Timeline – Our Potted History
And Other Stories started off as the pipe dream of a publishing industry outsider. Even before the late 2000s recession made the output of the big commercial publishing houses risk-averse (i.e. boring), there weren’t many publishers choosing books solely for literary merit. Stefan Tobler, a translator and now And Other Stories’ publisher, had been suggesting brilliant writers like Brazil’s Raduan Nassar to publishers, who loved the writing but still said no on commercial grounds.
In 2009, Stefan met with fellow translators and writers to brainstorm the idea of setting up a collective to publish fresh, contemporary fiction. There was a lot of enthusiasm for his formula that Publishing = Supply + Demand + Magic, but it couldn’t just be a labour of love: the books needed to get out to readers.
And Other Stories was born out of this – although it never became a fully-fledged collective, it’s been a collaboration from the start: a special kind of crowdfunding that updates an 18th century idea for the 21st century: readers support risky, adventurous writing by subscribing to the books in advance of publication. And people loved it, with the first subscribers signing up in 2010. Professionals volunteered to edit, typeset and design our first books for free; subscribers spread the word. Sophie Lewis, ex-Dalkey Archive Press, moves to Rio de Janeiro and edits most of our books from there for a number of years.
The first four books came out in 2011. Of those four, Juan Pablo Villalobos’s Down the Rabbit Hole became the first translation shortlisted for the Guardian First Book Award, going on to be one of our most-read books, loved for its black humour and precocious and foul-mouthed child narrator.
Deborah Levy’s brilliant novel Swimming Home made it to the 2012 Man Booker Prize shortlist and delighted readers send us presents, including a set of coloured spoons.
We set up an office in the US, run by Sarah Russo, and started publicising and publishing many of our titles in North America. Meanwhile in the UK, our American writer Helen DeWitt’s Lightning Rods was shortlisted for the 2013 Bollinger Everyman Wodehouse Prize, almost winning Helen a pig.
Tara Murphy, a veteran of Canadian indie publishing, moved to the UK after she and Stefan got engaged on Brooklyn Bridge at the end of Book Expo America. (As you do.) As Tara Tobler in 2015 she became a big part of And Other Stories.
Sale growth has been organic and steady. We’re finally in a position to move the ‘office’ out of a third-floor small-town flat and into an office. (Still in small town High Wycombe – for now.) We also take on our first full-time employee: the brilliant publicist (and translator from Swedish) Nichola Smalley.
Yuri Herrera wins the Best Translated Book Award for his Mexican migration novel Signs Preceding the End of the World! That 2015-published novel and his apocalyptical The Transmigration of Bodies (published summer 2016) were hits on both sides of the Atlantic, proving that the reading public does have great, adventurous taste.
And Other Stories moved to Sheffield, partly out of a wish to make publishing less London-focused but mainly because it’s a great, rebellious, friendly city. We launch the Northern Book Prize with partners New Writing North and rent our first Sheffield office in the Central Library. (Nicky Smalley meanwhile gets a London desk – it’s still where the books media is.)
Our Year of Publishing Women – an effort to counteract the inequalities in the publishing industry, not least a frustrating lack of women published in English translation. We kicked things off with unpublished and long-lost writing by the great Ann Quin.
A good year for prize attention. Our inaugural 2018 Northern Book Prize-winning novel Slip of a Fish by Amy Arnold goes on to land on the 2019 Goldsmiths Prize shortlist, while The Remainder by Alia Trabucco Zerán (and translated by Sophie Hughes) is shortlisted for the Man Booker International Prize. Gini Alhadeff’s translation of Fleur Jaeggy’s I Am the Brother of XX wins the Society of Authors’ John Florio Prize and Frank Perry’s translation of Lina Wolff’s Bret Easton Ellis and the Other Dogs wins the same Society’s Bernard Shaw Prize, while Charlotte Whittle’s translation of People in the Room by Norah Lange and Stefan Tobler’s translation of The Old King in His Exile by Arno Geiger both pick up a couple of shortlistings. Javerya Iqbal joins the team in her first publishing job, and in 2020 is promoted to Sales & Marketing Executive.
