Monday, 16 July 2018

FLASH FICTION FESTIVAL - V. PRESS SHOWCASE!

THIS COMING WEEKEND...

FLASH FICTIONAL FESTIVAL


We're absolutely delighted that this year's Flash Fiction Festival at Trinity College, Bristol from July 20-22 will feature a V. Press showcase.

The showcase on Sunday, July 22, will feature readings from this year's V. Press titles: There's Something Macrocosmic About All of This by Santino Prinzi and Michael Loveday's flash fiction novella Three Men on the Edge.

V. Press editor Sarah Leavesley presents 'A Flash Guide to V. Press' over on the festival blog here, where you can also find out more about the festival and tickets.

And, on the topic of flash fiction, V. Press is delighted to share extracts from two new reviews of Three Men on the Edge.

"...This book is a rummage through the storerooms of the human heart with all its fears, its passions, its yearnings, its failures, its betrayals.   Part of me suspects that  Three Men on the Edge is a series of prose poems with an interlinking narrative structure. But that is merely a quibble of naming.   That the prose is a feast of poesy is no accident, Loveday being a fine poet as well as, now, a fiction writer."


Frances Spurrier, on Volatile Rune, full detailed review here

"Clever, clean and economically written, Three Men on the Edge will surely win over those hesitant to commit to what might otherwise seem an esoteric and specialist form. Both character and place are perfectly evoked, and the sense of trauma only half-experienced is rarely far from the surface. These are men desperate to be something they are not, to be what they might have been or thought they always were, to be someone else entirely; men whose uncertain place in the world is echoed by the edgelands they inhabit.

Three Men on the Edge is a triumph, and I look forward to seeing more from Loveday."

Joel Hames, 5-star review on Amazon and goodreads.

Friday, 13 July 2018

Review news!!!

V. Press is very very delighted to share snippets from recent reviews of three V. Press titles, and our press style!!!

AGAINST THE PULL OF TIME

"V Press clearly have a keen editorial eye and produce beautifully imagined and constructed pamphlets and books...

"Jenna writes quite brilliant poetry, which isn't a bad place to start and with this collection she has created something genuinely beautiful and moving...

"Jenna's poetry has a quiet power to it that shines through the simplest of passages and as I read her work I was repeatedly hit by the beautiful imagery that she uses...

"There is a real, genuine depth to the poetry that has a sense of the spiritual but never descends into preachy. Instead there is a feeling of the ancient about the collection and Jenna's choice of words is always quietly apt and they are always meticulously placed, clearly considered.

"This is very much a grown-up collection of poetry, and if it isn't seriously considered for awards in the coming months it would feel criminal."

Mark Davidson, A Restricted View From Under The Hedge, full review and an interview with Jenna in issue 2

A sample poem and more about the pamphlet can be found here.

BUY Against the Pull of Time now, using the paypal link below.


Against the Pull of Time (including P&P)
UNABLE MOTHER

"It is getting a little predictable to say that V Press clearly know what they are doing when it comes to producing beautiful and important poetry books, but the debut collection from Helen Calcutt is something special even by their standards...

"These are poems that are fractured and continually full of pain, but such is her skill that they are in no way terrifying as there is a leavening of joy there too...

"On the cover of the book, Robert Peake talks about a 'terrible and terrifying love' and that is perfectly put. He also says that Helen's poems are 'devastatingly good', and that just about sums it up for me too."

Mark DavidsonA Restricted View From Under The Hedge, full review and an interview with Helen in issue 2

A sample poem and more about the collection can be found here.

PRE-ORDER Unable Mother now, using the paypal link below. Unable Mother is published in September. Pre-orders are posted out in the week of publication.]


Unable Mother (including P&P)

THREE MEN ON THE EDGE

Meanwhile, across the internet, two new reviews of  Michael Loveday's flash fiction novella Three Men on the Edge:

"...This book is a rummage through the storerooms of the human heart with all its fears, its passions, its yearnings, its failures, its betrayals.   Part of me suspects that  Three Men on the Edge is a series of prose poems with an interlinking narrative structure. But that is merely a quibble of naming.   That the prose is a feast of poesy is no accident, Loveday being a fine poet as well as, now, a fiction writer."


