This Isle is Full of Voices – Reimagining Shakespeare for the 21st Century

It’s Shakespeare’s birthday! To celebrate we spoke to poet Michelle Penn about her upcoming collection, Paper Crusade and how it felt to rewrite the Bard.

Over the years, I’ve had numerous ambitions and goals, but rewriting Shakespeare was never one of them. Ever.

Yet there I was, at Sadler’s Wells in 2014, brimming over with ideas after seeing The Tempest Replica, a contemporary dance piece choreographed by Crystal Pite. I was inspired by the movements, the psychology, the white masks and costumes, the folded paper boats. The production stirred something in me that I had to express in words. Which sent me back to the original source, The Tempest — and the problem of rewriting Shakespeare.

I knew I wanted to make something that was different from both the dance piece and the original play — and it had to feel relevant to the twenty-first century. Of course, there’s plenty in The Tempest that continues to be relevant (themes of power, forgiveness, language, love, etc.), but it seemed to me that a refugee magician coming to an island, colonising it, altering its environment and terrorising those around him suggested more of a tragic approach than a comedic one.

I decided to concentrate only on a handful of characters and to add The Sea: a character contemptuous of humans and both participant and commentator. And I deliberately left most of the characters unnamed in order to really separate them from Shakespeare’s characters. I didn’t want to think about Prospero but about The Father, a man desperate for revenge, a man who has suffered losses and can’t control his anger, a man who wants to feel powerful and respected, even feared. Similarly, I wanted to create more of an interior life for The Daughter, so she couldn’t be the sweet, obedient Miranda. And I wanted C’s struggles and rebellion to be full of not just resentment but pain. The characters in Paper Crusade needed independent ‘lives’, apart from Shakespeare.

Easier said than done. While I found myself quickly and deeply inside the world of my characters, I was sometimes needled by doubt. What was I doing? Who on earth was I to rewrite Shakespeare? The idea seemed hilarious, arrogant, a recipe for failure. Shakespeare didn’t need my help or my reimagining.  

But sometimes, there’s comfort in a crowd, and when I had a stab of despair, I reminded myself of others who have reimagined The Tempest: Peter Greenway’s film, Prospero’s Books or Derek Jarman’s The Tempest or Julie Taymore’s, in which Helen Mirren plays Prospera. Numerous ballets and dance pieces have been made on The Tempest, including one choreographed by Rudolf Nureyev. And of course, other writers have used Shakespeare’s play as source material: Aimé Césaire rewrote it to focus on its colonial themes. Auden riffed on it in his long poem, ‘The Sea and the Mirror’, which he considered his ars poetica. Browning wrote about Caliban, Shelley about Ariel.

Of course, there were still moments when I could almost imagine Shakespeare laughing at me from the grave. But the Bard himself was a great borrower and reinterpreter of earlier stories, so I assumed he’d understand — and maybe even appreciate the effort. After all, the play is a springboard, not a mirror, not something to imitate.

Overall, rewriting Shakespeare turned out to be great fun. I loved being inside the island world and with the characters, seeing them in my mind, hearing them speak and watching where they took the story. I didn’t know how Paper Crusade would end until I reached the final pages, and that process was exciting. The characters led me to expand my poetry and try things I’d never tried before. And although I’m a fan of several of Shakespeare’s plays, I now have a special bond with The Tempest.

Listen to Michelle Penn reading ‘The Sea, Offended’ from Paper Crusade:

 

Paper Crusade will be published on 21 June 2022. You can pre-order a copy from our webshop now. Details of online and in-person launch events (in-person at Keats House  in London) are coming soon.

It’s our 10th Year!

10 years ago, almost to the day, I started planning Arachne Press, buying the independent publishers guide from IPG, talking to people about names (see the video on our home page for the joy of choosing a name for a publishing house), and contacting printers to ask possibly naive questions.

Last year, Neil Lawrence, one of our authors, asked if he could interview me, as the tail end of all the author conversations we’d recorded in lockdown. We then got too busy to edit it. But with our 10th Anniversary looming (August) I’ve put some work in and finished the edit. A lot of it is about me as a writer and will be used elsewhere, but this section is about starting Arachne and my role as editor, and keeping going.

What Meets the Eye? – The Writers’ Perspective

We talked to poets Colly Metcalfe and Emma Lee about what it means to be published in What Meets the Eye? and how both their works tackle perceptions of D/deafness and disability.

