Tag Archives: the contemporary small press

An Indie Press Christmas!

via An Indie Press Christmas

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Epigraph of The Life of Almost

For Ned. Because Almost is also a love story: Seren, Mfanwy, Perfection, Mammy, the sacred headland and the mermaids. And you are my story and my song. x

This is what it says at the beginning of my next book, The Life of Almost: wish me luck, as it has gone, by kind request, out to an agent who liked the writing in Killing Hapless Ally; the ms has also gone to a press; later in October, it is going out elsewhere and, to my utter surprise, a really lovely person at one of, you know, the big five, said they would look at it just to be helpful. I said it wasn’t really, as far as I could see, a commercial proposition, but then it is the next story I had in me. I know it’s ambitious and I do know about Peter Carey’s Jack Maggs. Ah, but bear with now. This one now is comical, I hope; indebted to Dickens and to Dylan Thomas; to generations in Pembrokeshire and beyond; to the coffin hatch in my own house; to the dead, who are legion and all around; to mermaid lore; The Mabinogion; Celtic Magic, Gwyn Williams, Danny Abse, the earliest Welsh poems, the Southern Gothic I married, books on sex, embalming and death practice, John Donne and Dickens again. And don’t you want to know who or what Almost is? How mermaids love? Why a child was found sleeping on a headland gravestone? Why moss creeps and sucks at your feet as you dare to tread? How a love story happens over the embalming table and how Almost feels, when he meets Derian Llewhellin, both fear and happiness and a blurring of his edges and how it is he begins to understand what he is capable of. The story begins this squalid summer, June 2016, but oh…it is old, old, old.

 

THE LIFE OF ALMOST OR,

A LIFE OF VERY LITTLE EXPECTATION

Anna Vaught

Disclaimer: this is a work of fiction, I swear on The Mabinogion and the sacred headland. Characters in this book are fictional, although I have drawn upon the history of my own Welsh family and diaspora and many things which to me seem normal and maybe which, to you, do not. I make no apology for references to the political situation in the summer of 2016 while a cunning clown and cohorts and a tide of rage pushed through the always unexpected rain. Real places named in the book are at least partly fictionalised and the dead and undead are somewhat mixed up. But enough: don’t you want to know about Almost? He was mine; now I am giving him to you.

All poems (unless otherwise attributed, but out of copyright) are by the author.

Lewis, the Younger, who went away

When I was a kid, Lewis took his own life.

I heard them say he took it, but where it went,

I couldn’t say or wasn’t told. Perhaps it had

been drained, in The Sloop, with all his pints,

or thrown gladly off Stack Rocks with a shout

that he married well and was a man they liked,

but I don’t know. For once, though I was very young,

I saw a look from out the corner of his eye as he shipped

off, went laughing with the pot boys and his girl:

that look it said, I think, that Lewis wanted rescuing,

but no-one came, as the sea foam danced in Cardigan Bay.

“Look’ee here, Pip. I’m your second father. You’re my son—more to me nor any son.”

Abel Magwitch, Great Expectations, chapter thirty nine.

 

Not the Booker, 2016

So…if you have read and liked my debut novel, Killing Hapless Ally, and it meant something to you; if it made you laugh; you thought it had weight; if it made you fall madly in love with Albert Camus or understand what mental health problems or mental illness might be like (my publisher makes it clear at the beginning of the book that I drew on many episodes in my own life; if you like semi colons, Dolly Parton, poetry and laughing at the dark things…go on, vote for it. The article that follows is from ‘The Guardian’ and below is the link you need to click on, register with ‘The Guardian’, then offer your vote. Actually, there should be two votes, but you need only comment on one of the books.

And look at all those indies! What follows, then, is from ‘The Guardian’; just underneath it, I’ve copied my votes.

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Not the Booker prize (very) longlist 2016: votes, please!

If you felt this year’s Man Booker selection was not broad enough, get a load of ours. And help decide which books make the shortlist

Composite: Authors Julian Barnes, Don DeLillo, Kei Miller, Sarah Perry, China Miéville and Lionel Shriver
A very small sample of the authors on our longlist … (clockwise from top left) … Julian Barnes, Don DeLillo, Kei Miller, Sarah Perry, China Miéville and Lionel Shriver. Composite: Alamy/Rex/Getty Images/Graham Turner/Graeme Robertson/Sarah Lee for The Guardian

Last week the Man Booker longlist was announced. A little surprising, right?

