Tag Archives: Free Poetry

The more things change…..small presses and magazines then and now.

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One of the tasks we have set ourselves at Rochford Street Review is to discover and review the material being produced by the small literary and cultural presses around Australia. This means not only the established literary and cultural journals, such as Southerly, Meanjin, Island, Overland and the like, but the new and emerging magazines and websites which, we believe, are critical to the strength and vibrancy of Australian writing. We will attempt to do this by regularly, at least once a quarter, undertaking a detailed of review of what has been published – picking out the highlights and shining a light into as many corners as we can.

In this first article we will attempt to look at some of the current issues facing small literary publishers and have a look over the last thirty years to try and create some kind of context with which to begin our journey.

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There have been a number of articles on the literary website Cordite over recent months which have thrown the spotlight on small literary presses, both in Australia and overseas. A glance through these articles provides us with a useful opportunity to analyse where small literary presses in Australia have been, where they are now and where they might go in the future.

In one of his first feature posts as new Managing Editor of Cordite Poetry Review, Kent MacCarter examined the state of small publishers currently publishing contemporary Australian poetry in a piece called ‘Australian Print Poetry and the Small Press: Who’s Doing the Books?’ While his article concentrates, in the main on the publishing of poetry books, many of his points can also be applied to the publishing of literary journals and magazines. In his opening paragraph MacCarter poses a number of questions:

  • Are Creative Writing programs creating a glut of writers and, in tandem, small presses to accommodate the ambition of that growth?
  • What is the quality of that which is being written, then published?
  • Can a small press sustain a viable publishing schedule with today’s technology based on points one and two

MacCarter uses these questions as the starting point of his subsequent examination of the current state of small literary press publication in Australia. While I would have liked the question of writing programs creating a ‘glut’ or writers (are there more writers now than there were ten, fifteen twenty years ago?) and a analysis of the question of ‘quality’ addressed a little more, for MacCarter the bottom line is funding/money/liquidity/viability:

“Throughout this article, I’ll interject look-ins at what a few small presses are doing in the realm of business liquidity – a term about as far from poetry as you can march – but any perceived “perfidy” of this pragmatism will get no apology from me”.

Though fortunately he does temper this with the understanding that those running the presses and reading the poetry are motivated by something far more exciting than money.

“The passion for literature, pulp, poetry, criticism, whatever the form this passionate wont may assume, is both arresting and rigorous in Australia. Without that, there is next to nothing to write about in this space”.

In ‘To Anthologize the Now Perpetually: The Literary Situation of the Small Press and the Archive’ (Cordite Features 23 February 2012) and ‘Little Magazines Exemplars: A Companion Piece to ‘To Anthologize the Now Perpetually’’ (Cordite Features 8 March 2012) Edric Mesmer writes from the perspective from the archivist – what can be collected and learned from the small presses. He writes from an international point of view and covers a vast history of modernist writing and small press publishing, but he does provide an expansive background for an analysis of the history and importance of small magazines and presses in Australia

Reading these articles got me thinking about how small literary publishing has developed and changed over my lifetime. In particular it made me recall an article by Marcus Breen “Writing for Readers: The new, small magazines” which appeared in The Age Monthly Review in May 1985. I also recalled a monthly column I wrote for Editions  in the late 1980’s which attempted to look at the sub culture of small press literary publishing. It occurred to me that a reading of the recent and not so recent articles might assist us to start to come to an understanding of the way the small literary press landscape has changed in Australia over the last quarter of a century – and how it might continue to develop over the coming years.

The most obvious change is technology. Back in 1985 Adam Aitiken and I were riding the last wave of the ‘gestner revolution’ with P76 magazine. I was also using the gestner machine to produce a number booklets for  Rochford Street Press. By producing a roneoed journal we were following a long and proud tradition in Australian small press publishing including such publications as Free Poetry,Your Friendly Fascist,  Magic Sam, Kris Hemensley’s Ear in a Wheatfield and many others. There was no internet so we wrote and received lots of letters, we networked through writers groups, other magazines, band venues, political meetings and anything else we could think of. But most of all we fought the good battle to distribute our publications through bookshops who were nervous of stocking books that looked ‘different’.

Cut to 2012 and the landscape seems to have changed considerably at first glance. One can ‘Google’ poetry journals or use the website of numerous writing organisations to find list of journals and presses. The ability to order and pay for books over the web has meant that the critical dependence of small publishers on distribution has, to some extent, been broken (that is not to say, however, that it still not important for small presses to get onto bookshop shelves – it is perhaps not quite as critical today as it once was). But small press publishers are still networking and trying to distribute their publications just as hard – they are just using some different tools.

