Salt Publishing facing fight for survival

Salt books

Photo credit: Salt Publishing

Acclaimed independent book publishers Salt Publishing are facing a fight for survival, as a challenging time for the publishing sector continues.

In a tweet, Salt addressed its readers directly, asking for their support through the #JustOneBook initiative:

Dear readers, we need your help. Sadly, we’re facing a very challenging time and need your custom to get our publishing back on track. Please buy #JustOneBook from our shop right now https://www.saltpublishing.com/ 

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Salt is one of UK’s foremost independent publishers, committed to the discovery and publication of contemporary British literature. Advocates for writers at all stages of their careers, the company help ensure that diverse voices can be heard in an abundant, global marketplace.

While first founded as a poetry publishing house in 1991, Salt’s publishing has expanded to include children’s poetry, Native American poetry, Latin American poetry in translation, poetry criticism, essays, literary companions, biography, theatre studies, writers’ guides and poetry chapbooks as well as a ground-breaking series of eBook novellas.

Salt’s fiction list has also received critical acclaim. Books published by Salt have twice been nominated for the Man Booker Prize and shortlisted in the Costa Book Awards.

Speaking about the plight of Salt Publishing, Nothing in the Rulebook’s Professor Wu said:

“We live in an era where the biggest publishing companies and media organisations are only concerned with stabilising profits for shareholders – and are prioritising making money over supporting originality and new creative ideas. This is strangling our modern culture – limiting us to a devastating cycle of reboots, sequels, prequels and franchises; where the only novels we read are copies of novels that are themselves copies of commercially successful novels. This risk-averse and profit-focussed approach in turn risks homogenising our culture; and limiting our exposure to new ways of thinking.

At a time when we need new ideas and voices to counter the prevailing cultural winds, which tell us creativity is only of value if it sells, we need independent publishers like Salt to continue their fine work. We need diversity and originality in our publishing; not ceaseless imitation and repetition in pursuit of a fast buck. We need books that experiment and take risks; not those that seem afraid to be different. We need independent publishers; not corporate monopolies. We need Salt Publishing, in short.”

Readers can support Salt Publishing by purchasing #JustOneBook through their online store or via your local bookstores.

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Creatives in profile

Once described by Mark Twain as “an unhappy invention”, interviews are in some ways a strange form of media. Not quite entirely formal; but never truly casual, these recorded conversations between subject and interviewer have the potential to stray from banal, scripted and pre-recorded Q&As to existential, winding, in-depth and revealing verses.

Strange as they may be – perhaps occupying a space between spontaneous and prepared conversational performance – interviews are one of the few tools available to us that can still spark new ideas and uncover unique perspectives in an instant. As a tool for conjuring creative thinking, there are few better.

As we at Nothing in the Rulebook endeavour to support and promote creativity in all its forms, then, interviews are a crutch upon which we are proud to lean on.

Since we launched our creative collective in 2015, we have been honoured to interview writers, artists, photographers, comedians, film directors and entrepreneurs.

In our ‘Creatives in profile’ interview series, you can read our detailed discussions and conversations with them all.

Creatives in profile

We have collated all our interviews here below. Keep an eye out for more interviews as we publish them. Happy reading, comrades!

Eric Akoto

Erik Akoto

Akoto is the founder and publisher in chief of Litro Magazine. He also curates and comperes at literary festivals including Latitude and Hay.

“Ultimately, nothing can replace the smell of a printed book.”

 

Paul M.M. Cooper

paul-cooper.jpgCooper’s début novel River of Ink was one of the largest literary book deals at the London Book fair. He has written for websites and magazines, working as an archivist, editor and journalist.

“Artists around the world are currently struggling beneath autocratic regimes, and their art is often the mode they use to express their dissent.”

Rishi Dastidar

img_0008_2.jpegDastidar’s poetry and reviews have been published in the Financial Times, Tate Modern and the Times Literary Supplement, amongst many others.

“Don’t send your first draft: it won’t be ready. I guarantee it. If it takes 8, 16, 20 drafts to get a poem right, then take that long. This is a patient game. And the poem will wait for you.”

Mike Dodson

md-nitrb13Dodson’s photographic work has been used by organisations from the BBC to Pearson. Cutting his teeth as a copywriter and editor, he has written for Time Out, Viz and Private Eye, as well as the Metro newspaper.

“The great thing about technology now is that it has made everyone a photographer. The problem with technology now is that it has made everyone a photographer.”

Will Eaves

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Will Eaves is a novelist, poet and teacher. Arts Editor of the Times Literary Supplement from 1995 to 2011, his books have, variously, been shortlisted for the Goldsmiths Prize, the Ted Hughes Award for Poetry and the BBC National Short Story Prize.

“Writing a book – and perhaps especially a book about a dreadful transfiguration – is a little like having a protracted fit. Once it’s over, there’s no way to retrieve the feverish actuality of the creative moment. Thank God.”

Extra Secret Podcast

IMG_4186Shhh, it’s a secret!

“We don’t advertise. It’s tough to reach a vast audience without dumping a ton of money into it. Good content will propel the show forward. Ultimately if you’re trying to do a podcast to get famous, have a million listeners…you’re doing it wrong.”

 

Julia Forster

Julia-Forster-B&W-©-Alice-Hendy-2014Forster is an author, non-fiction writer, journalist and publishing professional. She is also a mentor for writers at the Literary Consultancy.

“I believe that the crucial thing when writing an initial draft is not to judge yourself or your writing. Believe in yourself in epic proportions.”