Frances Spurrier, on Volatile Rune, full detailed review here


"Clever, clean and economically written, Three Men on the Edge will surely win over those hesitant to commit to what might otherwise seem an esoteric and specialist form. Both character and place are perfectly evoked, and the sense of trauma only half-experienced is rarely far from the surface. These are men desperate to be something they are not, to be what they might have been or thought they always were, to be someone else entirely; men whose uncertain place in the world is echoed by the edgelands they inhabit.


Three Men on the Edge is a triumph, and I look forward to seeing more from Loveday."

Joel Hames, 5-star review on Amazon and goodreads.

BUY a copy of Three Men on the Edge now using the paypal button below. 


Three Men on the Edge (including P&P)

Wednesday, 11 July 2018

Launching A Z-hearted Guide to Heartache

V. Press is very very delighted to launch A Z-hearted Guide to Heartache, a poetry pamphlet by Charley Barnes.

“The poems in A Z-hearted Guide to Heartache will make you re-think your relationship with pizza, garlic bread and your mobile phone. These sharp, sad and wry observations – on the reality of living with mental illness and disability, the heartbreak of the everyday, and perseverance despite everything – capture what it is to be twenty-something, in love, and healing through food. This is an exciting debut pamphlet from a new and honest voice.” Jenna Clake

“In her debut pamphlet, Charley Barnes examines the reality of heartbreak and its different forms, highlighting how aspects of modern society can play – often brutally – on our insecurities: the wish to be prettier, more popular, more lovable. These poems deftly explore the bitter, lasting sting of loss and how it shapes us. Yet there is also the tenderness of possibility at play – a sweetness to offset the sharpness encountered by a young woman trying to navigate her way; a knowing, self-deprecating humour that shines through, even in dark experiences. There is a wisdom of the importance of nurturing here, accompanied by the will that, whatever happens, ‘you have to keep going, don’t you?’ ('The lie my mum told me').” Claire Walker

A Z-hearted Guide to Heartache is very quirky yet very full-blooded.

ISBN: 978-1-9998444-4-8
36 pages

R.R.P. £6.50

A sample poem can be enjoyed below.

PRE-ORDER a copy of A Z-Hearted Guide to Heartache now using the paypal link below. [The pamphlet is published in July. Pre-orders are dispatched in the week of publication.]


A Z-hearted Guide to Heartache (including P&P)


My therapist says...

I tell my therapist that I don’t want to be
the sort of person who prefixes sentences with:
“My therapist says...”

My therapist says that’s an irrational concern.

My therapist tells me that you’ve told her that I’m writing
on the walls again: hurried hieroglyphics
scribbled around the house. I tell my therapist
how telling the assumption is that if you can’t
understand something it must be foreign.
This worsens your ignorance; it doesn’t excuse it.

I tell my therapist that when I’m talking to you, I start
sentences with ‘My therapist says’ to legitimise my claims.
My therapist asks whether I think that’s a sensible thing
to be doing to my partner. And I tell my therapist that it is
ambiguous, but also the only way I can get anything done. 

When my therapist asks why I’m writing on the walls again,
I tell my therapist in a level tone:
“There are important things that I need to write down.”

Wednesday, 4 July 2018

Living on the Edge...


How does where we live - be that city, countryside or somewhere-in-between - affect our lives? In this blogpost, Michael Loveday shares some 'Edgelands' experiences from growing up, and reveals how this feeds into his new V. Press flash fiction novella Three Men on the Edge.



Living on the Edge

I grew up with a form of identity confusion.

My family home was in Northwood, in the former postal county of Middlesex, a region on the Northwest edge of Greater London.

“Middlesex” belonged to London. But we had a Hertfordshire phone number.

We lived on a quiet street. But 50 yards from a fairly busy main road.

If I walked away from my house, in one direction I moved towards the densely-packed suburbs of Greater London; in another direction I could find a series of splendidly landscaped golf courses; another direction took me into the heart of a private housing estate of detached, mostly mock-Tudor properties with large grounds; elsewhere nearby I could walk our Bernese Mountain dog through thick woods into unkempt fields whose ownership seemed unidentified – apparently common, wildmeadow land.  In Northwood, we were serviced by the Metropolitan Underground Line. Except it was overground. We called it the train (not “the tube”) - I didn't understand the difference between real trains and my tube-trains until adulthood.

Welcome to the identity confusions of the suburbs, where you are neither one thing nor the other.
Later, after a few years of moving around, I bought my first flat not far from Northwood, in a commuter town called Rickmansworth, which lay about 3 miles northwest – a couple of stops further out on the Metropolitan Line.

