Ragged Sky is a small, highly selective cooperative press. We work with our authors closely. Authors retain copyright and we use our experience and professional resources to support the author’s work through the editing, production, and marketing process.
Remember when Serial came out and everyone was like, “Oh my God, have you heard of podcasts? They’re amazing!” True, this may not have been the case for you—by…
1 Meeting I have frequented a myriad of gyms for over a decade, and never have I been so immediately struck by another patron as I was by Houdah Abotteen…
I just didn’t have that kind of patience or will to wait. I just wanted to do. That need for immediacy and something new is something that I really instilled into Maudlin House. I wanted to created something was fresh and real.
It’s important to me to be part of the literary community, and it’s important that my authors participate in the literary community. This isn’t just about do-gooding either: the literary community buys literary fiction.
I’d like to see a return to the traditional handsell of bookselling that was the mainstay of the likes of the afore-mentioned J. Laughlin. There is nothing more exciting and satisfyingly rewarding than publishing a good book and getting it into the hands of truly engaged, concerned and discerning readers, regardless of what format they choose.
In general, we’re hoping the publishing world becomes less stuffy, more about sharing ideas and work and just having fun. Not everything has to be so “serious,” in that the institutionalized aspect of it is so off putting and snobbish and gatekeeping at times. Most of all, we want more experimentation all around.
ND/SA publishes new poetry chapbook manuscripts by emerging, diverse New York City writers. We are generally excited by a unified text with a strong sense of voice and purpose and a startling use of beautiful, difficult language.
It’s simple really: I look for queer/trans writers who are making beautiful, powerful work. I love the weird, experimental, avant-garde work that is coming from the margins, and I want to center that work as best as I can. To tack down exactly what I’m after at Damaged Goods is something I haven’t done yet. I’m just publishing work that speaks the loudest to me.
My parting words for anyone interested in publishing books: always trust your gut; prepare to spend a lot of money and make none in return; assume that you will experience some major setbacks; accept that you will disappoint others despite your best efforts to please everyone. If you still want to publish books after taking all of this into consideration, you are doing it for the right reasons, and you’ll likely be thrilled, just as we are, to publish titles that deserve to be distributed the world over.
We started out of a framepack & computer screen tight-roping language, trying to figure out what can’t be said & how to say it. I guess the ramble can be summed up with—narcissism leading to boredom leading to community leading to fulfillment.
So, poets who decide to go with Glass aren’t going to see their books on Amazon or in SPD. But they will have an editor who has selected their book because he loves it and thinks people need to read it. So, they will have a publisher that will champion their work for as long as it takes to get their book in people’s hands. And they will have an editor who will do everything possible to create a book that they are in love with. And they will never have to send a penny to me (the poets selected for the Glass Chapbook Series get, in return for letting me publish their work, fifteen complimentary copies plus a copy of the other chapbooks published in their year. They can purchase additional copies at cost but they are not required to purchase any). This is the basic agreement I make with my authors: Glass isn’t big and fancy but Glass will put in 1,000,000% in order to make your book a success.
The press arose from our founding editors’ observation that the publishing world lacked explicitly inclusive feminist presses. There were (and are!) many excellent presses promoting women and LGBTQ writers; GGP’s contribution to the field was meant to be an explicit invitation to feminists of every gender and sexuality to consider (and/or challenge) what constitutes feminist work.
I had been researching Black lesbian writers for a few years, and I came to realize that the challenges that the women faced in regards to publishing still existed (lack of diversity in publishing; the [false] notion that lesbian literature was now “mainstream;” lack of access to agents, editors, and other publishing professionals; and more than anything, the notion that our stories were somehow unworthy or had no literary merit). I decided right then that I could do something about that.