What Meets the Eye? The Deaf Perspective

– What does having your work included in What Meets the Eye mean to you?

Emma: Firstly, I’m delighted to be alongside an impressive list of names. I’ve known Josephine Dickinson’s poems for a long time and I know Liam O’Dell’s work as a journalist but haven’t encountered his poems before. Raymond Antrobus’s preface is a generous consideration of identity and bias around being D/deaf and hard of hearing. Secondly, I’m really pleased at being included. I was nervous about submitting because I wasn’t sure if I was “deaf enough” to qualify – I can pass as hearing although was deaf as a young child and am hard of hearing now – and I’m unsure of where the boundary lies. In the event, I decided to submit because if I didn’t submit, there was no chance of acceptance. I shifted the responsibility for the decision to the editors and thought it was better to submit and get a rejection than find out afterwards my poem might have been accepted…but I still left it until the deadline.

Colly: I almost didn’t submit my poem!  I saw the call-out but I scrolled past, thinking it wasn’t for me.  I’ve only been writing for 3 years and I had no thoughts that my work would be even a smidge good enough to be published by Arachne Press, in a proper book!

I accidentally joined a (hearing) writing circle, but that too wasn’t easy to follow, but something ignited in me.  I read some of the women’s writings in the group and thought they were fabulous!  I was invited to some poetry reading events, but being deaf, they were completely inaccessible, and my confidence was shaken.  I had no ‘baseline’ to draw from; no peers to learn from about what works, what doesn’t and how to actually write.   

I was (still am!) pretty clueless when it comes to ‘proper writing’.  One of the local poets called my writing ‘childish and immature’, which could have really turned me off writing, but I’m not easily broken.  Maybe that comes from being deaf – thick skin and all that.  Then I took part in a fully accessible writing course for deaf, disabled and neurodivergent writers run by Spread The Word; the first time I’d been able to do something where I felt equal… and I did.  I didn’t know any of the people on the course, but it was led by the marvellous Jamie Hale and had people like DL Williams and Raymond Antrobous amongst so many others.  I wasn’t intimidated, because I didn’t know them, never having been in the writing arena. 

I think this is the reason I pressed the ‘submit’ button. Because other people believed in me, so I thought – why not? Nothing to lose! To have my poem Coffee Shop published in this anthology with such incredible people – and edited by Sophie Stone – is just inspiring!  I’m so proud that my words are in print!  For a new writer who is deaf and pretty much winging it, this is a huge buzz!  I mostly write for performance and I know what ‘looks good’ on a stage; I’m bold and fearless and happy to try things out, so seeing that my piece occupies a valid space in a book amongst other authors, is wonderful.

Colly Metcalfe

– Both of your poems address issues around the social definitions of deafness and disability. Why did you want to explore this in your work?

Colly: Because it comes easy to me.  It’s my lived experience and I could spend all day – all week – telling you sob stories and horror stories about how life is inaccessible (eg the poetry events I don’t go to, or the theatre performances I miss out on), but I don’t want to feel angry and frustrated all the time.  I spent years feeling like that, and hearing people stop caring after a while.  Writing poetry from a personal experience with some humour, gets the point across more effectively for me.  I use my voice a lot when performing live, and I inject BSL as a visual ‘accent’ and often with voice off, which really makes an audience see my point.  I’m told that because I use humour, it can ‘disarm’ an audience into thinking it’s fluffy and funny – but the honest twists of experience can make hearing people think about what it means to be deaf, and with deaf audiences, the shared experience makes us nod and agree because we’ve all been there.  I don’t always write about deafness, but there is often an element of ‘silence’ in my poetry, which alludes to the inability to hear.  I think with Coffee Shop, the references are very relatable for lots of deaf people.  I’ve written several pieces on ‘movement’, but this fit the brief and being an anthology of deaf writers, seemed appropriate.