OK, I’m happy to admit that the main prize has a few things going for it. But I always feel that its longlist is just as notable for its omissions as the books that are chosen. This year was no exception. A few good books sometimes sneak on there – but dozens more don’t make it. And you know what? The Booker’s so-called longlist isn’t even that long. Not like the Not the Booker. As you will see below, our list really is long.

There are well over 100 books, making 2016 a record year already. So thank you to everyone who has contributed so far. And I hope you stick around as the real work begins. Because we somehow have to whittle this mighty list down to a manageable half-dozen books.

And how do we do that? We vote! If you want to take part, all you have to do is choose two books from the longlist, from two different publishers, and accompany those votes with a short review of at least one of your chosen books. It would also be very helpful if you included the word “vote”.

The review should be something over 100 words long, although as our glorious and shining Terms and Conditions state, we won’t be counting that carefully. Just make it look like you care.

It’s that simple. So let’s get voting. You’ve got just over a week. The deadline is 23.59 on 14 August 2016. The contenders are:

Megan Abbott– You Will Know Me (Picador)
Lesley Allen – The Lonely Life of Biddy Weir (Twenty7)
Deborah Andrews – Walking the Lights (Freight Books)
Louis Armand – The Combinations (Equus)
Kate Armstrong – The Storyteller (Holland House)
Jason Arnopp – The Last Days of Jack Sparks (Orbit)
Jenn Ashworth – Fell (Sceptre)
Chris Bachelder – The Throwback Special (WW Norton & Company)
Jo Baker – A Country Road, A Tree (Doubleday)
Julian Barnes – The Noise of Time (Jonathan Cape)
Shirley Barrett – Rush Oh! (Little, Brown)
Kevin Barry – Beatlebone (Doubleday)
Louise Beech – The Mountain in My Shoe (Orenda)
Claire-Louise Bennett – Pond (Fitzcarraldo)
Bill Beverly – Dodgers (No Exit Press)
Lochlan Bloom – The Wave (Dead Ink)
Lisa Blower – Sitting Ducks (Fair Acre)
Megan Bradbury – Everyone Is Watching (Picador)
Caroline Brothers – The Memory Stones (Bloomsbury)
Liam Brown – Wild Life (Legend Press)
Rowan Hisayo Buchanon – Harmless Like You (Sceptre)
Tom Bullough – Addlands (Granta)
Paul Burston – The Black Path (Accent Press Ltd)
Jackie Buxton – Glass Houses (Urbane Publications)
Louise Candlish – The Swimming Pool (Penguin)
Joanna Cannon – The Trouble With Goats and Sheep (The Borough Press)
Emma Chapman – The Last Photograph (Picador)
Anna Chilvers – Tainted Love (Bluemoose)
Dan Clements – What Will Remain (Silvertail)
Clár Ni Chonghaile – Fractured (Legend Press)
Chris Cleave – Everyone Brave Is Forgiven (Sceptre)
Emma Cline – The Girls (Chatto & Windus)
Paul MM Cooper – River of Ink (Bloomsbury)
Mark Connors – Stickleback (Armley Press)
Isabel Costello – Paris Mon Amour (Canelo)
Jack Cox – Dodge Rose (Dalkey Archive Press)
Justin Cronin – The City of Mirrors (Orion)
Rachel Cusk – Transit (Jonathan Cape)
Shelley Day – The Confession of Stella Moon (Contraband)
Don DeLillo – Zero K (Picador)
Ruth Dugdall – Nowhere Girl (Legend Press)
Sophie Duffy – Bright Stars (Legend Press)
Ken Edwards – Country Life (Unthank Books)
Jo Ely – Stone Seeds (Urbane Publications)
Guillermo Erades – Back to Moscow (Scribner UK)
Pamela Erens – Eleven Hours (Atlantic Books)
Lyn G Farrell – The Wacky Man (Legend Press)
Julia Forster – What a Way to Go (Atlantic Books)
Harry Gallon – The Shapes Of Dogs’ Eyes (Dead Ink)
Ruth Gilligan – Nine Folds Make A Paper Swan (Atlantic Books)
Jules Grant – We Go Around in the Night and Are Consumed By Fire (Myriad)
Guinevere Glasfurd – The Words in My Hand (Two Roads)
Garth Greenwell – What Belongs to You (Farrar, Straus and Giraux)
David John Griffin – Infinite Rooms (Urbane Publications)
Michael Grothaus – Epiphany Jones (Orenda Books)
Lee Harrison – The Bastard Wonderland (Wrecking Ball Press)
Adam Haslett – Imagine Me Gone (Little Brown and Company)
Noah Hawley – Before the Fall (Hodder & Stoughton)
Matt Hill – Graft (Angry Robot)
Catherine Hokin – Blood and Roses (Yolk Publishing)
Anna Hope – The Ballroom (Doubleday)
