Small Press Points
Small Press Points highlights the happenings of the small press players. This issue features Blue Moon Books, Soft Skull Press, Grove Press, Grove/Atlantic, Inc. Clear Cut Press, and Broadsided Press.
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Small Press Points highlights the happenings of the small press players. This issue features Blue Moon Books, Soft Skull Press, Grove Press, Grove/Atlantic, Inc. Clear Cut Press, and Broadsided Press.
As marketing director of Copper Canyon Press, the thirty-four-year-old independent publisher of poetry in Port Townsend, Washington, I am required to read a lot. While most of the titles on my reading list are poetry collections, I recently read two nonfiction texts that got me thinking about the "economics" of creative writing.

Two years after the failure of Zoo Press's fiction contests in 2004, founder Neil Azevedo responds about more controversy surrounding its poetry contests.
Sadly, recent revelations are forcing readers—confronted by a brand-new band of literary scallywags, hucksters, and hoaxers—to reconsider the veracity of the story as well as that of the storyteller.

At the end of Folio Literary Management’s second month in operation, Scott Hoffman, who represents writers of fiction and nonfiction and receives between two hundred and five hundred queries a week, spoke about the role of agents in today’s publishing marketplace.
Literary MagNet chronicles the start-ups and closures, successes and failures, anniversaries and accolades, changes of editorship and special issues—in short, the news and trends—of literary magazines in America. This issue's MagNet features One Less Magazine, the Women's Review of Books, Cream City Review, Global City Review, Bat City Review, Backwards City Review, and Poetry.
Small Press Points highlights the happenings of the small press players. This issue features Seven Stories Press, Impassio Press, and BOA Editions, Ltd.
This installment of Page One features excerpts from A Strange Commonplace by Gilbert Sorrentino, Genealogy by Maud Casey, and Visigoth by Gary Amdahl.

One afternoon in March 2003, I received an unexpected phone call from writer Julianna Baggott. "I've got a crazy idea," she told me. "It's so crazy, I feel a little nervous even bringing it up."
It took a long time to write these words. I'm not referring to the psychosomatic affliction known as writer's block. I mean the delays caused by the process of composition and revision.