Emma: My poem is about my journey into deafness, crossing the deaf/hard of hearing boundary and the difficulties created by having a largely invisible disability. At home alone, I don’t have to worry about how loud or quiet my voice is. I am in control of what background noise there is and my being hard of hearing doesn’t stop me doing anything that I want to do. However, in social circumstances, barriers are erected. Hearing people don’t think about background noise, someone knocking a glass on a hard floor is an annoyance rather than something that disrupts a conversation, why you might want to text rather than call, why it mattered that subtitles recently disappeared from TV channels, why it’s important that they are accurate, or why I ask how I sound after a poetry reading (and no one answers that question, except to say “you read well” or “you sounded OK” even though “well” and “OK” are not actual sounds).

don’t want all venues to be library-quiet, but I would like people to think about how noise travels and echoes in spaces and what might be done to accommodate those who can’t or struggle to hear. During the pandemic, when events moved online, it brought accessibility to event organisers’ attention and more effort was made to accommodate those with accessibility needs. I hope that continues as festivals and events open up again. There’s one venue in Leicester that gets it so wrong. When I have to go there, I go straight to the event without stopping for a coffee first, during the interval I do not leave to get a snack or drink and afterwards, I leave and walk to a nearby cafe bar for a drink because I cannot hear a conversation in the venue’s cafe and bar areas and the frequent interruptions from their tannoy (which I only hear as a muffled noise and have no idea what the attempted communication is about) make it difficult to focus to lip-read.

When it comes to equalities monitoring forms and the question “Do you have/consider yourself to have a disability?” I tend to tick “Prefer Not to Say” or “No” if that’s not an option. Especially if it’s part of an audience survey at an event which made zero accommodations for anyone hard of hearing. I don’t want to be responsible for the organisers thinking their event was accessible because they had a tick in their ‘disabled’ box. It’s not about every event having a BSL interpreter (although, in an ideal world, that would be good), but to encourage people to think about their audience and how organisers can meet the audience half-way, instead of expecting the audience to fit a venue that isn’t as accessible as it could be.

Emma Lee

– What do you think of each other’s approaches to these issues?

Emma: I love Colly’s humour and am jealous of people who can write humorously. I think it helps that the surly barrista is someone we’ve all met and we welcome the idea of her getting her comeuppance. A few finely-judged details not only set the scene but build characters so they’re not just cyphers. It’s a good way of holding up a mirror and asking: which character do you identify with? How would you handle the situation? Would you have intervened and forced the barrista to serve people in the queued order? Coffee Shop manages to be both light-hearted in tone and thought-provoking.

Colly: I related 100% to Emma’s piece. Her reference to the teacher saw me immediately sitting in the 1970s Maths classroom, and Mister Taylor who talked to the blackboard and threw chalk at me.  I never heard anything he said, and I didn’t know I was deaf then; I thought I was stupid…  Emma’s words brought all those feelings back, and I completely empathise with her experience.  I, too, struggled for a very long time with the ‘border between hard of hearing and deaf’.  ‘…hear in monotone’ – oh goodness yes.  I read Emma’s dialogue in this conversation too, about feeling that she’s not deaf enough and again, it hit me on a very personal level.  And that feeling of being in almost no-mans-land; neither hearing nor deaf.  I absolutely felt that.  For me, this is all in my past tense; I decided that I would not use the label ‘hard of hearing’ as I grew deafer, I became more comfortable with the word ‘deaf’.  It wasn’t easy; I speak well, I too can pass (bluff?) as a hearing person so the word ‘deaf’ took a long time to associate with, but it is right for me now.

– Is there anything that you would like to say to each other, after reading one another’s work?

Colly: I like your piece, Emma.  I’m glad (if that’s the right word?) that you felt deaf enough to submit your piece, because it’s certainly how younger me felt about becoming deafer.  I’d forgotten how difficult it was, and how far I’ve come in confidence as a deaf person. Your piece describes it perfectly, and I wish you well on your journey.  Your writing is clear and powerful and I’d really love to read more.  Thank you.

Emma: Please continue to write and share your writing. I think Colly’s background in theatre and performance is a good foundation and her ability to create characters from a clutch of telling details and capture conversation in print will take her far.

– How do you think your own poem sits within the wider collection of work in What Meets the Eye?

Emma: The strength in What Meets the Eye is its diversity of experiences, it touches on the barriers D/deaf and hard of hearing people face, on politics, emotions, prejudice, navigating a hearing world, being part of a family, and it also that there is no one definitive definition of deafness. The voices are various because they belong to people who still have a desire to communicate and be more than just a label. My poem is, rightly so, just my experience.

Colly: I think Coffee Shop sits well as a ‘diary-style-funny-we’ve-all-been-here-and-felt-that-moment’ poem, amongst the incredibly personal and touching words.  I write in a relatable way, and Coffee Shop reads like a good ‘lift’ amongst the beautiful, thoughtful and rich pieces.  I don’t know what I expected, and I don’t know how I thought I’d feel seeing Coffee Shop with other works, but I’m very proud and happy with the placing of it in the pages, and how the very different styles gel as an anthology – because of their very diverse approaches.  A huge success, I feel – and I’m very humbled to be there with these talented deaf writers.  

