August Offer at Salt

This just in from Salt:

In order to keep Salt on track through the wet British summer, we're offering you another special deal throughout August. All Salt books are available from us at 33% discount yet again. That's a third off all Salt titles, and free shipping on orders with a cover price of over £30 or $30. Offer ends 31 August 2009.

Simply enter the coupon code HU693FB2 when in the store to benefit.

As before, all we ask is two things—

1. Buy one book. Or perhaps another one ... go on.
2. Pass it on. Share this offer with everyone who loves gorgeous books and likes a bargain (whilst saving independent literature).

http://www.saltpublishing.com

Spreading the Sodium

The Bookseller is reporting good news on the Salt front: the press has managed to raise enough money to keep going through 2009 -- as long, that is, as it achieves its budgeted sales for the rest of the year, which is far from a given. Which means all sales and efforts such as this week's benefit reading in Edinburgh are still necessities. There's an exciting diversification programme at Salt too, about which the link above gives a tantalising glimpse. Please help to keep this vibrant and innovative publisher afloat not only for today's readers and writers but for the future.

Sustainable Development

This latest update on Just One Book comes courtesy of the blog of Salt short story writer Elizabeth Baines:

We’ve been busy campaigning over the last two weeks to save Salt. The business has faced some serious financial difficulties as the recession hit us hard. I’m pleased to say we’ve stabilised the business, but we still need to build our cash reserves to secure our future. We’d like to thank all our customers for supporting us; but more than that, we thought we’d offer everyone a summer treat:—

A THIRD OFF ALL SALT TITLES THROUGHOUT JUNE

We’re now giving you a huge 33% off ALL books till the end of June. Use the coupon code G3SRT453 when in the checkout to benefit. Don't forget if you spend £30 or $30 you get free shipping too.

Please continue to spread the word, and spread news of this offer. Please don't let up. It's been extraordinary, but we're not out of danger yet. Every penny goes into developing Salt's books and services. We want to start a new children's list, and offer more resources to teachers and schools. We want to extend our publishing in new areas including our translations programme, we want to offer you more free magazines online. We want to help develop more support for debuts with the enhancement of our Crashaw and Scott prizes. We're planning audio books, ebooks and new videos for you. We only want to move forward, to develop and expand what we do and deliver great books in new ways to you and yours.

We need your support throughout June. We'll try and organise more readings and promotions with our authors. Virtual book tours. More launches. We'll work with bookstores to bring you short story and poety evenings. Stick with us throughout June and we can do something astonishing. That's the power of Just One Book — we want you to be a part of it. Follow us on Twitter look for #SaltBooks and #JustOneBook. Join our Facebook Group.

And have a giggle at the vid, too.
http://www.youtube.com/watch?v=ZdcTqXaOD2s

Oh, and one last special offer — Catherine Eisner’s magnificent crime novel, Sister Morphine for £7.50 plus P&P, simply enter coupon code EISNER in the UK checkout http://bit.ly/8rHDa

Watch out for more special offers throughout June.

It worked!

I was delighted to read this Facebook status update from Salt's Chris Hamilton-Emery mid afternoon today:

Salt is now commissioning again, including a children's poetry list. Thanks for buying us time & for saving the press.

Tremendous news! Many thanks to everyone who bought books and helped this vital publisher not only continue but push forward. Double helpings of thanks to those of you who bought The Ambulance Box.

Of course, like any business, Salt needs to maintain sales to keep going, so please continue to buy from their great poetry, short story and other lists. As an extra enticement, there's 33% off throughout June. Just use the coupon code G3SRT453 in the checkout of Salt's online store (US store here).

Salt Latest

The Just One Book campaign has hit the Guardian books blog here! And that's not all folks: Chris Hamilton-Emery will be on Newsnight Review this Friday. The campaign is working -- 800 orders in the first four days, bringing in £17,000, which is six weeks' cash for Salt -- but Chris, Jen and their stalwart helpers are far from out of the woods yet, so let's keep it up.

