Saturday, 15 June 2019

Bite-size CBe, 2007 to now

Off-cuts, paper cuts. Part 1 (1–41) was written in 2014, Part 2 (42–64) in 2016, and those are here again without any editing or updating. Part 3 (65–91) was added this week, June 2019. If you have seen Parts 1 & 2 before, just scroll down.

Bite-size CBe, part 1: 1–41 (written in 2014)

1 After months of batting cover try-outs back and forth, one of the books still had a name spelt wrong on the cover. The mis-spelt editor had noticed this on the proofs but had assumed it was a joke. My fault.

2 Natural Mechanical by J. O. Morgan was an editor’s dream: 40 lines arriving out of the blue as an attachment to an email asking if I’d like to read more, from an author who had never before had anything published, and the book going on to win a literary prize. The title tells it true: this is Rocky’s workshop when I visited him in 2009 in Inverness-shire, during the early stages of his complete restoration of a 1929 Brooklands Riley from a rusted chassis:

3 I did a short print run of J. O. Morgan’s Long Cuts with a colour cover for a shop which said that trying to sell the standard edition was like trying to sell a brown paper bag. Some of those are still in a box – free to anyone who orders any other title from the website and asks for one.

4 Naive early error: to assume that a fair few of the people I’d worked with in publishing would buy a book or two. In fact most people who work in the trade expect to get books for free. There have been honourable exceptions.

5 Best CBe-related headline (relates to Jennie Walker’s 24 for 3, McKitterick Prize 2008, one of the first four CBe books in 2007 and now published by Bloomsbury):

6 Number of trips to Blissetts in Acton, who print most of the books, in 2013: not logged, but around 20 at a guess. Chris the printer once house-sat my cats; during that period he was side-swiped by a fork-lift truck and sent to hospital; bandaged, patched up, he bypassed the queue for painkillers at the hospital pharmacy and instead came back to the house, fed the cats, drank the malt whisky I’d left him and went back to work.

7 Speediest printing turnarounds: ordering a reprint from Blissetts one afternoon and collecting the books the next day. Sending files of a new book to the other printer, ImprintDigital in Devon, and receiving a proof copy for approval next day in the post.

8 Number of trips over to the distributor Central Books in Hackney Wick with boxes of books in 2013: 16. Regine in the upstairs office once asked me to sign copies of my own old poetry books; a warehouseman in the downstairs delivery space comments on my very occasional TLS pieces. These people read books and they care. Below, Central Books, a very fine building:

9 A box of a given size holds more slim books of poetry than 200-page novels; the slim books are also cheaper to post. On the other hand, all boxes of books, whether containing poetry or fiction, are heavy. A large proportion of peasants’ work used to consist of carrying things; this manual-labour aspect of the job is something I enjoy (which explains in part my dilly-dallying about ebooks).

10 It’s pouring with rain as I lug boxes of books from a Tube station for a book launch at Waterstones Piccadilly (it was going to be in an art college, but the author had been having a hard time and she really did need a place where she could wear a dress), and I’m running late and I’m thinking, this is OK, this is publishing, and I’m saving money. At another book launch I’m drinking in the Colony Room in Soho and because I’m happy I sign a fat cheque for membership and the club closes a few months later and this is OK too. But I could have saved a little money there.

11 Number of trips to the post office in 2013: 139. Best conversation overheard while standing with CBe book packages in the queue: woman in front of me, very loudly, to man standing in doorway: ‘And you shagged that bitch down the Askew Road and you didn’t even wear a rubber.’ Man moves forward, I think he’s going to hit her to I step between them. Man to me, quietly: ‘Fuck off. I’m having a private conversation with my wife.’

12 Highest sales out of Central Books to date (i.e., not counting sales from the website, and people/bookshops I’ve talked into buying direct) for titles published before the end of 2013: just under 1,000. Lowest: just over 10. I look at these numbers, look hard, as if they’re trying to tell me something. It’s a kind of staring competition, who blinks first.

13 Is there any other trade in which shops can order the wares and then, if they can’t sell them, return them and get their money back? With books this is standard. Except on the occasion on which I sold several hundred copies of a title to a chain of bookshops which several months later wanted to return most of them and have their money refunded. No, I said. And because I’d sold them direct, and there was nothing about returns on my basic invoice, they were stumped. A tiny and incidental victory.

14 Most over-qualified book-carrier: Anthony Thwaite, OBE, born 1930, carrying bundles of Nicky Singer’s Knight Crew on his trial shift as a warehouseman in 2009:

15 I’m not sure that Shakespeare & Co in Paris, where the CBe authors Beverley Bie Brahic, Gabriel Josipovici and Wiesiek Powaga read on an evening in November 2010, ever paid for the books sold but it was fun. Below, Sylvia Whitman, brandishing:

16 Built in 2011, a roadside shrine to St Nicholas Lezard, patron saint of small presses, whose ‘paperback of the week’ columns in the Guardian have featured seven CBe books:

17 The man in the rear-view driving mirror on the website home page is my father, 1940s I think. (He wasn’t a reader. When he was courting my mum he took her to a wrestling match; she, then working as a librarian at the Brotherton in Leeds, took him to the first play he’d seen. He died aged 51.) The children on page 70 of Nights and Days in W12 are my own, many years ago; the writer in the café on page 107 of the same book is a man I’m vaguely related to (son of a cousin) and he wasn’t just idling: his first novel will be published this year.

18 The man who was in prison for 22 years and sent me his writing from there, and then we met in a café in Shepherds Bush market. The woman who called round with her portfolio of poems and modelling photos: this one, she said, pausing at a photo in which she’s lying on a sofa and wearing about 3 millimetres of clothing, would be good for the cover? Her mother had doubts. What did I think?

19 The manuscript of Jonathan Barrow’s The Queue really was found in a drawer of his office desk on the day after his death: this is not a literary conceit.

20 Two things that give Gabriel Josipovici’s Only Joking a slight period feel: you can’t now smoke in restaurants and cafés, and the classified football results on radio at five o’clock on Saturdays are no longer spoken by James Alexander Gordon.

21 The average age of the authors published by CBe in 2010 was 80-something. I tried and failed to sell a story on this to The Oldie and Saga magazine.

