New Republic of Consciousness Podcast

The Contemporary Small Press is very pleased to be supporting this podcast series for Small Presses.

This month’s podcast can be found at SoundCloud, with special features on The Brixton Review of Books and The Goldsmiths Prize.

The podcast will be appearing monthly. Worth listening out for.

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INFLUX PRESS WINS REPUBLIC OF CONSCIOUSNESS PRIZE FOR ATTRIB. AND OTHER STORIES BY ELEY WILLIAMS 

The Hackney-based independent publisher Influx Press was last night, Tuesday 20 March, announced as the winner of the 2018 Republic of Consciousness Prize for Small Presses – for publishing Attrib. and Other Stories by Eley Williams.

Influx Press – a tiny outfit run out of east London by Kit Caless and Sanya Semakula – published Eley Williams’s debut collection last year. The book, which is centred upon the difficulties of communication, has gone on to earn widespread critical acclaim from the likes of The Guardian, The Telegraph, the New Statesman, and the London Review of Books.

Neil Griffiths, the founder of the prize, said: “ This is exactly what the Republic of Consciousness Prize was set up to reward. A small press that is so focussed on what it wants to publish it can see unusually brilliant writing more clearly – especially when it comes to short stories. 

“Eley Williams is that rare thing, a deeply serious writer working on a playful level. In the middle of her story Smote, I was floored. I realised I was reading a prose poet of a very high calibre indeed, and I said to myself: this book will win. The judges agreed.” 

Attrib.

Returning for the second year in 2018, the Republic of Consciousness Prize rewards independent publishers from the UK and Ireland that take the risk to publish brave and bold literary fiction. It is open to presses that have no more than five full-time employees.

Influx Press will receive £5,000, with £3,000 going to the publisher and £2,000 to the author. The press has won over the shortlisted publishers Les Fugitives, Little Island Press, Charco Press, Dostoevsky Wannabe, and Galley Beggar Press, all of which will receive £1,500 each.

Influx Press started life in 2012, with an anthology of stories about the rapid changes taking place in Hackney. What was supposed to be a one-off publication turned into a small press success story: Influx has published 18 books since, including Jeffrey Boakye’s Hold Tight: Black Masculinity, Millennials and the Meaning of Grime, Darran Anderson’s Imaginary Cities, and Chimene Suleyman’s Outside Looking On.

The press recently launched a Kickstarter campaign in a bid to grow its business, backed by industry figures including Nikesh Shukla and Max Porter. In November last year, it opened its submissions exclusively to women of colour to expand the range of voices and scope of work it publishes.

Join the conversation and find out more at: http://www.republicofconsciousness.com 

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Influx Press and Eley Williams: Republic of Consciousness Prize Winners 2018. L-R: Gary Budden, Sanya Semakula, Eley Williams, Kit Caless. Photograph: Sally-Shakti Willow

About Influx Press:

Influx Press publish stories from the margins of culture, specific geographical spaces and sites of resistance that remain under-explored in mainstream literature. Based in East London, they are run by Kit Caless and Sanya Semakula. www.influxpress.com 

About Eley Williams: 

Eley Williams lives and work in Ealing. Her writing has appeared in the journals Ambit, Night & Day, The Dial and Structo. She teaches both creative writing and children’s literature at Royal Holloway, University of London, where she was recently awarded her doctorate. www.eleywilliams.com 

About the Republic of Consciousness Prize: 

The Republic of Consciousness Prize for Small Presses rewards independent publishers from the UK and Ireland that take the risk to publish brave and bold literary fiction. The prize is sponsored by the TLS, the University of Westminster, and the Cornwall-based printer TJ International and was awarded a Grant for the Arts by the Arts Council England this year. www.republicofconsciousness.com 

The 2018 shortlist contained:

Attrib. and other stories by Eley Williams (Influx)

Blue Self-Portrait by Noemi Lefevbre (Les Fugitives)

Darker with the Lights On by David Haydn (Little Island Press)

Die, My Love by Ariana Harwicz (Charco Press)

Gaudy Bauble by Isabel Waidner (Dostoevsky Wannabe)

We That Are Young by Preti Taneja (Galley Beggar Press)

About Neil Griffiths 

Neil Griffiths is an award-winning novelist. He is the author of Betrayal in Naples, which won the Writers’ Club first novel award, and the Costa Best Novel Award-winning Saving Caravaggio. His new novel, As God Might Be, is an epic novel which “deals uncompromisingly honestly with the human complexities of encountering and speaking about God” (Rowan Williams). It is published by the small press Dodo Ink.

