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!
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.
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.
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.
This has been hiding in a corner of our web, with the intention of finding a magazine to take it, but the world doesn’t quite work like that, so here it is, front and centre.Thanks Rachael!
Spiders frequently get bad press but according to folklore, the spider represents strong feminine energy, creativity and strength. Perceived to be portents of good luck I have long cherished the spider who lives in my car’s right-hand wing mirror, a miniscule and fine-legged specimen who shivers on her web whilst withstanding the most turbulent of journeys. On cool autumn mornings there is nothing more beautiful to my camera than the belly of the sun bringing hundreds of dew-laden spider webs into plain view.
To celebrate eight years of publishing, Arachne Press are quite aptly celebrating their success with an anthology of spider literature. This volume of poetry and short fiction explores all things spider at close range, a reading experience which lends itself to being mutually magnifying and yet strangely distorting in its small world exploration of darkly haired creatures who straddle the borders of good and evil, of myth and folklore, of past and present. Crucially, nature meets with human in these narratives full of imagination. Skewered perspectives turn myth and stereotypes on their heads to bring readers the type of spiders that literature needs.
Stella Wulf’s Femmes Fatales is a five-stanza poem which personifies the spider via the timescale of human life from childhood through to adolescence, then adulthood followed by two climax stanzas in which we view the spider’s attack. It is akin to watching a nature documentary in which the spider’s life plays out before viewer’s eyes as we watch the courtship, the struggle. The female as both human and spider is located firmly in the male gaze and potent in the possession of her aesthetic power. The protagonist’s mother warns: it takes more than long legs / and fine bones, to get on in life. Here, we find a girl in adolescence who learns to climb proficiently and challenge social expectations yet discovers her ability to manipulate men reigns supreme. Assonance is shot through this poem, a soft assured chain of stealthy words that sound out the spider’s attack: ‘slip of silk’ ‘see them squirm’ ‘subdued’ ‘watch them sleep’ ‘spin my dreams’’ ‘skitter light’. This is a stunning poem dense with sibilance and sound which echoes that of the spider’s slow seduction of the fly and concludes fittingly: with the female triumphant.
Natalie Rowe’s If You Kill a Spider, the Rain Will Come is a touching poem about the significance a spider takes on following the loss of a father. The weight of grief is beautifully threaded through the close daily observations of a house spider. Longing for conversation, the protagonist: ‘…began to talk to her / wishing her a good hunt’ As winter approaches, so comes dependence: ‘I could not stand to lose/ one more living thing.’ Grief is projected onto the spider’s survival as substitution for the loss of a father and fuelled by a desire to nurture her pet with cockroaches and flies to prevent further loss. Rowe captures that colossal fear post-death of having no control over external factors and exhibits quite painfully, in this tender piece, how we attempt to cling to hope and how futile our caring tendencies can be.
Phoebe Demeger’s Clearing Out the Shed is a flash fiction which features a narrator sorting out her parent’s shed before the house is occupied by a new family. Emotional restraint in the voice ensures that not all of history is given up, allowing the reader to fill the white space with their own interpretation of the parent’s last decade in the building. Setting is conveyed as stagnant and freeze-framed, the protagonist reluctant to ‘disturb the tomb-like atmosphere’ as though the undisturbed spiders in the shed are guarding her parent’s ghosts. A transitional story threaded through with nostalgia and loss, and yet, also, silvery beginnings, and the spiders who seem to represent guardians.
Elizabeth Hopkinson’s piece, Web of Life, draws on the myth of Arachne the weaver who challenged Athena to a tapestry duel and was subsequently turned into a spider. This is such an acoustic story which draws on crochet instructions to convey the process of web making: Chain four. Double crochet. Slip one. Repeat. The repetitive labour of humans crocheting is closely associated with the spider’s spooling, a sound which can be heard and soothes the ears. A web big enough for the world is created, a handiwork way beyond any spider’s web. This is no lair but a safe house for all of nature’s winged creatures: Silver-Spotted Skipper, Adonis Blue. Hazel Pot Beetle. Language is used so economically, here, but the authentic species names and the specifics of the weaving process gives this small but global story an energy of its own.
This is an inspired and diverse collection of poetry and fiction which sharpens the focus of the lens on the life of the spider. Small-world is magnified for readers who get to see nature in action and often from slant perspectives. Sacred value is given to arthropods who inject their venom and snare with silk, who protect and guide, who attack and seduce, and in seeking out such a range of literary imaginations, the spider really is given new legs.
We could all do with some cheer in the bleak days of January, especially this year, so courtesy of Arts Council England, we are here to do just that.
We are the proud and happy recipients of a £45,000 grant from Arts Council England
This will pay for our next ten books, and (drum roll) audio books! Which means we can smack Covid on the nose by providing another way to enjoy our books without leaving home, and provide some work to actors who aren’t allowed into a theatre just now. I’m anticipating it will also be huge fun. Putting the plans together now with our audiobook partner Listening Books
Thanks to everyone who gave us their thoughts on whether this was the right way to go. It’s one of the fastest growing sectors in literature, but it’s tough to get right, and harder still to market, so the funding will also pay for …
A part-time marketing person, and a (separate) part-time admin person for a few months, so that I can concentrate on finding and supporting new writers and guest editors. We will be advertising these posts very soon. They will be remote working, so if you think that could be you, start polishing your CV, but don’t send anything until you see the advertisment please!
The books that are being supported by the ACE grant are:
One of my favourite moments in the publishing process, arrival of the first batch of books.
These will be going out to the author, Rob Walton, reviewers, and people who place pre-orders with us. You can do that in our webshop. If you want to buy it elsewhere you’ll have to wait until the end of March.
We first spotted Rob’s lockdown poems on his social media, because we follow him as we publishing several of his stories, and a couple of poems, in earlier anthologies.
After reading the first few aloud to my wife, I thought, this has to be dealt with, and enquired over the number of extant poems and how the creative splurge was going, and made an offer. A doesn’t remember all our author’s names, so when I told her we were going to do the book and she said who? my response was ‘What did you do on your first day back , darling? /Lick Yusuf. (1st June) and she knew immediately.
Then Rob went quiet on me, and on social media, and a tentative email revealed a covid related bereavement, shielding and a blaze of more poetry.
The light-hearted, funny and furiously angry observations of how life is lived in the Covid world remain, alongside the personal grief at how lives are also lost.
This book is dedicated to Rob’s dad, Frank Walton, 1933-2020
Poet Sean Carney introduces his poem a memory forgotten written especially for Solstice Shorts Festival, Tymes goe by Turnes.The festival is online this year, 21st December 2020 8pm BST Tickets are on sale now (donation: suggestion £5) on eventbrite
Poet Julian Bishop introduces his poem Slow Burn written especially for Solstice Shorts Festival, Tymes goe by Turnes.The festival is online this year, 21st December 2020 8pm BST Tickets are on sale now (donation: suggestion £5) on eventbrite