Michael Hughes – The Countenance Divine (John Murray)
Dave Hutchinson – Europe at Midnight (Solaris)
Amanda Jennings – In Her Wake (Orenda Books)
Elnathan John – Born on a Tuesday (Cassava Republic)
Anjali Joseph – The Living (Fourth Estate)
Avril Joy – Sometimes a River Song (Linen Press)
Mireille Juchau – The World Without Us (Bloomsbury)
James Kelman – Dirt Road (Canongate)
Claire King – Everything Love Is (Bloomsbury)
Hannah Kohler – The Outside Lands (Picador)
John Lake – Amy and the Fox (Armley Press)
Jem Lester – Shtum (Orion)
Ashley Lister – Raven and Skull (Caffeine Nights Publishing)
Carol Lovekin – Ghostbird (Honno Welsh Women’s Press)
PK Lynch – Armadillos (Legend Press)
Martin MacInnes – Infinite Ground (Atlantic Books)
Kevin MacNeil – The Brilliant and Forever (Polygon)
Seraphina Madsen – Dodge and Burn (Dodo Ink)
Brooke Maganti – The Turning Tide (W&N)
Ayisha Malik – Sophia Khan is Not Obliged (Twenty7)
Michael J Malone – Bad Samaritan (Contraband)
Iain Maloney – The Waves Burn Bright (Freight Books)
Sarah Ladipo Manyika – Like a Mule Bringing Ice Cream to the Sun (Cassava Republic Press)
Alex Marwood – The Darkest Secret (Sphere)
Colum McCann – Thirteen Ways of Looking (Bloomsbury)
Tiffany McDaniel – The Summer That Melted Everything (Scribe)
Ian McGuire – The North Water (Scribner UK)
Elizabeth McKenzie – The Portable Veblen (Penguin Press)
Wyl Menmuir – The Many (Salt)
Sarah Meyrick – Knowing Anna (SPCK Publishing)
Dan Micklethwaite – The Less Than Perfect Legend of Donna Creosote(Bluemoose)
China Miéville – This Census Taker (Del Rey Books)
Kei Miller – Augustown (W&N)
Alan Moore – Jerusalem (Liveright and Knockabout)
Alison Moore – Death and the Seaside (Salt)
Claire Morrall – When the Floods Came (Sceptre)
Yelena Moskovich – The Natashas (Serpent’s Tail)
Sarah Moss – The Tidal Zone (Granta Books)
Sylvain Neuvel – Sleeping Giants (Del Rey Books)
Carl Neville – Resolution Way (Repeater Books)
Suzy Norman – Duff (Patrician Press)
Claire North – The Sudden Appearance of Hope (Orbit)
Barney Norris – Five Rivers Met on a Wooded Plain (Doubleday)
Edna O’Brien – The Little Red Chairs (Faber & Faber)
Paraic O’Donnell – The Maker of Swans (W&N)
Maggie O’Farrell – This Must Be the Place (Tinder Press)
Harry Parker – Anatomy of a Soldier (Faber & Faber)
Sarah Perry – The Essex Serpent (Serpent’s Tail)
Cherry Potts – The Dowry Blade (Arachne Press)
Laura Powell – The Unforgotten (Freight Books)
Christopher Priest – The Gradual (Gollancz)
Lucy Ribchester – The Amber Shadows (Simon & Schuster UK)
Mary-Jane Riley – After She Fell (Killer Reads)
Adam Roberts – The Thing Itself (Gollancz)
Lou Rowan – A Mystery’s No Problem (Equus)
Amanda Saint – As If I Were a River (Urbane Publications)
James Sallis – Willnot (No Exit Press)
David Savill – They Are Trying to Break Your Heart (Bloomsbury)
Anakana Schofield – Martin John (And Other Stories)
Helen Sedgwick – The Comet Seekers (Harvill Secker)
Lionel Shriver – The Mandibles (The Borough Press)
Karin Slaughter – The Kept Woman (Century)
Ethyl Smith – Changed Times (ThunderPoint Publishing)
Francis Spufford – Golden Hill (Faber & Faber)
Sarayu Srivatsa – If You Look For Me I Am Not Here (Bluemoose)
Elizabeth Strout – My Name Is Lucy Barton (Viking)
Emma Claire Sweeney – Owl Song at Dawn (Legend Press)
M Suddain – Hunters and Collectors (Jonathan Cape)
Graham Swift – Mothering Sunday (Scribner UK)
David Szalay – All That Man Is (Jonathan Cape)
Jonathan Taylor – Melissa (Salt Publishing)
William Thacker – Lingua Franca (Legend Press)
Yusuf Toropov – Jihadi: A Love Story (Orenda Books)
Anna Vaught – Killing Hapless Alley (Patrician Press)
Dan Vyleta – Smoke (W&N)
Natasha Walter – A Quiet Life (The Borough Press)
Simon Wan – Love and a Dozen Roast Potatoes (Urbane Publications)
Eleanor Wasserberg – Foxlowe (Harper Collins)
Jemma Wayne – Chains of Sand (Legend Press)
Aliya Whitely – The Arrival of the Missives (Unsung Stories)
Chis Whitaker – Tall Oaks (Twenty7)
Hugo Wilcken – The Reflection (Melville House UK)
Matt Wilven – The Blackbird Singularity (Legend Press)
Charlotte Wood – The Natural Way of Things (Allen & Unwin)
James Yorkston – Three Craws (Freight Books)