That is not to say that it is easier for small magazines and presses as we enter the second decade of the twenty-first century. They face some different challenges – and some challengers which would be very familiar to the small literary presses of thirty years ago. MacCarter, in his Cordite article, for example, mentions the current funding issues facing the Tasmanian based journal Island, who last year lost a substantial funding source. It was a similar issue which drove much of the ‘literary activism’ that Marcus Breen  refers to in his 1985 article. Breen opens his article with a dispute. In 1984 two relatively well established and important journals, Compass and Imprint, lost their Literature Board Funding. These journals had began as small journals run on a shoe-string like most literary journals and had slowly built up contributions, reputation and circulation until they were able to successfully apply for Literature Board Funding. Among other things this allowed them to pay contributors. Unfortunately the funding landscape for literature in Australia has never been secure and suddenly, like other magazines before and after, they had their next funding grant denied. The resulting anger, frustration, shock etc resulted in the Literature Board setting up a meeting to discuss the situation with the funded magazines and journals. For many this was the final nail in the coffin. The funding authority looked to explain why it had effectively killed off two established and respected journals, and to outline its publishing subsidy scheme moving forward, to those ‘favoured journals’ who had retained their funding. At the very least those journals that had lost their funding deserved to be represented. Indeed the feeling among many writers and small publishers was that the Literature Board was indeed answerable to the wider writing and publishing community – and so a small press lobby group was formed in Sydney – SMAP (Small Magazines and Presses).

(I must declare a interest here. AS an editor of P76 I was involved in setting up SMAP and was eventually one of the SMAP delegates invited to the meeting with the Australia Council)

Writing a number of years after the 1985 meeting in Editions Review in 1989 I reflected on the outcomes of the meeting and indeed of the whole SMAP episode. On one level SMAP did achieve some positive outcomes:

“A number of articles on small literary presses appeared in the arts pages of the major dailies and the ABC radio pro­gram Books and Writing produced a special report on small presses. In Sydney Neil Whitfield, former editor of Neos (a maga­zine devoted to publishing creative writing by writers under 25) set up a small press stand at Harkers Bookshop in Glebe………was it worthwhile? Well there were some spin-offs. Contacts were made, a net­work was set up between magazine editors in different regions and, for a period, liter­ary magazines and journals gained at least a little of the literary spotlight”

But by 1989 Tom Shapcott was once again speaking at the Word Festival and one of his concerns was outlining when and how the Lit Board determined it was time to ‘kill’ off a journal….. Things had come almost full circle in four years.

As we can see by the Island incident, where the Tasmanian State Government cut funding for 2012, the established, funded magazines are only as secure as their next grant application. Indeed, while it might seem alarmist to suggest that old established journals like Southerly, Meanjin or Overland could have their funding cut and their future thrown into turmoil, one only has to look at the actions of the new conservative government in Queensland  (the axing of the Premier’s Literary Award within days of coming to power), to realise that a decision to kill off a literary institution can be made at the stroke of a pen by a new government with a symbolic point to make.

Given the apparent dependency of our writing culture on government subsidies, and the likelihood that these government subsidies may become more difficult to obtain as the political landscape across Australia changes, MacCarter’s concentration on the economic bottom line of poetry publishing becomes a little more important.

In coming months Rochford Street Review will attempt to examine how Australia’s literary presses and journals are responding to these challenges. We will look at individual issues to understand who is publishing what, provide a platform for new and emerging magazines and journals (both printed and web-based) to announce their arrival as well as documenting their battles to publish, distribute and be read.

- Mark Roberts

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Mark Roberts is a Sydney based writer and critic. He currently edits Rochford Street Review.

A new ‘lost’ issue of P76 has recently been published. For details, and a listing of all issues of P76, go to http://rochfordstreetpress.wordpress.com/p76-literary-magazine/

References:

Cordite Poetry Review

Age Monthly Review

Editions

MICHAEL WILDING – THE WOOLLEY YEARS

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Wild & Woolley: A Publishing Memoir. Michael Wilding. Giramando Shorts. 2011

Michael Wilding’s account of how he meet Pat Woolley and how Wild & Woolley began: “Pat and I went back to my place in Balmain where the poets had already entered through the bathroom window and were sitting around writing poems on my typewriter and eating and drinking what ever they could find…” immediately made me recall a Nigel Roberts poem from his first collection In Casablanca for the Waters (published, of course, by Wild & Woolley):

sometime / during 67

i read his poems /& he read

mine / & that we knew of someone

up the road / who wrote

that we should visit

& did / &

he read ours / & we read his / then

had a smoke

talked of why

                                    & where

          to publish

                                            & then

of OUR OWN MAGAZINE

that / we would publish

who / or whatever

we dug.

