Small Press Points
Small Press Points highlights the happenings of the small press players. This issue features McSweeney’s Books, Believer Books, Tell Tale Press, and Wings Press.
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Small Press Points highlights the happenings of the small press players. This issue features McSweeney’s Books, Believer Books, Tell Tale Press, and Wings Press.
C. Michael Curtis, a senior editor at the Atlantic Monthly, who is known not only for selecting award-winning short stories but also for his considerate and sensible letters of rejection to the thousands of submissions he’s read over the years, spoke about the magazine’s new approach to publishing fiction.
Page One features a sample of titles we think you'll want to explore. With this installment, we offer excerpts from Evening Ferry by Katherine Towler and Little Beauties by Kim Addonizio.
Perhaps because many writers and their adherents are poorly paid and often go unrecognized, they cultivate a variety of myths—some about the creative process, others about the profession itself—to justify what they do, to cheer themselves up, to inhabit a mystique.
Two years after publishing a brutal, unflinching account of his drug addiction, James Frey is showing signs of becoming a kinder, gentler writer in his second memoir, My Friend Leonard.
HarperCollins recently announced that it will close its United States imprint Fourth Estate.
Most writers have heard the old saying about the Bard and the chimps: Gather 100 monkeys (or similarly hirsute primates) in a room, give them typewriters, and sooner or (more likely) later, they’ll deliver the complete works of Shakespeare. Nick Hoggard, a British computer programmer living in Sweden, has decided to put the theory—often attributed to Thomas Huxley, a 19th-century disciple of Charles Darwin—to the test.
Thanks to a growing trend in grassroots marketing and publicity, writers in the San Francisco Bay area are reading to packed houses—literally.
Aided by a $260,000 grant from the National Endowment for the Humanities, Poets House and the Poetry Society of America, two nonprofit literary organizations based in New York City, recently partnered to establish Branching Out: Poetry in the Twentieth Century.
In April 2003, an agent sat down with me, pointed to my manuscript, and said the words I had been dreading: I think this should be a novel. I shuddered. I was no novelist. I was a minimalist, a votress of the goddess of gesture, a worshipper at the altar of the succinct. I was a short story writer.