I’ll be back here on 15 August to post the results – and no doubt feeling slightly frazzled from all the counting. Let’s go!

 

https://www.theguardian.com/books/booksblog/2016/aug/02/not-the-booker-prize-very-longlist-2016-votes-please#comment-80656904

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And here are my two votes:

annaVaught

My two votes. PK Lynch’s Armadillos (Legend). Aggie’s voice clear as a bell and has stayed with me; excellent, sustained narrative. Admittedly I did find elements of this difficult to read because of experiences I share with Aggie, but I am glad I kept going. One of the biggest compliments I can give to this book is that she has (and I want to qualify that I am a huge Faulkner fan and of Southern literature in general plus it’s my second home and I’m married to A Georgia Boy!) pulled off the voice, the vocabulary and the nuance, which is no mean feat and something I have seen done poorly elsewhere. The settings are haunting and there are elements of joy and humour in the blackness. It reminded me of a book that is too little known – Erskine Cauldwell’s God’s Little Acre – with its grisly portrayal of the characters PK has as ‘subs’. I think Armadillos is a skilfully written book and its prose is spare but allusive. At least, that is how it seemed to me! I felt I knew all along what the ending would be. Knew it inchoately. Didn’t spoil my enjoyment of the story at all. A familiar -oh yes- and beautiful book.

Book two. Duff by Suzy Norman (Patrician Press). Skilfully done; restrained prose; funny; love the journey and the landscape – its sweep of places, visited and remembered. It is sweet, sad and moving. I felt the rhythms of Dylan Thomas, prose and poetry, moving within it.

I’d love to discuss both these books with their authors. Both are debut novelists. Right, I am off to read A Country Road, A Tree, Solar Bones, The Blackbird Singularity and Sometimes a River Song…I am only sorry I cannot nominate more books. It has, for example, been such a brilliant year for smaller presses!

Anna

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The Life of Almost – and an invitation, if you’re local, like.

An invitation if you are a local-ish writer or reader and would like to come for some reading and discussion of the first few chapters of the book I am working on, my follow up to Killing Hapless Ally (March, 2016, Patrician Press).