Rickmansworth is in a valley where three rivers converge – literally the Three Rivers District of Hertfordshire. They feed the Grand Union Canal as it passes through between London and Birmingham.

It also marks the northern beginning of a remarkable series of over 60 (yes, sixty) lakes (former quarry pits – whose extracted gravel was used to build the original Wembley Stadium) that combine to form Colne Valley Park, a zone of managed wildness stretching many miles from Rickmansworth in the north to the Thames in the south, towards Slough in the west, and Heathrow in the east.
Despite the proximity of all this beautiful, watery countryside, Rickmansworth is densely housed, and expanding – a population of 15,000 in the 2001 census, 24,000 in 2011.

I lived in Rickmansworth from 2007 to 2016, and experienced there the strange, unsettling territory of a true “Edgelands”, an experience neither urban nor rural, neither truly London nor the Hertfordshire countryside. I had to start writing about it.

The “Edgelands” are a concept first defined in 2002 by the writer Marion Shoard in her essay of the same name (published in Jennifer Jenkins (ed.), Remaking the Landscape (2002)):

“The apparently unplanned, certainly uncelebrated and largely incomprehensible territory where town and country meet… it is characterised by rubbish tips and warehouses, superstores and derelict industrial plant, office parks … golf courses, allotments and fragmented, frequently scruffy, farmland.”

In its own low-key way, Rickmansworth can lay claim to all of that. I’m not sure where exactly I first heard the term “Edgelands” but I do know that my first immersion into researching the concept was a book written by poets Paul Farley and Michael Symmons Roberts (Edgelands: Journeys into England’s True Wilderness (2011)) that further opened my eyes and ears to the territory I was living in. I was fascinated by the catalogue of landscape features that Symmons Roberts and Farley identified as classic “Edgelands” elements: landfill, water, pylons, allotments, verges, canals, wasteland, woodlands, hotels, retail parks, industrial estates, golf ranges, airports etc. And I found the descriptions themselves captivating, possessed of an ungainly, mythical beauty: “the fringes of English towns and cities, where urban and rural negotiate and renegotiate their borders…” (p.5), “the hollows and spaces between our carefully-managed wilderness areas and the creeping, flattening effects of global capitalism…” (p.12), “In the A-Zs of major English cities, there are always pages where the circuitry of streets gives way to blank grid squares, peppered with nameless ponds, industrial parks, nurseries and plantations…” (p.20), “seldom visited wastelands bypassed by the flows of commerce and leisure, the landfill sites and blank unnamed pools of dark standing water…” (p.23), “this is a different wildnerness… It has the echoing silence of miles of empty car parks, dark and locked glass offices, pockets of woodland and strips of standing water.” (p.267).

Their book was the perfect introduction to the idea of “Edgelands”, and I heartily recommend it. It’s a future classic of landscape writing to be mentioned in the same breath as its acknowledged ancestor The Unofficial Countryside (1973), by Richard Mabey, who pioneered writing about the same kind of geography before anyone else had thought to celebrate it.



My book Three Men on the Edge (V. Press, June 2018) took me six and a half years to write, and in it I’ve tried to celebrate the strange hinterland that is Rickmansworth, neither properly the suburbs of a big city nor exactly the countryside. As research, I often went for walks with notebook or camera in hand, documenting the landscape around me and trying to find ways to bring it into the context of my fiction. (I think the people I passed may sometimes have looked at me oddly). Three Men on the Edge attempts to capture the split self of the town as a character in its own right, divided between its canals, lakes, fields and woodlands on the one hand, and its supermarkets, commuter train lines, and busy caf├ęs on the other.

The book also has another in-betweenness. It’s very much a literary hybrid: a novella composed of three linked sequences of miniature stories, informed by the techniques of prose poetry. I might suggest with a fair amount of conviction that you won’t have read anything similar before.

If you enjoy books that put landscape and environment at the centre, or if you have ever experienced the strange and ambivalent emotions of suburban life, or if you enjoy the “edgelands” of unusual forms of writing, I hope you might find Three Men on the Edge an interesting kind of territory to encounter.

Michael Loveday
https://michaelloveday.com/fiction/

Sample flashes and more details about the book can be found here: Three Men on the Edge (V. Press, 2018)



Friday, 29 June 2018

Launching Three Men on the Edge


V. Press is very very pleased to launch Three Men on the Edge, a flash fiction novella by Michael Loveday featuring three men living on the edge of London.