Not bought your one book yet? Here's a quick list of Salt poetry titles I've particularly enjoyed over the past few months:

• The Opposite of Cabbage - Rob A Mackenzie
  
• Next to Nothing - Chris Agee
• A Fold in the Map - Isobel Dixon
  
• A Brief History of Time - Shaindel Beers
• Me and the Dead - Katy Evans-Bush
  

And here are several more still waiting to be read:

• Camper Van Blues - Jane Holland
• Goose Music - Andy Brown and John Burnside
• Dear Alice - Tom Pow
  
• Glaciation - Will Stone
• Arrondissements - Douglas Oliver

Increase Your Poetry Emissions!

The good news is that Salt's "Just One Book" campaign is beginning to make a difference. It has even been picked up by the Bookseller, but Chris and Jen are far from out of the woods yet and we need to keep it up. I intend to make a few suggestions for your one book over the coming days/weeks but, meanwhile, here's that spoof advert. (I would embed it, but it overlaps the sidebar if I do. The Ambulance Box appears at about 0:16.)

"Letters from Our Editor"

For sound advice on the publishing world and some exquisite prose, check out Chris Hamilton-Emery's "Letters from Our Editor" stream on the Salt Office Life blog.

Salting the Ground

For any Facebook user interested in contemporary literary publishing -- especially writers who hope to be published -- Chris Hamilton-Emery's notes should be essential reading. They are a blog in the strictest sense, a log of daily ups and downs that gives a fascinating insight into the struggle of juggling family life and the heavy demands of running one of the most vibrant literary presses in the UK. Chris's openness about those demands and the precarious economics of the enterprise is impressive. Take this, from yesterday's note:

I thought I'd write a note on sales here, too. Each Salt title represents about £2,000 investment that's cost of sales and a share of the overhead. It means that every title has to do a lot of work to break even. Discounts vary from 20% to 60% dependent on the route to market (or sales channel) and the sales of individual volumes can vary hugely. Average first year sales are 200 copies. Some sell 1,000 copies, many sell around 150. Too many sell less than 50 copies. A few sell less than 5 copies. We need to sell around 310 copies to break even in the UK, 800 in Australia and 600 in the USA. That's before we make any money to pay for the next lot of books and to continue the publishing programme, never mind any capital we need for IT or new ventures. Making those sales is the toughest thing Jen and I have ever done.

Hard truth, isn't it? But it's best that we writers not be under any illusions about how hard everyone -- especially us -- has to work to make our books a success. And maybe it makes us think hard about what we define as success.

More impressive still is the quality and variety of the Salt poetry and fiction lists. Yes, yes, I would say that, but you don't have to take my word for it: check out the many links here to reviews of Salt titles in the broadsheets and elsewhere or the prizes for which Salt authors have been shortlisted and have won. Check out too what David Morley, for example, has to say here about Jane Holland's new collection Camper Van Blues and Isobel Dixon’s A Fold in the Map. An embarrassment of riches, I'm sure you'll agree, and a truly international one at that.

Most importantly of all, get yourself down to the Salt online shop (here for customers in the USA) and avail yourself of that fantastic pre-Christmas offer: 33% off all books. You all know how essential Salt is in a cold and icy winter like this one.

Just heard the excellent news that Dedalus Press in Dublin will be publishing my friend Ray Givans next year. Ray has had several small press publications previously, but this will be his first full collection. I'm delighted our first collections will be out in the same year.

