The Great Gatsby

“They were careless people, Tom and Daisy—they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made.”

― F. Scott Fitzgerald, The Great Gatsby

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David Isaacson
Death of a Salesman

“I don't say he's a great man. Willy Loman never made a lot of money. His name was never in the paper. He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid. He's not to be allowed to fall into his grave like an old dog. Attention, attention must be finally paid to such a person.”

—Arthur Miller, <em>Death of a Salesman</em>

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David Isaacson
Geek Love

“When your mama was the geek, my dreamlets," Papa would say, "she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing.”

—Katharine Dunn

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Pushkin Press

The Pushkin Collection was redesigned in 2012, and the spare, elegant series style makes the most of each new book’s specially commissioned cover illustration. Designed by David Pearson and Clare Skeats, the series has a beautifully crafted arrangement of the modern and traditional which is both confident and accessible (as in, for example, the cover typeface—Johnston, a sans serif which refers, with its classical proportions, directly to inscriptions). The new template is an effective demonstration of design being used to sensitively refine what already existed and what Pushkin’s loyal readers already loved. The addition of the border allows for quite radical illustrations by holding them firmly in place. The Collection is typeset in Monotype Baskerville, litho-printed on Munken Premium White Paper and notch-bound by the independently owned printer TJ International in Padstow. The covers, with French flaps, are printed on Colorplan Pristine White Paper. Both paper and cover board are acid-free and Forest Stewardship Council (FSC) certified.

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Dostoyevsky Wannabe

"Sometimes people say: 'What the fuck do you think you're doing? That's not art. 'I say: 'Fuck off, assholes!'"
Martin Creed

We're Dostoyevsky Wannabe but anyone can be a Dostoyevsky Wannabe too. There are Dostoyevsky Wannabes everywhere, there always have been. They aren't all the same, they're very diverse.

We "publish" independent/experimental/underground things. We publish a lot of books, any types of books − short books, long books, flash fiction, poetry, anthologies, samplers, chapbooks, experimental things.

We're a zero budget operation. There's no money in this. We'd only spend it on things that are bad for us anyway.

Pretty much the only criteria that we have for writers or artists who want to work with us is that what they produce must be very good, very bad in a good way, or very cool.

We just have to like what you do and want to work with you on it. We run a few different imprints. There are vague submission guidelines for them elsewhere on this site. Find them. Read them. They may or may not be helpful.

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David Isaacson
Milkman Delivers

Anna Burns has won the 2018 Man Booker Prize for Milkman. The book is published by Graywolf Press in the U.S. Burns, who was born in Belfast, Ireland, and now lives in East Sussex, England, is the first Northern Irish writer to win the £50,000 prize. 

Kwame Anthony Appiah, 2018 chair of judges, praised Burns's "utterly distinctive voice," which "challenges conventional thinking and form in surprising and immersive prose." He added: "It is a story of brutality, sexual encroachment and resistance threaded with
mordant humor. Set in a society divided against itself, Milkman explores the insidious forms oppression can take in everyday life.’

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Bury My Heart at Wounded Knee

Bury My Heart at Wounded Knee: An Indian History of the American West by Dee Brown covers the history of Native Americans in the late nineteenth century. Brown describes Native Americans' displacement through forced relocations. The government's dealings are portrayed as a continuing effort to destroy the culture, religion, and way of life of Native American peoples.

The book was first published in 1970 to generally strong reviews. Published at a time of increasing  American Indian activism, the book has never gone out of print and has been translated into 17 languages. The title is taken from the final phrase of a twentieth-century poem titled "American Names" by Stephen Vincent Benet. The full quotation – "I shall not be there. I shall rise and pass. Bury my heart at Wounded Knee." – appears at the beginning of Brown's book. Although Benet's poem is not about the plight of Native Americans, Wounded Knee was the location of the last major confrontation between the US Army and Native Americans. It is also the vicinity of where Crazy Horse's parents buried his heart and some of his bones after his murder in 1877.

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When the Frost is on the Punkin

When the Frost is on the Punkin
James Whitcomb Riley

When the frost is on the punkin and the fodder’s in the shock,
And you hear the kyouck and gobble of the struttin’ turkey-cock,
And the clackin’ of the guineys, and the cluckin’ of the hens,
And the rooster’s hallylooyer as he tiptoes on the fence;
O, it’s then’s the times a feller is a-feelin’ at his best,
With the risin’ sun to greet him from a night of peaceful rest,
As he leaves the house, bareheaded, and goes out to feed the stock,
When the frost is on the punkin and the fodder’s in the shock.

They’s something kindo’ harty-like about the atmusfere
When the heat of summer’s over and the coolin’ fall is here—
Of course we miss the flowers, and the blossums on the trees,
And the mumble of the hummin’-birds and buzzin’ of the bees;
But the air’s so appetizin’; and the landscape through the haze
Of a crisp and sunny morning of the airly autumn days
Is a pictur’ that no painter has the colorin’ to mock—
When the frost is on the punkin and the fodder’s in the shock.

The husky, rusty russel of the tossels of the corn,
And the raspin’ of the tangled leaves, as golden as the morn;
The stubble in the furries—kindo’ lonesome-like, but still
A-preachin’ sermuns to us of the barns they growed to fill;
The strawstack in the medder, and the reaper in the shed;
The hosses in theyr stalls below—the clover over-head!—
O, it sets my hart a-clickin’ like the tickin’ of a clock,
When the frost is on the punkin and the fodder’s in the shock!

Then your apples all is gethered, and the ones a feller keeps
Is poured around the celler-floor in red and yeller heaps;
And your cider-makin’ ’s over, and your wimmern-folks is through
With their mince and apple-butter, and theyr souse and saussage, too! ...
I don’t know how to tell it—but ef sich a thing could be
As the Angels wantin’ boardin’, and they’d call around on me
I’d want to ’commodate ’em—all the whole-indurin’ flock—
When the frost is on the punkin and the fodder’s in the shock!

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Inge Feltrinelli

When Inge Feltrinelli passed away on September 20th, the Italian media was quick to celebrate her as “the queen of Italian publishing.” Yet the 87-year-old was much more than that.

A world-renowned photographer, she shot iconic portraits of Pablo Picasso and Ernest Hemingway (and was also good friends with the latter). She was married to one of Italy’s most controversial figures, Giangiacomo Feltrinelli for 12 years, until his death in 1972.

After he husband died, during a supposed terrorist attack on the Milan electricity network, she became president of the company, which she led together with her son Carlo. They moved the company away from its original leftist orientation toward more mainstream books. But she continued to believe that books could change society.

Ms. Feltrinelli had an eye for promising writers and formed close relationships with Isabel Allende, Gabriel García Márquez, Günther Grass, Doris Lessing and Daniel Pennac, as well as the Italian writers, Stefano Benni, Antonio Tabucchi and Alessandro Baricco.

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