 

Neil Griffiths and Eley Williams RofC Prize 2018
Neil Griffiths and Eley Williams: Republic of Consciousness Prize 2018. Photograph: Georgina Colby

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Gaudy Bauble

Has there ever been a Lesbian Zoo?

Gaudy Bauble by Isabel Waidner: Dostoyevsky Wannabe Originals

Shortlisted for the Republic of Consciousness Prize 2018

Olivia Laing was not wrong in saying “the future of the queer avant-garde is safe with Isabel Waidner”, as Waidner creates a topsy-turvy, destabilising, dismantling, distorting post-identity Britain inhabited by Gilbert & George-esque lesbians, Peggy “the let’s-get-the-hell-out-of-here Pegasus”, hoofed fibreglass sculptures, Healthy-lips, chalk faeries, a transarmy with red question marks compressing the left-facing heads and the “phantom of prohibited futures”. In this novel, the riff raff are running the show and you’re in for a treat.  Gaudy Bauble explores the political potential of innovative writing at the intersections with intersectional subjectivities – issues of gender, class, sexuality and race are at the forefront of this short novel, which seeks to disrupt normative social and literary structures at every turn.

Do you remember playing make-believe games as a child, engrossed in your own imagination where a teddy bear could suddenly be an evil genius and a pencil could become a frog? Where your toys took on a life of their own as characters in a twisted plot that only made sense to you, as you hadn’t learnt the “rules” of the game yet and anything could still be anything? Waidner creates this world anew in a queer dystopian utopia, expanding the possibilities of identity, narrative and style beyond any limits one might usually find within a novel. The reader is reminded that not only is imagination for adults too, but that our abilities to imagine, to go beyond categories, labels, genres, constructs and stereotypes, is only limited by our own boundaries, preconceptions, and compliance with social norms to keep them all intact. The best way to read this novel, therefore, is to shed those constructs and enjoy the rollercoaster ride.

Waidner breaks down conventions, literary genres, historical stereotypes and identities with style and finesse; if you let the text hit you right, moments of poignancy find themselves enmeshed with humorous undertones. Picture the character P.I. Belahg finding themselves wearing a bikini over their clothes, as they sleepily put it on without the realisation of what it was, only to awaken fully to the nightmare childhood trauma of gender conforming clothing and succumb to a meltdown. Here, the bikini acts as a trigger for memories of the “gender police” who “had seen to the dyke child being taught many life lessons. Lest she become a bulldagger. Lest she become a fully-fledged, raving, raging, reckoning and incorrigible adult powerdagger. Strong and unhinged. What if she organised. Already there had been Techtelmechtel with that wildgirl interpretation of John Taylor. Girl-on-girl hanky-panky. Innocent, but. Best nipped in the bud.” Waidner tackles age-old perceptions of lesbianism in subtle and effective ways. The reader catches a glimpse of Pre-Bikini Atoll, a 12-year old from West Croydon – whose name also gestures toward histories of colonialism, occupation, oppression and nuclear weapons testing at the site of Bikini Atoll in the Pacific Ocean – and who preferred gender neutral pronouns: the past merges with the present in a significant moment of transformation whereby Bikini Atoll is “born”, as a performance act in a cabaret troupe called ‘The Avant-garde of the Oppressed’. This scenario ends in a poignant recognition of the struggles and pressures of gender conformity and the ways in which clothes can come to signify this in society, as Blulip, in drag as Painlevé Hypercamp, assists in providing the “context in which a bikini on a butch meant genderqueer camp rather than normative femininity.” These two characters partake in “Hypocamp micromovement […] a strangely microfied, butoh-like, and restrained full-body expression of gay exuberance” – an act I only wish I could see in real life!