Karen Healy

Karen HeadshotCo-founder of award-winning original comedy production company, Pondering Media, Karen is an actor, comedian, and social activist.

“Even if you’re dying on stage every night, just keep getting up there and doing it, you will eventually find your voice.”

 

Michael Healy

MichaelThe other half of Pondering Media, Michael is a writer and director.

“If the audience can’t walk in and get a strong impression of you and your work right away, you’re wasting your time.”

 

Henningham Family Press

d-henninghamHenningham Family Press (HFP) is the collaborative art and writing of David and Ping Henningham. HFP combines writing and art through fine art printmaking, bookbinding and performance.

“There’s no point having an experimental writing scene populated by wealthy people from a single school.”

Anne Beate Hovind

Hovind, Anne Beate-2Oslo native, entrepreneur and public art professional, Anne Beate Hovind is the curator of the world-famous ‘Future Library’ project.

“If you’re not curious about something, how can you have the passion for it, how can you find that energy?”

Asher Jay

AsherCoveredinPaint-SerengetiMural

Asher Jay is an acclaimed designer, artist, writer, and environmental activist.

“Look around you though, everything is life, there is nothing on this planet untouched by it. So I love life; I love all life on earth! […] because we are all the same when we breathe, when we allow ourselves to just be.”

 

Tim Leach

Tim LeachTim Leach is an historical fiction author and creative writing teacher. His debut novel, The Last King Of Lydia, was longlisted for the Dylan Thomas prize.

“What is ‘reality’? I think that we are creatures of narrative, it’s how we understand and process the world. We tell stories to survive, and the stories that we tell become our reality.”

Russ Litten

LittenLitten is the author of “Scream If You Want To Go Faster”, “Swear Down” and “Kingdom”. His short stories have appeared in various international magazines and he has written for the screen and radio.

“I don’t particularly like post-modernism that much. I find it a bit tiresome and unhelpful. I like sincerity and stuff that’s from the heart.”

Iain Maloney
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Maloney is the author of three novels, First Time Solo, Silma Hill and The Waves Burn Bright and has been shortlisted for the Guardian’s Not The Booker Prize and the Dundee International Book Prize.

“As writers, we have an ethical responsibility to engage honestly with our stories, with our subjects, not to shy away because a handful of people won’t agree.”

Andrew McMillan

McMillan photo credit Urszula SoltysOne of the most exciting new talents to hit the poetry scene in recent years, McMillan’s debut collection, Physical, was the first ever poetry collection to win The Guardian First Book Award.

“I think all artists always wish they were proficient at something else, but I have no other skills, I can only write (and most days I can barely do that).”

Katie Paterson

Katie Paterson1

Widely regarded as one of the leading artists of her generation, Paterson’s work collapses the distance between the viewer and the most distant edges of time and the cosmos.

“I love the idea that you need to plan hundreds of years ahead for something to last or exist; it seems the antithesis of the current mode. Instead we live in a ‘one click’ world.”

Nicholas Rougeux 
Nicholas Rougeux

Nicholas Rougeux is a Chicago-based web-developer, data visualisation and concept artist.

“Stick with what you love doing. It sounds cliché but it’s true. There isn’t one guaranteed way to get what you want but if you keep doing what you enjoy, things tend to happen naturally.”

Helen Rye 

bio photoHelen Rye’s searing pieces of flash and short fiction have been nominated for numerous prestigious literary awards since she arrived on the short story scene in 2016.

“Nobody wants to read preachy writing, but sometimes what drives us to write is an unbearable sense of injustice, or the suffering of other people.”

Matthew Smith

1457448732152_2xAuthor, photographer and designer Matthew Smith is the founder of London publishing house Wundor Editions.

“The internet is great for seeking out specific pieces of information and for communication, but after prolonged periods it wears away at your concentration and offers little in the way of sustenance.”

Josh Spiller 

FullSizeRenderComic book writer, essayist and author of speculative fiction, Josh Spiller discusses everything from story writing to taking on corporate power structures.

“I think Star Wars a far stranger creation than I think most people perceive it as; with its bizarreness obscured beneath its patina as the pre-eminent popcorn blockbuster.”

Justin Sullivan

JS (Trust a Fox)Justin Sullivan is a singer and songwriter; the founding member and lead singer of New Model Army. Formed in 1980 to play two gigs, 14 studio and four live albums later they are still going strong.

“Political poetry and music rarely change people’s minds but what they can do is give focus and clarity to a half-thought and, most importantly, make people aware that they’re not alone in how they feel about the World.”

Dr Chuck Tingle

dr-chuck-tingle-2

Erotic author and Tae Kwon Do grandmaster, with a PhD from DeVry University in holistic massage. Dr Chuck Tingle is an almost mythical figure.

“being creative is just being yourself and trotting with YOUR OWN unique way. just waking up in the morning and stetching your bones is creative because every moment is making infinate timelines.”

David Turner

DavidTurner_ThomBartleyDavid Turner is a poet and founder of Lunar Poetry Podcast – which features discussions, interviews and live recordings with poets in the UK and further afield.

“I’m attracted to the idea of building a platform that provides a space for writers , to talk about their creative process.”

The Ultra

d20188987445f363cfd44e8282f153ebFirst founded in East London, The Ultra is a band that likes to experiment and create interesting emotive music that captures memorable hooks and melodies.

“I think that there is a ‘battle’ against the independent artist and the big corporations for exposure and to make an impact.”

 

Laura Waddell

image1Shortlisted as Emerging Publisher of the Year by the Saltire Society, Laura Waddell writes reviews of fiction, a book column, articles, and short fiction and poetry.