22 The causes of death of over 500 writers, composers, etc, are listed in This Is Not a Novel by David Markson, who himself is one of three authors who have died since their books were published by CBe. (The youngest was Erik Houston, at the age of 37. His novel The White Room was one of the first four titles; it’s now out of print but I still stand by it. He was a concert violinist who played around the world, then teacher. He had one of those very rare afflictions. In hospital, there was a day when he was technically dead for something ridiculous like ten minutes, and then was alive again. And then, later, not. I think about Erik a lot.)

23 In the flat of Dai Vaughan – who died in June 2012; whose Sister of the artist CBe published in February 2012, a month and a bit after he’d sent me the manuscript – there were tiny sculptures that he’d made out of Edam cheese. Last year I made things out of crushed beer cans; before all this started there was a period when I made ships (and a mermaid) in bottles.

24 The CB of CBe was not intended to be just me. Long story. (Nor, at the time of the first four books, were there any plans to do more.)

25 There is a customer who has bought one copy of every single CBe book direct from the website and I have no idea who this person is.

26 Entering a book for a prize that required an author photo, I sent a photograph of the author’s poem titled ‘Self-Portrait in Shades’ because I had no other visual evidence to offer, and nor did he and nor did the internet. Offered readings, the author responded: ‘I’d prefer not to.’ I can understand this. I can understand it very well.

27 When one of the books wins a prize – to date, a fiction prize (McKitterick, best first novel by a writer aged over 40), a translation prize (Scott Moncrieff), and the really freaky thing of each of the three first poetry collections from CBe winning the Aldeburgh First Collection Prize (and each of them also being Forward shortlisted) – I feel like a parent watching their child in the school nativity play: pride, even though one knows it’s just a play, and next year there’ll be a different Mary and Joseph.

28 That some agents are willing to accept my minuscule offers for rights to publish fiction is due to the extreme generosity of larger publishers who wish to buy rights to cookery books and the memoirs of footballers.

29 The agent who accepted my offer for UK rights and then spent what must surely have been more than my offer on getting the contract checked by their legal department, which suggested I add in something about second serial rights, which I did, though I still don’t know what second serial rights are.

30 The big-name agents who simply don’t reply to emails, and the mainstream publishers too, and others. It may be company policy. More likely, in any company over a certain size there’s an assumption that receiving and opening an email or envelope is a sufficient task in itself. If anything else needs to be done, there are servants for that.

31 Or if they do reply, they do so with same degree of attention as a former literary editor of the Observer who, after I’d sent him the first four books, all prose fiction, and then followed up by sending again, assured me that he’d passed on the books to the poetry editor.

32 There is a clause in the standard contract that basically states that if after signing the author gets an offer from someone richer and better-looking, altogether more eligible, then the author is free to go off with them, as long as I can have the first four months. It’s a sort of prenuptial.

33 I’ve turned down books and seen them published elsewhere and thought, good for them, I was wrong. On the other hand, I’ve turned down books and seen them published elsewhere, by publishers posher than me, and thought, I was still right. On the third hand, I’ve turned down a book and two years later changed my mind and emailed the author at 5 a.m. in the morning to ask whether it has been placed elsewhere and by lunchtime the book was on track.

34 February 2013, letter from Arts Council England: ‘I am sorry to tell you …’ Three in a row. Ho-hum. (Can one apply to the Arts Council for cigarette money, for alcohol money? Without those two legal drugs there’d have been nothing.) The three stages of reaction: (1) slump; (2) shrug; (3) a light-headed sense of freedom.

35 What continues to surprise is how much can be done without any funding at all, and with small amounts of money. Back in 2007, £2,500 covered the printing & binding of 250 copies each of the first four books, author advances, a basic one-page website and a couple of lunches for proofreaders. CBe has been, roughly, self-sustaining ever since but only because editing, design, typesetting, time, etc, are not costed in.

36 Letters addressed to ‘The Accounts Department’ or to ‘The Reviews Manager’ or ‘The Art Director’ or ‘To whom it may concern’: the cat (one of five) who resides on my desk stirs, stretches, yawns, curls back on the low heap of manuscripts.

37 The emails asking for my ‘submission guidelines’. I honestly don’t care: email attachment or hard copy, double-spaced or single, margins wide or narrow, name on every page or not, whatever. If you write and want to send, then just do. It’s not for me to tell you how.

38 The Circulating Library – the idea was to send off a bunch of free books, asking the recipients to pass on to others after reading, and so on (and thereby expand awareness of CBe and maybe generate a few sales from the curious) – was a drowned duck: no emails from happy strangers, not one (as far as I know) extra sale.

39 This desk in the living room, but also the in-town office: the café on the first floor of Foyles, Charing Cross Road. (Deals have been done there, on backs of envelopes. And all praise to that shop, which actually asked to stock the books, rather than me having to make the first move.) If it’s too busy, the Pillars of Hercules. Once, the place around the corner where you can get a bottle of wine for a fiver.

40 The two points in time at which I knew the Free Verse Poetry Book Fair was worth the effort: (1) when in 2011 I was being shown a church hall in Exmouth Market by the woman who was in charge of hiring it out and her labrador dog, chasing a ball, went skittering and scrabbling across the recently polished floor; (2) lunchtime on the day of the first fair when, out for a cigarette, I said to the busker in the street, Brooke Sharkey, there was a book fair going on, and she said she’d move on, and I suggested she come in and do a set onstage instead and she did. (The book fair was repeated in 2012 and 2013, with over fifty presses participating; from 2014 CBe is ducking out, leaving it in the more than capable hands of Chrissy Williams and Joey Connolly.)

41 The stuffed gorilla that sat outside the CBe/Eyewear pop-up shop in Portobello Road in July last year appears to be one of a limited edition made for the California zoo where Koko (born 1971) lives. How it came to a junk shop in the Askew Road, Shepherds Bush, I have no idea. (Below, Koko on the right; on the left, seated, Wiesiek Powaga, translator from the Polish of Stefan Grabinski’s In Sarah’s House and Andrzej Bursa’s Killing Auntie and other work.)