Emma Warhurst joins the team in February in a production role. Let’s see what else happens. Oh, right, quite a lot happens in the world. We also expand our US office with the creation of two new roles: Jeremy M. Davies, former editor at Farrar, Straus and Giroux and Dalkey Archive Press, joins as Senior Editor, and a US Publicity & Trade Marketing Director role is advertised.
11 Commandments of Book Selection at And Other Stories
We publish writing that is mind-blowing, often ‘challenging’ (Maureen Freely) and ‘shamelessly literary’ (Stuart Evers) – opening a space for exploration and discovery. Funny often too, at least we think so. Look at the authors we’ve read and published to get a feel for And Other Stories’ tastes.
Our focus is on literary fiction and increasingly on non-fiction too, particularly narrative kinds of non-fiction. Our first work of literary non-fiction was Now and at the Hour of our Death by Susana Moreira Marques. A funny and wonderful work in verse by Deborah Levy (An Amorous Discourse in the Suburbs of Hell) has come out too and we will have a poetry list in future.
We publish mainly contemporary writing, which for us means written in the last 40 years or so. There are a lot of good writers to catch up with from other literatures. Books can have slow fuses.
We focus on new publications, but don’t rule out great books from the past that never had the reception they deserved, or which fell into neglect. We’re proud to be growing the Ann Quin fan club with our new editions, for instance.
We publish world-class writing, not ‘world writing’. A lot of translations (because there are so many amazing writers currently not available to readers in English) but always alongside English-language writing. We are happy to consider submissions from authors and agents. Hence . . .
Suggestions and tips are encouraged – send your suggestions to Stefan Tobler via the Contact page. (For a submission, visit our Submissions page.)
We will read as much as we can. But this is fitted in outside of (normal) working hours, so bear with us. Responses to submissions cannot always be quick.
Reading groups keep our lifeblood pumping (ie books!) – if you would like to initiate one and choose its titles with the core team, get in touch (via the Contact page). They are open to everyone on the mailing list and allow readers to have a say in our editorial decisions.
We spread the love. Names of authors or books generating excitement in reading groups (not necessarily unanimous) should be suggested to the core team for inclusion in their next acquisitions meeting.
Final decisions are made by the core team – ultimate responsibility and blame rests with the publisher, Stefan Tobler. And Other Stories is a balancing act: a publishing house that must act as the core team deems best, and yet whose direction and choice of titles is guided by its active supporters’ intelligent, normally civilised, and always passionate debate.
These aren’t really commandments. Not rules but rules of thumb. There’s always an exception to the rule.
And Other Stories has been set up as a Community Interest Company (CIC, pronounced ‘kick’). This means we are a not-for-private-profit company. Any profits are re-invested. But what really gives us a ‘CIC’? (Couldn’t resist!) We make our decisions based on what we think is good writing and a good way of working. This sets us apart from shareholder-driven publishing companies where all decisions are ultimately about increasing profits. Of course, in order to be able to continue our work in the long-term, we certainly can’t lose money. It goes like this:
- Our supporters and subscribers can take part in our reading groups to discuss books we should publish.
- We are ecologically minded. We use Forestry Stewardship Council (FSC) paper from local printers for our books and recycled paper for our catalogues. We minimise our carbon footprint wherever we can, including by reducing travel, e.g. the team doesn’t fly within Europe but uses digital conferencing and train travel. We use paper-only packaging to send books. The team all walk or cycle to work. We make books to last (using more expensive but acid-free, long-lasting paper), not disposable products.
- We also bank with an ethical bank, the Co-operative Bank, that does not invest in sectors such as oil exploration or the arms trade.
- We pay translators properly. Currently this is GBP £95 / 1,000 words of prose. (We value translators highly, for their knowledge, skill and dedication to the books over many months of translation, as well as their promotional work for the books after translation.)
