Friday, December 27, 2019

Grolier Picks: Books for Winter Reading



From time to time, the staff of America's longest-running poetry-only bookshop, the logically-named Grolier Poetry Book Shop in Harvard Square, release a list of recommended titles from their current stock. Here is their list for the last week of December 2019.


SOME TREES by John Ashbery
Comparing him to T. S. Eliot, Stephanie Burt writes that Ashbery is “the last figure whom half of the English-language poets alive thought a great model, and the other half thought incomprehensible.” After the publication of Some Trees, W. H. Auden famously confessed that he didn't understand a word of it. Most reviews were negative. But in this first book of poems from one of the century's most important poets, one finds the seeds of Ashbery's oeuvre, including the influence of French surrealists—many of whom he translated—and abstract expressionism.


WAKE, SIREN by Nina MacLaughlin
"I am the home of this story. After thousands of years of other people's tellings, of all these different bridges, of words gotten wrong, I'll tell it myself." Seductresses and she-monsters, nymphs and demi-goddesses, populate the famous myths of Ovid's Metamorphoses. But what happens when the story of the chase comes in the voice of the woman fleeing her rape? When the beloved coolly returns the seducer's gaze? When tales of monstrous transfiguration are sung by those transformed? Wake, Siren revisits each account of love, loss, rape, revenge, and change. Drawing on the rhythms of epic poetry and alt rock, of everyday speech and folk song, of fireside whisperings and therapy sessions, author Nina MacLaughlin recovers what is lost when the stories of women are told and translated by men, breathing new life into these fraught and well-loved myths.


MY EMILY DICKINSON by Susan Howe
Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—shows ways in which earlier scholarship has shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, “My Life had stood—a Loaded Gun,” Howe tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day.


COLLECTED POEMS of Chinua Achebe
"The father of African literature in the English language and undoubtedly one of the most important writers of the second half of the twentieth century," writes critic Caryl Phillips. Chinua Achebe's award-winning poems are marked by a subtle richness and the political acuity and moral vision that are a signature of all of his work. Focused and powerful, and suffused with wisdom and compassion, Collected Poems is further evidence of this great writer's sublime gifts and it is an essential part of the oeuvre of a giant of world literature.


WOOLGATHERING by Patti Smith
In this small, luminous memoir, the National Book Award-winning author revisits the most sacred experiences of her early years, with truths so vivid they border on the surreal. The author entwines her childhood self—and its "clear, unspeakable joy"—with memories both real and envisioned from her twenties on New York's MacDougal Street.


A THOUSAND MORNINGS by Mary Oliver
In this collection, Mary Oliver returns to the imagery that has come to define her life's work, transporting us to the marshland and coastline of her beloved home, Provincetown, Massachusetts. Whether studying the leaves of a tree or mourning her treasured dog Percy, Oliver is open to the teachings contained in the smallest of moments and explores with startling clarity, humor, and kindness the mysteries of our daily experience.


FELON by Reginald Dwayne Betts
These fierce, dazzling poems tell the story of the effects of incarceration, canvassing a wide range of emotions and experiences through homelessness, underemployment, love, drug abuse, domestic violence, fatherhood, and grace. Betts confronts the funk of post-incarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person's life.The poems move between traditional and newfound forms with power and agility—from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume's radiant conclusion.


THE ODES OF HORACE translated by David Ferry
The Latin poet Horace is, along with his friend Virgil, the most celebrated of the poets of the reign of the Emperor Augustus, and, with Virgil, the most influential. These marvelously constructed poems with their unswerving clarity of vision and their extraordinary range of tone and emotion have deeply affected the poetry of Shakespeare, Ben Jonson, Herbert, Dryden, Marvell, Pope, Samuel Johnson, Wordsworth, Frost, Larkin, Auden, and many others, in English and in other languages. Ferry's inspired new translation of the complete Odes of Horace conveys the wit, ardor and sublimity of the original with a music of all its own.