What Meets the Eye? The Deaf Perspective is available now. Order your copy from our online shop.

100 Days of 100neHundred: Behind the Scenes

Today we are celebrating 100 days of 100neHundred!  Laura Besley’s second collection of micro fiction, 100neHundred explores a kaleidoscope of emotions through 100 stories of exactly 100 words.

We spoke to author Laura Besley and Arachne Press Director and Editor, Cherry Potts to bring you a behind the scenes look at the commissioning and editing process of 100neHundred and the particular challenges and joys of creating a collection of flash fiction:

Laura, can you give us a brief introduction to your writing career and where your inspiration comes from?

Over the last 12 years I’ve been writing as much as time has allowed, around work and/or childcare. My writing journey started with literal journeys: travel writing about my time living and teaching in Germany and Hong Kong. Fiction writing soon followed.
I realised early on that I had plenty of ideas, but struggled to write more than a paragraph or two. Quite by chance I discovered Calum Kerr online (Director for National Flash Fiction Day at the time). He had set himself a challenge to write a piece of flash fiction (max. 500 words) every day for a year. I did the same. In that year I learned a lot about my writing, not least that I loved short fiction.

Cherry, when did you first come across Laura’s writing and how did the idea for 100neHundred come about?

Laura was one of the contributors to Story Cities, our 2019 flash fiction anthology which explores (almost) every corner of urban life in anonymous cities. Her story Slim Odds was about estranged sisters sitting opposite each other on a train. It was deliciously off-kilter, and now I’ve read more, a typical Laura story. For our eighth anniversary in 2020 I put out an invitation to people who we had already published, looking for collections and novels. Laura was one of those who responded, with her concept in place, and a lot of stories already written. My initial reaction was that it was a little gimmicky, but would make it easy to market, but once I read the stories it was an immediate and firm ‘yes’.

Laura, was the idea of a collection of a hundred stories daunting? How many did you need to write and how long did you have in which to do it?

I’d amassed the 100 stories originally submitted over many years, so in that way it didn’t feel daunting. It just occurred to me at one point that I had enough to put together a collection and 100 stories of 100 words seemed like the best format. I submitted the manuscript of 100neHundred to Cherry in March 2020 and was delighted when she said she wanted to publish it. Things were a little delayed by the pandemic, but in September 2020, after Arachne secured funding from The Arts Council, I got the go ahead. However, there were 25 stories Cherry didn’t like enough to include. Over the next three months I wrote another 35-40 stories, finally both agreeing on the final one hundred stories to include.

Cherry, were there any particular challenges (expected or unexpected!) in editing a collection of stories with such a precise word count?

The predictable one was that they weren’t all exactly 100 words to start off with! And it wasn’t as simple as adding or subtracting a word here or there. Laura had played with the grammar here and there to hit the target, so I edited as though we weren’t aiming at 100 words, and then gave them back and said, now fix the ‘100’ thing. Taking the titles into the header so it wasn’t counted in the file helped! There were some stories that ended up turned inside out in order to get there. And some that we decided to lose because the 100 limit just didn’t suit them, they needed more room to find themselves.
I was afraid that it would get tedious, every story being the same length, (and remember I read a great many more than 100 stories, and all of them multiple times!) but it wasn’t the case – a lot of stories felt a lot longer, and some seemed to whizz by so fast I could barely catch them – 100 words is actually quite a generous limit, it allows for a lot of variety.

Laura, the stories in 100neHundred are divided into four sections, each named for a season. Can you tell us a little bit more about that decision, and how you decided where each story fitted within the collection?

I decided to divide the collection up into sections to make it more appealing and manageable for the reader, thinking that being faced with a bulk of 100 stories, despite them being short, might feel a little daunting. The idea of seasons seemed, to me, the most natural step to take. Once that was decided I looked for obvious markers to place them within the different sections, like the weather, or people’s clothing, but also I looked at the mood of the pieces, as well as trying to strike a balance overall making sure that pieces, in style genre and content, were evenly distributed across the collection.

Were the any moments of disagreement during the edit, or stories that you each
felt strongly about in different ways?