“Art is about communicating, and what is communicated forms the landscape we live in – what we can expect or demand from our politics, the perspectives we read, the stories that are told and on the record throughout history.”

 

Short stories by Philip Roth you can read for free right now

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Celebrated as “the last of the great white male” American authors of the 20th Century, Philip Roth has died at the age of 85.

Rather than devote pages (or pixels, as may more accurately be the case) to an obituary recounting the same great feats of an author who has towered over the US literary scene for decades, we have endeavoured to find and bring to you short stories, as well as one excellent piece of non-fiction, written by the man himself.

All the following texts are available online for free.

Conversion of the Jews

Extract:

If one should compare the light of day to the life of man: sunrise to birth; sunset—the dropping down over the edge— to death; then as Ozzie Freedman wiggled through the trapdoor of the synagogue roof, his feet kicking backwards bronco-style at Rabbi Binder’s outstretched arms-at that moment the day was fifty years old. As a rule, fifty or fifty-five reflects accurately the age of late afternoons in
November, for it is in that month, during those hours, that one’s awareness of light seems no longer a matter of seeing, but of hearing: light begins clicking away. In fact, as Ozzie locked shut the trapdoor in the rabbi’s face, the sharp click of the bolt into the lock might momentarily have been mistaken for the sound of the heavier gray that had just throbbed through the sky.

Defender of the faith

Extract:

Long ago, someone had taught Grossbart the sad rule that only lies can get the truth. Not that I couldn’t believe in the fact of Halpern’s crying; his eyes alwaysseemed red-rimmed. But, fact or not, it became a lie when Grossbart uttered it. He was entirely strategic. But then—it came with the force of indictment—so was I! There are strategies of aggression, but there are strategies of retreat as well. And so, recognizing that I myself had not been without craft and guile, I told him what I knew. “It is the Pacific.”

He let out a small gasp, which was not a lie. “I’ll tell him. I wish it was otherwise.”

“So do I.”

He jumped on my words. “You mean you think you could do something? A change, maybe?”

“No, I couldn’t do a thing.”

“Don’t you know anybody over at C. and A.?”

“Grossbart, there’s nothing I can do,” I said. “If your orders are for the Pacific, then it’s the Pacific.”

“But Mickey—”

“Mickey, you, me—everybody, Grossbart. There’s nothing to be done. Maybe the war’ll end before you go. Pray for a miracle.”

“But—”

“Good night, Grossbart.” I settled back, and was relieved to feel the springs unbend as Grossbart rose to leave. I could see him clearly now; his jaw had dropped, and he looked like a dazed prizefighter. I noticed for the first time a little paper bag in his hand.

“Grossbart.” I smiled. “My gift?”

“Oh, yes, Sergeant. Here—from all of us.” He handed me the bag. “It’s egg roll.”

“Egg roll?” I accepted the bag and felt a damp grease spot on the bottom. I opened it, sure that Grossbart was joking.

“We thought you’d probably like it. You know—Chinese egg roll. We thought you’d probably have a taste for—”

“Your aunt served egg roll?”

“She wasn’t home.”

“Grossbart, she invited you. You told me she invited you and your friends.”

“I know,” he said. “I just reread the letter. Next week.”

I got out of bed and walked to the window. “Grossbart,” I said. But I was not calling to him.

“What?”

“What are you, Grossbart? Honest to God, what are you?”

I think it was the first time I’d asked him a question for which he didn’t have an immediate answer.

“How can you do this to people?” I went on.

“Sergeant, the day away did us all a world of good. Fishbein, you should see him, he loves Chinese food.”

“But the Seder,” I said.

“We took second best, Sergeant.”

Rage came charging at me. I didn’t sidestep. “Grossbart, you’re a liar!” I said. “You’re a schemer and a crook. You’ve got no respect for anything. Nothing at all. Not for me, for the truth—not even for poor Halpern! You use us all—”

“Sergeant, Sergeant, I feel for Mickey. Honest to God, I do. I love Mickey. I try—”

“You try! You feel!” I lurched toward him and grabbed his shirt front. I shook him furiously. “Grossbart, get out! Get out and stay the hell away from me. Because if I see you, I’ll make your life miserable You understand that?”

“Yes.”

I let him free, and when he walked from the room, I wanted to spit on the floor where he had stood. I couldn’t stop the fury. It engulfed me, owned me, till it seemed I could only rid myself of it with tears or an act of violence. I snatched from the bed the bag Grossbart had given me and, with all my strength, threw it out the window. And the next morning, as the men policed the area around the barracks, I heard a great cry go up from one of the trainees, who had been anticipating only his morning handful of cigarette butts and candy wrappers. “Egg roll!” he shouted. “Holy Christ, Chinese goddam egg roll!”

An open letter to Wikipedia 

Extract:

Novel writing is for the novelist a game of let’s pretend. Like most every other novelist I know, once I had what Henry James called “the germ”—in this case, Mel Tumin’s story of muddleheadedness at Princeton—I proceeded to pretend and to invent Faunia Farley; Les Farley; Coleman Silk; Coleman’s family background; the girlfriends of his youth; his brief professional career as a boxer; the college where he rises to be a dean; his colleagues both hostile and sympathetic; his field of study; his bedeviled wife; his children both hostile and sympathetic; his schoolteacher sister, Ernestine, who is his strongest judge at the conclusion of the book; his angry, disapproving brother; and five thousand more of those biographical bits and pieces that taken together form the fictional character at the center of a novel.

