects the very best of Nigel's work across the decades; including some poems never seen anywhere else before, dug out of the archive and pieced together from various drafts and typescripts. It's been a real labour of love for all involved; a volume which we hope will be read and enjoyed for decades to come. Find out more and read a sample here.

Onto other news now, and there was a flurry of excitement at VP HQ last weekend, when our March novel Grandmother Divided by Monkey Equals Outer Space was recommended by William Boyd as a 'summer read' for 2015 in The Guardian. In case you can't quite make it out from the image, he said the following:

“Nora Chassler’s extraordinary Grandmother Divided by Monkey Equals Outer Space breaks all moulds. Set in 1980s New York, it is a triumphant vindication of the edgy, eccentric demotic as a compelling narrative voice.”

Not bad eh? Thanks to VP poet Mike Di Placido for supplying me with a copy of the paper, running home to get it after encountering me in the Post Office queue - whilst simultaneously purchasing and cooking some garlic bread. (I expect that's how Bloomsbury's press department handled this item too.)

The next thing I should mention is the reading group I organised via the last newsletter, which turned out to be a great idea; very useful indeed. The volunteers seemed to enjoy it - a little too much, even, as they were very nearly locked in Woodend overnight! I'll run another one at the end of the year, and allow a full day for the group to work through the envelopes and make its recommendations. Unless everyone pictured above wants to come back again (there are only five seats!) I'll need some new volunteers, so keep an eye out for that.

So, you may ask, what does this mean re: submissions? As of 6:57pm last night, I have settled the Valley Press publishing schedule for spring 2016 (in pencil - but a thick, black pencil that is hard to rub out). What this means is, if you submitted during our window that ended in June, and I haven't expressly emailed you by now saying you're in, you didn't make it.

I still plan to write to all the submitters individually, but as that's going to take several weeks, I thought a general announcement here would be helpful and not considered too rude. Huge thanks to everyone who sent their work in, it was by far the strongest six months of submissions we've ever received - absolutely top notch. I've been turning down bona fide TV stars, writers of bestsellers, people whose last four books were published by Random House ... it's beyond belief, really.

All of the above made me stop and think what a long way Valley Press has come, since the humblest of origins in 2008; and how it couldn't have happened without all the people who have helped out along the way. My week became a lot more poignant yesterday when I heard that Jenny Drewery - a lynch-pin of the Scarborough cultural scene, and the best proofreader ever to pick up a red pen - had passed away. Jenny worked frequently with Valley Press; if you've read pretty much anything we published between 2012 and 2014 you will have benefited from Jenny's invisible and meticulous work. She was also a wonderfully warm and encouraging personality, and will be much missed. Her friends and family have set up a page here where people can donate in her memory; I'd be delighted if any newsletter readers wanted to contribute.

There are just a couple more things I must mention in this newsletter (ridiculously long as it has already become): you have until 3pm on Wednesday 22nd July to listen to the radio version of Humfrey Coningsby on BBC iPlayer, which you can do here - well worth 45 minutes of anyone's time. Also, for the first time in four years I am doing a 'solo gig', in Covent Garden on Monday 20th July (this Monday!); all details available via The Emma Press. (N.B. I'm also reading at the event listed on Tuesday, and would love it if any VP fans dropped in.)

I think that's everything for now - thanks for reading, as ever, and look out for more news very soon.

All the best,
Jamie McGarry (VP Publisher)

Eve Lacey on the 'Anthology of Sea' Submissions

Eve Lacey

Eve Lacey is currently editing an anthology of poems about the sea for the Emma Press. With just six days left in the call for submissions, we asked her to share some of her thoughts about reading the submissions and preparing to make the final selection. Submissions to The Emma Press Anthology of the Sea close on Sunday 21st June 2015 – read all the guidelines here.

* * *

One month since the call for submissions was released, and with only a week left until the deadline, my inbox has filled with sea. I read the poems more or less as they arrive, and sort them into groups to return to later. This involves spreadsheets and colour-coding, and I won't dwell too long on the individual poems until I have got a sense of the whole.

An anthology can be picked at in parts, but should also have a meaningful structure if read cover to cover in one sitting. In the early days of book-making, when parchment was a precious resource, Medieval readers created compendium texts of their favourite sections of verse, instruction and scripture, handpicked and hand-arranged, then bound together in a pocket library. From bestiaries to Bibles, anthologising is primarily concerned with weight: balancing one text against another, and condensing it all into one volume. Such assessment and consideration demands an economy of verse – like a poem writ large, each section must earn its place.