- The company cannot be swallowed (bought) by a larger fish, if that fish’s objectives are commercial. So there’s no danger our aims will suddenly change. (Not that hedge funds tend to buy literary presses, admittedly . . .)
- We do what we can to promote a diverse literary culture, e.g. by supporting fellow independent publishers and bookshops. We organised a forum for independent UK fiction presses to help each other.
- We are a charter member of Equality in Publishing (EQUIP), which increases access to opportunities within the publishing industry.
- We make a point of looking for and mentoring the best new talent. Of giving people a foot in the door. (From 2018-2022 we have committed to recruiting one publishing assistant each year from a background less represented in publishing.) We have given a number of authors, translators and editors their first books, have run competitions to find translators, and founded the Northern Book Prize in order to celebrate ambitious Northern writing.
Jeremy M. Davies is Senior Editor, joining us after four years at Farrar, Straus and Giroux, which saw his acquisition of such titles as Anne Boyer’s 2020 Pulitzer Prize-winning memoir The Undying, Gerald Murnane’s final novel Border Districts and Virginie Despentes’s International Booker Prize-shortlisted novel trilogy Vernon Subutex. Previous to arriving at FSG, Davies was Senior Editor at Dalkey Archive Press. He is also the author of The Knack of Doing (2016), a collection of short fiction, as well as the novels Rose Alley (2009) and Fancy (2015). His fiction has appeared in numerous publications, including Harper’s Magazine, The Baffler and The White Review. His first translation (with Anna Fitzgerald) is of The Suspended Vocation by Pierre Klossowski (2020).
Tom Flynn runs U.S. bookseller outreach and sales for And Other Stories. A lifelong Chicagoan and career bookseller, he ran events for the Seminary Co-op Bookstores and managed 57th Street Books. He helped to open Volumes Bookcafe and was the primary buyer. Prior to joining And Other Stories, he was a worker-owner at Pilsen Community Books. When not reading (usually something translated) he’s likely teaching his dog or walking his kids. Or the other way around.
Javerya Iqbal is the Sales and Marketing Executive (+ Subscriptions Manager) at And Other Stories. She works with the whole team to make sure our books are in all the right places, for all the right people, at the right prices. After graduating with a BA (Joint Hons) in English Literature and Language, she interned at Granta Books, where she learnt ‘all’ there is to know about publishing. If she isn’t in a cafe reading (and drinking cocoa), she can be found wandering through the bountiful parks, peaks and museums of Sheffield. She is fluent in Urdu and picked up some German whilst living in Vienna.
Nicky is our UK Publicity Director. She’s also a translator and lover of Swedish and Norwegian literature, and an escaped academic – in 2014 she finished her PhD in Scandinavian Studies at UCL with a thesis rather nattily titled ‘Contemporary Urban Vernaculars in Rap, Literature and in Translation, in Sweden and the UK’. Her translations include Jogo Bonito by Henrik Brandão Jönsson, a Swedish book about Brazilian football, and her translation of Wretchedness by Andrzej Tichý is on the 2021 International Booker Prize longlist. She’s lived in Berlin, Stockholm and Rio, but London is her home. You can find her (very occasionally) on Twitter @tallnicky.
Publisher Stefan Tobler founded And Other Stories out of frustration at the great books not being published in English. With English and Swiss parents, he was born in the Amazon. In his mid-twenties, he lived in Dresden for some years. His translations include the 2015 Oxford-Weidenfeld Translation Prize shortlisted Água Viva by Clarice Lispector and the 2016 Man Booker International Prize longlisted and Premio Jabuti-winning (Best Foreign Publication category) A Cup of Rage by Raduan Nassar. Other translations include the only poetry collection in English by a poet from the North of Brazil, Antônio Moura, and Arno Geiger’s The Old King in His Exile. He reads in French and Spanish too and subsidises literary publishing with his fashion shops & Other Stories and his Toblerone chocolate factory. He’s also on Twitter some years @stefantobler.