Cherry:
Oh boy – not so much an individual story, but a thread of stories. With the initial 100 stories, I started a spreadsheet with a loose themes column. This was mainly because it helps me work out how to sell a collection if I can track the writer’s preoccupations, and also to check I wasn’t imagining a particular slant to the book.
There were an awful lot of deaths, dead mother/father/brother/sister/friend/child… children, one way or another. Maybe Laura as a young mum was working out her anxieties? I think I actually gave Laura a corpse limit. It was quite amicable!

Laura: Generally, there were no big disagreements (I don’t think!), but there is one story I can recall submitting in the new batch that Cherry said: “No, just no”. And I realised there was no point trying to persuade her otherwise. That’s fine – as readers, writers and editors we all have personal tastes and preferences.

The response to 100neHundred has been incredibly positive, from readers and reviewers alike. Why do you think these stories have resonated so much with people?

Cherry: I think the brevity and apparent simplicity of a 100 word story allows the reader to project a huge amount of their own interpretation onto the characters and situations, so that they relate to the story more than they would if there was extraneous description. The surburban houses are the houses in the suburbs you live in, or travel through, the men and women in the office are the ones you work with; particularly when you are given only a he or she to play with. I wouldn’t say the stories quite achieve universality, but there’s a huge stride towards it.

Laura: I’m absolutely thrilled with the positive response 100neHundred has received. It’s impossible, for me at least, to say with any certainty why these stories have resonated with people. I’m just extremely grateful that they have. Every kind word and positive response is so uplifting.

100neHundred by Laura Besley is available now. Buy a paperback copy from our webshop or get the audiobook.
 

Behind the Scenes at Arachne Towers: Lockdown Audiobook Production


The Corona Virus crisis meant a moment for reflection, strategising and funding applications at Arachne Press. When we got Arts Council England funding for nine audiobooks, we had to approach the challenge of creating them remotely, while we couldn’t get into the studio due to lockdown. Continuing our #LoveAudio celebrations, here’s a behind the scenes look at how we approached this. Cherry Potts talks to poet Jeremy Dixon, audiobook narrator Nigel Pilkington and Jessica Stone, audiobook producer at Listening Books.

Cherry Potts, Director

Having worked with Listening Books in the studio, I thought I had a rough idea how difficult it would be to record remotely – I knew what was possible, and what wasn’t, I knew that the pickups that were dealt with in seconds in the studio would be more complicated to deal with. I knew background noise would be a problem, and that with our anthologies, we needed the actors to be recording to the same standards. So I thought I knew what we were getting in to.

Having to be a director at one remove, though, not being on the ‘set’ as it were, was a real challenge; every problem was magnified by the repetitions that were necessary – and all those actors with neighbours who decide now is the perfect time to drill into the party wall! Jessica and I really bonded over the problems, admitting to occasionally shrieking as some slip happened again and again. But also, I found myself laughing out loud listening to actors apologising for burps or shrieking in their own frustration at some word that would.not.come.out.right; or sighing happily at the perfect rendition of a particular phrase.

I have to be honest; I wouldn’t choose to do it like this. I now know not to rely on an audition recording, and to audition over Zoom. Compared to being in the studio, remote recording is time consuming and frustrating, but needs must in lockdown, and when it goes well, it is a joy.

The absolute best experience has been recording A Voice Coming From Then by Jeremy Dixon. Because of the sensitive material, I asked Jeremy who he wanted to read. We agreed that the reader must be a queer man, and of roughly the same age as Jeremy. Shared understanding of what it was like growing up ‘then’ was really important. I put a call out to actors I knew and to the narrators we were already working with as the people most likely to know someone; and Sophie Aldred, who has narrated two novels for us, immediately suggested Nigel Pilkington. Initially I had in my mind that we were trying to replicate Jeremy’s approach, if not actual voice, as a 15 year old and as an adult, but in the course of auditioning, with Jeremy listening in, we discovered that what was needed was a voice that was, in essence, the reader, reading for the first time – which gave a very necessary steer for what the listening experience would be – this is a book wreathed in content warnings, the tone had to be exactly right.

Nigel read some of the poems  for us on the spot, and it was an emphatic yes, and the resulting files sent off to Jessica for technical approval. Short delay while Jeremy reformatted his carefully laid out and largely unpunctuated poems, so that they could be read aloud without faltering.