Bite-size CBe, part 2: 42–64 (written in 2016)

42 February 2016: the new people at the post office are at the counter and the queues are long this week. Farewell to Jay and his wife (below), after 43 years’ service. Every single CBe book ordered from the website since 2007 – a number in the thousands – has been taken by me to their counter for weighing and posting. I’ve seen them at least three times a week, often more. Unwittingly, they have been by far my most regular co-workers in this little venture.

43 A rough audit of how the writers I’ve published have come to me. Author recommended to me by a writer already on the CBe list or by a close friend: 13. Me knowing an author’s work or coming across it and chasing it: 11. Unsolicited submissions: 6. Submission through an agent: 3. Can’t remember: 1.

44 Submissions: despite the huge amount of time and effort that they have put into their writing – and in many cases money too, in fees for CW courses – the great majority of people sending me work skip the 30 seconds of online research it would need to find out who, actually, they are sending to.

45 Number of titles (not including those published this year) published by CBe that have sold fewer than 100 copies through the distributor, Central Books: 15. Number of titles that have sold more than 1,000 copies through the same route: 4.

46 Money is necessary and also embarrasses me. Here is Anne Carson’s theory of money: ‘It’s just the inverse of the usual theory, which is that all money, indeed all numbers in life, should get to be bigger. But it doesn’t make sense that they should get bigger – why bigger? – so if you just switch it around and think all numbers should get smaller, it makes life better.’

47 I’ve hardly evolved from the times when ‘debt’ carried a lingering stigma and the purpose of a man was to be a ‘breadwinner’. As a writer (and especially as a writer who wanted to start a family), either I had to write books whose sales made me a living (which was never going to happen), or I took jobs and wrote on the side. (The oldest writer on the CBe list, Fergus Allen, 94, had a similar outlook: a working career, then publishing his first book at the age of 72.) I don’t claim this attitude is ‘right’; fear is involved, and playing safe. But I do take a perverse pride in CBe’s record of publishing more than 40 books over 9 years without any ACE money.

48 2014 was the glitzy year: Beverley Bie Brahic winning the Scott Moncrieff Prize for her translations of Apollinaire; May-Lan Tan on the Guardian First Book Award shortlist; Will Eaves on the Goldsmiths Prize shortlist; a re-issue of Agota Kristof’s The Notebook selling well and being on several ‘books of the year’ lists. I wore a tie.

49 This: different writers I’ve published meeting one another – at a reading, an event, a party, or just online – and clicking. Readers too. I could very easily get sentimental about this. Family. (Despite families being, in media-speak, either ‘hard-working’ or ‘dysfunctional’.) This kind of by-play has been the richest thing.

50 Social media. Facebook aggravates, and I aggravate in return and get in a mess. Twitter’s lighter, funner. CBe has, I think, a low-level, intermittent core following, some of whom do one platform but not the others, some of whom read the irregular newsletter but nothing else, and a least a couple of whom never go online at all, so I probably do need to keep all the channels open, a way of reminding that I’m still around. That’s all.

51 Ebooks. The books about Finland are available as ebooks because there may be English-speaking potential readers in Finland who are keen to buy but baulk at the postage costs for a printed book. Two of my own poetry collections, first published by Faber, are now available exclusively (as they say) as CBe ebooks. Take-up has been less than tiny.

52 Printed books are the CBe thing, but I’m not 100 per cent Luddite. I read a lot of things – poems, prose – online. Online writing doesn’t need to bow to the design restrictions of the printed page, and this can get interesting; to publish a 64-page poetry book (the standard delivery system for poetry over my lifetime) and then issue it as a 64-page ebook doesn’t feel interesting at all.

53 UK orders from the website are free of any postage or packing costs. For orders from Europe (and yes, that does include Ireland) and ‘rest of the world’, there’s a little clickable menu on every book page that adds on a postage cost. It’s surprising – but maybe not – how many people ordering from outside the UK don’t see this. Do I send them a school-teacherly email asking them to send postage? Do I just shrug and send the book anyway? It depends on my mood.

54 I’ve done this twice: taken on an ‘intern’ and paid them a sum of money and then been stumped as to what to ask them to do.

55 Oh, yes: I got one of them to teach me how to make spreadsheets. But then I never followed through. The old system – writing numbers down in columns in a ledger – isn’t broken so doesn’t need fixing.

56 My dad (who died 60 years ago) had a ledger in which he kept track of the business of a farm he ran: wages, cattle bought/sold, tractor repairs, etc. I remember it, and have lost it. It seems pretty clear that I am trying to re-create that ledger. It also seems clear that the way in which CBe publishes – printed books; the lugging around of heavy boxes; the queuing at the post office; the tiny sums of money and the small-scale-ness of it all – is essentially a 1950s way, with a couple of technological advances (the internet, digital printing) added on.

57 The price of a new book of poetry should, surely, be index-linked to the cost of a packet of cigarettes. On the whole this seems to be the case. (Except for Faber: £10.99 for 64 paperback pages?)

58 I made a half-hearted attempt, about two years ago, to stop publishing. And then realised that, as with smoking, stopping is a lot more difficult than simply carrying on. But I can cut down.

59 The course of Sonofabook magazine, whose first issue was published in spring 2015, has not run smoothly: delays, illnesses. I came to believe that there was a curse on it. Someone suggested I rename it The Accursed.

60 In the agent’s office there is a cricket bat, and we talk about cricket as well as books. That this agent has poets on his list, and also the son of the teacher who got me through Eng Lit O-level at school, feels good. Minutes after leaving, I buy a bunch of Victorian lantern slides from an antiquarian bookshop. Two of them show watercolours of worms. I come home and read Darwin on worms: ‘Worms have played a more important part in the history of the world than most persons would at first suppose.’

61 Helpful tips. CBe author Dai Vaughan’s advice to ‘aspiring writers’: ‘Be sure that a life of humiliation and disappointment is what you really want.’ Me on lesser things: for editing you need to be awake and alert; typesetting can be done while reasonably hungover.

62 Burger vans (below). The left one is outside the printer in Acton, the right one is outside Central Books in Hackney Wick, the distributor. Snap. I collect boxes from the former, bring home and re-pack, and deliver them to the latter (17 trips in the past year). If just 2 or 3 boxes, by Overground; if more, by car. (Central’s building is perhaps my favourite in London: see photo in previous post.)