 

Creatives in profile – interview with Katie Paterson

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Katie Paterson. Photo by Giorgia Polizzi. 

In 2114, 1,000 trees planted a century previously in the Nordmarka forest in Norway will be cut down. From their wood, the pages of 100 texts from 100 authors will be made and published.

How can we make such predictions? Well, this is the end-goal of a generation-defying artistic project called the Future Library. Conceived by Scottish artist Katie Paterson, and supported by library curator and entrepreneur Anne Beate Hovind, it is an idea that has captured global imaginations.

Celebrated authors Margaret Atwood, David Mitchell, and Sjón have already committed works to the project, with Turkish novelist Elif Shafak set to add her manuscript to the project at a handover ceremony in early June 2018.

This is a living, breathing, organic artwork that spans time, literature, ecology and human mortality.

So how does one first conceive of such a project? The Nothing in the Rulebook team were honoured to catch up with Paterson – widely regarded as one of the leading artists of her generation – to find out.

It is an honour to bring you this detailed interview…

INTERVIEWER

Could you tell us about yourself, where you live, and your background?

PATERSON

I’ve recently moved back to Scotland, I live in Fife, before that I was in Berlin for about 6 years and before that I lived in London. I studied at Edinburgh College of Art and then the Slade School of Fine Art. I graduated nearly 10 years ago, which is frightening!

INTERVIEWER

Is art your first love, or do you have another passion?

PATERSON

It definitely is; it was the most obvious direction I was going to go in. I knew that from a young age – I was always a daydreamer and spent time lost in other worlds. Of course, it’s difficult when you’re at that age to have any sort of clear vision of what the future is going to hold. I would never have predicted or been able to visualise what has happened in the years that have followed.

INTERVIEWER

Could you tell us a bit about your journey from making that decision – to pursue art – to where you ultimately are now, particularly with the Future Library project?

PATERSON

Throughout my career I’ve remained open to different disciplines. At art school I was wondering around and changing between sculpture and fine art and fashion – and later astronomy and geophysics – and I couldn’t settle on a discipline. It makes sense now because I still don’t really settle when it comes to any disciplines.

I’ve always been quite resourceful when it comes to trying to make projects happen – it was quite clear to me from early on that the kind of ideas I have are complicated and they were never going to happen unless I worked really hard to make them happen – they were going to need willpower and dedication; not just from me but also from other people who would need to be invested in the projects.

INTERVIEWER

It’s interesting you mention the need to rely on others and pitch them often quite complicated ideas; because, as Anne Beate says in her interview with us, when you first get approached with the idea for a project that is for 100 years in the future, it can be quite crazy. But you were quite aware of that?

PATERSON

Oh absolutely – I am so lucky that I met her! She is an absolutely remarkable woman – it takes a lot of dedication for somebody to take on one of my projects; they’re not simple by any means! And especially Future Library. It’s the sort of project that you throw your life into.

INTERVIEWER

With a project of such scale, how did you first conceive of the Future Library?

PATERSON

It was simple I’ve got to say. As these things often can be at the beginning – or at least, it seemed simple. I was drawing tree rings, and as I was doing that I very quickly made a visual connection between tree rings and chapters in a book and paper and trees and time. And I had a vision of a forest that was growing a book, and that the book was made of chapters of tree rings – and it would evolve and grow over time.

That all happened in a snippet of time and then, from there, it grew. I met Anne Beate and it became a stronger concept once I realised that it could happen in reality – even though in my mind it had been one of the wilder ideas that I’ve had.

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Tree rings. Future chapters. Photo by Giorgia Polizzi.

INTERVIEWER

In terms of just the practicalities of actually making an idea like that a reality – what steps did you both have to take at that point?

PATERSON

The very first step was proposing it to BI, the producers: ‘I’ve got this idea to grow a forest over 100 years’!  Incredibly, they said yes – and then we built the idea slowly, ‘brick by brick’.

I called Anne Beate when I got back to Berlin a few days after the proposal and asked if I could come back to Norway immediately and go to a forest and stay for a while. She was quite surprised, then set it up and I stayed in her relative’s cabin deep in the woods where there was no electricity, no running water.

INTERVIEWER

How did it feel to get really back to basics in that way?

PATERSON

It was a remarkable experience – until then the idea for Future Library was so abstract, I felt I had to go and be in a Norwegian forest for some time to visualise it becoming a reality. There, it became a more solidified idea, imagining the authors and the time scales and how we might build in a ritual every year with the ‘handing over’ ceremonies.

 

From there, there were several different stages, including finding the forest. Anne Beate liaised with the City of Oslo, who donated us the land and the trees. And then there is the library aspect; we’re creating a silent room inside the new Oslo public library that will open in 2020. It’s going to house the manuscripts for the future, I’m designing it with the architects of the library.

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Designing the silent room in the Oslo public library where the manuscripts will be stored for the next one hundred years. Photo credit: Atelier Oslo and Lund Hagem

Many aspects were in place before we started inviting the authors. We didn’t approach Margaret Atwood until we felt like this was really happening.

INTERVIEWER

Until it felt more real and tangible.

PATERSON

Exactly. The trees had taken root.

INTERVIEWER

Did you have any expectations for the project at all? Did you realise it was something authors would want to get involved in, or were you sort of cautious when you first approached Margaret Atwood?

PATERSON

Oh sure we were so shocked and amazed and delighted. It was such a wonderful moment when she said yes, it was a huge seal of approval. Margaret Atwood was a remarkable writer to open the project. Even though we’d planted the forest it was at that moment when I realised ‘this is it; this is something that is going to continue for the rest of our lives’.