The Life of Almost is a re-working of Great Expectations, with its protagonist, Almost, roughly modelled on Pip. It has a predominantly Welsh setting, much of it being in Pembrokeshire. As such, it draws on the stories I have been listening to my whole life and so I have adapted these for the book. Stories of sailors, the strange dangers of the sea and those who love in it and on it; dark events at steam fairs; predicaments at village shows; kelp, barnacles, tough salty men, the cree of the curlew and the dead across the estuary and of how gentry moved in and spoiled all. Stories of beatings known about but hidden in plain sight; curses and vendettas; strange harpists, madness, mutism; poltergeists who threw pictures from walls and plants from windowsills and vases from above the fireplace. People who went away and never came back: stories, stories, stories. Shootings, hangings, disappearances. My idea of a picnic could still revolve around sitting by graves describing the dreadful manner in which relatives died, except I desist because I’m the mother of three young boys and I think my upbringing was definitely weird and I’m sure the kids think I’m quite peculiar, already.

So, you know roughly the story arc if you know Great Expectations, I’ve told you a little of the settings, but there’s more to it. Because, as Almost takes you through stories of his world – as he tells them to Catherine, who opens the first chapter, so tired of life – you come to realise that he is not entirely of this world and not entirely of this time: he is something more protean and unconfined; a storyteller who can shift substance in an extraordinary way and who is not compromised by, shall we say, temporal and ordinal rules…I hope, when it finds its home, that you will find the book darkly funny, maybe a bit shocking in places and that you’ll enjoy what I have done with my favourite book, Great Expectations, such as reworked Jaggers into a nasty (Ben Jonson’s) ‘Volpone’, basking in his gold somewhere off a great motorway and given you many elements of the supernatural. I did something a bit radical the other day and incorporated, euphemistically, some of the Brexit scoundrels – they are part of why Catherine, who begins the book, is so jaded and sad and thus why she has Almost come to visit. And, you know, one might question: is Almost really there at all? Or is he created by others when….they need him. Oooohhhh.

Because I stand by this and know it to be true: a story can save your life.

Like a copy of Killing Hapless Ally? Order from Waterstones, your local bookshop (Ex Libris and Mr B’s have copies in our area), the Patrician Press website or Amazon here: https://www.amazon.co.uk/Killing-Hapless-Ally-Anna-Vaught-ebook/dp/B01CA5F21Y/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1468239225&sr=1-1

 

 

 

An exciting new literary prize for small presses and their authors

I am delighted that the award-winning writer, Neil Griffiths, has agreed to be interviewed here. Griffiths has just set up the Republic of Consciousness Prize for small literary presses and their authors and, as a small press author myself, I want to say many thanks to him for that. I am sure that authors with small presses, the presses themselves and readers too will all benefit from the creation of a prize, the intention of which is to shed light on some of the wonderfully exciting work that readers often don’t know about and on the presses which writers may not know they may approach.

But why don’t they?

Why don’t more people know about books from Calisi, or Mother’s Milk, or Patrician Press, or Galley Beggar or Fitzcarraldo, Comma or Linen Press?

Because small presses don’t have the hefty budgets behind them to shift their books into the spotlight. Books from small presses may win major awards – I mention the  truly striking A Girl is a Half-formed Thing‘ by Eimear McBride which was published by Galley Beggar Press and went on to win the Goldsmith’s prize and the Bailey’s among others – but this is very unusual. Small presses may operate at a loss or break even/make a small profit; to run them, their originators may re-mortgage their home or work several jobs to make it happen because they think it is important that it does. But they don’t have big budgets for publicity and their books may not be widely stocked. Yet I want to say that of my five or so favourite books of the past year, four were published by independent (I tend to use the term ‘independent press’ interchangeably with ‘small press’) presses (the fifth was Odysseus Abroad by Amit Chaudhuri, if you want to know) and I admit I also read some BIG selling books that many raved about and which fell flat for me, one of which actually made me cry because I was so disappointed. (It would be churlish to name those, so I won’t.) When Griffiths began to read titles from small presses, something he admits he took a while to do, he was astounded by their quality and wondered what to do. The result was the prize and you can see an account of this in ‘The Guardian’ here

http://www.theguardian.com/books/2016/feb/22/new-award-fiction-small-presses-republic-of-consciousness-neil-griffiths