gaudy-bauble

Historical gay identities creep in and start taking control of the workshop as queer identities wrestle with a history that still haunts their present. As team Reco.Mö hijack Tulep.tv, “Combating A Localised Evil” by airing a be-on-the-look-out and attempt to locate Cadavre Exquis for a Mördervogel that none of the characters can truly define or draw, Hilary adorns Bobák’s abdomen and face with maroon-coloured lipstick in the shape of tiny kidneys only for this creation to evoke the haunting inscription of sarcoma, an illness that shares a lineage of being known as the mark of aids. Present and past collide in the body’s inscriptions, highlighting how the body tells all, how it has been marked as the bearer of identity, of histories and of stigmas one does not choose. Waidner’s ability to swiftly alter the perception and representation of the smallest things, whether that be lipstick marks, hoofed figurines, chalk faeries, glittery faces or carpets that hold entire ecosystems of germs, continuously wrong-foots the reader in the best of ways.

Taking us through a gay taxonomy of anthropomorphic animals deemed appropriate for gay stereotypes, the reader is introduced to the gay zoo, a newspaper article entitled Who’s Who at the Zoo? that lists male homosexuals as Gay Bears, Owls, Cygnets, Pussycats, Gazelles, Afghans, and Marmosets. Waidner addresses the lack of a lesbian equivalent with an amusing tangent about creating lesbian counterparts. Had there been a lesbian zoo? And if there was one, what would there be in comparison to the cubs, otters, and other animals that allowed gay men to strip themselves of their humanness and take on animal qualities? Detailing the scenario with creations, such as Ursula “a lesbian-identified Bear, or a Bear-identified lesbian”, the reader sees the woeful lack of a lesbian history and how, in a post-identity Britain that would prefer to forget the past before women have had a chance to create their own equivalents, women are left to grapple with their own makeshift identities, often restricted to the femme-butch dichotomy that cannot seem to be shaken. Waidner addresses crucial issues and hard truths, but wraps them up in glitter and imagination, so that the reader doesn’t fully realise the richness of Waidner’s narrative as it creates a present so haunted and full of the past that brought us to it. There is no comparing this novel to previous texts, for it is one of a kind and will take many more reads in order to fully engage with all the references and attention to detail that Waidner has brought to these eccentric, quirky and queer characters and the world they inhabit.

Click here to buy Isabel Waidner’s Gaudy Bauble direct from Dostoyevsky Wannabe.

About the Publisher:

Dostoyevsky Wannabe publish independent/experimental/underground things: We publish a lot of books, any types of books − short books, long books, flash fiction, poetry, anthologies, samplers, chapbooks, experimental things.

Review by Isabelle Coy-Dibley

Isabelle Coy-Dibley is a PhD student at the University of Westminster, where her research predominantly considers inscriptions of the female body within women’s experimental writing.

 

 

Darker with the Lights On

Darker with the Lights On, David Hayden: Little Island Press

Shortlisted for the Republic of Consciousness Prize 2018

“The mind is a slope and the words run off like water and who knows where they go?” (from ‘Memory House‘)

Darker with the Lights On is a collection of 20 short stories by David Hayden, a prolific writer of short fiction, published by Little Island Press.  

With an abundance of imagination through surreal and unbounded worlds beyond and beneath the world we inhabit, Darker with the Lights On is like taking a train in the dark, the carriage so brightly lit that you struggle to see a world you know is there, beyond the pane of glass. You cup your hands around your eyes and press your nose against the window, trying to see into the darkness, only to be confronted by your own reflection. You cannot see past the ghost of yourself. If only they’d turn the lights off, so you might see clearly the world outside. It is this strange juxtaposition of sense, sensation and rationalising that Hayden captures so brilliantly in this collection.