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Margaret Atwood was the first author to donate a manuscript to the Future Library. Photo by Giorgia Polizzi

From there, it just grew and grew; it’s gone from a project that was quite theoretical to a living artwork that is really taking form. We’re now on year four – the handover with Elif Shafak is next week (2 June) and we’re working with next year’s author too. Future Library is a major part of our lives; it’s intertwined with daily life, and the ritual that repeats each year is a defining moment.

INTERVIEWER

There’s something striking about the rituals built into the project and how they are set to carry on for a hundred years. We live in this age where everything is so focused on the present and the here and now, that we have lost track of ideas that span across generations. Was the idea of longer term, ‘cathedral’ thinking specific in your mind when you first came up with the idea? Or is it something that solidified more as the project progressed?

PATERSON

It wasn’t specific at the beginning; the initial idea appeared in a flash, the repercussions of the idea were unclear. Future Library is evolving into something far more complex than I could have imagined.

The ‘cathedral thinking’ you mention is really interesting. I continue to be inspired by a place I’ve visited called Ise Jinju in Japan, a Shinto shrine near Kyoto. Here shrines have been built and rebuilt in exactly the same form every 20 years, for a few thousand years. And the community have been growing the wood for the shrines in a special forest, over this vast expanse of time.

I love the idea that you need to plan hundreds of years ahead for something to last or exist; it seems the antithesis of the current mode. Instead we live in a ‘one click’ world.

INTERVIEWER

Do you think it feels there’s a certain ‘unreal’ element to our lives in that respect? As you say we spend all this time clicking on social media; but not actually participating in our social lives. It definitely seems to stand in contrast to those things that are real – a forest and nature, but also an actual physical printed book.

PATERSON

Exactly. Of course, I’m absolutely part of this technologically driven culture, too. Though when I am inside the forest there are moments when I am acutely aware of the timelessness nature of trees. It could be any era on earth there, just about! You could be standing thousands of years in the past in the same forest or you could be standing there thousands of years into the future and it could almost be the same place.

I love that feeling to be sort of outside of time or inside of time – to be somewhere, where time is drawn out, and to not have this ‘instant-ness’ feeling that seems to be there in many other aspects of life.

INTERVIEWER

How do you feel that sensation of time slowing down – especially during the handover ceremonies or when you’re in the forest – affects you at all? Is there a spirituality to it?

PATERSON

Last year, we had a golden harp brought in for the ceremony and the musicians were warming up with us there early in the morning – there was such quietude, a serene moment that’s hard to define, when everybody was gearing up amongst the trees – time slows down and it’s just precious. Then the authors arrive and walk in the footsteps of the previous authors and those of the future and it’s all part of this rite we’ve created that will continue for the next 96 years. Elif Shafak uses the term ‘secular acts of faith’ and I believe Future Library is one of these acts.

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A golden harp for the 2017 handover ceremony. Photo by Kristin von Hirsch

INTERVIEWER

The relationship with nature is clearly so bound up with the project – do you think that the project speaks to people partly because we live in an age where we are also suffering the effects of environmental break down?

PATERSON

I think so. The planet is being destroyed and it’s affecting all of our lives. In that sense nature feels really close – you can’t help but think how even the rain falling on our heads is connected to the changing climate and the way the planet is trying to survive.

I think appreciating our natural environment is something Norway does exceptionally well. Our forest is a tiny patch inside the larger forest that surrounds the whole city of Oslo, which is protected under law so developers aren’t allowed to encroach on it. Oslo’s citizens deeply appreciate the forest too, and I think in a way this cultural link with the forest is why the city have been so supportive of Future Library.

INTERVIEWER

It seems really appropriate in that sense how links up the timeless nature of writing – you think of Shakespeare, Shelly, Austen, Joyce – and how writing and literature can stretch across centuries; just as trees and forests do, too. How do you think authors today can write for the readers of tomorrow?

PATERSON

A book is an object that survives time and passes voices through time.

It’s so easy to forget that books come from trees! I am an e-reader and use technology all the time; but how can we improve on the printed book? It’s not possible! Who knows what the methods of reading will be like in a hundred years’ time. The form of reading may be something that’s so far beyond our imagination right now.

If you jump back a century – that generation would never have guessed the authors that are writing now – it’s unimaginable – it’s too long a gap to perceive of. I find it odd that the authors right now will be authors from the past, many will be dead. And then the authors at the end of this project will still be alive and be read by their contemporaries.

INTERVIEWER

There’s a certain sense of mortality tied up in the project. Do you think about that or dwell on that at all?

PATERSON

I do; and it can be disconcerting. Of course, I did conceive this project so that it would be going on beyond my lifetime so I was always aware that I wasn’t going to be around to see it through – it’s about getting everything set up to ensure it keeps going after we’re gone.

The question of mortality is there – even the legalities of artist’s contracts have to contain clauses relating to death. I had a child this year and so he’ll be coming with me to the handover ceremony. He won’t quite be one years old at that point; I’ve thought how I deeply hope he will be around to read these books.

INTERVIEWER

Thinking about the future, do you have an idea or ideal in your head about what the final ceremony will be like. Or are you very prepared to let it go?

PATERSON

My greatest hope is that it’s still there at that point and that there is a ceremony and that the world hasn’t collapsed in on itself! It’s an emotional thought, the final ceremony, and the idea of those vast trees we know so well, being cut.

We’re always troubleshooting with Future Library and thinking what could happen that we need to prepare for –  but it’s the unpredictable things that worry me. But ultimately you have to have trust and hope and I think those are key concepts within the project.