Forward Shortlists 2008

In the past few days, this year's Forward Prize shortlists have been announced. Here they are in full:

Main Prize
Jamie McKendrick - Crocodiles & Obelisks (Faber)
Sujata Bhatt - Pure Lizard (Carcanet)
Mick Imlah - The Lost Leader (Faber)
Jane Griffiths- Another Country (Bloodaxe)
Jen Hadfield - Nigh-No-Place (Bloodaxe)
Catherine Smith - Lip (Smith Doorstop)

First Book
Simon Barraclough - Los Alamos Mon Amour (Salt)
Andrew Forster - Fear of Thunder (Flambard)
Frances Leviston - Public Dream (Picador)
Allison McVety - The Night Trotsky Came to Stay (Smith Doorstop)
Stephanie Norgate - Hidden River (Bloodaxe)
Kathryn Simmonds - Sunday at the Skin Launderette (Seren)

Single Poem
Seamus Heaney - "Cutaways"
Christopher Buehlman - "Wanton"
Catherine Ormell - "Campaign Desk, December 1812"
Don Paterson - "Love Poem for Natalie 'Tusja' Beridze"
Kate Rhodes - "Wells-next-the-Sea"
Tim Turnbull - "Ode on a Grayson Perry Urn"

It would be idle for me to comment on the quality of the choices because, as usual, I've read hardly any of books on the shortlists. (The only one I have read is Hadfield's, which is strong, inventive and fresh.) However, I can see it's another good year for the small presses, especially on the first collection list. I'm glad to see Salt there for the third year running (not that I have any vested interest, you understand!) even if it's with fewer titles than last year. Simon Barraclough's book is being talked about as a strong contender, though Frances Leviston's seems to be considered the frontrunner. It's also a pleasure to see and acquaintance, Andrew Forster, appear on the list.

Cape is conspicuous by its absence in either of the collection categories. A shame there are no Salt titles on the shortlist for the main prize. If I remember rightly, Luke Kennard's The Harbour Beyond the Movie was the only book on last year's main list from a press outside the Mighty Handful; the pattern is repeated this year with Catherine Smith's collection in that position.

Of course, next year I might not be quite so dispassionate about the whole thing ...

A Buyer Who Cares?

On a brief visit to Waterstones at the West End of Edinburgh's Princes Street yesterday, I was very pleasantly surprised to see quite an interesting poetry section. Instead of being populated by the usual suspects with one or two token others thrown in, it included a few American imports and a healthy selection of small press publications--among them a good handful of books from Salt--while even the Mighty Handful were represented by an encouraging range of authors. The shelf space is still not vast, but I came away with the impression that somebody who actually cares about poetry must be buying for that shop. I had a £10 Waterstones voucher in my pocket, and I had real trouble deciding how to dispose of it. In the end, I left with Richard Price's latest collection Greenfields.

As you'll know if you're a regular visitor to these virtual parts, Rob A Mackenzie and I swapped manuscripts nearly a fortnight ago. I've had a read-through of Rob's MS and will comment properly on it in due course, but suffice to say for the moment that it's very good and a lot of fun in places.

Meanwhile, if you're interested in how one might put together a poetry manuscript, you could do worse than visit Rob's series of posts related to the process. Be sure to read the comments streams. The latest of these posts muses on the relation between what gets into a magazine and what gets into a collection. It doesn't particularly mention how changes in one's own writing affect these choices. For instance, the MS I swapped with Rob doesn't contain my most published poem, with which I chose to open Tonguefire, because it no longer feels to me like a piece of my writing.

Of course, this is connected to the notion of voice, a discussion of which is developing in Rob's posts. Some poets develop single strong, distinctive voices. John Burnside comes to mind in this regard; he has developed a style that is a cartography of a mind. It's a highly wrought object that he burnishes further with every new collection; a single poem extended throughout his writing life.

Other writers cultivate range and variety. Edwin Morgan is an obvious name to drop here, as is WN Herbert. Don Paterson might also fit into this category to a certain extent. Certainly, any of us who write in more than one language will find variety creeping in.

If a published collection is a public representation of a poet's development to date, the question that the writer and editor must ask themselves in putting it together is whether and how a given poem fits into not only the development but the representation. It can and should only ever be partial. After all, I don't imagine that any readership I might have will particularly want to read what I wrote on my off days. Therefore, a good sense of the picture one wants to present to the poetry reading world is probably helpful.