63 Inpress are asking me what my ‘targets’ are for the sales of the new titles. I have a feeling this is going to end badly.

64 Ron Costley, text designer at Faber while I was there, died in February 2015. Guardian obituary here. Anything I know about design, I have from him. When I wasn’t sure, when I had about six different ways in play of putting text to page or cover and had succeeded only in confusing myself, I’d email Ron and we’d go to Pizza Express. House red, extra chili flakes. He was a great supporter of small presses in general. It’s not the same without him.

Bite-size CBe, Part 3: 65–90 (written in June 2019)

65 If a book is ordered on the website from a local address, I sometimes deliver it by hand (thus saving on postage). I post it through the letterbox, no small talk required. Record delivery time to date is around 30 minutes from website order.

66 Four bookshops that have been particularly supportive. Muna Khogali’s Book & Kitchen in Notting Hill (but not a main street, so little random footfall): superb coffee and food as well as books; closed in 2017. I miss that place. Albion Beatnik bookshop in Oxford: talk, coffee, jazz, hard-to-come-by translations and US books, ‘a wealth of browsing interest and serendipity’; closed in 2018. Volume bookshop: but it’s in Wellington, New Zealand, and shipping costs from the UK distributor are prohibitive. Notting Hill Books: more of a shed than a shop, selling second-hand books and review copies, run by Sheila Ramage from 1968 to 2012, when illness forced closure. Below: inside Sheila’s shop:

67 I once wrote that CBe is ‘a little machine for reading aloud to strangers’ (I’d forgotten that, until it was quoted back to me). In different voices. Reading aloud is a lovely thing to do (I sometimes read to Sheila in her care home: see previous bite). It’s one of the reasons why people have children: captive audience. Some writers are excellent for reading aloud; others are not, and I think the latter are failing an important test.

68 Another little venture that failed to fly (see bite 38, the circulating library) was the Flappers: A3 sheets printed in colour both sides with images and text which interacted to produce an odd new form of narrative. Folded down to postcard size, they could be addressed, stamped and posted as postcards (or put in an envelope and posted as a letter). The images came from early 20th-century postcard concertina booklets (also in the photo below); the texts were written in the voices of a 10-year-old child (Genova) and a confused Englishman in 1914 (Bruxelles). Very few sales. Were they cards or posters or pamphlets? No one knew.

69 I can skip swimming with dolphins, but a thing I hankered to do before I die was publish a lit magazine (this bite elaborates on number 59, above). I got some ACE funding for this in 2015. Its distinguishing feature: each issue after the first one was to be guest-edited by a writer or critic I admired. Sonofabook ran for just two issues. First guest editor: his dad got ill and died. Second guest editor: her child was diagnosed with an incurable disease. Third guest editor: her dad got ill and died. There was clearly a curse on this, and I called a halt. A portion of the ACE grant was paid back.

70 The other distinguishing feature of that magazine was this: very few contributors per issue, but a lot of pages for each. Another magazine editor told me that if I was chasing sales, this was a bad idea: pack ’em in, as many as you can, because their mothers buy copies and often more than one.

71 For the books, there has been no ACE funding. Apart from three subsidies for translated books, which have gone to the translators, and generosity from a supporter of the trilogy of books about Finland, no external funding at all. Start-up cost (in 2007) was £2,500. Since then, CBe has been entirely dependent on the kindness of strangers/readers/buyers. Basically, I’m a miserly Yorkshireman.

72 Nor has CBe run a competition with entry fees, which is a traditional fundraising strategy for small arts ventures but seems to me a little dubious: I’d be raking in money from many people who have no realistic chance of winning a prize (and I might end up having to publish work that I don’t actually like). Nor has CBe crowdfunded. I do understand this – it bypasses the bureaucracy of applying for public funding and enables well-wishers to express their support in a very practical way – but it depends on having friends with disposable income and the crowdfunding field is becoming a little overcrowded so no, sorry, I’m not going to pledge £20 for another eco-anthology, even if I do get a free tote bag.

73 Tote bags. “Worth £9.99” says the ad for the LRB offering me a free one if I subscribe. Seriously? Can I have some clothes pegs instead? Tote bags as ubiquitous accessories for bookshops, publishers and prizes are an odd phenomenon. (Someone, somewhere, is collecting them for their rarely visited museum of ephemera.) Also those wobbly things on stands called banners.

74 The Bookseller, 17 January 2017: ‘Indie publisher CB Editions is to wind down its operations this year, as founder and sole member of staff Charles Boyle goes into semi-retirement.’ On Sunday, 21 May of that year, I was lured into a surprise party at the Seven Stars in Carey Street, Holborn, given by CBe authors and friends. It was possibly the proudest and most humbling day of my life. The following night, 23 people were killed and 139 wounded in a bomb attack at a concert in Manchester.

75 ‘Semi-retirement’ leaves it open. Half full, half empty? As with some of my other addictions – smoking, alcohol, the novels of Alfred Hayes and Elizabeth Bowen – it’s really much easier to carry on than stop. Albeit at a slower pace. The average number of CBe titles per year used to be four or five; one mad year there were nine; it’s now down to two, or perhaps three.

76 The day when I get no emails from a company in India or California offering to upgrade the website is a rare day.

77 Update on bite 17, above: there’s more traffic on the roads (photo below, playing on the website home page photo, also below, which shows my father in the 1940s). Since CBe’s start-up in 2007 small presses have become a thing. They were a thing for several previous decades, of course they were, but now that they are winning prizes and getting reviews (many of those subsequent to the prizes) they are a different thing, incorporated into the establishment. It’s one of the ways capitalism works. Books from small presses are almost expected to win prizes: it's not a proper prize unless it has a small press on the shortlist. Though the prizes that require the publisher to pay several thousand £ if a book gets onto a shortlist or wins (as a ‘contribution to publicity costs’) – ones sponsored by big non-literary companies among them – are still unwelcoming.

78 Update on bite 8, above: Central Books, afflicted by rental hikes in Hackney Wick, have quit their grand warehouse building there and moved out of town, into Essex. But they are still visitable: a round trip of roughly three hours, inclusive of tea and a cigarette.