Nigel asked if we wanted to listen in via zoom while he recorded. I hadn’t expected that, and it was brilliant, almost like being in the studio, immediate feedback, live performance, and very moving. We just had to remember to mute when we’d finished saying how wonderful every take was! We had, of course, chosen the hottest day of the year, and Nigel was expiring in his recording cupboard, but five hours later we had a complete book.

Jeremy Dixon, Author

My first full poetry collection A VOICE COMING FROM THEN (published by Arachne Press) starts with my teenage suicide attempt and expands to encompass themes of bullying, queerphobia, acceptance and support. In one of those unplanned cosmic coincidences that you just couldn’t make up, we actually recorded the audiobook on the 42nd anniversary of that suicide attempt. So, for me, lockdown recording was very emotional before we even started and then the beautiful and varied ways in which Nige was able to read my work only added to making this one of the most memorable events of my writing career.

Usually the author would not be present in the studio during recording but one of unexpected benefits of lockdown was that it enabled me to be involved via the wonders of Zoom. My editor Cherry was also there, and we could both give small directions in pacing, emphasis, and pronunciation although Nige didn’t really need very much of this, his readings were so fantastic that I kept thinking, ‘I would love this poem if somebody else had written it’. We recorded the audiobook on what was the hottest day of the year so far and so had many breaks for water and food etc, but I was still surprised that it took nearly five hours to record everything from introduction to poems to acknowledgements.

For a writer and poet, it was an invaluable insight into the processes involved in creating an audiobook and I feel very grateful that lockdown enabled me to be a part of it.

Nigel Pilkington, Actor

Being a voice actor during lockdown?  The myth of the Hydra springs to mind! – we’ve needed to grow many more heads for the many more hats that have rained down on us.  When you record a book in an external studio, your entire focus can be on your performance.  But when recording from home, you’re also tasked with the jobs of engineer, sound editor, and sometimes director, and it’s easy to let the performance be pushed to the back of the queue.

Not so when recording A Voice Coming From Then by Jeremy Dixon, published by Arachne Press, as we took our time, allowing Jeremy’s poignant and careful words to be intoned with sensitivity.  After each poem, I’d break to label the files, and this actually afforded me a natural gear change between pieces, so that each one could be approached on its merits, rather than rattling through the entire script in one pass.

So, as much as recording in lockdown has been vexing, it did actually work to our advantage in this case… and I managed NOT to lose my head…!

Jessica Stone, Producer

I have both sympathy and admiration for voice actors who’ve been forced to transition from professional studio to recording at home. Not everyone has access to quiet, non-reverberant spaces, and it can be a steep learning curve to work well with the technical equipment and recording software. This means that the raw recordings I receive from actors can vary significantly in how much interference they need from me! In this case, however, Nigel made my job as easy as it gets, with the happy result that I was free to enjoy Jeremy’s text and Nigel’s performance as I worked. I am especially fond of ‘I’m learning to shout “Oi!”’ 

#LoveAudio is the Publisher’s Association annual week-long digital celebration of audiobooks is designed to showcase the accessibility, innovation, and creativity of the format. Follow the hashtag on twitter.

A Voice Coming from Then will be published by Arachne Press in August 2021. It is available for pre-order now, from our webshop.

Independent Bookshop Week 2021

For this year’s Independent Bookshop Week we spoke to Arachne Press authors, editors and friends and asked them to tell us about an independent bookshop that’s close to their hearts. To conclude our blog series, Arachne Publisher and Director, Cherry Potts, takes an opportunity to shout about some of the many bookshops who have supported our publishing over the years:

We started last week with a warning to use your local bookshops, or lose them, and my devotion to Gay’s the Word, but it would be remiss of me to not also mention the bookshops who have got behind our books, held events, put up posters for Solstice Shorts and generally been lovely. Bookshops are full of lovely people. When you can, I recommend going and talking to them.