BLUETS by Maggie Nelson
Since it was first published a decade ago, Bluets has drawn scores of readers with its surprising insights into the emotional depths that make us most human—via two hundred and forty short pieces, by turns lyrical and philosophical, on the color blue. The new beautiful hardcover edition from Wave Books celebrates Nelson's uncompromising vision, inviting longtime fans and newcomers alike to experience and share in an indispensable work that continues to disrupt the literary landscape.


CEREMONIAL ENTRIES by Joe DeRoche
In these tough-minded and tender-hearted poems, DeRoche explores the spiritual and secular frameworks used to assess the competing claims of body, mind, and soul, and of faith and doubt in divinity, love, and poetry itself. The ceremonies lead from struggles between conflicting goods toward acceptance that the world and our experience of it is always sacred and profane: a place where Satan may be a saint and the light in an image of the infant Jesus Christ can seem as earthbound as celestial, where love can redeem and debase, where poetry can transform, disinfect, and merely feint or fail or cheat.


Grolier Poetry Book Shop, at 6 Plympton Street in Cambridge, is open Tuesday and Wednesday from 11-7, and Thursday through Saturday from 11-6. Find them online at Twitter, Facebook, Tumblr and Instagram, or on their website at www.grolierpoetrybookshop.org. The Shop is a historic place for poetry lovers and poetry makers, and they deserve your business. Stop by and buy a book, and let them know that Pen & Anvil sent ya.

Thursday, November 21, 2019

"Crossed wires. I'm clueless. Got it!"

(Annals of an Editor, #79)



Typically the entries in Annals of an Editor are drawn from my correspondence with authors hoping to work with my small press. This time around, I would like to share an exchange that took place on Facebook.

An academic acquaintance of mine is the editor of a book  being released this week. I saw an announcement about the release, and commented, giving him the email address for our New England Review of Books. My thinking it would be useful for the publisher to have yet another contact for potential reviews coverage. Well, things got a little tense, if not quite outwardly antagonistic.

Wednesday, October 23, 2019

An Immigration Story


Chukwuebuka Ibeh is a stringer for the New England Review of Books. He is based in Port Harcourt, Nigeria, and writes to us to share his recent interaction with the passport authorities there.

On a rainy Friday morning in August, I sat in a small room on the second floor of the Federal Immigration Service Office in Port Harcourt. I wanted to finally do what I had put off doing for a long time—get a passport. I had earlier been connected to an agent who would help guide me through the process. He was not on site when I arrived, so he instead referred me to a co-worker. I was then asked to wait for a minute, and then for a few minutes, and then for a few hours. Finally, when I was called in to submit my application documents and sit for a brief interview, it was almost evening. When I protested over the long wait, I was told I was lucky to have gotten it done today at all.
When I asked how long it would take to get the passport, I was told three weeks.
I asked, why does it take such a long time?
They were currently out of materials, he said. And when the materials do eventually arrive, the people who paid for express delivery would be attended to first.
I paused. I wanted to point out the absurdity of a government office not having the basic materials needed for its running, and wanted to further point out the irony of express delivery. But I was exhausted from the long wait, and late in getting home home, and three weeks wasn’t so bad. So, I let it go.
I returned to school in Bayelsa—a neighboring state—the next day. Tied up with schoolwork, I forgot about the application, allowing for a full month to pass before I called the agent to find out my pickup date. The materials had still not arrived. His tone was apologetic, but removed. He assured me they would definitely arrive the following week.
I called him back on the Friday of the following week. He picked on the third ring and gave me the news in a somber, almost reluctant, manner: no, the materials had not arrived. Not even the ones for express-delivery. When I asked what could possibly be the cause of the delay, he sighed vaguely.
I lost my patience when I called three weeks later to be greeted yet again with the news of the passport’s non-arrival. I raised my voice, calling out the government’s ineptitude, and even threatening to withdraw my application if care was not taken. (In retrospect, I found this funny—for it was only myself who would stand to lose if a withdrawal was effected) The agent waited until my tirade was over before telling me, in a calm voice, that the situation was hardly his fault, and that if anyone needed to be shouted at, it wasn’t him.
In the second week of October, I commenced exams for the second semester of my penultimate year. Preoccupation with these took my mind off the passport for a while, at least consciously. On a Thursday of the third week of the month, I had reason to briefly visit Port Harcourt, and I called, sensing as I did that some hopeful news awaited me. The agent’s silence after our first hello dispelled this hope.
Instead of asking if the passport had arrived, I asked him if it would ever arrive.
Surely, he said.
When?
Very soon.