The story of the three men – Gus, Denholm and Martyn – is narrated in three distinctive sections: Denholm – Cause for Alarm; Gus – The Invisible World; Martyn – Chewing Glass. 

“A beautifully crafted novella-in-flash, small and perfect slices of life written with skill and heart.” Kit de Waal

“In his debut novella Michael Loveday sketches with a delicate brush the colourful lives of three troubled men living on the edge of London. With poetic language and emotional precision, Loveday writes like a cartographer about the wilderness we call ‘the human heart’.” Meg Pokrass

“This is a novella full of the aches and bruises left by loneliness. It's written in fragments, like a bottle smashed during a solitary boozing session, but it coheres around the vividly captured edgeland that haunts the three men. This a heart-felt book, but its prose is controlled by a steely intelligence. It's funny, too – and moving and scary. Michael Loveday is a name to watch. He's writing a new kind of fiction.”  David Swann

Three Men on the Edge is very richly shaded and very unconventional.

R.R.P. £9.99

Sample flashes from each of the three sections of the novella may be enjoyed below.

BUY a copy of Three Men on the Edge now using the paypal button below. 


Three Men on the Edge (including P&P)

LAUNCH EVENTS

Bath Launch: Saturday, 6 October 2018. 1.45 for 2 p.m. Bath Royal Literary and Scientific Institution, Queen Square, Bath, BA1 2HN.

SAMPLE FLASHES

From (I) Denholm – Cause for Alarm
i. Lost Object


(Where are the fragranced pillows, where are the flying horses) Denholm balances the square box on his palm, lifts the purple lid, and inside, instead of hazelnut whirls and lemon crunches, resting in the depressions of the plastic tray, are the fifteen pairs of keys which used to open Gorgeous Gifts, no longer a going concern (where are the Union Jack beard trimmers, where are the tiger-print purses), he closes his eyes, fingers the keys, they rattle in his brain, fifty years trading on Rickmansworth High Street, Watford, Chorleywood, Bushey, St. Albans, places where mother’s business dug into Hertfordshire soil (find us the faux-diamond ballerinas, find us the Spitfire key-rings); how he cherished helping buyers turn panic to inspiration, and he drifts back to the Rickmansworth storeroom, clambering through stuffed cardboard boxes, the one-chair staffroom with its grown-up magazines (go find the Hertfordshire egg-timers, go find the invisible inks), and the smell of Grandma’s daily gammon rolls, how the shop became a home, how he memorised those cluttered shelves (go get the coin-box skulls, go get the footballing pigs), and how much he loathed the family party-trick, the loss of light as they put the blindfold in place. 

[First published in Flash: the International Short-Short Story Magazine]

From (II) Gus – The Invisible World
ix. Town Ditch, September


Five corpses float at the surface. Carried in the water is a dark sludge that seems to be silt: when he dips his hand, the sludge smells only of earth.

The next day many more litter the ditch. He gives up counting. They bob in the slow current, spinning as they snag against branches and leaves.

He looks closer, sees others, alive, rising to the surface, their gills beating for breath amid the black silt. Chubs, bullheads, minnows, roaches. Glinting silver scales, sandy-yellow blotches, flecks of gold, orange. The dead ones float flat on their sides.

He shivers. The bare eyes stare up, gawping blindly at him.

[First published in Flash: the International Short-Short Story Magazine]

From (III) Martyn – Chewing Glass
xxxi.


Sometimes Anja praises Martyn so highly she makes him feel like Superman. He has the Superman dream always the same way: not the caped crusader saving the civilised world, but Clark Kent the reporter wearing preppy spectacles and befuddled by Lois Lane—except Lois is Anja—and Anja’s nipples are made of kryptonite. But this is a dream and Lois-Anja is also somehow Lex Luthor at one and the same time—looking like Gene Hackman with his big-collared 1970s shirt—and Lois-Anja Hackman takes off Clark Kent’s glasses, kisses his brow sadly, then draws his head closer to her deadly, trembling chest.