“The dark was outside, thick and blue, while in the dining room light glinted off silk and silver becoming general glitter that, if seen from the night, would have signified a happy party.” (from ‘The Bread that was Broken’)

Hayden inhabits nowhere places and nothings as intrinsic parts of life. He asks what it means to call somewhere a place and what it means, in fact, to say or do anything at all.

“The train travelled through quiet places with unused piles of gravel, abandoned cars, hard patch farms […] Michael paid close attention to the gradual aggregation of the city, trying to discover the point at which nowhere became somewhere.” (from ‘Last Call for the Hated’)

The stories are works of metafiction that assert the idea that the most radical, surreal, illusory imaginings can be brought to the page:

“Words are just mute smudges until you know what they mean, and when you put them together they can tell all manner of things. There’s plenty you can’t say with words. You can fall through words down into a seething belly world of billions of objects and notions, all shrieking and hiding.” (from ‘How to Read a Picture Book’)

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Hayden constructs pockets of hyper-reality that are nonsensical and radiant: “When you die – when you die – you revive in the world of the last book you were reading before your… demise” (from ‘Reading’). It is writing that reaches for the depths of our minds’ possibility. It asks: what can be imagined? Beyond sense, rationality, logic. On reading, I admit, I became confrontational, annoyed, indifferent, dozing off. How dare you, Hayden, try to test the limits of my mind! But I caught glimpses, symbolic moments of meaning, which pulled me in, and continue to do so. Mine was the response of a reader tired, rushed, distracted, shut off, but I fought the shadow of myself to find ways into the text that Hayden offers wholeheartedly.

“I grow calmer and darker, waiting for the world to fall away not knowing whether it will fall up or down.” (from ‘Memory House’)

Much lies dormant beneath the juddering page inflicted with Hayden’s prose, poised to ambush the reader with its brilliance. This is writing that it is a pleasure to write about – to think about with as much vigour as if it were your own. That is what it asks of you: to be curious, clenched and to grapple with consciousness in the act of reading.

“Books let you circle around time, find the root of time, lose time, recover time.” (from ‘How to Read a Picture Book’)

Often returning to the first line in the last, each story picks words out of themselves, repeating and filtering down its own language. Time is a curious factor throughout, how it passes and how it is experienced. Each story balances philosophical, psychological and physiological elements, and contributes to the balance of the collection as a whole. Not a balance serene and unwavering, but a struggling and unstable attempt at equilibrium that is inexplicably human. 

Click here to buy David Hayden’s Darker with the Lights On direct from Little Island Press.

About the Publisher:

Little Island Press is an independent publisher of fiction, poetry and essays. Founded in 2016, it publishes innovative, intellectually ambitious writing in elegant editions designed by the award-winning design studio typographic research unit.

Review by Kirsty Watling

Kirsty Watling is a writer, bookseller and recent Literature graduate specialising in twentieth century literature, visual culture and critical theory.

 

Die, My Love

Die, My Love, Ariana Harwicz (translated by Sarah Moses & Carolina Orloff): Charco Press.  

Shortlisted for the Republic of Consciousness Prize 2018.

I lay back in the grass among fallen trees and the sun on my palm felt like a knife I could use to bleed myself dry with one swift cut to the jugular.

From its opening line, Ariana Harwicz’s Die, My Love is both intense and stultifying: a suffocating pulse that rises to burst the skin’s surface without ever spilling over into a flood of freedom.  The knife that could be used, but instead the one who wields it lays back in the grass. Prone and passive.  Yet the protagonist of this shattering short novel is anything but passive.  Moving through the thick sludge of her own desperate depression, she feels cut off from those around her in the outside world, and numb to her own experience.  But her actions and her inactions affect the lives of everyone in her life in increasingly violent and destructive ways, as she searches for the freedom she both desires and despises.

I take long swings from the bottle, breathing through my nose and wishing, quite simply, that I were dead.