Tara Tobler is Senior Editor at And Other Stories. Originally from Canada, she worked for many years for the Canadian independent publisher Biblioasis. Books she has edited include two of the titles shortlisted for the 2017 Oxford-Weidenfeld Translation Prize, of which Frank Perry’s translation of Lina Wolff’s Bret Easton Ellis and the Other Dogs went on to win. She is also a writer, freelance reviewer, and mother of two young children. She lives in Sheffield.
Emma Warhurst is the Production Assistant at And Other Stories. She graduated with an MA (Hons) in Spanish from the University of St Andrews and an MPhil in Latin American Studies from the University of Cambridge, where she spent her time researching and writing about witches in Latin American literature. Emma briefly worked in shopping television, before spending several years working in the prison and probation service. She has now left prison and is excited to be working in the less dangerous world of literary publishing. Emma spends her free time reading great books and writing not-so-great ones.
Contributing Editor Briallen Hopper is proud to represent And Other Stories in the United States. Briallen holds a PhD in English from Princeton, taught writing at Yale and in summer 2018 moved to Queens to be assistant professor of creative nonfiction at Queens College, CUNY. Her writing on books, movies, religion, and politics has appeared in publications including Los Angeles Review of Books, Killing the Buddha, The New Inquiry, and The New Republic, and her smart book of essays on love and friendship, Hard to Love, was published by Bloomsbury in February 2019. She is on twitter @briallenhopper.
As a Contributing Editor, Preti Taneja advises us and is involved in our acquisitions process, for which she accepts full manuscripts. Her debut novel We That Are Young won the 2018 Desmond Elliott Prize and was also nominated for international awards including the Rathbones Folio Prize, the Jan Michalski Prize and the Shakti Bhatt First Book Award. It was a Book of the Decade in The Hindu, a top 10 Book of the Year in The Sunday Times, a Top 10 Literary Fiction Book of the Year in Library Journal, and a Book of the Year in The Guardian and The Spectator. It is in translation around the world. Preti broadcasts for BBC Radio 3 and 4 on world literature and culture; she also teaches writing in prisons and is a Lecturer in Creative Writing at the University of Newcastle.
Advisory Board Members
All our staff and contributing editors are welcome to participate in advisory board meetings. They are joined by:
Caleb Azumah Nelson
Caleb Azumah Nelson is a British-Ghanaian writer and photographer, living in South East London. He was recently shortlisted for the Palm Photo Prize and won the People’s Choice prize. He was shortlisted for the BBC National Short Story Award 2020 for his story ‘Pray’. His first novel, Open Water, will be published by Viking (UK) in February 2021 and by Grove Atlantic (US) in April 2021.
Elleke Boehmer is the Professor of World Literature in English, in the English Faculty at the University of Oxford. She is the author of highly praised fiction including The Shouting in the Dark and Screens against the Sky, and her other books include Colonial and Postcolonial Literature, the biography Nelson Mandela, Stories of Women, and Indian Arrivals. She has edited a number of books, including co-editing J.M. Coetzee in Writing and Theory. A founding figure in postcolonial literary studies, Elleke is currently the Director of the Oxford Research Centre in the Humanities and the General Editor of the Oxford Studies in Postcolonial Literatures Series.
Humairaa joined Manchester University Press as a Production Assistant after completing her BA in English Language and Literature at the University of Central Lancashire. She now works as an Assistant Editorial Controller, and takes great joy in shepherding titles through production. Humairaa’s work was Highly Commended at the Global Undergraduate Awards 2019, and in 2020 she received a Print Futures Award from the Printing Charity. When she emerges from behind her #TBR pile, Humairaa can be found working her way through her baking bucket list.