INTERVIEWER

Do you ever think about the authors and what they’re actually writing and the stories they are going to produce – is there anything you are hoping for?

PATERSON

We leave it entirely up to the authors, it’s important that they have free reign to write whatever they chose. The only rule we have is that there are no illustrations – just the written word. I like to imagine what is hidden within their manuscripts, but it’s more satisfying to not know because in some ways that’s the key to it all – that none of us know and it’s going to be a complete surprise to those in the future.

Each author brings a completely different perspective to the project, and that’s important, it doesn’t concern one set theme – it’s about bringing people together.

INTERVIEWER

Do you feel there’s a certain sense that each author brings something different but complementary to the project, in that case?

PATERSON

Yes, I think there is a thread that connects all the authors together. There is this almost familial bond that we create with them. Like a family tree, and each author follows in the footsteps of the one before and through the annual ceremony we do create a chain of people who are connected through time and through the trees.

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A path through the Nordmarka forest – where the footsteps of authors past, present and future will follow. Photo by  Kristin von Hirsch

INTERVIEWER

Isn’t that the truth of so many artists and writers in general; we’re all in conversation with one another.

PATERSON

Absolutely. And here they are each having a conversation with the authors that have come before; but also those who are still to come.

INTERVIEWER

And what’s still to come from you – could you tell us a little about some of the future projects you’re working on?

PATERSON

I’m actually working on a book myself at the moment – called ‘A place that exists only in moonlight’. It’s a collection of over 100 short texts that are similar to haiku; they are ideas for artworks to exist in the imagination. I have a lot of ideas for artworks but not all of them turn into real forests! So I’ve been writing them as text works, they come alive in the reader’s minds.

INTERVIEWER

There’s a certain lightness there it sounds like to be able to note down these ideas without necessarily having to worry about putting them into reality. And it’s interesting to consider what you mentioned earlier about not ever committing to an artistic discipline and possibly pigeon holing yourself into that. Do you think that creativity is something that can be defined or is it something we can pursue in many different ways?

PATERSON

I’m so open when it comes to creativity – that’s what creativity is; it’s about being as open and curious as you possibly can be. For me creativity flourishes most when I don’t pay attention to boundaries or limits. It doesn’t matter whether an idea exists as something real or not – it’s about letting the imagination go as far as it possibly can – even to the point of absurdity.

INTERVIEWER

If you had one piece of advice for people – artists and writers – what would it be?

PATERSON

The imagination needs tending to. Take good care of it.

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Tending trees as you must tend to your imagination. Photo by  Kristin von Hirsch

Eat My Debt

Cash receipts and till slips

Receipts are very obviously very wrong. Anyone – man or woman – after a day’s Christmas shopping can see this. The hardware shop you go into to buy your dad that new pair of gardening gloves has a stupid bit of token paper about one inch square, whereas when you go to the stereo shop to get the electrical wire for your nephew’s speakers they give you two sheets of A4. Supermarkets tend to give you an acceptably-sized ticket, though that’s only because all you’ve bought is two bottles of Cava and a box of Matchstick chocolates, and then going into the clothes shop to get your sister that jumper, and they give you another bloody receipt of another bloody size. And do not get me started on Apple now doing “electronic receipts” by email oh dear gods they need to burn, burn, burn.

A man’s wallet is the same size – whomever the man, whatever his wallet. It’s battered, and contains his cards, his work ID, a couple of pictures of his kids, a used train ticket and a fiver. It’s 7 inches long by 3 1/2 high (yes yes – calm down), and can a twenty, a ten and a fiver (a £50 note is actually slightly too big for it – the Royal Mint know this, and that’s why they’re that size – to repress the peasants and make sure that should we ever get hold of one we ruin it’s loveliness immediately if we try to store it away, thus perpetuating the mental subjugation of the working classes).

So the solution is this: make all receipts the same size. 2½ inches wide by as many as necessary long. This will offer enough room for a company logo, time and date, transactions, and a corporate pleasantry at the bottom. They will then be big enough to be stored together in an easily filed, accessible manner; smaller than the notes but big enough to read, and will have the added advantage that also women’s handbags and purses can then be adapted to have a dedicated receipt section (and every handbag is only ever on the brink of being replaced for a newer, nicer one, as eny fule no), thus boosting the economy.

It’s an obvious problem, and this is the obvious solution.

About the author of this post

goatmanThe Goatman – due to the usual experiments going wrong etc etc, The Goatman is  an internationally-available gentleman of letters, raconteur and wit. His amorous conquests are myriad, his taste in whisky of renown, and his ability to look comfortable in extreme situations is of significant scientific study. He has been known to conspire with Vagabond Images.

The Making of Manifest, the Warwick MA Anthology

Warwick University’s Writing Programme (WWP) has been consistently ranked as the best creative writing course in the UK for the past five years. In this article, Ellen Lavelle, one of the 2018 cohort of WWP’s MA students, takes us through the trials and tribulations of publishing a unique anthology of student writing. 

I am not a team player. This is probably because a) I am an only child and b) I took AS Theatre studies at school, when I learned that all group projects are doomed to failure, you can’t trust anyone to do anything and that betrayal is an inherent part of human nature. I can trace the solidification of these beliefs to the moment when I discovered that, five minutes before we were supposed to go onstage to give our final performance of A Street of Crocodiles, a cast member had eaten a crucial prop. Apparently, a boy in my class does a good impression of me in this moment, blinking and murmuring ‘you’ve eaten it – you’ve actually EATEN it,’ repeatedly in a dark corner of the rehearsal room.