79 The climate has changed. One of the first CBe books in 2007 was written by me, male, under a female pen-name, with first-person female narration. I couldn’t do that now. I wouldn’t attempt to. (By the way, Don DeLillo published a novel in 1980 under a female pen-name. He later asked for it to be ‘expunged’ from a bibliography.)

80 There’s a perceived worthiness about small presses that bugs me (a bit; there are worse things to get angry about, every day). There’s no reason to suppose that small presses are run by a smaller proportion of venal and dodgy people than any other enterprise (banking, politics, the armed services, the church, charities, estate agencies, organic juice bars). As a writer, you don’t necessarily get better editing and design from small presses, as compared with the big publishers. You don’t get more publicity, marketing or sales. You do get, I think, more individual attention. You’re less likely to be passed around from one department to another (there aren’t any departments to pass you to).

81 The relationship between small presses and big publishers is mysterious (as are all relationships; as is the matter of which books become ‘successful’ and which not). Will Eaves’s Murmur: that so many readers have taken it on (it sold more copies than any other CBe title), exercising their own intelligence in response, has been heart-warming; on the night it won the Wellcome prize I was told by someone who works for a big publisher that if the book had been published by them, Big Pub, it wouldn’t have taken that course, it might not have even been entered. Too late to find out.

82 There’s a clause in the basic CBe contract with authors that’s a pre-nuptial (see bite number 32): if someone fitter, richer, better-resourced, comes along, then the author is free to go off with them. Christopher Reid’s The Song of Lunch went to Faber. Jennie Walker’s 24 for 3 went to Bloomsbury. May-Lan Tan’s Things to Make and Break went to Sceptre. Will Eaves’s Murmur has gone to Canongate. Without payment to CBe for publishing rights. Other CBe books have been re-published in the US, France, Germany, Italy and Spain, without payment to CBe. This is fine. I don’t own the writers I publish. If you think I should be making money here then you don’t get it.

83 All CBe titles in print can be ordered by bookshops from the distributor, Central Books, but most independent bookshops source only from the main wholesalers – so if Gardners or Bertrams do not hold a book in stock, it’s likely that that a bookseller will tell a customer ordering that book that it is not available. This happens often. Over 90 per cent of CBe titles are not in stock with the wholesalers; how they choose which books to buy in I don’t know; I have no leverage to choose for them.

84 A sales agent can be helpful here – a person/organisation whose job is to hustle booksellers to buy in the books and nag the wholesalers to stock them. Since dropping down to publishing just two or three books a year, CBe has done without a sales agent – because they concentrate on pushing new titles, not the backlist; and because in addition to an annual charge they take a cut (10% + VAT) on every book sold out of the distributor (on top of the distributor’s cut), regardless of whether they had a hand in effecting those sales. Am I being mean here? Would paying a sales agent increase sales to the point where that payment earns itself back, and more? I don’t know. The evidence in favour is not compelling. In the months before last Christmas, CBe was one of six London-based small presses who hired (at a cost of several hundred pounds each) an experienced, enthusiastic book-trade person to visit pretty well every bookshop in London to promote our recent titles in person. Total sales resulting from this exercise: two or three (fewer than the sample copies given away).

85 Because Blush, published late last year, was a new thing for CBe – images and text, equal status – I visited art-gallery bookshops that might not be familiar with CBe books, talking to the managers and leaving sample copies. Result in sales: zero. Result in sales of Good Morning, Mr Crusoe after getting Guardian publicity and reviews in the Observer and TLS (the latter admittedly not loud in praise), orders from maybe half a dozen bookshops, mostly single copies for individual customers, and not in stock at the wholesalers. (Don't even try from Gardners: 'Not available to order'.)

86 Neither of the above books is in stock at Amazon. Nor – out of many examples – is the most recent CBe book before those ones (Philip Hancock’s City Works Dept.). If you click the ‘used and new offers’ link, you’ll find you can buy it from other online retailers; but you’ll have to wait for delivery because those places will first have to order in from the distributor. The book you receive will be well-travelled, will have seen a few warehouses; and though payment will have been taken at all of the stations it has stopped off at, you may still get it at less than the cover price. We do like being offered discounts. Even though we know that discounting forces the cover price of a book up, as publishers seek to maintain their margins.

87 The covers of all the CBe books in the early years were brown card, typographic design. In mid-2016 I changed printer and the brown card was no longer available. But I really should have stuck with the brown card – that was the business, that brown card.

88 An idea that might be worth testing: ‘partner bookshops’. That is: bookshops who commit to ordering in all new titles (perhaps at a special discount) and keeping a selection of backlist titles in stock; information about these shops, with photos, would be featured on the press website. (The Ugly Duckling Presse in the US has operated such a scheme for a while. I’m not sure it would work here. Even if buyers of small-press books make up 0.001% of the population in both the US and the UK, that’s still a lot more people in the US, able to support more bookshops, more presses.)

89 Small-press successes over the past decade have been achieved in spite of the entrenched conservatism and inertia of the book trade and the ways in which it works (distribution, reviews, etc.). It’s pretty amazing that small-press books get published at all. I prefer amazement to gloom.

90 Another little idea: on a Saturday, a bookshop makes available to a small press a table to display and sell its books. Sales go through the shop’s till. Win win: the shop’s regular customers encounter new titles; the press’s books encounter potential new readers. A form of pop-up one-press book fair. I did this once in a south London bookshop (now closed) and it worked well.

91 And another idea: buy a second-hand library van, stock it with excellent small-press books, drive it around the UK, stopping off in small towns that can no longer support (because of discounting on the internet, business rates, etc) a bricks-and-mortar bookshop. But I’d need an HGV license. And a different life.

Wednesday, 22 May 2019

'Not currently available'?

On the one hand, CBe is a ‘successful’ small publisher. One of the books published last year has won the Wellcome Book Prize and has co-won the Republic of Consciousness Prize and has been shortlisted for the Goldsmiths, etc, and has sold more copies than any other CBe title. On the other hand, the two other books published by CBe last year have sold fewer than 100 copies – as have around a fifth of the titles published by CBe in the past 12 years, books I’m no less proud of having published.