Daniel Hahn is a writer, editor and translator who, barely out of his youth, has a César Aira-like abundance of books to his name. These include works of non-fiction, literary translations, and assorted anthologies and reference books including The Oxford Companion to Children’s Literature. He has been chair of the Society of Authors, a director of the British Centre for Literary Translation and on the board of many organisations. For us, he has translated Paulo Scott’s Nowhere People and Juan Pablo Villalobos’s I Don’t Expect Anyone To Believe Me. We are also honoured that he has been a subscriber to And Other Stories from our first books.
Abigail Howell spent five years living in Beijing, China where she was the publicity and marketing manager for Penguin North Asia. She moved to London to take up a generalist management role, developing growth strategy, resolving problem projects, and managing stakeholder relationships, at a family licensing and manufacture business. Abi went on to pursue an Executive MSc in International Strategy and now runs an Asia-focused strategic advisory business catering to c-suite executives and investors.
Jenny Niven is based in Edinburgh and works freelance across a range of literature and cultural projects, including as Executive Producer for the Edinburgh International Culture Summit. Previously, she co-founded and directed Beijing’s first book festival, and was Head of Programming at the Wheeler Centre for Books, Writing and Ideas, Melbourne. From 2014 – 2019 she led the Literature, Publishing and Languages team at Creative Scotland, Scotland’s funding and development agency for the arts. She has interviewed scores of writers for festivals across Scotland and beyond, and is a regular contributor to BBC Scotland’s cultural programming. Perennially interested in creating spaces for the arts to be valued and celebrated, her latest adventure is as co-director of a brand new poetry festival for Edinburgh, Push the Boat Out.
Steven Norton is co-head of executive networks, research, and media at Metis Strategy, a management consulting firm that advises Fortune 500 technology executives. He previously was a reporter at The Wall Street Journal, where he wrote about business and technology (and occasionally literature in translation). Prior to joining WSJ, he helped launch an online community for financial professionals at Thomson Reuters. Steven holds a BA in comparative literature from the University of North Carolina at Chapel Hill. He is based in Brooklyn.
Jonathan Paterson began his trip down from the North East of England by way of Salford University studying Sociology and Cultural Studies and lived in Manchester for many years working in the finance department of the world-famous Lowry Centre art galleries and theatre. He began his publishing career in London at Transworld but now he is a Finance Director at Hachette UK, looking after the commercials for some of the adult trade divisions, working with a broad range of lists including MacLehose Press, Sceptre, John Murray and Jessica Kingsley.
Lily Philpott is an event producer and books enthusiast. She is the Programs Manager at the Asian American Writers’ Workshop, where she oversees public programs, the Margins and Open City Fellowships, and the CreateNow teaching artist program. Previously, she worked at PEN America, the Solomon R. Guggenheim Museum, and the New York Public Library. She is a member of the International Literature Committee at the Brooklyn Book Festival, and has contributed to Huellas, a bilingual long-form publication. Born in Santiago, Chile, she lives and works in New York City.
Sarah Russo is a publishing professional with experience working across the spectrum of publicity, communications, traditional marketing, social media marketing, branding, event production, and business development. Sarah has worked in-house for Alfred A. Knopf, Doubleday, Scribner, Farrar, Strauss & Giroux, Other Press, and Oxford University Press (twice), and as a consultant for many companies and authors. Most recently, Sarah was the Global Head of Audience Engagement, Publicity, and Social Media for Oxford University Press. Sarah Russo launched And Other Stories in the US, working as our US publicist in 2013-14, and has continued to be involved in our work.
Nick Sidwell co-founded and runs a company called Monwell, operating online bookshops for newspapers (their clients include Guardian Media Group, News UK and Associated Newspapers). His background is a mix of book publishing, online bookselling and product development.
Lucie Taylor is Assistant Editor for the Library of Arabic Literature, which is published in partnership with NYU Press and the NYU Abu Dhabi Institute. Previously, she worked at Oxford University Press, where she managed marketing and publicity campaigns for a variety of books including the Oxford World’s Classics and Very Short Introductions series. She holds a BA in Arabic and French from the University of Oxford and is currently a student in NYU’s Near Eastern Studies MA program.