At this early stage the only question is whether I want to read a poem again, and again, and again. We have had submissions from the UK to Australia, from the Philippines and in translation from Portuguese. Perhaps unsurprisingly, writing on the sea frequently returns to the same motifs – the most common words have been flotsam and jetsam, but I've had lots of fathoming too – and similar sentiments recur with tidal regularity.

Next, I'll experiment with different orders and discover how the anthology should read as a whole. This is one of the most exciting parts, because it cannot be planned in advance. The trick is to find the balance between variety and thematic strength, and arrange poems so that they make more sense next to each other than they would alone.

I have learnt so much, in subject matter and form, from the submissions that have already arrived. But the theme is giant, and we want to do justice to its breadth. The poems arrive like messages in bottles, and we'll be collecting sea stories and castaway verse until the end of the week.

* * *

About the author: Eve Lacey is a writer and the editor of Furies (For Books' Sake, 2014), an anthology of contemporary women's poetry. She is also a librarian, a longlist judge for the Commonwealth Book and Short Story Prizes, and web editor for Thresholds: Poets in Residence at the University of Cambridge Museums. In 2012 she was awarded the David Almond Fellowship from Newcastle University and Seven Stories Museum to conduct archival research on disability in children's literature. Her work is published by the Emma Press, SALT, Textual Practice and The Next Review, and featured in Rebecca Goss's 'Heart Poem' series.

News, books and opportunities from Valley Press

Dear readers,

It's been a couple of months since I was last in touch - how have you been? Right, now the small talk is out of the way, I'll get down to business ... I have a lot to tell you, but I'll start (as ever) with our latest publications.

Both of the books pictured here were released on the 24th April; so I'll introduce them in alphabetical order. First we have Jonathan Davidson's Humfrey Coningsby, a short collection of "poems, complaints, explanations and demands for satisfaction" inspired by the (continuing) life of a 16th century Shropshire Lord.

Twitter has been getting quite excited about Humfrey, with the words "brilliant", "wonderful" and "lovely" being used to describe it in one 24-hour period. Our own Kelley Swain nicely summarised it as: "Sir Harry Flashman meets Sir Geoffrey Hill. Superb, a must-read!" And your Coningsby experience doesn't have to end with the book; Jonathan has also written a radio drama on this subject, currently scheduled for broadcast on BBC Radio 4, Wednesday 24th June, from 2.15pm. Should be well worth a listen! Check out a sample of the book here to see what the fuss is about.

Then there's Life Class, the second collection by one of our most distinguished VP poets (and noted artist) Jo Reed. Jo designed her own cover for this book, basing it around a portrait of herself by renowned graphic designer Ken Vail, and the interior of the book is just as unique and intriguing. Never trivial, Jo's poetry deals in memory, myth and magic; often combining unvarnished reality with breathtaking flights of imagination. A Scarborough-based event around Life Class is in the works; keep an eye on the book's homepage for news on that, when we have it.

Onto other matters now: near this sentence you should see a picture of the VP/EP stall at the London Book Fair - we had a marvellous time and hope to go back next year. You can read Emma's charming summary of our experience here.
 
I'll be back in London this coming Wednesday (27th), for the official launch of Richard Barnett's Seahouses, which is taking place at Blackwell's Holborn from 6pm. Hope to see you London Valley Press fans there!

I know many newsletter subscribers are anxious to hear about the submissions process, so here we go: our search for great new writing to publish in spring 2016 is about to come to an end. The details are all here, in case you've missed them, and the deadline for us receiving your work is 5pm on Friday May 29th. If you've almost got something together, but can't make that, don't panic! I'll most likely open submissions for autumn 2016 that very same day (with the same requirements), so only rush if you need a decision soon.

I'd actually like to request some help with that decision: I'm looking for fans of literary publishing to meet me in Scarborough one day in June, to read through a selection of submissions and give me some feedback. If you're interested in attending this, reply to this email and let me know; we'll discuss exact dates and times once I have five or six volunteers. If you've submitted something in the last six months, I'm afraid you're not welcome at this meeting - but the rest of you are.

I'd also like a few volunteers to read a forthcoming VP title, due for publication in September - it's prose, non-fiction, on the short side at just 70 pages; I'm looking for general feedback and answers to a few specific questions, which I'll be asking after you've read it. Again, if you're interested in helping out, please reply to this email and let me know. (You won't have to come to Scarborough for this one.)