Chukwuebuka Ibeh is a staff writer for Brittle Paper, with writing most recently in McSweeney's and on the short list for the Gerald Kraak Prize. Connect with him on Twitter. || Photo by Ashim D’Silva, showing the silhouette of a person at Ronald Reagan Washington National Airport; via Unsplash. || Readers may also enjoy the story "At the Airport in Kalai" by Floyd J. Miller, appearing in a 2009 issue of The Charles River Journal; and "Waiting for a Visa" by B.R. Ambedkar, written in 1935 or '36.

Wednesday, April 10, 2019

What is in a marketing prospectus?


So, you've completed a manuscript... congratulations! And now you want to start sending it to publishers. (Or, shopping it to agents.) Many shops -- Pen & Anvil is one of them -- are prepared to consider a book proposal only if it comes attached to a marketing prospectus. What goes into such a thing?

Well, details and requirements vary. You can find detailed accounts of what is most useful to include in such a document in any guide to submissions, or by consulting an experienced editor or agent; but in our view at Pen & Anvil we believe a prospectus should definitely include:
  • an account of what books in market are comparable to yours (and how you made that determination), along with their sales prominence/numbers
  • an account of how you'd intend to participate in the sales marketing process -- festivals? course adoptions? reading groups? store appearances? leveraging your social media network? -- in the 1-2 years following your book's publication
  • an account of your promotional resources as an author (the size and Klout of your social media audience is relevant, but the more relevant question is: can you explain how you've had success using that social media network to drive a sales campaign, or something analogous like a petition, event registration, etc?)
  • a list of your primary "connections" in the literary sales space -- editors, program heads, etc; and so on. 
The whole document might come in at 2-4 pages. Your prospectus should be geared toward answering three questions in the affirmative:
  1. Has this author given serious thought to the work involved in promoting a book?
  2. Does this author have a realistic understanding of how their book compares to books in the market?
  3. Do resources existent to convert promotional labor into sales results for this book?
This might seem like a big ask, even an impediment. "I just wrote a BOOK! Why do I have to do all this additional work?" Actually, though, don't be discouraged by the requirement to prepare a prospectus. You should want only to work with a publisher who is considering the book through the lens of market prospects. If you aren't being asked questions up front, why should you trust that the publisher is oriented and equipped to connect an audience to your project?

You don't have to be a marketing expert to prepare a prospectus -- no publisher is going to expect you to lay out your philosophical preference for the funnel model versus the flywheel, for example. But you do need to be willing to work collaboratively with your publisher on the marketing and promotion of your book if you want to maximize your audience size. Each side is bringing something to the table: your publisher has the business systems, production acumen, and market intelligence; you have the authorial skill, the intellectual property, and the personal incentive. Together, you should work out a plan to work as an integrated marketing team so that your book can be discovered, sold, read, and enjoyed by the reader you want to connect with.

