Small Press

It can feel like a labour-intensive process, but I’ve found that there’s huge appreciation, from both the poets and the readers, when effort is made to give the words a beautiful home.

How are you? I’m pretty sure we’re all so paralyzed with anxiety, we haven’t fully processed the cancellations and lost opportunities that the coronavirus pandemic is inflicting upon our careers…

Website Submission Guidelines Interview with Joan Baranow and David Watts, Editors How did Wolf Ridge Press start? Our press started in 2008 when David had put together a collection of…

In the early months of 2017, we were discussing how often writers of formal or experimental poetry in Canada had to go through a man to publish a chapbook of experimental literature. We wanted to provide a space for writers to publish experimental, formal, political, feminist, or genre-blurring poetry that wasn’t governed by a dude.

Eventually I read a few manuscripts by people that hadn’t been published anywhere, and I knew they deserved to be out in the world, so I started Broken Sleep to publish the voices that weren’t getting recognition—and to focus on working-class writers to an extent.

We continue our “Best of 2019″ series curated by the entire Entropy community and present some of our favorite selections as nominated by the diverse staff and team here at…

Penteract Press is a publisher and promoter of structure-based poems — or ‘experimental formalism’. This covers three principal areas: Constrained poetry; concrete/visual poetry; and traditional verse forms.

We do a lot of work behind the scenes, but the writers create the work so they deserve the most credit and profit for it. They are the reason we even have a project to work on in the first place.

I felt that artists who were out there working the community, trying to create change often did not have time to do the “business” of writing. I hoped that there would be a way to help those artist by “gifting” them published books as that would only help them further in the community service goals.

The small presses are absolutely essential in getting work into print that the big publishers won’t touch. It’s where you find the most originality and risk-taking, both essential to great writing.

Over time, The Blasted Tree has increasingly featured odd and eccentric content that just doesn’t seem to belong elsewhere, projects that beg for an out-of-the-box take on publication format or materials.

I believe there’s a need to publish outside one’s comfort zone. At its core, publishing is about pushing boundaries, and expanding mindsets. And if our publishing is not doing either function for us, it is a signal for us to get our act together.

Some words we like to throw around are: generosity, materiality, love, emergence, multitexuality, book-as-object, pleasure, vernacular, and hybridity.

I see people constantly clinging to old models of success and status in the poetry world, and it seems archaic to me to step into this programming telling us who is important and what it means to be successful rather than simply creating our own spaces.