Finally, I'll end by directing you to a couple of wonderfully detailed and eloquent reviews of our March novel Grandmother Divided by Monkey Equals Outer Space; one from 'Scots Whay Hae' and one by R J Askew. I also loved this short blog about the book by our sales agency's director Sheila Bounford. And very finally (sorry for going on so long!), thanks to Jim Hinks, a remastered version of Dame Judi Dench reading Sue Wilsea's short story 'Paper Flowers' is now online here. Would be a great way to spend 20 minutes of your bank holiday! (In addition to all the minutes you've spent on this newsletter...)

All the best, and thanks for reading,
Jamie McGarry (VP Publisher)

Reasons I had a great London Book Fair

Why did I decide to exhibit at the London Book Fair this year? Unlike Jamie, it's never been on my bucket list, and, like Jamie, I don't have a huge amount of money to be splashing out on ventures which will definitely not lead to sales. The LBF isn't a book-selling fair but a trade fair, where publishers go to buy and sell international rights for books. There's networking too, and different countries representing their literary output, but the main business is securing book deals, which doesn't really apply to small poetry publishers.

Rachel, me and Jamie mid-roam at #LBF14

At the risk of sounding frivolous, I think the main reason I decided to fork out for a stand at the LBF was that I wanted my own table and chair. Without the offer of a stand on the Inpress Poetry Pavilion, I would have gone anyway and roamed around like I did last year, but I liked the idea of not having to sit cross-legged on the floor for meetings. As a small, new publisher, my rightful place at the LBF probably is as a bottom-feeder, but it's nice to try on a bit of grandeur once in a while. The other reason I decided to exhibit at the LBF was so I could tell people I'd done it, because I thought it might sound impressive.

So, from the moment I sat down in my chair last Tuesday and sent my first #LBF15 tweet, I'd achieved all my goals. I had low expectations about the fair and was prepared to spend a lot of time sitting quietly at my table or chatting to Jamie (who was sharing the stand with me, naturally), and I would have been perfectly happy with that. Over the course of the fair, though, there was a lot of discussion about how the brand-new Poetry Pavilion concept was doing and lots of people asked me if I was having a 'good fair'. I think I answered every time 'I'm having a great fair!', which was such an unexpectedly superlative reaction that I thought it would be good to share why.

Reasons I had a great London Book Fair 

ONE. Being part of the party. 

Me and Jamie with our table and chairs at #LBF15

Small poetry publishing often feels set apart from the rest of small press publishing, let alone from the big leaguers in the publishing world. I liked having a stand at the LBF because it felt like being part of a huge display of the health of the book industry. I like the optimism and passion on the small poetry publishing scene, but I also like to be reminded that some publishers are producing blockbusters and making deals which the Bookseller and even mainstream newspapers count as Real News. That'll be me, one day!

TWO. Publisher Skills 101. 

Never have I had to explain the concept of the Emma Press to so many people in such quick succession, and on such dwindling reserves of energy. Contrary to my fears, people did actually stop to chat at the Poetry Pavilion and I had to summarise the origins and aims of both the Emma Press and Valley Press (when Jamie wasn't around) to authors, bloggers, printers and other publishers.

I was also pleased to get a bit of practice in slapping down patronising people. Usually I'm taken too much by surprise to react, but at the LBF they came regularly enough that I was able to experiment with varying degrees of hostility.

A fine panorama of #LBF15 by Jamie

THREE. The Inpress Poetry Pavilion. 

The LBF isn't really geared towards unpublished authors, even though the Author HQ hosts talks from editors and agents and being part of the party is important for writers too. For an unsigned writer, I think the LBF is more like a sweets museum than a sweetshop (don't try extend this analogy too far, or at all), which is why the Poetry Pavilion was such a treat. As I sat on the little row of small poetry publishers, I thought about how this was a genuinely useful section of the fair for unpublished poets, where they could come and get to know the editors of some ambitious small presses which might actually be interested in publishing them. I hope the LBF decides to run with this in future years, because it's a valuable resource for unpublished poets and small presses alike.

On setting up a poetry press in your 20s panel @LondonBookFair with @LondonBookFair with @valleypress @TheEmmaPress pic.twitter.com/feZv0DuD3Q

— Nine Arches Press (@NineArchesPress) April 15, 2015

FOUR. The talks. 

I went to most of the talks on the Poetry Pavilion, partly to take a break from explaining the Emma Press to people, and I'm delighted to report that Inpress did a fantastic job of whipping up a programme of readings and discussions at incredibly short notice. Again, I found myself musing on how genuinely useful these talks were, especially to young publishers. When else was I going to hear Michael Schmidt and Simon Thirsk weighing up the differences of Carcanet and Bloodaxe, and Jo Bell and Judith Palmer evaluating the Canal Laureate scheme and the value of arts partnerships?