Monday, December 3, 2018

On "humankind & nature"

Graphic from the homepage for the course "Human Nature and Human Diversity" at Rutgers University.
The following text was included in a call for submissions sent out earlier this year for our journal of nature poetry:
      Hawk & Whippoorwill, whose theme is “man and nature,” is now reading submissions for our December issue. We invite you to submit yourselves, or, to share this call for submissions with other writers in your circle.
      Originally published back in the 60s, H&W has been host to poets from all walks of life, and we hope to continue that tradition with the “new series” revival of the magazine ... We will gladly accept any unpublished poems which deal with our theme of man and nature. (Of course, we read “man” as “humanity” here, not as a gendered term. While we inherit the original tagline, we are definitely interested in challenging its restrictive implication!)
Among the replies we received to this solicitation, we got a particularly thought-provoking email from Barbara Ras. She wrote:

Monday, October 29, 2018

Sven Birkerts on the Digital Submissions Tempo

The monthly email newsletter AGNI sends to subscribers and supporters is worth reading, but as far as I can tell, the mini-essays that editor Sven Birkerts contributes to these newsletters aren’t available elsewhere. Wanting to share these more widely, I’ve elected to re-print some of these newsletter essays here on Ampersand.  Enjoy! 
- ZB 

“AGNI's Own Midnight Madness”
by Sven Birkerts


[The AGNI email newsletter, October 2018.] I've been thinking a lot about the literary arts just recently. I don't mean literary in the already-between-covers-and-on-the-shelves sense. I'm focused, rather, on the poetry and prose now coming to AGNI over the transom.
 
Pouring in, I should say. On September 1st - as every year - we re-opened our online Submission Manager, which had been closed since the end of May. Opening day always brings a deluge from writers who've been waiting to send work all summer. It's Midnight Madness - quite literally. That's when the sluices open.
 
Having been out of town for the first few days of the month, I was braced to find more submissions than usual on my return. I was not braced to find 970 lined up in a queue. 970! Screen after screen of stories, poems, and essays - all to to be opened and read, all bearing the invisible good-luck hexes of their authors.
 
The number shocked me backwards out of my chair. I saw in a flash what I would be doing for the next weeks, maybe months. The thought of so many hours nearly overwhelmed me. But then, as if in compensation, there came a new and more lifting recognition.

It was a recognition, simply, of the unending stream of the new. Having been caught up for years in the unchanging repetitions - click, read, evaluate - I'd all but lost sight of what was - is - going on under that grid: a movement not unlike that of history itself. All of us at AGNI are posted right at the intersection, where private visions meet the cultural moment. I think of myself as a broker, a weatherman.

Energized by the realization, I started in on my reading. And, as always happens, I found myself asking the old questions: What is it that makes for freshness? What compels my deepest attention?

This time the answer was quick in coming. I'm looking for (we're looking for) writing that catches experience before the crusts of habit form - poetry and prose that has a genuine pulse. I'm especially interested in work from younger writers who are not yet curating themselves as a brand-in-the-making. They have the least pre-filtered sense of our times. They are likely to be the most in touch with the atmosphere of the now, the so-called Zeitgeist.

The culture, we know, changes constantly. I've been minding the store here long enough to assert that the work coming to us now is different from ten years ago. How could it not be? A writer's expression encodes the times in all sorts of ways. It foregrounds new themes, tweaks syntax and rhythm, and often tries to veer away from former innovations that have become stale.

Reading, I'm watchful. I can't help but note the subtle changes of tone and the effects that go against expectation. They indicate the particular momentum of the times.
 
What are writers doing that feels different?

Years ago, I wrote some essays that asked how the features of our flourishing virtual culture would ever find their way into literature. Could our screen-intensive lives be conveyed in interesting ways? Could writers be of the times and also use the materials of the times to create strong narratives? Maybe those writers had the same hesitations, because for more than a few years I saw little evidence of change.

But times are different now. A generation of digital natives has joined the ranks. They're everywhere, striving to render their lives. Reading submissions, I find that Google, YouTube, Twitter, and dating apps are not only part of the subject matter in all three genres, they are affecting modes of narration. Fewer stories and essays, I notice, rely on sequential telling. Lateral association is far more common, perhaps reflecting the logic of the link.
 
So our fast-changing world presses steadily against the supposedly closed order of the written work. How could it not? We all track the news cycle nowadays, absorbing its energies and anxieties. Submissions have grown more dystopian, and utopian - both. I also see - no surprise - more exploration of the tensions around race, around gender imbalances, around acts of violence and coercion . . . 
 