[First published in Funny Bone: Flashing for Comic Relief]

REVIEWS


"Michael Loveday’s Three Men on the Edge (V. Press, 2018) reminds me of why I love the novella-in-flash form. This story, told in a series of fragments, drops you right into the worries and yearnings of three men living in uncertain times in a watery suburb of London. Loveday’s poetic rendering of everyday details takes the reader to a captivating, but beleaguered, town where the protagonists can be as touching and, at times, funny, as they are clueless about how to move forward in their lives. The writing follows Denholm, Gus and Martyn into the more vulnerable corners of their edgelands existence, unveiling their disappointments, perplexities and desires with poignancy, humor and an unforgettable sense of place. There is something touchingly and disturbingly recognizable in each of the protagonists. And there is something about Three Men on the Edge that makes me want to take a stroll away from the high street and find a place to sit along the canals of Rickmansworth." 

Charmaine Wilkerson, author of How to Make a Window Snake, winner of the Bath Novella-in-Flash Award 2017, review here.

Saturday, 16 June 2018

Happy National Flash Fiction Day


 V. Press is very very pleased to celebrate this year's National Flash Fiction Day with editor Sarah Leavesley's  'A Flash Guide to V. Press'.

The piece was originally written for a blogpost for the National Flash Fiction Festival, which takes place at Trinity College, Bristol from July 20-22 and will feature a V. Press showcase.

 The showcase on Sunday, July 22, will feature readings from this year's V. Press titles: There's Something Macrocosmic About All of This by Santino Prinzi and Michael Loveday's flash fiction novella Three Men on the Edge.

More about the festival can be found on the festival website here.

A FLASH GUIDE TO V. PRESS


In summer 2018, V. Press celebrates its fifth birthday. It’s a very, very delightful coincidence that it also marks the publication of our fifth fiction title!

The press was originally set up and launched at Ledbury Poetry Festival in 2013. But it only really got going in 2015, with three poetry pamphlets. In 2016, V. Press published three poetry pamphlets, a poetry collection and our first flash pamphlet. This increased to nine titles in 2017, with a similar schedule for 2018.

The move into publishing flash fiction alongside poetry was an organic one. I’d long admired Carrie Etter’s poetry and I was delighted to be able to publish her fiction pamphlet, Hometown. Our range has built up from there, with clear black and white photographic cover designs to make our fiction immediately and distinctively discernible from our poetry titles.

The compressed nature of flash sits well alongside poetry, but I also like work that mixes artforms or threads across genre boundaries. I have eclectic tastes in my own reading and writing; I think this is reflected in my choices as an editor and publisher.

One thing I look for in manuscripts is not just great individual pieces but some overall cohesion. The pamphlet in particular is perfect for sequences of poems and short fiction which combine to create a sum that’s greater than its parts.

So, Carrie Etter’s Hometown is very immediate and very engaging, with emotion-charged stories, distinctive characters and strong tensions. Jude Higgins’ very evocative and very colourful The Chemist’s House is a moving, interconnected coming-of-age flash tapestry of family love and conflict. Charlie Hill’s Walking Backwards is a touching, funny and melancholic mix of short fiction that is very human and very distinctive.

This year, Michael Loveday’s Three Men on the Edge is a very richly shaded and very unconventional novella-in-flash. This heart-felt narrative of three men living on the edge of London is also funny, scary and beautifully crafted, with poetic language and emotional precision. Meanwhile, the very human and very heart-provoking flashes in Santino Prinzi’s There's Something Macrocosmic About All of This range across hilarious, playful, profound and fierce as they pick out the big truths in everyday moments.

Ultimately, the choice of titles is subjective – and not just about the individual manuscript, but also how it fits with V. Press’s overall range. I’m pleased this includes work from open submissions windows. It’s really exciting to discover new work by new writers as well as established names!

We had a poetry submissions window open in April/May 2018, which will now be followed by a flash fiction submission window in July. But I’m also exploring the possibility of guest editors – to potentially increase the diversity and maybe even number of titles that we publish, as well as potentially allowing writer-editors based overseas to influence the work that V. Press produces.

Although we’re not yet five years old, it’s been great to see the press shortlisted in the Michael Marks Publishers’ Award 2017, as well as many of our authors picking up their own wonderful individual reviews, awards and accolades.

More information and sample flashes/poems can be found on our website and please do follow us on twitter at @vpresspoetry. I’m also very very much looking forward to meeting writers and readers at this year’s Flash Fiction Festival!!!

Monday, 4 June 2018



V. Press’s 2018 poetry submissions window has now closed, bringing with it an impressive selection of sample poems. Now, the delightful reading of submissions, followed by the hard decision on which pamphlets and collections to shortlist.