I especially enjoyed the panel discussion on translating poetry from Susan Curtis-Kojakovic of Istros Books, with Damir Šodan, Ana Brnardić and Pedro Serrano, and felt quite enthused to start dabbling in translations myself. If you're a translator and think you have something which is just right for the Emma Press, get in touch!

My friends @valleypress @wbphull #publishers at the London #Book Fair #LBF15 pic.twitter.com/SFv2Ndcqx0
— Stephanie Cox (@cox_stephanie) April 15, 2015

FIVE. Hanging with my peeps.

What really made the fair for me was that several of my favourite – and soon-to-be favourite – small publishers had also decided to come along. I wouldn't say that my life as a publisher is particularly lonely, but I do miss the sociability of working at Orion, with all the tea breaks and chats across desks. The three days of the LBF were a great chance to have proper chats with Katherine from Ugly Duckling Presse, Jane from Nine Arches Press, Clive from Burning Eye Books, Mick and Sarah from Seren and Tom from Penned in the Margins, as well a rare catch-up in person with Jamie from Valley Press. I also got to meet Michael from Carcanet, Jenny from Candlestick Press and Shane from Wrecking Ball Press.

SIX. Pens.

It was a good excuse to get some promotional pens done.

All prepped for the dark arts seminar with my @TheEmmaPress pen. #LBF15 pic.twitter.com/sz6FCvGQpZ
— Joseph Coelho (@Poetryjoe) April 14, 2015

New books and news from Valley Press

Dear readers,

This month I'm proud to introduce two new books into the world, Seahouses by Richard Barnett and (deep breath) Grandmother Divided by Monkey Equals Outer Space by Nora Chassler. If you want to bail out of this blog post now, having visited those two links, you should feel free - I recently asked Mrs. McGarry if she reads these missives; she sighed and said 'well, they're a bit long aren't they'. So this is your point to escape ... otherwise, let's push on.

I'll start with GDMEOS, or Granny as I've been calling it for short. Set mainly in a small flat in New York, in 1982, this is a novel that has so far been called 'unabashedly literary' and 'a bit post-narrative' by those attempting to concisely explain it. The press release, posted here, offers a more thorough introduction, and there's a sample here.

A launch event for this book is coming up next week in Edinburgh; specifically, at the marvellous Word Power Books, on Monday 30th March, from 6.30pm. This is a 'drinking and mingling' type of launch, with minimal public speaking, but the author will read a few choice paragraphs from throughout the book to whet your appetite - and sign copies of course.

Then we have Seahouses, the debut collection of poetry by Richard Barnett (beautifully pictured here on a bench by our own Jo Brandon). You may have heard of Richard through his acclaimed non-fiction writing, or encountered his poetry in Pocket Horizon back in 2013; but if you'd like to get better acquainted, he recently recorded three Seahouses poems for a podcast, which you can find here. If you prefer poems on the page, where you can keep an eye on them, you can read the first 17 pages of the book on its homepage here.

This book has a launch event too, though you don't need to get your coat on just yet - the Seahouses launch is on Wednesday 27th May, from 6pm, at Blackwell's Holborn in London. Richard will be reading at 7pm, but before that, you've guessed it - drinking and mingling. The literary life is a tough one!

In other news, Valley Press is heading to the London Book Fair on the 15th and 16th April, and this year we really mean business - we're exhibiting, in a part of the fair which the organisers are calling 'the Poetry Pavilion'. The precise stand number, if you'd like to come and see us, is 3A74b; it's a shared one with our perennial allies The Emma Press (who you'll find 50cms to the right, at 3A74a). We're really looking forward to it - we've got our entry badges printed out and everything.

I'll end with a few bits of press: there was a full page on Oz Hardwick's The Ringmaster's Apprentice in the Yorkshire Post a couple of weeks ago; the wonderful Sabotage Reviews tackled Richard O'Brien's A Bloody Mess and (somewhat belatedly) Miles Salter's Animals; Cuckoo Reviews did justice to A Pocketful of Windows and A Bloody Mess; and Helen Mort was full of praise for Matthew Hedley Stoppard's A Family Behind Glass on Twitter last week. Oh, and as I write this very paragraph, Rodge Glass has just declared his love for the writing of Nora Chassler - and says Grandmother Divided by Monkey Equals Outer Space is a great title.

I'll see you next month for details of our two April books, and any news that might arise from the LBF. Looks like a busy spring for Valley Press this year!