And so, I never expected the MA in Writing Anthology to work very well. My distrust in people is probably one of the reasons I like writing so much. Everything within the universe of your story, poem, memoir, essay, etc. is down to you. You control every element, at least until you have to get it published. I think it’s a fair assessment to say that most writers exhibit control-freaky behaviour, tend to be perfectionists and can generally be unwilling to compromise. Rounding up twenty-two of us and telling us to create an anthology of our writing as a team, from generating the content to designing the cover and getting it printed, was a pretty ballsy move by the Warwick Writing Programme.

“Becoming a successful writer is no longer just about writing a good book”

But, in this changing landscape for literature, these kinds of skills are becoming increasingly important to writers. Becoming a successful writer is no longer just about writing a good book; it also involves participating in a wider literary culture, editing and reviewing the work of other writers, knowing how to speak to people at events and having an answer ready when Norma from Grimsby sticks up her hand and asks if you think e-books are the work of the devil and are going to destroy reading for everyone, everywhere. Creating the anthology was a great idea; but it was going to be tough. It would involve talking to people that didn’t agree with me and trying not to sound like a power-crazed lunatic. However, I do have the ability to be diplomatic, buried somewhere deep within me, so I reckoned I’d get by okay. As long as I didn’t have to do anything with money.

During the first meeting, back in October, a representative from the previous years’ cohort, Steve, turned up with a big bag of money. Steve is in his fifties and is a responsible human – he has a career and grown-up children, is able to wash his clothes without making everything pink or several sizes too small. I’m twenty-two and recently had to google how much rice is too much rice. But Steve was giving that bag of cash to someone and, because I was the slowest person to avert my eyes and sit on my hands, that person ended up being me.

‘You get a little card-reader,’ Steve said, handing me a folder of paperwork and the bag of cash. ‘To confirm your identity when logging in.’

I went home and tried to log in. Access denied. I realised that the person that had created the account didn’t know how to spell the word they’d set as a password. I logged in.

We had money left to us but we needed to raise more. This was where the creative energy came in. Also useful was the expertise of Annie, who owns her own communications company and has thirty years’ experience in the business world, making connections and money; getting shit done.

Annie enrolled on the MA course in order to give herself time to write the novel she’s been waiting years to complete – an account of the life of Cecily Neville, mother of Edward IV, Richard III and matriarch of the fifteenth-century House of York. Annie could give Cecily a run for her money. Half a meeting in, we were discussing agreements with Costa Coffee, fundraising events, and a ’Friends’ initiative – where people could sign up formally to be supporters.

Katie, another of our  MA cohort, had also left a career to return to studying and is an expert at event organisation, having put together several LGBTQ literary festivals and worked on publicity teams for charities. It was her initiative to start up an Eventbrite page, an Anthology Mailchimp account and a profile on the university crowdfunding platform, so that people could donate easily online.

“Within a few months, we had our first fundraiser. Our tutors read, drank wine and Warwick professor, David Vann, conquered the raffle. Meanwhile, I learned that you need more than one Tupperware box to effectively run a drinks stall, a food stall and a tombola.”

We went on to have three fundraisers and I learned a lot more. I learned that you need to stop people distracting you while you set up a float, otherwise you’ll forget how much you put in. I learned to never invite untested comedians to perform on open-mic nights because they’ll do long, drawn-out jokes about blind people bumping into things while your blind friend sits next to you, her guide dog panting in the central aisle.

But I also learned that expert bar staff lurk in all kinds of places. Ed, who finished his undergrad at Warwick last year and writes tense, emotional dramas, is also the President of Warwick’s Real Ale society. My lack of Tupperware didn’t stop him making a mint on the drinks stall, bantering with guests, pouring cheap wine into plastic cups like it was rare, exalted champagne. I learned that some people will travel a long way, in crammed cars, stuffy trains, to support their friends or family. They will pay five pounds for a paper plate of Costco buffet food and sit on uncomfortable chairs in windowless rooms, listening to nervous people read out loud from something they’ve worked really hard on. I learned that windowless rooms can be exciting places.

Costanza is Italian, did ballet for sixteen years, and is now writing a novel about Clytemnestra, the queen who, according to Greek myth, killed her husband, Agamemnon. She wears amazing earrings and has friends that are artists.

‘What do you think of this?’ she asked us, holding up her phone. It was an illustration by her friend Gaia, of a collection of abstract, cartoony faces. And then we had our cover.

A few quick-fire observations:

Names are hard. Whatever you do, don’t ask me to name anything. In the end, we went for ‘Manifest’, which is vague enough to encompass all twenty-two featured pieces of writing, but hopefully interesting enough to encourage people to pick up the book. It wasn’t an easy decision. Feathers were ruffled. We voted and when there were signs of dissention, had another vote. There were still murmurings, but you can’t argue with democracy. Even when you want to.

Deadlines: lie to people. Tell them the deadline is at least a week before it really is. Have no shame. You’ll thank me, when people decide to change what they’re submitting, or don’t give feedback in time or give feedback too enthusiastically and brutally, prompting the author of the story to have an existential crisis and consider giving up writing forever.