They are, in roughly alphabetical order:

Bookseller Crow, Crystal Palace (Supported the launch of Stations, and just the best bookshop name – Hello Jonathan & Co!) https://booksellercrow.co.uk/

Brick Lane Bookshop (Stations) https://bricklanebookshop.org/

Beckenham Bookshop (The Dowry Blade) https://www.beckenhambooks.com/

Browser Bookshop, Porthmadog (supporting Mamiaith) https://browsersbook.shop/

Chener Books, East Dulwich (Ditto) https://www.chenerbooks.com/

Clapham Books (several events, always very welcoming! Hi Roy & Co!) https://www.claphambooks.com/

Housmans, Kings Cross (big support for Liberty Tales and An Outbreak of Peace, Hello Cristina & co!) https://housmans.com/

Lighthouse, Edinburgh (launching Let out the Djinn and inviting Jeremy Dixon to take In Retail to Book Fringe – hello Mairi and Co!) https://www.lighthousebookshop.com/

London Review Bookshop (our first ever book launch, London Lies) https://www.londonreviewbookshop.co.uk/

Lost in Books, Lostwithiel (supporting Zed and the Cormorants) https://lost-in-books.co.uk/

Oldfield Park Books, Bath (supporting Solstice Shorts with an event – there wasn’t enough room for everyone who came!) https://www.theoldfieldparkbookshop.co.uk/

Penrallt Gallery Bookshop (supporting Mamiaith) https://www.penralltgallerybookshop.co.uk/

Review Bookshop, Peckham (hosting a liars’ league fuelled evening) http://www.reviewbookshop.co.uk/

Rye Books, East Dulwich (always good for a chat or a poster) https://ryebooks.co.uk/

Toppings, Edinburgh (supporting Let out the Djinnhttps://www.toppingbooks.co.uk/

Shrew books, Fowey (supporting Zed and the Cormorants) https://www.shrewbooks.co.uk/

Independent Bookshop Week is an annual Books Are My Bag campaign, run by the Booksellers Association. It seeks to celebrate independent bookshops in the UK and Ireland. Look at #IndieBookshopWeek to keep up with the campaign and follow @ArachnePress to see all our content from Independent Bookshop Week 2021.

Independent Bookshop Week: Emma Lee

To celebrate Independent Bookshop Week, Arachne Press authors and editors are sharing their stories about the bookshops that are closest to their hearts. Emma Lee spoke to us about Five Leaves Bookshop in the heart of Nottingham’s City Centre.

Two poems from my book, The Significance of a Dress, were featured in Five Leaves Bookshop’s “Over Land Over Sea, poems for those seeking refuge” which I co-edited and helped launch. The bookshop was packed and, despite Ross Bradshaw’s grumpy exterior, the atmosphere friendly. There’s a standing joke that the anthology was Five Leaves’ quickest earning book, but the press didn’t see a penny (profits went to refugee charities).

The two poems I read that night, expanded to a collection of eight submitted to Arachne Press for an anthology and form the heart of The Significance of a Dress, which Five Leaves now stocks.

Five Leaves bookshop won the national final for the British Book Awards Independent Bookshop of the Year. It also won a Nottingham Rainbow Heritage Award for its support for LGBT+ communities in the city in 2019. A radical bookshop, it’s hosted Feminist Book Fortnight and other writers’ events. Five Leaves have also supported Lowdham Book Festival and States of Independence in conjunction with De Montfort University in Leicester.

Emma Lee

Independent Bookshop Week is part of the Books Are My Bag campaign and run by the Booksellers Association. It seeks to celebrate independent bookshops in the UK and Ireland. Your local bookshop will have their own way of celebrating this week, and we enthusiastically encourage you to visit, celebrate with them and buy a book! Look at #IndieBookshopWeek to keep up with the campaign and follow @ArachnePress to see all our content throughout the week.

Independent Bookshop Week: Sandra A Agard

To celebrate Independent Bookshop Week, Arachne Press authors and editors are sharing their stories about the bookshops that are closest to their hearts. Today we hear from Sandra A Agard, who is one of the guest editors for our October 2021 anthology, Where We Find Ourselves. Sandra recalls memories of two brilliant bookshops – one still standing, another now sadly closed.

New Beacon Books in Stroud Green Road will always hold a special place for me.

First taken to this bookshop along with Hugh Boatswain by our English teacher, Miss Cowell. We were two young poets and were
very excited to be there.

At this time the bookshop was in the front room of John La Rose’s and Sarah White’s house. I had never seen so many books that
reflected Black Culture. I had never met a Black Bookseller – I was in awe.

I remembered being so shy and John being so kind and engaging. He encouraged us to browse, ask questions and just chill. It was a wonderful experience – one I will always treasure.

Future trips to New Beacon Books followed to purchase books and attend readings. I remember seeing the Jamaican Poet, Lorna Goodison for the first time as well as the Jamaican academic, Dr Carolyn Cooper.