All the best, and thanks for reading,
Jamie McGarry (VP Publisher)

Press release: New from Valley Press, Grandmother Divided by Monkey Equals Outer Space

An ‘unabashedly literary’ novel, Grandmother Divided by Monkey Equals Outer Space is is the new book from Scottish-based, American-born writer Nora Chassler – a story as distinctive and unforgettable as its title.

Set in New York City, 1982, the book follows a dysfunctional family – detail-obsessed Carrie, constantly-angry Eli, their pot-smoking mother Viv and her teenage boyfriend, Arnie – who live in a one-bedroom apartment on the Upper West Side. One by one, they encounter a psychic, Miss Rosa, who lives ‘above the smaller dry cleaners’ and is desperate to share her life story with the family; a story that resonates disturbingly with their own lives.

‘It’s about the blur between kids and adults, sex and love, stories and real life,’ says Chassler of her latest publication. ‘It was a hard novel to write. I knew it was odd from the moment I started … though I tried to make it as pleasurably readable as possible, while respecting its increasingly bizarre aims. Hopefully I managed to juxtapose the plotless discomfort of the family with the deathbed story Rosa is attempting to concoct, to make sense of her life. In a way, it’s about the stories we think we’ve lived.’

Born in Madison, Wisconsin, in 1972, Nora Chassler grew up in New York, a city she writes about in immersive, extraordinary detail – almost as a character in its own right. She has an undergraduate degree in English from Hunter College, CUNY, and a Masters in Creative Writing from St Andrews. She has worked as a model and a social worker, and now lives in Edinburgh.

Her first novel, Miss Thing (2010) was described by The Herald as ‘Somewhere between Nabokov and Bret Easton Ellis … Chassler’s characters illicit real emotion. Their stories grip you to the last and leave you wanting more.’ The Independent said Chassler’s ‘shimmering debut’ ‘demands – and rewards – close attention. It’s clever, playful and often darkly funny. It’s also touching.’

Produced in a luxurious foil-finished paperback format by Scarborough’s Valley Press, Grandmother Divided by Monkey Equals Outer Space will be launched in an event at Edinburgh’s ‘Word Power Books’, on Monday 30th March, from 6.30pm.

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Find out more about the book, and read a sample, here.

Journalists/bloggers: download this press release as a PDF here.

A new book and a priceless one, from Valley Press

Dear readers,

It's the first newsletter of 2015, and though the year may have changed, our mission at Valley Press remains the same: to bring you the best new literature we can find, in as nice a package as we can possibly manage. With this in mind, I'll kick things off by introducing you to our latest book, which is simply titled All.

All is the second collection of poetry from Canadian-born, Yorkshire-based poet Robert Powell. He started working on the poems that make up All in early 2008, and handed them to me around this time last year - so this book was six years in the making, seven if you include the last twelve months of editing and designing.

And it shows; every sentence, every word in this book seems to me to be in exactly the right place. It's a phenomenally good read, so I suggest you get stuck in straight away. You can read the first twenty-three pages here (scroll down to find the preview widget), and one of my other favourites on the author's page.

Once you've taken all that on board, you can of course buy a copy, or you may prefer to come to one of the launch events during March. The details are as follows:
 

Wednesday 4th March, 7pm
Waterstones, York
Coney Street, York, YO1 9QL, 01904 620784

Sunday 29th March, 2pm
The Orangery, Wakefield
Back Lane, Wakefield, WF1 2TG, 01924 215550

The York launch, which I shall be proudly attending, will also feature our own James Nash and the non-Valley (but still highly talented) poet Carole Bromley. Wakefield guests are to be confirmed, but will be excellent I'm sure.

In other news: congratulations are due to the Pocketful of Windows contributors and their enterprising editor Mr. Hodcroft - the 500th copy was sold earlier this week.  No small achievement!

A particular sales outlet asked me to produce some copies of the book without its '£3.99' badge, which I duly did, and as a side-effect I ended up with one badge-less copy to sell myself (pictured on the right). Regular readers will know I love an experiment, so I've put it up for auction on eBay, in order to (as I was recently advised by a publishing CEO) 'let the market decide the value'. I look forward to seeing the outcome when bidding finishes on the 21st February.  

I'll close with some more congratulations, as our constant allies The Emma Press have won their first poetry prize - Stephen Sexton's Oils was selected as the Poetry Book Society’s 'Winter Pamphlet Choice'. I'm looking forward to reading it soon, and so should you. (After you've read All of course ... maybe you could read them at the same time?) 

That's all for now, as I'm on the verge of sending our two March titles to the printers, and after that I need to come up with some new superlatives to accurately describe those incredible literary achievements to you in the March newsletter. Wish me luck!

All the best,
Jamie McGarry
(Valley Press Editor)