                   ‘For the Little Magazines’

While there may have been a world of difference between Nigel Roberts’ Free Poetry and the vastly more ‘professional’ looking publishing venture Wild and Woolley eventually became, there is a hint of a shared experience here, a creative spontaneity driven by a belief that Australian literature was changing and the old methods of publishing were not going to cut it anymore.

Before I go much further I have a confession to make….I was an undergraduate student majoring in English and Australian Literature at Sydney University between 1978 and 1981. From memory I also took Wildings Utopian and Anti-Utopian fiction class in either 1979 or 1980 (though if you can remember a Michael Wilding class you probably weren’t really there…). While at Sydney Uni I slowly became involved in the local poetry scene so I knew many of the writers documented in Wilding’s memoir. So while I enjoyed Wilding’s account of the Sydney writing scene of the mid to late 1970′s I suspect that at least some of my enjoyment was because I knew many of the poets and writers he was writing about.

Wilding’s account of his time at Wild & Woolley is, obviously, a very personal account. I had the feeling at times, that WIlding was like a child in a chocolate factory. He was involved in bringing some of the most important contemporary writing to Australia “…our project was to bring the margins to the centre and for a while we succeeded. We got these important books around. It was a major intervention into the cultural map of the nation…”. Reading between the lines, however, I got the impression that, at least at a commercial level, Wilding must have been a little difficult at times to work with. At times for example he seemed to treat the Wild & Woolley warehouse as almost his personal library. Soon after they established their first warehouse he talks of walking “along the shelves picking up a sample copy here, another there. My library swelled as I added the new arrivals week by week”. At another point he talks about raiding the rubbish bin in the warehouse to retrieve damaged copies of books that could not be sold “One day I noticed the entire staff, all two of them, were sitting laughing at me. Knowing my obsession, they had been deliberately putting books into the garbage bin when they heard me arrive”. He was billed for all these books however, and when he left the business he was faced with a considerable bill.

At times I did feel a little sorry for Pat Woolley. While Wilding obviously understood the cultural and political aspects of their grand publishing adventure, it was Pat Woolley, one suspects that kept the books moving, the dollars circulating and the Press afloat “The financial details, as ever, I shied away from. As Pat put it, ‘You didn’t have anything to do with the finance’. Wilding eventually leaves the business and I had the sense that there were some things that maybe he felt didn’t need to be raised again.

What I found more interesting was Wilding’s view on how Wild & Woolley slotted into the cultural and social history of the time. He talks of the “considerable cultural optimism’ of the early 70′s – the Lady Chatterley’s trial was in the past, censorship was being relaxed and of course young poets and writers in Australia had started to look to the US for ‘inspiration’. Wilding also adds another important mix into the equation, the ending of the Vietnam War “And a release from all the anti-war protests that had taken up so much time and energy and emotion…..They had been a necessary activity, but now we could return to what life should properly be about: writing, reading, and the arithmetic of publishing”. This is a theme he returns to a number of times during the book. I found his thoughts on the rise and fall of the Sydney Association for the Studies in Society and Culture particular interesting. He places the publishing activities of the Association in the context of the general attack on humanities in Australian Universities as “the new world order directed the young into economics, law, business studies and computer science”. In this context the Association’s publications were run very much on an amateur basis – making whatever use they could of the University’s resources until “it all came to an end. The reforms in tax laws, the introduction of the GST, and the ABN, made it all unfeasible”. Wilding sees this as part of the “law of unintended consequences”. There wasn’t a direct attack on the small press ethos it was just collateral damage “Voluntarism was now to be replaced by professionalism; except that in many cases it was not replaced, it simply ceased to exist.”

Another strength of this book is in the individual portraits Wilding paints of some of the different people he encounters during the Wild & Woolley years. In particular the sections on Vicki Viidikas, Christina Stead and Jack Lindsay stood out for me – indeed I was sent scurrying to my bookshelf to confirm that, yes my copy of Decay and Renewal was indeed a Wild and Woolley edition.

In the final instance it is probably important to understand why Wilding has called this book a “Memoir”. Probably the best description of a memoir I have come across was from Gore Vidal “a memoir is how one remembers one’s own life, while an autobiography is history, requiring research, dates, facts double-checked.” (Palimpsest). As I have noted previously, Wilding’s account of the adventures of Wild and Woolley are a very personal account and I am sure that other players in the drama may very well have a different view of some of the incidents captured in this book. But given the constraints of the genre, Wild & Woolley: A Publishing Memoir is a fascinating account of a critical period of Australian Literature from the perspective of one of the more cutting edge publishers. What made it an important book, in my opinion, however, was Wilding’s ability to trace the social and political impacts on writing and publishing from the mid seventies through to event of the GST and the moves to subject writing and publishing to forces of the free market.

Mark Roberts