All CBe titles in print are in stock with the distributor, Central Books, and can be ordered from there by any bookshop. Most independent bookshops, however, source their stock only from the main wholesalers, so if Gardners or Bertrams do not hold a book in stock, it’s likely that that a bookseller will tell a customer ordering that book that it is not available. This happens often. Over 90 per cent of CBe titles are not in stock with the wholesalers; how they choose which books to buy in I don’t know; I only know that I cannot choose for them. (When the wholesalers do take a book into stock, they buy it in from the distributor at a discount of well over 50%.)

A sales agent can be helpful here – that is, a person/organisation whose job is to hustle booksellers to buy in the books and nag the wholesalers to stock them. For some years CBe did have a sales agent (although during the first year with the agent, sales were fewer than in the previous year, with no agent). Since dropping down to publishing just two or three books a year, CBe has done without a sales agent – because they concentrate on pushing new titles, not the backlist; and because in addition to an annual charge they take a cut (10% + VAT) on every book sold out of the distributor (on top of the distributor’s cut), regardless of whether they had a hand in effecting those sales.

Am I being mean here? Would paying a sales agent increase sales to the point where that payment earns itself back, and more? I don’t know. The evidence in favour is not compelling. In the months before last Christmas, CBe was one of six London-based small presses who hired (at a cost of several hundred pounds each) an experienced, enthusiastic book-trade person to visit pretty well every bookshop in London to promote our recent titles in person. He reported back that the booksellers who knew of CBe were ‘unfailingly happy’ to see him. I supplied him with sample copies to give away where appropriate. Total sales resulting from this exercise: two or three (fewer than the sample copies given away).

Because Blush, published late last year, was a new thing for CBe – images and text, equal status – I conducted a similar exercise myself, visiting bookshops that might not be familiar with CBe books (Tate Modern, Camden Arts Centre, Whitechapel, Photographers Gallery), talking to the managers where necessary and leaving sample copies. Result in sales: zero. Result in sales of Good Morning, Mr Crusoe after getting some Guardian publicity and an Observer review in the week of publication: ordered by half a dozen bookshops, mostly single copies, and not in stock at the wholesalers. (Don't even try from Gardners: 'Not available to order'. Neither book is in stock with Amazon.)

This post is about context, in which the glamour days of prizes and shortlists are far outnumbered by the humdrum and head-banging days. Of course we all (writers, publishers) think our books deserve shelf space in the bookshops, but don’t even think of submitting to CBe if you assume I can get you that.

Wellcome Brook Prize, 2019

[This post reproduces a CBe newsletter sent on 7 May 2019]

A red dress in the form of a neural tube, designed by Helen Storey (daughter of the novelist and playwright David Storey, on whose work I once wrote – around half a century ago – an 8,000-word essay) and her sister Kate, a developmental biologist, on display at the Wellcome Institute. And Will Eaves, winner of the 2019 Wellcome Book Prize last week.

CBe is thumpingly proud to have published Will Eaves’s Murmur (and before that, The Absent Therapist and The Inevitable Gift Shop). The generous goodwill heading towards the good Will (and CBe) in the past week has been heartwarming – thank you, all.

‘Unanimous,’ said the chair of the judges. The book was turned down by some much better-resourced publishers (I’m not spilling beans, this is on record). Ten years ago, when CBe published its first collection of new poetry, J. O. Morgan’s Natural Mechanical, the head of the Poetry Book Society told me that many people would be ‘surprised’ that they had made it a Recommendation (it went on to win the Aldeburgh First Collection Prize and be shortlisted for a Forward Prize). That was in 2009; in 2019, the presence of small-press books on shortlists is almost expected.

Critical acclaim and the logistics of getting the books out there don’t, for small presses, mesh. For the latter, the bigger publishers are better: sales and marketing departments and channels and systems, which means overheads, which in turn means they are unlikely to take a punt, and even if they do they’re not going to concentrate financial resources on a hunch. Jobs are at stake, people’s livelihoods.

Very soon – in fact now – publication of Murmur will be taken over by Canongate, who are using the basic CBe cover design but going orange (below). (There’s a prenuptial clause in the CBe contract that says that if someone fitter and/or richer approaches, then the author is free to go with them; and this is fine, in fact it’s terrific, I don’t own the writers I publish and Will’s book will be published to more readers). If you want one of the very few remaining CBe editions of the book, order from the website quick.

Roughly a fifth of the books that CBe has published have sold fewer than 100 copies.

Sunday, 9 December 2018

Text & photographs: 3 books

Books in which text speaks to photographs and vice versa: not a new thing, but here’s a recent cluster.

A Stranger’s Pose by Emmanuel Iduma. Published by Cassava Republic Press; foreword by Teju Cole. Journeys across African cities ‘from Dakar to Douala, Bamako to Benin, Khartoum to Casablanca’; memories, encounters, meditations on migration and the meaning of images; a stunning selection of black-and-white photos by African photographers, some of them anonymous, some from archives. This is a deeply moving and completely brilliant book.

Blush. Texts by Jack Robinson – with citations from a range of fiction and non-fiction – and colour photographs by Natalia Zagórska-Thomas – including many of her own artwork – investigate the cultural and social history of the blush from the late 18th century to the present day. Published by CBe (and if you can’t think of what to buy X or Y or even Z for Christmas, here’s your answer: go to the website page and press the ‘buy now’ button).

Sottoripa. Poems by Julian Stannard set in Genoa selected from his books from 2001 to What were you thinking? (CBe, 2016); a bilingual English/Italian edition, with excellent black-and-white photographs of Genoa. Published by Il Canetto Editore, Genoa. Many of these poems I've read before; in this new setting they appear as new.

Saturday, 29 September 2018

Goldsmiths Prize / Will Eaves: Murmur / publicity

Will Eaves: he’s a writer (of novels, poems, other things: we live in genre-fluid times), a serious one (this is a life commitment) and also a very funny one (comedy is more inclusive than the other thing) and an angry one (‘emotion recollected in tranquillity’? – I can see what the man was getting at, but about many things it is simply too late to wait for the recollection stage), and from his writing he doesn’t make an inch of the miles of money needed to ‘make a living’ and he’s on this year’s shortlist for the Goldsmiths Prize (full list here) and about the latter, to put it mildly, I’m pleased.

