Avant Objects from the Small Press

There is a sensuous quality to physical objects that you don’t get digitally, just the pleasure of picking something up and handling it. zimZalla publications are designed to surprise and delight.

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Stephen Emmerson – A never ending poem read with dice that goes on to explore the possibilities of human intervention within the context & illusion of chance.  ZimZalla

On Saturday 12 November, The Contemporary Small Press will be at Manchester Central Library for our next Reading & Being Read event.  zimZalla’s Tom Jenks will be joining us to discuss the book as an object and the creative possibilities that exist for small presses.  Here’s a little insight into Tom’s work as a publisher and poet.

CSP: Could you explain a little bit more about the kinds of avant objects you publish at zimZalla and where the idea for this unique form of publishing came from?

TJ: zimZalla is informed by an enduring belief in the value of the physical artefact. I’m a little contradictory in this regard, given that I’m currently finishing off a Ph.D. at Edge Hill University focusing on digital poetics. But there is a sensuous quality to physical objects that you don’t get digitally, just the pleasure of picking something up and handling it. zimZalla publications are designed to surprise and delight. Whilst zimZalla may be unusual, however, it isn’t quite unique: see, for example Camilla Nelson’s Singing Apple Press. Nonetheless, zimZalla stands out because of the number and range of objects. People come to zimZalla with ideas that they can’t imagine taking anywhere else.

How much input do you have over the final structure and appearance of an object that you publish, and how much is shaped by the writer/creator?

This varies from object to object. Sometimes, the writer will do it all, as with Mark Greenwood’s Slips, a selection of conceptual betting slips. Mark had the materials and I simply put them together. Sometimes a writer will come with an idea, but one that is fully formed. Andrew Taylor’s The Liverpool Warehousing Co. Ltd. is an example of this. This is a book of poems accompanied by a CD of sound recordings and Andy had that concept at the outset. With others, it’s more fluid. Sue Birchenough’s Takeaway Britain, a cut up poem in a stryrofoam box with some fake chips and a sauce sachet, is the best recent illustration. Sue had the text and the idea that it should go in a box, but the rest of it developed over time. Of the three models, the last is the most common. Most objects reach their final form though experimentation and dialogue.

As a small press, specialising in short runs of object-based poetry, what are the advantages and disadvantages of independence?

zimZalla receives no funding and has no formal affiliations. This means that I can do what I want when I want. I don’t have to run focus groups or develop marketing strategies. zimZalla is a break even enterprise and I don’t expect to make money. Of course, there are frustrations with this sometimes. I can’t afford to spend a lot producing the objects. It would be nice to have better distribution so that the objects reached more people. But having to find ways around not having much money also makes me more creative as a publisher and pushes the press in more interesting directions. I’m happy being small.

How does your location in Manchester influence your work at zimZalla?

Given the range of writers on the press, I’m not sure you can detect a particularly Manchester sensibility to zimZalla. I did rip off Factory’s idea of numbering everything, but they ripped off Warhol in the first place. Nonetheless, the press is definitely a product of its environment. A number of writers have come to zimZalla via The Other Room, the reading series I co-run with James Davies and Scott Thurston in Manchester. The Manchester and wider north-west writing community, and the conversations in and around it, has been and remains very important in developing my ideas and practice as a publisher.

You’re also a poet, published by If P Then Q, in addition to your object-based work with zimZalla: do these experiences inform one another when you come to write a new collection / publish a new work?

For me, writing, performing, organising and publishing are all part of the same thing. They’re all underpinned by the same belief in a particular type of writing, which I’d imperfectly describe as innovative or experimental. They’re all skins of the same big onion.

Thanks Tom!  

Tom Jenks will be discussing and presenting poetry books as objects at Reading & Being Read, Manchester Central Library on Saturday 12 November, 11am-4pm.  Tickets are £3 before 1 November and £5 after.  Click here for more details.

Author: thecontemporarysmallpress

http://www.westminster.ac.uk/about-us/our-people/directory/wilson,-leigh

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