The novel’s unnamed narrator is a young wife and mother at odds with the circumstances of her own life and increasingly distant from her own sense of herself.  In a novel that narrates exceptionally effectively an experience of extreme depression, it is the unbridgeable gulf between the narrator’s inner and outer worlds that is brought into focus through the novel’s language.  From the ways in which the words ‘my love’ are weaponised in the relationship between the narrator and her husband, to the fragmentation of sentences, to the suggestion that ‘understanding one another is too violent’, this novel places language at the extremes of what it is possible for communication to do.  Language is both the barrier and the bridge between people and it is frequently shown to be inadequate as either.  The use of first-person, present-tense narration, however, gives the novel an urgency and immediacy that diverges entirely from the experience of the one who is narrating it.  This places the reader into the immediacy of the novel’s present, creating the paradoxical experience of being both immersed within and distant from the narrator’s experience.  It is this paradoxical feature of language – to both include and occlude simultaneously – that makes the narration of this novel so effective.  Always both distant and present, the reader is placed into the position of the narrator through language’s play.

die-my-love

The novel alludes toward Virginia Woolf’s Mrs Dalloway as a novel about ‘the interconnectivity of human experience’ – an interconnectivity which is accomplished here by the narrative style and perspectives, but which is also the primary experience lacking from the narrator’s life, who is perhaps more akin to Mrs Dalloway‘s Septimus.  Die, My Love does not present neat allegories or trite comparisons, however.  It is the complexity of emotional trauma and its narration through the act of writing that drive this novel.

Increasingly intense and immersive, Die, My Love explores the violence of human relationships that include sex, marriage, motherhood and filial responsibility.  Within these sharp confines, however, there is ample room for the imagination to wander freely, and there are moments of wild magic that provide vivid contrasts and contrapuntal poignancy to the deadening isolation of the narrator’s daily life.  There’s a vital energy that pulses through the pages of Die, My Love, carrying its protagonist onward through each and every pivotal moment to finally become the narrator of her own destiny.

Click here to buy Ariana Harwicz’s Die, My Love (translated by Sarah Moses and Carolina Orloff) direct from Charco Press. 

About the Publisher:

Charco Press publishes award-winning short fiction from Latin American writers translated into English for the first time.  Charco Press selects authors whose work feeds the imagination, challenges perspective and sparks debate.  ‘We aim to change the current literary scene and make room for a kind of literature that has been overlooked. We want to be that bridge between a world of talented contemporary writers and yourself. Authors you perhaps have never heard of. Because none of them have been published in English. Until now.’

Review by Sally-Shakti Willow

Sally-Shakti Willow researches and writes utopian poetics at the University of Westminster, where she is also a visiting lecturer in English Literature and Creative Writing. Her writing has been published by Adjacent Pineapple, Eyewear, The Projectionist’s Playground and Zarf. The Unfinished Dream, a collaborative chapbook with visual artist Joe Evans, was published by Sad Press in 2016. She is the research assistant for The Contemporary Small Press project, and is on the judging panel for the Republic of Consciousness Prize. @Spaewitch

 

Family Fortunes

We That Are Young, Preti Taneja: Galley Beggar Press (2017)

Shortlisted for the 2018 Republic of Consciousness Prize

‘Set your watch. India time.’

The sudden resignation of a tyrannical CEO threatens to tear a carefully constructed world apart. Born to a Maharaja and his 15-year-old wife, Devraj Bapuji has invested in industries as diverse as hotels, textile mills and transport to build his extensive Company. In the right place at the right time, he has profited from the new capitalism of contemporary India but his attempt to divide his legacy between his family unexpectedly precipitates the rapid unravelling of all their lives.

The action moves seamlessly between New Delhi and Srinigar, Kashmir. Devraj has three daughters and no sons, a fact he laments despite acting like a doting father. His youngest, Sita, has run away, leaving her married elder sisters, Radha and Gargi, to pick up the pieces. Gargi steps forward as Acting Chairman of the Company, trying to introduce positive employment practices, particularly for women. She plans to move the Company forward but faces deeply ingrained misogyny. Conservative traditions override even familial love as women are both idolised for purity and considered possessions for men to play with.