Pleased, despite the reductionism of lit prizes, which take their form from what is increasingly (and depressingly) the only show in town, capitalist competition, winner takes all. But we work from where we are, which is not where we used to be (say, a century ago, when so-so poetry collections sold in their thousands and writers were paid many thousands of £££ by magazines for a single short story). Reading being no longer central to the culture, publishers are a little desperate for publicity for their books, to get them known to more than friends and family, and the prize culture has become embedded.

Some prizes are more equal than others. There was a twitter flurry this week following the announcement that the Women’s Fiction Prize (sponsored by Deloitte, Baileys and NatWest) had decided to charge publishers ‘a small fee of £1000 for the 16 longlisted entries, in addition to the existing fee of £5000 – which remains unchanged – for each of the six novels shortlisted’. The Costa Book Awards charge publishers £5000 for each book chosen as a category winner (as well as requiring at least 50 free copies), plus another £6000 for the overall winner. The Dylan Thomas Prize and the Man Booker Prize also charge publishers of shortlisted books several thousand £££ for non-transparent reasons such as ‘contributions towards publicity costs’. (For comparison, total set-up cost for CBe in 2007: just over £2000.) A number of the smaller presses are thereby excluded from these competitions (and even if they did enter books that were shortlisted, would lose money, because sales income would not meet costs).

The Goldsmiths, thank god, is one of the prizes that are free to enter. As is the RoC Prize (whose prize money is spilt between authors and publishers) and the Jhalak Prize (and, on the poetry subcontinent, the Forward Prizes and the T. S. Eliot Prize). It’s maybe worth noting that the above fiction prizes were established in response to the perceived exclusivity of the longer-established prizes.

A slightly different (but related) matter: Is all publicity good publicity? For some readers, publicity over a certain pitch can be off-putting (to the extent that I can feel, if a book has already got that many readers, it doesn’t need me). In recent months I’ve read at least three much-praised novels – of the kind whose covers punctuate my twitter feed, and which usually get at least as far as a couple of shortlists – and found myself (a) wondering what the fuss was about; (b) suspecting that the high praise had set up expectations that got in the way of my appreciating them; and (c) acknowledging that if it hadn’t been for the praise/publicity, I might never have started reading them anyway. Will Eaves’s Goldsmiths-shortlisted book, Murmur, has received some high praise: ‘has achieved one of the pinnacles of novelistic endeavour’; ‘as bracingly intelligent as it is brave’; ‘a poignant meditation on the irrepressible complexity of human nature and sexuality’; ‘a weaving, witty text packed with insight about the future’; ‘has achieved the holy grail of modern prose’ – you get the picture. There will certainly be some readers who will wonder what the fuss is about, and who may even dislike the book at least in part because expectations have been set up and then not met. Liking the book is not compulsory, but I really want Will Eaves to be able to afford some jam for his toast in the mornings: buy here. If, after buying the book from the CBe website, you don’t like it, give it to a charity shop and write me a letter (address on the imprint page) explaining why and I’ll refund the purchase price.

[This post has also been sent as a newsletter: there are overlaps, but different people tune in to different places.]

Friday, 21 September 2018

Night thoughts

This book was a charity-shop buy last week. I’d heard of the author but had read nothing by him before. The train on the jacket looks Polish, said a friend. Toby Judt, the back flap informs me, ‘was the Erich Maria Remarque Professor of European Studies at New York University, in addition to being the Director of the Remarque Institute, which is dedicated to the study of Europe and which he founded in 1995’.

First, the form of the book. Judt was visited by a ‘motor neuron disorder’ (amyotrophic lateral sclerosis). The body shuts down, bit by bit. Not the mind. Wedged into bed each night – utterly passive, unable even to scratch – and insomniac, he let his mind scroll through his life until ‘I have chanced upon events, people, or narratives that I can employ to divert my mind from the body in which it is encased’. In the morning, with the help of an assistant, the night’s work is transcribed into the matter – essays? feuilletons? – this book consists of. ‘I don’t know what sort of a genre this is.’

Content. Food, cars, Green Line buses. Class, work, migration, education, sex, ‘identity’. ‘I am struck by the man I never became.’

Declaration of interest: Judt was born (east London, working class) in 1948, I was born (Leeds, middle class) in 1951. I know uncomfortably well many of the foods and cars and confusions he talks about. He was a volunteer worker on a certain small kibbutz in Israel in 1967, I was a volunteer worker on the same kibbutz in 1969.

The Memory Chalet is a short book. The nights were finite: Judt died in 2010, aged 62. There are many good, loving memories, and Judt praises Clement Attlee, the Labour prime minister 1945–51 ‘who presided over the greatest age of reform in modern British history’: ‘Attlee was an exemplary representative of the great age of middle-class Edwardian reformers: morally serious and a trifle austere. Who among our present leaders could make such a claim – or even understand it?’ Judt went to a state school that got him into Cambridge, where the teaching was good. ‘As in so many other respects, I think our generation was fortunate: we got the best of both worlds. Promoted on merit into a class and culture that were on their way out, we experienced Oxbridge just before the fall – for which I confess that my own generation, since risen to power and office, is largely responsible.’

That last bit is the killer. How has our generation – or at least the white male slice of it, the luckiest and most privileged cohort in Western history – managed to so fuck things up that here we are now with Trump and Brexit?

Writing – more accurately, thinking, and dying – in 2009, Judt saw it coming: ‘We are entering, I suspect, upon a time of troubles. It is not just the terrorists, the bankers, and the climate that are going to wreak havoc with our sense of security and stability. Globalization itself – the “flat” earth of so many irenic fantasies – will be a source of fear and uncertainty to billions of people who will turn to their leaders for protection. “Identities” will grow mean and tight, as the indigent and the uprooted beat upon the ever-rising walls of gated communities from Delhi to Dallas.’ And yet for all his intelligence and compassion and curiosity (already fluent in several European languages, he learned Czech in his forties) . . . As a historian, Judt almost certainly understood better than most of us how good can so quickly turn bad.

Friday, 31 August 2018

Robinson: appendix 3 – Gerald Brenan

[Robinson was published in 2017. Written in the months following the EU referendum, it argued that Defoe’s Robinson Crusoe has had a crippling influence on British education and politics; latter-day Robinsons in Kafka, Céline, Patrick Keiller, Muriel Spark, Sherwood Anderson, Ian Crichton Smith and others were also discussed. This is the third appendix, catching up with Robinsons discovered since the book was written; previous ones look at Robinsons in Elizabeth Bowen and Graham Greene.]

