Cherry Potts is a publisher/editor. fiction writer and teacher, event organiser, photographer, book designer, NLP master practitioner, life coach and trainer. She sings for fun.
Through Arachne Press she publishes fiction and non fiction and runs spoken word events and cross-arts workshops for writers at interesting venues. Always interested in new opportunites to perform, write or explore writing.
A perfect time to announce the contributors to our upcoming anthology, What Meets the Eye? The Deaf Perspective…
John Kefala Kerr
Lisa Kelly (Editor)
Mary-Jayne Russell de Clifford
Melanie Jayne Ashford
Sarah O Adedeji
Sophie Stone (editor)
The book is due out in September and will be accompanied by BSL videos for every piece. All the contributors are Deaf, deaf or hard of hearing, and some of the submissions were received in BSL, so there will be translation going on in both directions.
We’ve just started looking at the submissions for our anthologies and have decided on titles, for books which were just anthology shaped holes in the schedule – which somehow makes them feel so much more real!
This video is from a few years back now, for Dusk, the Solstice Shorts Festival. It’s about the Autumn daylight saving rather than the spring one, but we are publishing a whole book of stories by it’s author, David Hartley, in May. Incorcisms is filled with dark fantasy like this, and I’m sure plenty of us would like to turn back time this year, or possibly forward, a lot faster, so it seems like an excellent time to share it again.
It’s that time of year again, the Spring equinox, (technically last week, but this got stuck in drafts!) when writers start to creep from their burrows and look hopefully for signs of regrowth and renewal; and we start the process of chosing material for Solstice Shorts.
But what if…
What if there are no signs of regrowth?
What if there are no signs of renewal?
What if we have pushed nature too far?
So our theme is time is running out, but our title is Words from the Brink.
We would like you to address the climate crisis before it becomes a climate catastrophe.
We like a time concept, because that’s the overarching theme of Solstice Shorts, but it needs to address the sense of anxiety about, and responsibility for, climate change.
Poetry and Short Fiction: Maximum 2000 words, your own work, in English, not previously published.
Songs: maximum 5 minutes, traditional or your own work, (ie NOT someone else’s copyright) in any language but please provide a translation if not in English, and you need to be available to perform* it yourself, or teach it to someone who can.
Deadline 21st June 2021 23:59 (Summer Solstice)
By the way, we want to see actual stories and poems, not thinly-disguised polemic please; and, equally, there has to be more to it than a description of nature. Are we demanding? Yes, we are!
The Solstice Shorts Festival is recorded for posterity, and all chosen material is included in the anthology, which will be published in time for the festival. We pay royalties. Sometimes, depending on funding, we pay a performance licence for use of your work at the event as well.
*We usually hire actors to read the stories and poems so that there is no limit on where people can submit from, usually we expect songsmiths to sing their own work, but things being as they are, we are open to suggestions.
We don’t yet know where exactly the festival will be held this year, whether on the ground or online, so it’s still a bit fluid. If on the ground, we’ll definitely be somewhere in Greenwich, London – possibly elsewhere as well. We will keep you posted!
Tickets are available free, or for £9 to include the book, plus a £1.30 transaction fee, but to make up for that, we will post the book to you for free.
The following day, Thursday 25th March at 7.30pm, (which is the official publication day) Rob is reading at One Year On, an online poetry event marking the anniversary of lockdown, alongside Rosie Johnston, Alex Josephy, Colin Pink and Jacqueline Saphra. This is a free event and the link can be got from the organiser Irena Hill.
The Audio book will be out a month after the physical and e-books. More news as we have it.
As a bright young thing in the 70’s and early 80’s, I sought out and read acres of books by black women, many of them American, and some no longer in print. This book bucked the trend, being both British and with sufficient enduring appeal to still be available. There are whole passages in this book I remember pretty much verbatim nearly 50 years later.
Not actually out yet, (18th March) this is my first ‘choice’ selection from the Poetry Book Society. I’d been resisting signing up on the grounds that I like to choose my own books, and poverty, but I finally cracked and I’m really glad I did. This is one of those ‘I wish I’d published that’ books, and taps into all sorts of things that I love, in particular the standing stones of Shetland. Hadfield gives them voice in an entirely convincing way. A total delight that made me want to visit Shetland again.
Inhale/Exile Abeer Ameer (Seren). The poems I’ve heard so far are a fascinating mix of the personal and political, of language and place. Between Iraq and Britain, the poems move from tender family histories to shocking atrocities.