As I said, I am myself published by a small press, Patrician Press, (www.patricianpress.com) and can tell you that I have learned much from being a part of such. I am a debut novelist and I was put through my paces by a firm and talented editor called Patricia Borlenghi, who is also the founder of the press and is its heart and its everything. Her husband, the artist, Charlie Johnson, designed the cover of my book, she keeps an eye on me, inspires me and chides me as necessary (definitely necessary) and I am blessed to have met her and to be part of the Patrician cohort. She took on my strange little book when I had heard bigger publishers deride ‘misery memoirs’ or even scoff at ‘yet another’ book about mental health or books which did not fit neatly into genre. I am lucky in that I only had two agent rejections, (the other three never replied, which I have written about a bit saucily elsewhere) before I found Patrician. Before I did, I was told by a literary consultancy that I had to be able to go into a bookshop and see straight away which shelf my text would sit on and that, realistically, customers (readers) go into a shop and need to know that they are getting Heinz baked beans and not some ersatz brand or, God forbid, a tin of corned beef.

Obviously, there is some good advice in there; I am not arrogant and I am definitely a rookie. I understand, from the many conversations I’ve had about my book, that I’ve written something which a number of readers describe as ‘difficult’. I knew someone would have to take a chance on my book because it was a bit experimental and didn’t sit so tidily in a genre. I am not sure the next one will either! I don’t know yet what will happen with that (it’s called A Life of Almost – oh, you can tell it’s going to be another strange one if you take a little look at the beginning of my research board here: https://uk.pinterest.com/annacvaught/a-life-of-almost/ ) but suspect I will be sending it to small presses when submissions windows are open – for even small presses receive many manuscripts.

I have loved being with a small press, learning to think laterally, make links, offer to write in all kinds of places for free, do talks, rock up at book groups, put on a very jolly book launch, reply to anyone who asks me about the book (as readers have done), crazily fitting it all in around other little publications (I’m also with www.theemmapress.com later this year), my day job, volunteer posts and three young kids, and to contribute work to those movements which aim to change things – hence an article, called ‘A Small Press State of Mind’, I have just done for https://thecontemporarysmallpress.com/  which will be up at the end of the month. They will also feature Griffiths and his prize very soon, so publication of this interview is a little  taster for that.

I suppose I feel that I have a home. I’m an outlier. But hey, I’ve probably always been that. I just didn’t think there was a place for me as an author, but I underestimated what a wealth of presses and readers were out there! Noli timere if I sound like you. Get out there.  May you find a home for your book, too. And homes for you as a reader. With bookshelves of titles which stretch and tantalise you; which make you re-read books to find new subtleties and ideas.  I wonder if Proust would be stuffed without the indies – the small presses – if he popped up now. And who would take on Faulkner?

But back to Neil Griffiths. Betrayal in Naples won The Author’s Club First Novel Award; his second book, Saving Caravaggio (which I am reading at the moment) was shortlisted for Best Novel in the Costa Book Awards. Both were published by Penguin. But things are a little different now and his new book, The Family of Love, will be placed with an independent press.’We need small presses: they are good at spotting the literary outliers,’ he writes on his  site here http://www.republicofconsciousness.com/2016/02/a-broadside-against-mainstream-publishing/  ‘Their radar is calibrated differently from agents, or mainstream publishers. Small presses don’t ask how many copies will this sell, but how good is this – what is its value as literature? Quality is the only criterion.’

And here is the YouTube launch film for the prize:

https://www.youtube.com/watch?v=JfkUxuAj1UE

SO, AN INTERVIEW WITH NEIL GRIFFITHS ABOUT THE LAUNCH OF THE REPUBLIC OF CONSCIOUSNESS LITERARY PRIZE

Could you tell me why it took you, by your own admission, so long to notice small presses?

I wonder that myself. Possibly bookstore exposure is lacking. Certainly they don’t get the kind of exposure in the book sections of most newspapers. It needs a novel to have already ‘broken out’ for it to be featured. But it’s not all their fault. When something is not on your radar – it gets missed. If I look over my bookshelves there are small presses there, but I guess I didn’t think to wonder about them as having a particular mission – in the sense I didn’t at that point think of any publisher being like that these days. Small presses are a culture, not one particular book – we have to be aware of that culture to notice what it’s doing.

And what about the books you read, for example those by writers at Fitzcarraldo or Galley Beggar Press? How was it they impressed you so much?