For my part, I feel more inclined towards range and variety than the single voice. That's what I hope to cultivate, and I think I've had some success in my most recent writing at least. But there must still be some sensibility to connect the various voices, styles or approaches. I hope I've achieved that as well, but only time and the reactions of readers will tell.

Courage, Brother, Do Not Stumble

One of the perks of my day job is the flexitime system, of which I take advantage by taking long lunches with friends in the summer recess. Yesterday, I had lunch with Rob A Mackenzie. Rob and I swapped the still Protean manuscripts of our putative first full collections, so publication was much on our minds and in our conversation. Despite our shared lamentations over the struggles of publishing poetry*, our discussions re-envigorated my determination to press ahead with my collection. Nicely timed too, as I'm off to an Arvon course on working towards a first collection in less than a fortnight.

I've not yet had time to do any more than glance at Rob's MS, but I'm struck by how many eye-catching titles are in his contents list. It gives a flavour of the slightly surreal wit and humour that pervades much of his best work, which is what you'll expect if you know his pamphlet or have heard him read. I'll blog properly on his collection once I've had the chance to scrutinise it.

*Okay, so we talked about other stuff as well.

Making Headway with the Forward ?

The shortleet for this year's Forward prizes is out and I haven't read a single book on it. No surprise there, as I don't ever seem to keep well abreast of these lists. I don't own any of the titles yet either, although John Burnside's Gift Songs should already be in the post from the PBS.

Without knowing the work, the only interesting comment I can make about the list this year is that it shows Salt Publishing continuing to make advances into the Mighty Handful's share of the publicity cake: one title in the best collection category* and two in the shortlist for the first collection prize**. No mere crumbs these, especially as the Guardian article linked to above leads with a few paragraphs about Luke Kennard, the Salt nominee for the best collection prize. The folk at Salt are understandably and justifiably delighted. It's due recognition of the vibrance, energy and success of their publishing enterprise.

Also interesting is the fact that the Guardian also has an article by Sarah Crown, editor of Guaridan Unlimited Books and one of the Forward judges, about her experience of reading nowt but poetry for three weeks. As far as I recall, such coverage for the Forward is without precident. It's the kind of treatment usually reserved for the Booker or, at a pinch the Whitbread-sorry!-Costa awards. Does this mean that the cultural media are waking up to the Forward? I hope so, though it's probably just a matter of Crown's being on the judging panel. Even if it is, I doubt it means that we'll see many more poetry collections reviewed in the mainstream broadsheet press in a hurry.

*Cape has two, while Picador, Carcanet and Bloodaxe have one apiece.

**The other two are from Arc and Faber.

The Independents Strike Back

Interesting piece in today's Sunday Herald about independent bookshops in Scotland. It seems Hugh Andrew of Birlinn is branching out into bookstores. This has to be a welcome development for writers and readers in Scotland, given the dominance of identikit chain book stores, but the big challenge is how independents will not just survive but thrive against the competition of sites like Amazon.

There are a few odd comments in the article, such as:

The small Elgin store, scheduled to open in the autumn, is considered the last independent Scottish bookshop with the exception of John Smith, which now runs university bookshops.

The "last independent Scottish bookshop"?! Do they mean "independent chain"? Is it a chain? There are certainly other individual independent bookshops, such as Word Power in Edinburgh or Linlithgow Bookshop in, funnily enough, Linlithgow.

And Alasdair Gray is quoted as saying:

the country has "hardly a publisher or bookshop to call its own".

But there's a reasonable small press scene here. Aside from Birlinn, Canongate and Luath, there's a good clutch of pamphlet publishers. Still, one can hardly disagree that it could be a lot healthier and we could have more publishers of bigger size and impact.

Fascinating to see the criticisms of the previous Executive's approach to publishing and the book trade, though it seems misplaced to criticise the Executive for the growth of big out-of-town bookshops when planning is a local authority responsibility. It will be even more interesting to see how the SNP Executive approaches the matter.