I also notice more specific trends. I'm reading more "premise" stories - stories in which some unusual situation is set out and then worked through. A man wakes up to find his wife has vanished; a forgotten girlhood friend appears on a woman's doorstep . . . There are dozens of variants, most focusing on actions and reactions in the outer world and steering clear of murkier psychological interiors. I wonder about this. Are we losing the taste for inwardness? And what if we are? 
 
In nonfiction submissions, meanwhile, I'm encountering all kinds of "instruction" or "hermit crab" essays, where a non-literary structure serves as basis: numbered how-to lists - for example, "How to break up with your girlfriend" and so on. I'm also reading many more so-called braided essays, which weave a personal strand together with a counterpoint - about the history of hot-air balloons, say. The expository threads are clearly pulled together from online research. The writer arranges interesting bits to play off of the more personal narration. It's for the reader to integrate the dissonance. Both of these modes seem to me responses to the almost unmanageable complexity of our new world.
 
Finally, in the poems we receive, I have to remark how many proceed by chopping what are ultimately prose narratives into lines. Freed from formal expectations, the poets seem to ramble garrulously, and the idea seems to be that the digressions are often where the meaning is to be found. The poet trusts that voice and quirky turns will carry the day.
 
These are only a few of the trends - there are of course others. It's like we are all crossing a rickety bridge across a chasm. We can still see the ledge behind us, but there's no clear view ahead. Writers respond as they need to. Some of the pieces I read feel like old patterns and conceits retooled for fresh uses - true originality is always in short supply. But I also see work that takes on the new unknown in brave and original ways. Stories, poems, and essays arrive that are attuned to what Seamus Heaney called "the music of what happens." This is the needed thing that we want to keep passing along to our readers.

Tuesday, October 23, 2018

If Abebooks shuts you down, where will you go?

The following message was posted to the message board of the International League of Antiquarian Booksellers, and is reproduced here with the author's permission. - ZB

To whom it may concern:

Antikvariat Valentinska is a large antiquarian bookstore based in the centre of Prague, Czech Republic. We have been selling books through ZVAB for about 15 years now. In 2014, we joined AbeBooks; in 2015, ZVAB definitely ceased to exist as a distinct website for booksellers.

Meanwhile, Abebooks has become the largest and almost singular marketplace for selling antiquarian books on a worldwide basis. The simple truth is that whether someone likes it or not, there is no reasonable alternative to AbeBooks at the moment.

In all those years, we have done our best to satisfy our customers and to maintain the best seller rating. We have never encountered a major complaint, neither by our customers nor by the administrators of AbeBooks. Whatever money we have taken in, we have regularly shared the agreed upon portion of our profit with the owners. Currently, we offer more than 20,000 individual titles on AbeBooks, from the Late Middle Ages to brand-new books.

On Thursday, 18 October, we received the following email from the seller support of AbeBooks:
Effective November 30, 2018, AbeBooks will no longer support sellers located in certain countries. Your business is located in one of the affected countries and your AbeBooks seller account will be closed on November 30, 2018. We apologize for this inconvenience.
The decision to close our account on such short notice has come as a complete shock, especially since no reason was not given even upon request. Just our company alone will almost certainly have to dismiss at least five employees. Furthermore, we do not have any idea where else to sell about 20,000 foreign books.

We are deeply concerned about this step, not only because of our own financial losses to come.

In light of the monopoly position of AbeBooks, closing all seller accounts in the Czech Republic, Poland and Hungary (as far as we know, these are the countries concerned) will basically mean nothing short of cutting these countries off from the worldwide trade with antiquarian books. Which countries will be next?

Whatever the reasons may be, the fair worldwide trade with antiquarian books will not profit from this step.

We therefore kindly ask the AbeBooks and Amazon administration to reconsider this unfortunate and discriminatory step.

Jan and Ondrej Schick
www.valentinska.cz
Antikvariát Valentinská
Valentinská 8
110 00 Praha 1 - Staré Město
Czech Republic