This process starts with a simple but very big thank you to everyone who has sent poems. V. Press editor Sarah Leavesley is very much looking forward to reading them. Whatever the final decisions are, each poem will be read and appreciated.

Because this year has brought even more submissions than before, this blogpost includes a brief run-through of what happens next, along with advance gratitude for poets' patience in terms of replies. (The time it takes V. Press to respond is in direct correlation to the standard of submissions and time it takes to consider each carefully!)

V. Press does allow simultaneous submissions at the pre-shortlist stage because of the time involved in reading submissions and responding – but we would ask anyone who has submitted elsewhere simultaneously to let us know asap if the manuscript is taken on by another press.

This year for the first time we also invited submissions for a guest editor role, and have been delighted by the response.

Once decisions have been made about shortlisted poets, V. Press will then also be in contact with those who’ve sent expressions of interest in the guest editor roles.


Finally, a thanks too for the many words of appreciation for current V. Press titles and a reminder that V. Press will be OPEN FOR FLASH FICTION SUBMISSIONS IN JULY 2018. More on how to submit here.











Friday, 1 June 2018

Launching There's Something Macrocosmic About All of This


V. Press is very very delighted to announce the publication of Santino Prinzis' flash fiction pamphlet There's Something Macrocosmic About All of This.

The short fiction in There’s Something Macrocosmic About All of This by Santino Prinzi is very human and very heart-provoking.

“Hilarious, playful, profound and fierce, these stories ring with wonder at the messy world of sex and love. Prinzi's fiction is addictive because of their unflinching sensuality and sharp attention to emotional detail.” Meg Pokrass

“InThere's Something Macrocosmic About All of This, Santino Prinzi looks for the big truths in everyday moments. From coming out to falling out, each of these stories is a nuanced study of human nature – full of insight and wit.” Christopher Allen


40 pages, R.R.P. £6.50


BUY a copy of There's Something Macrocosmic About All of This now using the paypal options below. 



There's Something Macrocosmic About All of This (including P&P)

A sample story from There's Something Macrocosmic About All of This may be enjoyed below.


Succulent

The succulent is growing from a white porcelain pot on the kitchen windowsill. Its colouring varies in the light, from an almost neon that dazzles to a deep pine reminiscent of Christmas.

Jenni is sitting at the kitchen table. She’s reading Finnegan’s Wake. This is the only type of literature she’ll read. Real literature. Literature by dead people. This frustrates Kate. Though she can tolerate wet towels left on the bed, Kate wishes that Jenni would accept that contemporary fiction isn’t all Fifty Shades of Grey, poorly written crime thrillers, or some Frankenstein’s monster of the two. The monster novel exists in a bookcase or on a laptop somewhere in the world, of that Kate is certain, but not in this house.

Kate places a black coffee in front of Jenni and her white coffee on the other side of the table. She takes a seat and removes her bookmark from White Teeth. The bookmark is a metal letter ‘K’ that slightly tears the page if Kate isn’t careful. They both have a sip of coffee, not quite in unison, then Jenni reaches for the sugar. She struggles, her fingertips skimming the edge of the sugar pot. Kate pretends not to notice; her eyes are fixed on the word ‘memory’. She can’t help but watch Jenni in her periphery vision. Any other person may snigger, then offer to help. Kate just sits. Because it isn’t only the literature or the wet towels dampening the bed sheets; it’s everything that is and everything that isn’t. Everything that was. Everything that could be so much more than this.

Beneath the succulent’s healthy leaves that hang over the pot’s brim, dead leaves have shrivelled into soil that has become too dry. They are slowly decomposing, one on top of the other, out of sight. A bigger pot is needed if it is going to continue to grow.


Tuesday, 29 May 2018

Ledbury Poetry Salon - Blink on June 5

V. Press is very very delighted that Jacqui Rowe will be reading from her collection Blink at Ledbury Poetry Salon in June.

Jacqui will also be discussing her poems at the Ledbury Poetry Festival salon event on Tuesday, June 5.

Information from Ledbury Poetry Festival about the next two salon events can be found below, followed by a paypal link for ordering Blink.

Ledbury Poetry Salons, 7pm – 9pm, The Master’s House Panelled Room, £5 For the first half of the evening a Featured Poet will read and discuss their poems. This is followed by an Open Mic. Come along and expand your enjoyment of poetry through readings and conversation!