Flashbacks and Flowers Rufus Mufasa (Indigo Dreams forthcoming, can’t find any information though!) I really enjoyed the journey in this collection deeply rooted in time, place and lives lived with a wonderful interweaving of languages.
Aubade After a French Movie Zoe Brigley (Broken Sleep Books) This pamphlet includes some of the wonderful Gwerful Mechain’s poetry, bringing it into the 21st century (including an interpretation of the infamous Ode to a C*** in a brave modern voice). The poems are a spoken celebration for what it is to be a women without shame.
Mrs Narwhal’s Diary by S.J. Norbury (publisher Louise Walters Books). I heard the author read an exert of Mrs Narwhal’s Diary at an LWB event and completely fell in love with the style of the book and the main character’s unique voice.
The Thin Line Between Everything and Nothing by Hannah Storm (Reflex Press). Hannah Storm’s flash fiction is searing in its honesty, attention to detail and emotional resonance. This collection will, without a doubt, be fantastic.
The Yet Unknowing World by Fiona J. Mackintosh (Adhoc Fiction). Fiona J. Mackintosh’s writing is a sublime combination of lyrical and startling. I’m very much looking forward to reading her full collection.
The Hazelnut Grove, by Paula Read: [Disclosure: Paula is Lily’s mum, and we’ve published her in the past.] I might be slightly biased, so don’t just take my reviews for it. If you want to escape for a while into the European dream and in turn, discover the harsh reality of how much work it takes to make such a dream come true, this is a satisfying and comforting read.
The Bass Rock, by Evie Wyld: This is the story of three women, in some way related, across three time periods. It is set by the wild North Sea in the Scottish borders and the landscape is a character in its own right. It is unsettlingly written, and it has everything you need: scandal, spooky empty houses and a hint of witchcraft.
Weather, by Jenny Offill: The way Offill writes is gripping and quick. It is the closest thing you can get to instant gratification in literature. This book is all about the relatively unknown under-world of ‘preppers’ – those who are preparing for a potential world-ending apocalypse. Right up my ever-darkening street!
BSL version of this page signed for us by Marcel Hirshman of WealdBSL
DEADLINE EXTENDED TO FRIDAY 23RD APRIL 23:59
Arachne Press is planning an anthology of fiction and poetry by Deaf and hard-of-hearing writers, which will be produced as a printed book, an eBook and a series of videos. The eBook will contain links to the videos, which will also be on the Arachne Website, and probably YouTube.
Our editors are Lisa Kelly (co-editor of Magma 69, The Deaf Issue; co-Chair of Magma Poetry, first collection A Map Towards Fluency published by Carcanet) and Sophie Stone (RADA trained Actor, Writer: Paine’s Plough, The Bunker, BBC Radio 3 and Co-founder of DH Ensemble theatre Co)
We have chosen the theme of movement, to fit with our overarching theme for this year and next, of ‘maps and mapping.’
You can interpret this however you want, and we’ve been thinking about movement as communication and connection, mobility, and stillness, being moved emotionally, movement within and after Lockdown, freedom of movement, and being part of a political movement – so we are open to all your ideas… Except! NO Erotica, horror, gratuitous violence, sexism, racism, or homophobia.
We actively encourage submissions from underrepresented voices, including ethnically diverse writers, LGBTQ writers, writers with experience of multiple socio-economic deprivation and women writers.
You can apply in written English, or by video in BSL, SSE or whatever UK based form of sign you wish; or in writing and sign. We will pay royalties, and there will also be paid work translating/performing the BSL output from this project.
We will be translating everything that arrives signed into English, and we will also be translating everything that arrives written, into BSL. We will discuss with you in detail so that we get these translations right.
If your work is chosen and you want to do the signed version yourself, it will depend on the state of lockdown, and on your own technical skills with a camera; we will do our best, but we don’t want to put anyone at risk. If you don’t want to sign your own work, or it isn’t possible due to lockdown etc, we will use a signing Deaf actor/translator.
For the submission just use a phone to video yourself and send us a file no bigger than 400mb. If your file is larger, let us know and we will arrange an alternative method.
You can send us one story of up to 2000 words/15 minutes of signing, and up to 3 poems around 650 words/5 minutes each which total up to 2000 words/15 minutes of signing, or 1 poem and 1 story.
We would prefer that the work be unpublished, but if you have published something that is a perfect fit, we will consider it, provided you hold the copyright.