Debut Authors Festival 2007

The programme for the the Debut Authors Festival 2007 came through the door this week. This year's festival has a 100% increase on the 2006 poet count: there are two--namely Daljit Nagra and Annie Freud--but that's still one down on 2005.

Also as with last year, the poets are mainstreamed into the programme alongside the prose writers: Nagra on the panel for "Britain Today" and Freud in the "Love Against the Odds" event. In 2005, there was a poetry event with Jacob Polley, Matthew Hollis and Choman Hardi. Which approach is better for poets? Minority that we are, perhaps we can garner a slightly greater audience by being placed alongside novelists, but my memory of the 2005 poetry event was that it was pretty full. Besides, this festival is pitched particularly at emerging writers, so mainstreaming shouldn't be necessary from that point of view.

Of course, there's something to be said for a thematic approach, which seems to be the way the festival is going. However, it still feels to me like the poets are a slender add-on to the prose writers, not so integral a part of the programming as their novelistic brethren and sistren. That impression is reinforced by the "Unpublished Writers Jam Session" (emphasis mine), billed as "a fantastic opportunity to read your unpublished work in front of an expert panel." But, if it's the same as in previous years (and the blurb is identical, as far as I can remember) it's not a fantastic opportunity if you're a poet. In fact, it's no opportunity at all. I'd be much less irritated if the event called itself an "Unpublished Novelists Jam Session". Y'know, as a poet, I'm a writer too.

But don't get me wrong: I'm otherwise impressed with the programme and very pleased that poets are on the increase again in it. Last year, I was told that the paucity of poets was because there were few debut poets to choose from. Well, that might be the case if all you're considering is the main publishers (Nagra's with Faber and Freud is with Picador), but there's a lot of work worth hearing furth of the Mighty Handful and smaller presses are becoming ever more important to poets. After all, it was a Seren poet who beat Heaney, Feaver and Williams to the poetry Whitbread--sorry, Costa--last year.

Salty ruminations on bad news from Bloodaxe.

*

Which come after Mark Ravenhill writes on arts funding vs sport funding in The Guardian.

*

Meanwhile, here's a new poetry podcasting project.

*

And something else that could set poetry alight.

Some Freshly Refreshed Websites

1
My recent visits to the HappenStance site have revealed that a lot has been going on behind the front page. The publications and chapbook reviews sections have been completely overhauled, with a very swish look and a good deal of new features.

2
The website of Chapman, the grande dame of Scotland's literary magazines, had been out of date for such a length that I'd given up looking at it a long time ago. Imagine my surprise to find a completely new website when I wandered over in that direction a few days ago. Not only that, but it looks gey youthful, unlike the previous, rather stale version.

3
More than you needed to know, the dream blog of my colleague Diarmid Mogg, which I mentioned before, has flitted to TypePad and looks superb. It's also easier to navigate than the old version.

The Book Trade Goes to the Dog

Well, Ottakar's is definitely to be swallowed by the dog, not that I held out much hope that anything else would be the outcome.

"Support your local booksellers!" must be the rallying cry. I'm not averse to buying books online, but these days I'm more inclined to find out about a book online and order it through the local bookshop.

The Book Trade is Going to the Dog

The Competition Commission has finally cleared HMV's bid for Ottakar's. Now tell me, how is it not lessening competition for HMV, which owns Waterstones, to buy Ottakar's? In central Edinburgh, there are already three Waterstones stores and only one Ottakar's store. The only other sizeable bookshop is Blackwells, and that company is in financial trouble too. Maybe HMV should drop the H.

Mind you, whoever takes over whom, it probably won't make a blind bit of difference to the fact that it's nigh on impossible to find a decent poetry section in any big bookshop these days. Tragically, small, independent bookshops are also under pressure from online sales. Nothing comes close to a good, leisurely browse among a good stock of books in a good shop, but might it soon be a matter of history?