Friday, 17 August 2018

Introducing...

V. Press is delighted to announce its first two Guest Editors along with their choices of manuscripts for publication.

Guest Editor Mary-Jane Holmes has chosen 'The Escapologist' by Jinny Fisher as the manuscript that she'll be editing for V. Press.

Guest Editor Carrie Etter has chosen 'The Protection of Ghosts' by Natalie Linh Bolderston as the manuscript that she'll be editing for V. Press.

More about both poets and guest editors may be found below, along with an update on other submissions.

Photo by Nathalie Marchant
MARY-JANE HOLMES has lived and worked as a teacher, editor and translator in many places including Spain, France and Switzerland. Since 2009, she’s been chief editor of Fish Publishing, Ireland. She is creative director at the Casa-Ana writing retreat in southern Spain and editorial consultant at The Well Review.  Her debut poetry collection, Heliotrope with Matches and Magnifying Glass, is published by Pindrop Press. Irish Poet Dave Lordan has described her as "perhaps the most convincingly rural and at the same time convincingly contemporary English poet since Ted Hughes". Winner of the 2017 Bridport Poetry Prize, the Martin Starkie Poetry Prize, the Bedford International Poetry Prize and the 2014 Dromineer Fiction Prize, her other publication credits include Mslexia, The Journal of Compressed Creative Arts, Prole, The Tishman Review, The Lonely Crowd and The Best Small Fictions Anthology 2016 and 2018. She has a Master of Studies in Creative Writing from Kellogg College, Oxford (with distinction). Website: www.mary-janeholmes.com

JINNY FISHER was first a classical violinist, then a psychoanalytic psychotherapist, now a poet full-time. She's a member of Wells Fountain Poets, and her work has appeared in print and online magazines including The Interpreter’s HouseUnder the RadarDomestic CherryTears in the FenceProleThe Poetry ShedStrange PoetryAmaryllis and Ink, Sweat & Tears. Commended in national competitions, she was runner-up in The Interpreter’s House Competition 2016. She's committed to bringing poetry to a wider audience and takes her Poetry Pram to music festivals for one-to-one readings. Twitter: @MsJinnifer. Her 'The Escapologist' was selected by  V. Press Guest Editor Mary-Jane Holmes.

Photo by Dot & Lucy Photography
CARRIE ETTER grew up in Normal, Illinois, spent thirteen years in southern California, and moved to England in 2001. Her fourth collection of poetry, The Weather in Normal (US: Station Hill; UK: Seren), will be published in autumn 2018; her individual poems have appeared in Poetry Review, The Times Literary Supplement, The New Statesman, The New Republic, and many other journals in the US and UK. Her V. Press pamphlet, Hometown, is her first collection of fiction. She is Reader in Creative Writing at Bath Spa University and also teaches for The Poetry School and Poetry Swindon. She is guest editor of Natalie Linh Bolderston's 'The Protection of Ghosts' forthcoming with V. Press.


NATALIE LINH BOLDERSTON studied English at the University of Liverpool, where she won the 2016 Felicia Hemans Prize for Lyrical Poetry and the 2017 Miriam Allott Poetry Prize. She now works as an Editorial Assistant. Her work has been featured in Cha: An Asian Literary Journal, L'Éphémère Review, Oxford Poetry, Smoke, and The Tangerine. She is a 2018 Creative Future Literary Award recipient. Her 'The Protection of Ghosts' was selected by  V. Press Guest Editor Carrie Etter. 




QUICK UPDATE ON OTHER SUBMISSIONS

The announcement above is the first from V. Press's recent poetry submissions window. Other shortlisted poetry manuscripts are still being considered, with no publication decisions yet made. (Please bear with us in terms of notification as there are a lot of factors involved, so final decisions will take some time.)

The authors of shortlisted flash fiction samples have now been notified, and have a month to send in the full manuscript.

This year, decisions have been harder than ever shortlisting both poetry and flash submissions. There are many writers who didn't make the shortlists this time that we'd be happy to read submissions from in the future.

Thursday, 9 August 2018

New Review News

V. Press is very very pleased to share more words of praise for Michael Loveday's Three Men on the Edge.

"An outstanding work of fiction

"Three Men on the Edge is a remarkable first book. Described as flash fiction, it is a series of three stories, each about an isolated man. Michael Loveday presents the different characters with subtle understanding and sensitivity, taking the reader into their heads as they struggle to cope with their feelings and lives in the edge lands of Rickmansworth. The observation is acute and the use of language brilliant, the pared writing offers irony, humour, sadness and lyricism. With its use of compression and striking imagery the book has many of the characteristics of poetry and to me it seems on the borderland between poetry and prose. In Three Men on the Edge Michael Loveday emerges as a fine writer. I look forward to seeing what he produces next."

Myra Schneider, 5-star review on Amazon here.


"an exciting hybrid of poetry and flash-fiction, published by the impressive V Press.

"Three Men on the Edge is an agile and brave book - it blends the finest points of poetry - nuance, the unsaid, and the metaphorical with the sharpest image-making and narrative of very short fiction. The result is a tender yet never sentimental hybrid of a form that I found exciting, compelling and very readable. It is a cliche but I was sorry not to read more. There is something very fresh about Loveday's book and it deserves to reach a wide audience."

Sarah Westcott, The Literary Loper, the full review here.

Three sample flashes from the flash fiction novella can be enjoyed here.


BUY A COPY OF Three Men on the Edge now using the paypal options below.

Three Men on the Edge (including P&P)



Tuesday, 24 July 2018

In a flash...

The end of July will be here in a flash, and with it the end of our flash fiction submissions window. But if you're a flash writer and haven't sent your submission in yet, there's still one week to go. Full submission guidelines here.

This summer has been an exciting one already for V. Press, with flash fiction writers Santino Prinzi and Michael Loveday launching their new titles on Sunday in a V. Press showcase at this year's Flash Fiction Festival

More on There's Something Macrocosmic About All of This by Santino Prinzi can be found here, while sample flashes from Michael Loveday's Three Men on the Edge flash fiction novella can be found here

REVIEWS


V. Press is also delighted to share a new review of Charlie Hill's fiction pamphlet Walking Backwards.

"...Again, I think of Hemingway, and in all of these stories there’s his ‘iceberg’ technique – more below the surface than can be seen above...

"They are all part of a pleasing variety on show here.

"All the best prose writers have a love of poetry. Charlie Hill is a real writer, and a very good one too."

Neil CampbellSabotage Reviews, the full review, also focussing on specific stories can be found here.

BUY a copy of Walking Backwards now using the paypal link .


Walking Backwards (with package & posting options)

A sample story and more information about Walking Backwards can also be enjoyed here.

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 cafés 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)