As a business, we already have good foundations regarding sustainability, but we want to do more. And Other Stories is committed to having a positive social and environmental impact, and recognises that company, government and individuals have an important role to play in responding to the urgent challenge of climate change. However, we also recognise that it’s no good a small company like And Other Stories making a unilateral decision to reduce flights for business or author tours without the support of our business partners and authors or wider change in the industry. For that reason, our goal is to increase discussion of the issues in the arts and publishing sectors, and to use our agility and ability to take risks as a small company to be somewhat of a guinea pig for the industry with pilot programmes that can be adopted more widely.
We have some current successes and an area we want to focus on for improvement:
- We use Forestry Stewardship Council (FSC) certified paper for our books and recycled paper for our catalogues, and print with UK rather than Far Eastern printers, which lowers the carbon footprint for freight.
- We minimise our carbon footprint wherever we can, including by reducing staff travel, e.g. the team doesn’t fly within Europe but uses digital conferencing and train travel. We also monitor our business travel carbon emissions each year.
- Our offices and our US mailout service use paper-only packaging to send books (no plastics) when we send out books ourselves (eg to subscribers, press and booksellers).
- Our printers use bio-degradable ‘air-pillow’ padding (‘Greenlight Bio’ in the boxes they deliver our books in.
- We are starting to discuss with authors and partners and to develop pilot projects related to a) changing travel habits in favour of lower carbon alternatives; and b) improving international mobility, accessibility and connections via attractive digital events that are a viable, equitable and attractive alternative to the current default options.
- No one in the team drives a car to work.
- We make books to last (using substantially more expensive but acid-free, long-lasting paper), because we don’t want books to be seen as disposable products. We are also experimenting with doing away with plastics (many finishes have plastics).
- We also bank with an ethical bank, the Co-operative Bank, that does not invest in or loan money to businesses in sectors such as fossil fuel industries or other environmentally negative industries.
- We aim to encourage our whole team to ‘walk the talk’ when it comes to sustainability behaviour in their personal travel, and have signed up to the Climate Perks scheme in order to make it more attrative for employees not to travel by plane for personal trips and holidays. Research indicates that converting one or more return flights to train, coach or boat is likely to be one of the most powerful actions regular travellers can take to reduce lifestyle carbon emissions, in turn helping to inspire further behaviour change amongst peers.
- We surveyed our book subscribers and authors and translators in late 2019, to see what they wanted to do and what they wanted us to do regarding sustainability and meeting carbon-reduction targets.
- We have a monthly ‘Eco Post’ to widen discussion of sustainability in publishing and the arts, as well as talk about the practicalities of what we are doing, as well as other interesting topics like the results of our survey. You can find the posts on our News page, which is also our blog: https://www.andotherstories.org/category/eco-sustainability/
Our Focus Right Now: Reducing Flights & Increasing Mobility and Accessibility, in Collaboration with our Partners and the Wider Arts Sector
Despite only 5% of the world’s population ever having stepped inside a plane, flying is the fastest growing contributor to climate change globally. We recognise the need for behaviour change to play a role in reducing aviation emissions and in turn the role of society, including the workplace, to help make change happen. So we’re cutting work flights but also, via the Climate Perks scheme, giving staff extra holidays when they choose slower travel than flight.
We also recognise that the challenge of decarbonising the global economy must have equity considerations at its core. Citizens in global north countries must be empowered to reduce their lifestyle greenhouse gas emissions, in order to assist developing countries in providing their citizens with a higher standard of living within finite global carbon budgets. The current default is to assume flights are essential to the Western publishing industry’s functioning, which we believe is a rather entitled approach to take.
In order to take the next steps with our industry, we are starting to work more in the following areas:
- The role of the digital, especially a) to cut the carbon footprint and b) to make artists’ work, talks and performances widely accessible (including outside major urban centres). We had started on this route before 2020’s lockdowns, and we welcome the massive progress in virtual events that has occurred in 2020. It will be important to keep virtual attendance at festivals and conferences an option in future.