Jack Robinson: A Picaresque Novel (1933) by George Beaton is a rum book. For starters, more play with pen-names: Beaton is Gerald Brenan, who had Bloomsbury Group connections and is best known as author of The Spanish Labyrinth (1943) and South from Granada (1957). Growing up, he enjoyed neither school nor his home life, and disliked his father, an ex-infantry officer in the Boer War who ‘had a mania for giving orders in a sharp, rude voice, for the consciousness of exercising power was his greatest pleasure’, with a vengeance: ‘He belonged to an utterly different species of humanity from myself.’ Aged 18, Brenan set off in secret with a friend to walk to China; they got as far as Bosnia, a tramp of more than 1,500 miles.

Before the end of the first page of the novel Jack Robinson’s father has died and the family house has burned down. To escape from his mother – ‘the state of my clothes and my general respectability and decorum were the chief pegs of her existence’ – Robinson decides to run away to sea, but before the sea even comes into sight he falls in with a shifting population of tramps, beggars, pimps and prostitutes, and he remains with them until the final page of the book, when he returns home, where his mother is ‘ironing some white shirts and chatting to a neighbour’. The most lively conversation in the book is between the teenage Robinson and a woman – not exactly a prostitute, but she lives off her rich lover – who, before she takes him to bed, tells him ‘it never rains but I wish the rain would go on coming down until it covered the whole world and everyone on it was drowned or turned into fishes . . . I love destruction.’

Robinson is distinguished by a paralysing inertia. While begging on the streets of London, he is offered work as a cabin boy on a steamer bound for South America, but ‘My feet were chained to these flat grey pavements, my eyes were riveted to these smoke-plumed houses – for among them rather than within me seemed to lie the conflicts that were just now engaging me and which did not leave me sufficient energy to part from them. Unsatisfactory as I felt my life to be at this time, I had neither the desire to evade it nor the force to alter it.’ Grandfather Crusoe’s assumption of agency is drained entirely; this is a Robinson alienated both from society and from himself. Jack Robinson carries the bleak suggestion that there is no sea to run away to, that the only places you get to when you run are doss-houses and begging on the streets, and the only escape from those is back to a mother who is ironing shirts and chatting to a neighbour. (She takes in washing and ironing for cash, I assume, given that to the reader’s knowledge there is no man in her life except her runaway son.)


The second book Brenan published under the pen-name George Beaton is even rummer. Doctor Partridge’s Almanack for 1935 (1934) purports to be a series of fragmentary prophecies by Dr Partridge, astrologer and author of almanacs, with a preface by ‘G. Robinson, Practising Astrologer’. (Dr John Partridge, 1644–1715, was a historical person. In 1708 Jonathan Swift, writing as Isaac Bickerstaff and with the intention of exposing Partridge’s quackery, predicted that Partridge would die on 29 March of that year; when Partridge wrote on 2 April that he was still alive, and advertised in newspapers that he was ‘not only now alive, but was also alive upon the 29th of March in question’, Swift replied that his statement was demonstrably untrue, as ‘no man alive ever writ such damned stuff as this’.) According to G. Robinson’s introductory account, Partridge died in 1727 and was buried in a cellar under a house in Fitzroy Street; 190 years later, Partridge is stirred back into life by a rat nibbling his finger; learning from nearby talkative bones of the current state of the world (‘Is there never to be an end? Must the world grow more bloodthirsty and more feeble-minded with every century?’), he determines to offer ‘to mankind a complete calendar and recital of their fate’ – ‘less with the view, I doubt not, of converting them to the hard creed of Cessation than of relieving them now at this present of some of the fever of life by cutting off their expectancy’.

As outlined in a second preface, this one by ‘Professor Blish’, the worldview of ‘our great Partridge’ holds that ‘discord, folly, strife and confusion [are] the permanent condition of the world and of each separate human being’, and humankind must therefore ‘learn to look forward with a perpetual increase in longing to the great reconciler and deliverer – that is, to death’. Dr Partridge is a doomy fanatic, but unlike others of that ilk he has a light touch. Some sample entries … January 9: ‘If you wish to obtain a reputation for stinginess, give a large dance or evening party.’ January 31: ‘This is a good day for poets and novelists to burn their manuscripts, for painters to tear to pieces their canvases and for lovers to put their heads into gas-ovens.’ February 1: ‘On this day a man called Timothy Pippin will found a New Religion of universal love, in which all those who do not believe are to be anathematised, imprisoned, tortured, flayed, and roasted.’ February 19: ‘This is an unlucky day for barmaids and for all people who live under railway bridges.’ March 22: ‘This is an unlucky day for those who collect tram tickets and while away their lives gazing at rivers and seas.’ May 28: ‘On this day the world will not come to an end, however many reasons there may be for desiring it.’ June 13: ‘If you have not lost anything lately, pray to St Anthony of Padua and he will lose it for you.’ June 15: ‘St Modestus was so modest that in 63 years he never once removed his pants.’ November 8: ‘Any reviewer disparaging this almanack will drop dead on the spot.’ November 11: ‘On this day the European nations will give up their offensive weapons, such as hockey sticks and motor horns and insect powder, and take to strictly defensive ones, such as tanks and aeroplanes and poison gas, which are much more likely, as everyone knows, to keep off war.’ December 26: ‘O world, world, world, world, if you do not come to an end before next year is out, I, Dr Partridge, have done with you.’

Brenan later distanced himself from Jack Robinson (‘there is no book of mine that I dislike more’) but he remained fond of Doctor Partridge’s Almanack, for ‘a certain command of language as well as a pessimism that seems to forecast the days of Stalin, Hitler and the atom bomb’. He wrote the book ‘without any previous plan or intention and almost as though the words were dictated to me’. In the prefaces his memories of the First World War and of a doomed love affair (along with ‘some rather inappropriate Old Testament imagery’) ‘combined to set up an atmosphere of horror, disgust for life and melancholy that is so far-fetched that it is always on the point of toppling over into absurdity’.