We have taken a leap into the world of Audio Books, with nine books due for publication this year to be simultaneously released as Audio books.
Arachne Press Director, Cherry Potts, says “Thanks to a grant from Arts Council England, we are able to take a broad spread of books into the audio market – short stories, poetry, a dystopian novel and a YA novel, plus three anthologies.
“We are pleased to be partnering with Listening Books for the mastering and remote production, while our actors work from a variety of home studios, from the professional to the airing cupboard! Lockdown has meant we needed to make the most of every route to the reader, and audio books fit well with our commitment to accessibility, and working with Listening Books means we are also supporting a charity with similar aims. An added bonus with this venture is that we can support actors prevented from working on stage.”
Claire Bell, Deputy Membership and PR Manager, at Listening Books says
“I’m delighted we are working with Arachne to produce these titles. Having launched our new website this year, we know how important accessibility is and are very happy to be working with Arachne to provide their titles in the audio format. Having provided an audiobook service to children and adults since 1959, this partnership will not only support the charity through Listening Books Productions, but will make a whole new range of titles available for the print impaired.”
Cherry Potts added “We are auditioning actors now, and are thrilled to announce that our YA novel, Zed and the Cormorants by Clare Owen, will be narrated by Sophie Aldred (Dr Who, Dennis the Menace).”
Mae gwasg Arachne Press yn eich gwahodd i gynnig cerddi gwreiddiol sy’n gysylltiedig efo’r A470 ar gyfer blodeugerdd.
Arguably the most famous road in Wales, the A470 is 186 miles from shore to shore through the backbone of Wales, linking north to south. Peaceful and picturesque or slow and never-ending, what does the A470 mean to you? The road out of here, the road home, the beginnings of devolution? Glorious national parks, bypasses, being stuck behind a certain lorry firm or worse, a caravan, the road to the Royal Welsh? From the seashore to slates, from nuclear power stations and fighter plane flypasts to forests and mountains: Bwlch yr Oerddrws, Pen Y Fan. On the road or on a journey, there’s no need to take the A470 too literally.
Be ydi’r A470 i chi – siwrne dawel trwy harddwch Cymru neu daith araf a diddiwedd? Ai hon yw’r ffordd i adael, neu’r ffordd adref, neu ddechrau datganoli? Parciau Cenedlaethol, ffyrdd osgoi, llusgo mynd tu ôl i lori neu waeth fyth garafán, y ffordd i’r Sioe Frenhinol? Traethau, chwareli, pwerdai niwclear, awyrennau rhyfel, coedwigoedd, mynyddoedd, Bwlch yr Oerddrws, Pen y Fan? Taith ddiriaethol ar y tarmac neu daith o fath gwahanol? Does dim rhaid dehongli’r A470 yn llythrennol.
Arachne Press’ first foray into Welsh language poetry came from the publication of Ness Owen’s Mamiaith (Mother Tongue). We enjoyed the translation process both Welsh to English and English to Welsh and we’re back for more, with Ness and fellow editor Sian Northey, who helped with those translations, at the helm. (Sian takes credit for the brilliant A470 idea.) This is part of our plan for the next three years and we anticipate publication in March 2022. You may also be interested in our anthologies for BME writers and deaf writers.
Mentrodd Arachne Press, gwasg fechan yn Llundain, i fyd cyhoeddi barddoniaeth Gymraeg am y tro cyntaf trwy gyhoeddi Mamiaith gan Ness Owen. Fe wnaethom fwynhau’r broses o gyfieithu’r cerddi o Gymraeg i Saesneg ac o Saesneg i Gymraeg, felly dyma ni’n ôl yn awyddus i wneud mwy dan ofal Ness a’i chyd-olygydd Sian Northey (awgrym Sian oedd y teitl A470). Mae hyn yn rhan o’n cynllun ar gyfer y tair blynedd nesaf ac rydym yn rhagweld y byddwn yn cyhoeddi’r gyfrol yn Mawrth 2022. Byddwn hefyd yn cyhoeddi blodeugerddi eraill – cerddi Albanaidd, cerddi gan feirdd BAME a cherddi gan feirdd b/Byddar – gyda ‘Mapio’ yn thema gyffredinol i’r cyfan.
We want unpublished poems from Welsh poets wherever you are, and all other poets living in Wales. We are looking for the unanticipated: sensitive poems, or poems that challenge, in traditional forms and new forms. NO Erotica, horror, gratuitous violence, sexism, racism, or homophobia. We actively encourage submissions from underrepresented voices, including ethnically diverse poets, LGBTQ poets, poets with disabilities, poets with experience of multiple socio-economic deprivation and women poets.