- Thinking about slow travel / slow movement as a philosophical consideration, and a way of thinking about the positives of not flying.
- Equitable exchange (global north and global south – urban/rural) – what are the opportunities for those at the edges and how does it intersect with carbon reduction? Do we need different default travel allowances for authors from the global south?
- We want to discuss more about mobility and the possibility of no-fly or nearly-no-fly being a default in future in the arts and the publishing industry, and to discuss in our team and with our authors and audiences.
We at And Other Stories are delighted that a joint project around sustainable mobility, which we are undertaking with Newcastle’s arts organisation D6 Culture and their Gateshead neighbours BALTIC Centre for Contemporary Art, was one of ten projects chosen for 2020-2021 to receive expert mentoring from the arts and environment organisation Julie’s Bicycle, as well as other industry leaders, and to undertake a residential training programme adapted from Julie’s Bicycle’s Creative Climate Leadership course. Julie’s Bicycle receive Arts Council England funding to enable them to run the project.
Other Areas We’re Working On in the Industry
As an active part of the Publishers Association’s Sustainability Taskforce, our publisher Stefan Tobler is discussing various issues and looking to make sure not only that our own books are sourced in increasingly environmental, low-carbon ways, and to ensure the production is also respectful of human and animal rights, but also advocating for wider industry sharing of important research findings currently only available to large companies.
Equal Opportunities Policy
Inequality and discrimination exist against people due to age, disability, gender reassignment, marriage and civil partnership status, ethnicity (race), religion or belief, gender (sex), and sexual orientation. These are the protected characteristics in the Equality Act 2010. We also recognise inequality and discrimination exists based on a person’s socio-economic and geographic background. And Other Stories commits to make sure it is open and accessible; that there is equality of employment; to prevent harassment, and make sure everyone is treated equally and with respect; and to ensure any complaints we receive about discrimination or harassment are taken seriously.
We are also a charter member of Equality in Publishing (EQUIP) and have an Equality Action Plan which we discuss and revise regularly. Its actions include our current commitment to a diverse workforce, to diverse artistic work and to gender equality.
The main ongoing actions are to run publishing career days in the North of England and our commitment to recruit one new person from a background less well-represented in publishing for a one-year publishing assistant role as their first publishing job.
We work hard to make sure that books by authors from all backgrounds are considered for publication, and indeed are published, by our press.
Year of Publishing Women 2018 & Gender Parity Pledge
Kamila Shamsie gave a talk that lit a fuse by talking about the fact that books by and about women are still significantly less likely to win literary prizes or to receive as much recognition as their male counterparts. She therefore challenged publishers to have a Year of Publishing Women in 2018. We were the only publisher who took up the challenge.
So far as literary fiction is concerned, we have no doubt that she is right and that the industry is biased towards male writers. We don’t have all the answers, but we were happy to raise awareness, widen the debate, and make an impact in the area of translations (where the statistics are far more skewed towards men, due in part to greater gender inequalities in many other areas of the world).
Going forward beyond 2018, we commit to gender parity on our list, and will continue to look at our submissions and acquisitions processes and consider whether there’s any inherent gender bias in the way we choose books. Our work with contributing editors (starting with the women authors Briallen Hopper and Preti Taneja) is one way we hope to widen our discussions in our acquisitions meetings. For our own Northern Book Prize, which we ran 2018-2020, we never had more men on the judging panel than women. Because we are one of the major publishers of literary fiction in translation, by focusing on gender parity, we will be encouraging a real change in the industry in this area, and hopefully more widely.
We see the actions we commit to as a continuation of our ongoing project to open up publishing, which started with our brainstorming events before we launched (about what kind of a publisher people wanted), our subscriber supporter base and our reading groups for discussing foreign language books we could publish.