Most Anticipated Small Press Books of 2016!

Few exceptions aside, the most compelling, challenging, absorbing literary art is being produced by small presses and their respective writers. I asked a number of writers, editors, and publishers to send me a list of small press books to look out for in 2016. Below you’ll find my own list, which is informed by Kate Angus, John Cayley, Lauren Cerand, Samuel R. Delany, Rikki Ducornet, Andrew Ervin, Lily Hoang, Sean Lovelace, Scott McClanahan, Hubert O’Hearn, Jane Unrue, and Curtis White.

Below you’ll also find lists from Jeff Bursey, Tobias Carroll, Gabino Iglesias, Janice Lee, Dawn Raffel, Nick Francis Potter, John Reed, Adam Robinson, Michael Seidlinger, Terese Svoboda, Jason Teal, Angela Woodward, and Jacob Wren. All the abovementioned people are small press heroes and great writers in their own right. My thanks to all of them.

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Preciousness, Cuteness: A Gooey-in-the-Middle Post in Honor of Valentine’s Day

Gooey in the middle because it’s half-baked, at best. I’m still assembling thoughts. But wanted to at least start hashing them out:

I remember that when I was taking workshops, the word “precious” was bandied about a lot. During college, where I took my first workshop, I learned quickly that this was a bad thing, a label you wanted to avoid. It was an outgrowth of sentimentality, a pox on a piece’s potential to achieve complexity. It fell into the realm of “commercial” writing, as opposed to “art”–and of course, most workshop teachers are fond of saying, at some point, that bit about the latter, about how we should leave the cliches and the jingles and the pat, happy endings to the masses at the marketplace, and work instead toward creating the starker, grittier, “more interesting” texts.

I have a lot of questions about this. And oh, the workshop parodies we could write (yawn, I know).

But first, I thought a lot about this idea of what constitutes preciousness, of the provenance, even, of the word as a modern-day critique. It was Molière’s Les Précieuses ridicules that took aim at the preciousness of the witty salon ladies of 17th century France, whose word-games and love stories established préciosité as a rhetorical style. But in workshop parlance, the word generally delineates the writer’s attitude toward her or his work/characters/ending, etc. An attitude of italics. Where the moments are too emphatic, verging on fetishistic.

So what would the counter-instinct be–more distance between the writer and the text? A nonchalance? An aversion to cloyingness, to prolonging the pain or the magic, to happily-ever-after? Because that seems just as prescriptive, just as simplistic. And if we’ve been inclined toward narrative theory, we know that any kind of explanation that hinges itself on claims of “reality”–i.e., I like terror/destruction/fragmentation because it’s closer to “real life”–is a bit suspect. Words on a page are thankfully about the farthest one can get from “real life,” whatever that is. But we look for it there anyway, hoping to confirm or disprove our suspicions or beliefs, or else to get taken far away from them, to some wild elsewhere. So if it’s escape that we’re after–and so many of us who read are–is there one mode of creating it that’s patently better/”more interesting” than another?

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