Sign off from harsh emails that enforce deadlines or chastise bad behavior as ‘the committee’, not as yourself. ‘The Committee’ is a usefully vague entity. Sometimes, they made tough decisions, but they got the job done. And it was important that those tough decisions couldn’t be traced back to a single person. It wasn’t me or Katie, Annie or Vanwy, who sees the good in absolutely everyone, even when the rest of us find it impossible. It wasn’t Costanza or Luke, whose facial expressions never reflect what’s going on around him but what’s going on inside his head, as he breaks away from discussions to jot down lines for his stories in a little green notebook. You couldn’t blame Anna or Miloni, who worked so hard buying food, booking rooms but bore it all smiling. It wasn’t any of us. It was the committee.

People moan and want to have someone to blame, but they’d probably moan no matter what. You have to do the thing. Who made the decision? The Committee. Who’s to blame? The Committee. Who got the book published? The Committee.

But of course, it’s about the journey, not the destination. Our book launch is on 13th June, at Waterstone’s Piccadilly in London. It will be amazing to hold the book in my hands, to meet agents and publishers that could help me get the career I want in writing. It will also be amazing to watch my colleagues, now friends, read the writing I’ve seen them working on. We had our last meeting in the pub and, when it was over and I was walking away, I turned back towards the table. Sometimes, people don’t eat the props. Sometimes, they create props that are better than anything you could do on your own.

A note to any prospective employer: I am in fact a great team player. My only flaws are my extreme modesty and my tendency to underestimate my own abilities. And, just for the record, 75g of rice is the right amount of rice.

About the author of this article

Ellen LavelleEllen Lavelle is a postgraduate student on The University of Warwick Writing Programme. An aspiring novelist and screenwriter, she has worked with The Young Journalist Academy since the age of fourteen, writing articles and making short films for their website. She’s currently working on a crime novel, a historical fiction novel and the script for a period drama. She interviews authors for her blog and you can follow her @ellenrlavelle on Twitter.

 

Readers of the world, unite! Vote to save your public libraries

czech-library

Libraries are the ideal sanctuary for books. Pictured: the Klementinum Library

“If you do not value libraries then you do not value information or culture or wisdom,” opined Neil Gaiman as he reminded us of our obligation to support libraries. With Local Elections now taking place across England in thousands of towns and villages, English citizens (and readers of Nothing in the Rulebook) now have a chance to fulfil that obligation, by voting for party candidates who have stressed support for libraries.

Now, if you didn’t need convincing that libraries are a fundamental necessity to supporting our culture and society, consider the words of famous writers, artists, politicians and even astronauts – who all, many moons ago now, wrote letters to schoolchildren on the value of our public libraries.

You may also consider the words of Ayub Khan, president of the Chartered Institute of Library and Information Professionals (CILIP), who says: “Public libraries have transformed in recent years to become a true ‘hub’ at the heart of their communities. They offer opening hours to suit local needs, high-quality Internet and WiFi access, business and enterprise support, local information and digital skills along with a huge range of events and activities that add richness to the lives of local residents.”

After years of a Conservative government in the UK houses of parliament, funding for libraries has been repeatedly slashed – with local conservative councils often cutting funding completely. Indeed, almost 600 libraries have closed since the Conservatives came to national power in 2010.

So, what can be done?

At a national level, the only two political parties who have stressed a commitment to supporting local libraries are the Green Party and the Labour Party. Some local Lib-Dem candidates talk a good talk about saving libraries in their community; yet at a national level the party continues to doggedly believe in austerity and neoliberalism, which have led to the decline of libraries as such vital pieces of infrastructure and support for local communities.

The inverse is sometimes true of Labour – with some local councils, such as Lambeth, Lewisham and Sheffield, cutting councils despite national party policy to the contrary. Of course, these councils argue the cuts are a necessity, caused by crippling cuts to local authority budgets enforced by on high by the inept, cruel, and deluded Conservative national government.

What this all means in the immediate term is a need to vote for your local councillors based on their personal commitment to libraries in your area.

What it means for the longer-term is that pressure needs to be applied on a local and national political scale to ensure libraries across the UK no longer suffer the successive series of cuts, which will surely  continue under a Tory government.

Yet, there is hope. 

As Alan Wylie, writing in Open Democracy, explains:

“The good chance of a Corbyn led Labour government in the near future affords us an opportunity to influence policy which supports public libraries and the staff who work in them.

[…]

We need to get Labour to develop a national policy and then use it to whip these and other councils into line and commit to upholding and strengthening the statutory basis of public libraries. Then we stand a chance of reversing/halting the damage.”

There are a number of excellent campaign groups organising around our local libraries that you can also get involved with. These groups help lobby politicians on national and local levels to ensure continued support for these “ideal sanctuaries for books“.

For example, the ‘Speak up for Libraries’ campaign is organising to get MPs and councillors to commit to the following manifesto:

  • Give libraries a long-term future, with a vision for their future development and clear standards of service.

  • Enforce the commitment in law for local authorities to provide a ‘comprehensive and efficient’ library service. This commitment should also include digital, ICT and e-book services.

  • Acknowledge that libraries are important to individuals and communities – especially in times of hardship.

  • Enforce the duty that local authorities have to properly consult with communities to design services that meet their needs and aspirations.

  • Ensure that local authorities receive sufficient funding in order to deliver properly resourced and staffed library services.

  • Recognise that properly resourced library services contribute to the health and well-being of local communities and of society as a whole and therefore complement the work of other public services and of national government agendas.

Once you’ve voted; the obligation to support our libraries continues. Use the above manifesto to petition your councillors and MP yourself. And, of course, spread the word on social media!

A haiku for voting

Before you go, and as a treat for reading to the end of the article, we’ve written the following #Getoutandvote haiku, just for you. Enjoy!

Today: don’t forget,

Exercise your right to vote

Raise your voice for change