Hugh and I were invited by John to participate in the first International Book Fair of Radical Black and Third World Books in 1982.

New Beacon Books is still going strong I am happy to say providing books of Black Culture and Creativity. Offering so much like an old, trusted friend.

Centreprise in Hackney was more than a bookshop. It was also a literature development hub that offered the community the opportunity to publish their own writings. Autobiographies, poetry, novels and non-fiction were abundant.

It was here I discovered my professional writing voice with the publication of Talking Blues – an anthology by young people.

It was at Centreprise I first saw writers and poets like Kamau Brathwaite, Merle Collins, Rosa Guy, Linton Kwesi Johnson, June Jordan, Andrea Levy, Joan Riley and Ngugi wa Thiong’o.

These readings were exciting, intimate and inspiring. For us young writers and readers it was a brilliant learning curve.

Sadly closed now but what memories those of us who were lucky to pass through its doors will always cherish.

Sandra A Agard

Independent Bookshop Week is part of the Books Are My Bag campaign and run by the Booksellers Association. It seeks to celebrate independent bookshops in the UK and Ireland. Your local bookshop will have their own way of celebrating this week, and we enthusiastically encourage you to visit, celebrate with them and buy a book! Look at #IndieBookshopWeek to keep up with the campaign and follow @ArachnePress to see all our content throughout the week.

Independent Bookshop Week: Lily Peters

To celebrate Independent Bookshop Week, Arachne Press authors and editors are sharing their stories about the bookshops that are closest to their hearts. With Accidental Flowers publishing tomorrow, we caught up with author, Lily Peters: 

As part of my language studies at university, I worked in Asturias, as a foreign language assistant in a secondary school. Every Friday, I would spend an hour teaching English to interested colleagues in the café across the road. Over un café solo, they would question me about life in England:

‘Why do pubs allow dogs and not children?’
‘Does everyone live in a cottage?’
‘Does everyone drink beer by the pint?’

The head-teacher, who was well travelled and wanted us all to know it, would frequently answer for me. I will never forget her description of England: ‘In every town and village, you can always find two things. A pub, of course. And a bookshop.’

Now, as a language teacher, I worry often about the reputation of England in Europe and I clutch on to her description. I think about Kirkdale Bookshop in Sydenham, a stalwart of second-hand books when I was growing up. I remember my first date with my husband, at Barter Books in Alnwick. I transport myself to the award-winning Forum Books, in Corbridge.

Lily Peters

Independent Bookshop Week is part of the Books Are My Bag campaign and run by the Booksellers Association. It seeks to celebrate independent bookshops in the UK and Ireland. Your local bookshop will have their own way of celebrating this week, and we enthusiastically encourage you to visit, celebrate with them and buy a book! Look at #IndieBookshopWeek to keep up with the campaign and follow @ArachnePress to see all our content throughout the week.

Independent Bookshop Week: Lisa Kelly

To celebrate Independent Bookshop Week, Arachne Press authors and editors are sharing their stories about the bookshops that are closest to their hearts. We are delighted to welcome Lisa Kelly to the blog today. Lisa is currently co-editing a new Arachne anthology by Deaf and Hard of Hearing writers called What Meets the Eye.

What Meets the Eye’ is out in the autumn – an anthology of poems and short fiction by Deaf and Hard of Hearing writers based in the UK. Sophie Stone and I are busy working on editing the collection and it is incredibly exciting seeing it come together with inspiring work from established writers such as Raymond Antrobus and Sophie Woolley, as well as poems and fiction from writers we have been excited to discover on our journey.

A big thrill for me would be to see the anthology in the London Review Bookshop. It has a fabulous poetry section downstairs, and it also hosts memorable literary events. It was here that Ray and I launched the Deaf issue of Magma Poetry which we co-edited in 2017. 

The LRB was packed that November night – the audience excited to witness work by Deaf and Hard of Hearing poets, with live captioning and BSL interpreters for an accessible experience. Having ‘What Meets the Eye’ on LRB shelves would feel like completing a beautiful circle.

Lisa Kelly

Independent Bookshop Week is part of the Books Are My Bag campaign and run by the Booksellers Association. It seeks to celebrate independent bookshops in the UK and Ireland. Your local bookshop will have their own way of celebrating this week, and we enthusiastically encourage you to visit, celebrate with them and buy a book! Look at #IndieBookshopWeek to keep up with the campaign and follow @ArachnePress to see all our content throughout the week.