‘Our Indian women are a special breed in the world. Like beautiful phools they bloom best in beds, when they are well tended… just tell her what you want, she will never say “No.”’

Meanwhile, close family friend Jivan Singh returns home after fifteen years in America. The illegitimate son of a wealthy married man and a beautiful dancer, as a child he lived at his Dad’s stately home before being banished to America. He discovers a transformed New Delhi, wealthy and thriving at the forefront of India’s new status as a world competitor. Jivan is tormented by unresolved childhood issues and feels intimidated by the ostentatious ‘VVIP’ lifestyle of his former playmates. He attempts to acclimatise but unspoken rules conspire against him and at his homecoming there is a sad sense that he will always be considered an outsider, even in the country of his birth.

‘Here, of course, they will see his American smile, his suit and tie, first class, pure gold. The truth is, he is Jivan Singh, half brother to Jeet Singh, son of Ranjit. He was born on this Indian earth, he waited all this time to return.’

We That Are Young

This epic family saga explores complex universal themes including heritage, social class, political unrest, and the fragile nature of identity. It is disturbing how quickly the ties that bind are broken and how easily the truth is manipulated. As a reader, my loyalties were severely tested as the characters are so well drawn and sympathetic. When things unravel, likeable protagonists turn very nasty indeed.

The story is told from the points of view of five key characters and seeing things from the perspective of different generations provides a deeper insight into unfolding events. It is based on King Lear but don’t let that put you off if you haven’t read it. Those familiar with the play can enjoy spotting details like Devraj’s hundred young trainees replacing King Lear’s knights, and perhaps the inevitable horrific violence won’t be quite as unexpected. But being a Shakespeare fan isn’t essential to enjoying the novel.

Preti Taneja makes shrewd observations about modern PR as profiles are raised and images managed, disguising what is rotten beneath. Protecting the Company name and reputation comes above all else. The family home is called a farm for legal purposes but no farming is done there and the flowers look real but have no scent. And the murderous Devraj is described fondly by the media as an ‘animal lover and environmentalist’ despite owning a pet tiger and beating a servant half to death.

We That Are Young is a sumptuous feast of language and culture, written in English effortlessly interspersed with untranslated Hindi. Every sentence is meticulously crafted, instilling the exquisite prose with meaning and ensuring that no page is wasted in this huge feat of a book.

Click here to buy We That Are Young direct from Galley Beggar Press. 

About the Publisher

Galley Beggar Press is committed to producing beautiful books. Nurturing unique and innovative writers and publishing works of the highest quality and integrity, they also believe in the ‘fantastic potential of ebooks to reach new audiences, to spread our writers’ precious words around the world and to revive and revitalise books that would otherwise either be out of print or lost on the backlist’.

Review by Becky Danks

Becky Danks is a creative writer, book reviewer and dog lover. She recently won City University’s City Writes competition for her short story The Anniversary. She is a judge of flash fiction for the Hysteria Writing Competition. She is also a Shakespeare fan. Follow her on Twitter: @BeckyD123. Website: www.beckydanks.com

 

 

 

Republic of Consciousness Prize 2018 – Shortlist

The Republic of Consciousness Prize Shortlist 2018 was announced in Manchester last night.  Congratulations to all the writers and publishers who made it through!

RofC shortlist 2018

Attrib: Eley Williams (Influx) – Read our review here.


Blue Self-Portrait: Noemi Lefevbre (Les Fugitives) – Read our review here.


Darker with the Lights On: David Hayden (Little Island) – Read our review here.


Die, My Love: Ariana Harwicz (Charco) – Read our review here.


Gaudy Bauble: Isabel Waidner (Dostoevsky Wannabe) – Read our review here.


We That Are Young: Preti Taneja (Galley Beggar) – Read our review here.

If you’d like to read the books on the Republic of Consciousness shortlist, we recommend buying direct from the publishers.  The more people reading these books, the better.  Independent publishers are usually very small operations, and the more control they can take over their distribution and sales, and the bigger the slice of the pie they get, the better for them.

So, follow the links above to get your hands on the RofC shortlisted books!