Tuesday 5 June with featured poet Jacqui Rowe
Jacqui Rowe has had four poetry pamphlets published and her poems have appeared widely in magazines, such as Tears in the Fence, Bare Fiction, The Interpreter’s House, and Poetry Review. She has also read her own poems on Radio 4’s Poetry Please. hosted by Roger McGough. Her first full collection, Blink, is published by V Press. Co-founder and co-editor of the award-winning independent press, Flarestack Poets, she is a sought after mentor for other poets and a tutor for the Poetry School.



TO BUY A COPY OF BLINK NOW, USE THE PAYPAL LINK BELOW

Blink with p&p options

Monday, 21 May 2018

Saboteur Awards Wins!!!

Just in case anyone missed this weekend's social media buzz...V. Press is very very delighted to share news that Romalyn Ante's Rice & Rain won Best Poetry Pamphlet in the Saboteur Awards 2018!!!

V. Press is very very proud that Claire Walker's V. Press pamphlet Somewhere Between Rose and Black was also shortlisted for this award.

With category shortlists of just five titles, it was amazing to see two V. Press pamphlets shortlisted this year.

V. Press is very very delighted too that V. Press poetry designer and poet Ruth Stacey won Best Collaborative Work with poet Katy Wareham Morris for their poetry duet, Inheritance (Mother’s Milk Books)!


Jude Higgins' V. Press pamphlet The Chemist's House was also longlisted for the Best Short Story Collection. (More on the pamphlet here.)

The full Saboteur Awards category winners and runners-up can be found here.

Links to more information about these three pamphlets below.

Copies of these V. Press pamphlets can also be ordered directly from this page using the paypal links.

Rice & Rain by Romalyn Ante is very rich and very distinct - a sample poem and more about the pamphlet here.

Somewhere Between Rose and Black by Claire Walker is very earthy and very enigmatic - a sample poem and more about the pamphlet here.
The short fiction in The Chemist’s House by Jude Higgins is very evocative and very colourful.


BUY Rice & Rain now using the paypal link below.
Rice & Rain with p&p options


BUY Somewhere Between Rose and Black now, using the paypal link below.
Somewhere Between Rose and Black (with P&P options)


BUY a copy of The Chemist's House now, using the paypal link below.
The Chemist's House with packing and postage

Friday, 20 April 2018

Saboteur Awards shortlisting - update!!!

V. Press is very very delighted to share more on the
two V. Press pamphlets shortlisted in this year's Poetry Pamphlet category for the 2018 Saboteur Award!!!

Both Romalyn Ante's Rice & Rain and Claire Walker's Somewhere Between Rose and Black are in the running for this year's prize.

The Saboteur Awards 2018: Spotlight on the Best Poetry Pamphlet Shortlist is now online here, including details about the two V. Press pamphlets shortlisted


Somewhere Between Rose and Black by Claire Walker is very earthy and very enigmatic - a sample poem and more about the pamphlet here.

Voters' praise includes:

"A truly incredible book of suppleness and sensuality which is lead by a compelling narrative. Beautiful." "Walker is a sensitive and intelligent poet whose lines are beautifully crafted."


Rice & Rain by Romalyn Ante is very rich and very distinct - a sample poem and more about the pamphlet here.
Voters' praise includes:

"Extraordinary poems, powerfully personal, subtly political, metaphysical"

"She is a very gifted poet. Her poems have a great joy to read with a different style of the way she writes and construct hers words beautifully." 

V. Press is also very very delighted to see V. Press poetry designer Ruth Stacey shortlisted for Best Collaborative Work for her poetry duet with Katy Wareham Morris, Inheritance (Mother’s Milk Books).

And Jude Higgins' V. Press pamphlet The Chemist's House was also longlisted for the Best Short Story Collection. (More on the pamphlet here.)

The final winner s for each category will be announced at the special Saboteur Awards festival event in London on Satuday, May 19 but before that the placings have to be decided...by public vote!

Voting starts today Monday, April 9 and ends on Wednesday, May 9. Even if you've already nominated, please do go along to the website here now to cast your vote and have your say in this year's winners!!!

VOTE HERE NOW for  Somewhere Between Rose and Black /Rice & Rain !!! 


Meanwhile, a quick reminder that V. Press is currently open to poetry submissions. (Please check out the guidelines here.) 

Also, the very very exciting V. Press Stablemates reading in London takes place on Thursday, April 26. Book your tickets now at www.jillabram.co.uk/stablemates.