The first book I read was Zone by Mathias Enard (Fitzcarraldo), which stunned me. As if I’ve said before, I think it’s the most serious novel ever written. It deals with post-1st World War conflict in Europe, North Africa, and the Middle East from the centre of the consciousness of one man as he tries to wrestle with his own actions. It might be about the darkest points in recent history, but it’s a deeply human novel. And formally interesting – one sentence over its 500+ pages. A work of genius. There is also Playthings by Alex Pheby, from Galley Beggar – based on  a true story, it’s a novel about the lived experience of a 19th century German judge as he descends into madness. Writing of the highest order – it has more control than any novel I think I’ve read, given it’s dealing with vagaries of a shifting phenomenology. More recently Martin John by Anakana Schofeld, from And Other Stories. Any novel that’s about public sexual exposure and manages to be formally exciting and sympathetic deserves attention.

You mentioned in ‘The Guardian’ that your third book would be placed with a small press? Could you tell me why and how the process has been different from that with a big publisher? (Griffiths’s previous two novels were published by Penguin.)

It’s different only in that the people are different. In the end an editor has to read your novel and love it – that’s the same. But my experience of mainstream literary people is that they are mostly risk averse and professionally competitive in a way that disadvantages the writer. All the people I’ve met from small presses seem genuinely in love with great writing, interesting novels, and promoting difficult writers. It’s a mind-set that I suspect most people in publishing once shared, but lost because of the need to keep their job. Someone last week told me that at a large literary agency, each agent had to be bringing in £200k a year in advances just to support their employment. It’s a disincentive to take on a difficult book that will unlikely get a big advance and may only sell 2000 copies (initially).
Another way small presses differ is access. I’ve just placed my new novel with Dodo Ink, to be published Autumn 2017. I met Sam Mills, author and MD, at The Small Presses Fair in Peckham. We talked books, and I pitched her Family of Love, and she wanted to read it.

What do you hope to achieve with the new Republic of Consciousness Prize?

Humble objectives – increase exposure for small presses and their novels so a few hundred, maybe a thousand, more copies are sold.

Have you had a good deal of interest in the prize? I have been reading a number of truly supportive comments on the prize website and on your youtube channel, for example. Conversely, have you received any negative criticism? As a side note, I read the myriad reviews of A Girl is a Half-Formed Thing on Goodreads and Amazon and was fascinated by how divided they were; how a relatively high number of reviewers baulked at its difficulty. How confused, startled or cross readers had been. How others felt it was a work of brilliance and daring. I was thinking, then, of folk sitting, perplexed, in front of Beckett’s ‘Waiting for Godot’, until Harold Hobson and Kenneth Tynan received it warmly and with fascination and the tide turned. I am naturally enchanted by such a polarity in reception; it would make me want to read the book, frankly. I am digressing. Interest in and support for the prize?

Huge support from writers and presses. Now it’s about getting some people with money to support it. I want the prize fund to be large enough to give something to the shortlisted presses as well as the winner. As I’ve said, I’m going to write to the ‘richer’ end of literary novels for donations.

Can you tell me how you went about selecting the judges, the details of whom are now on the prize site?

I needed help, so Nicci Praca – a PR consultant for small presses –  recommended some; and Lisa Campbell from The Bookseller also did the same.

Are you able to tell me just a little about the books you have already received?

What I will say is that the covers have been variable. And production quality perhaps not quite what I expected after the beautiful work of Fitzcarraldo and Galley Beggar – the bible black of Galley Beggar’s first runs are my favourite. And the reason this needs mentioning is that book stores won’t take books that aren’t well produced. Small presses are already at a disadvantage. Make your books beautiful and it will make a difference.

Have you had support from any of the bigger publisher or agents? Has the ‘guilt trip’ notion of getting some other authors with bigger publishers to chip in been successful?

Next on my list.

How might we writers from small presses floor you with our brilliance, then?

The prize is for risk-taking literary fiction – in the sense that doubles the jeopardy for a small press. But in the end, beautifully crafted sentences full of insight into what it means to be human will do it.

I know it’s early days, but might you tell me about any future hopes and dreams for the prize?

Given my new novel is out next year, I want to win my own prize. That’s a joke, obviously. I hope it runs for a few years, and the prize fund is such that it makes a tangible – and that means financial – difference to small presses’ continued existence.

Thank you so much.

Very happy to do it – thank you.