Rydym yn edrych am gerddi sydd heb eu cyhoeddi eisoes, gan feirdd Cymraeg a Chymreig lle bynnag maent yn byw, a beirdd sydd yn byw yng Nghymru. Rydym yn edrych am wreiddioldeb: cerddi teimladwy, neu gerddi sy’n herio, cerddi caeth neu gerddi rhydd. NI fyddwn yn derbyn erotica, arswyd, trais dianghenraid, rhywiaeth, hiliaeth, na homoffobia. Rydym yn annog cyfraniadau gan leisiau sydd yn cael eu tangynrychioli, gan gynnwys beirdd o gefndiroedd ethnig amrywiol, beirdd LGBTQ, beirdd â phrofiad o amddifadedd economaidd-gymdeithasol, a menywod.
This will be a fully bilingual anthology, celebrating the magnificence of both languages, and the artistry of both poets and translators. Poems may be submitted in Welsh, English or in both languages. Poems that are submitted in one language only will be translated – either by the poet themselves or experienced translators, including our editor, Sian Northey.
Bydd hon yn flodeugerdd gyfan gwbl ddwyieithog, yn dathlu gwychder y ddwy iaith, ac yn dathlu doniau beirdd a chyfieithwyr. Gallwch gynnig cerddi yn Gymraeg, yn Saesneg, neu yn y ddwy iaith. Bydd cerddi sy’n cael eu derbyn mewn un iaith yn unig yn cael eu cyfieithu – gan y bardd ei hun neu gan gyfieithwyr profiadol gan gynnwys Sian Northey, un o’r golygyddion.
We aim to give Welsh and English equal weight and the translations will be laid out side by side. This does mean each poem, regardless of language, can only be 27 lines including title and spaces between stanzas. We have room for a maximum of 50 poems plus their translation.
Y nod yw trin y ddwy iaith yn gyfartal ac fe fydd y cyfieithiadau yn cael eu gosod ochr yn ochr â’r gwreiddiol. Golyga hyn na all yr un gerdd, na’i chyfieithiad, fod yn fwy na 27 llinell, gan gynnwys y teitl a’r bylchau rhwng penillion. Bydd lle yn y gyfrol ar gyfer uchafswm o 50 o gerddi a’u cyfieithiadau.
We will pay royalties. Tell us you are interested in either language or both.
Telir breindal i’r beirdd, ond mae’n annhebygol y bydd tâl o flaen llaw am y cerddi – bydd hynny’n dibynnu ar y nawdd a dderbynnir. Gadewch i ni wybod a oes genych ddiddordeb cyfrannu cerdd/cerddi trwy’r ddolen Gallwch gysylltu â ni yn Gymraeg neu Saesneg.
We much prefer work that is unpublished but if you have a published piece that is a perfect fit, we will consider it. Please submit 1-3 poems.Rydym yn ffafrio gwaith sydd heb ei gyhoeddi, ond os oes ganddoch gerdd wedi’i chyhoeddi sy’n ffitio’n berffaith rydym yn fodlon ei hystyried. Gallwch gynnig 1-3 cerdd.
Arachne Press is planning an anthology of fiction and poetry from UK resident writers of Black, Asian and Minority Ethnic heritage. Publication will be October 2021. We will pay royalties. Once published in an Arachne anthology you may be invited to submit a collection or novel.
Laila Sumpton [recently the Keats House poet in residence who has edited poetry anthologies for the University of London, the Royal Free Hospital and Ministry of Stories] will be our poetry editor, and Sandra A. Agard [Professional storyteller, poet, short story writer, playwright, cultural historian, literary consultant, resident writer/reader and creative writing facilitator for over forty years] will be our fiction editor.We look forward to receiving new work from across the country and are excited to discover voices new and familiar.
Poets can enter two poems maximum of under 50 lines.
Short story writers can enter one story of up to 2000 words.
All work in English and unpublished
We will accept translation if it is of your own work.
All entries will be read by the editors.
No entry fee.
We have an overarching theme for all our anthologies for the next 12-18 months of ‘maps and mapping’. You do not need to take this in any way literally – ‘the map is not the territory.’
Consider new lands, homelands, boundaries – real or imaginary; journeys, ideas of territory and ‘your place’. Landmarks and directions, roots and routes, (dis)location and getting lost – the possibilities are (almost!) endless.