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Alan May

 

(Editor, Apocryphaltext)

 

 

Alan Mayís poems have appeared or are forthcoming in The New Orleans Review, Double Room, Willow Springs, E-ratio, Kulture Vulture and others. He holds an MFA in creative writing from the University of Alabama. His book Notes toward an Apocryphal Text, a collaboration with the artist Tom Wegrzynowski, was published in 2006 by Port Silver Press.  

 

 

 

 

Q: How has publishing changed with the advent of short-run printing and print-on-demand possibilities? Does this negate any need to sell a specific number of a title? Is this a freedom from traditional print expectations/values?

 

A: First of all, I think itís very hard to take a snapshot of 21st century poetry. We canít pin it down (to pin it down, we would have to kill it or it has to be dead already), so we have to try to catch glimpses of it as it flies around the room. That being said, here are my faulty assertions. 

 

To my knowledge, the publishing of poetry (in the U.S.A., at least) hasnít been changed very much by short-run and print-on-demand technologies. Some tiny presses that use print-on-demand are cropping up and some poets, myself included, are using this technology to self-publish.

 

Print-on-demand and short-run printing definitely negates the need to sell a specific number of books. I published my first book for free. I used a print-on-demand publisherís software to design the book, I bought a copy, and then it was available to the public. (Will this give my work greater exposure? Probably not. So far, nobodyís buying the book. Iím not complaining, though, Iím just glad itís out there.)   


Q: Why does poetry continue to create schools and movements who feud?

 

A: Schools and movements help to bolster the poetís nearly untenable place in society. Thereís nothing wrong there; we all need help and encouragement.

 

I believe the feuds often start when poets and critics are afraid of being shown up. Weíre all fighting for readership.

 

Some argue that ďbadĒ poetry hurts the public and gives them the wrong idea about the world of poetry. ďBadĒ poetry harms ďgoodĒ poetry. Itís funny, but people donít often make this argument about films, novels, music, art, etc.

 

And letís face it, if thereís one gang thatís making any kind of progress, there will be another gang that forms to challenge said gang. We could all be loners, but then chances are that we would either starve, or be eaten by wolves, or maybe both. (Currently, by the way, Iím being eaten by wolves. Seriously. Ouch).

 

Q: With POD possibilities, including various organizations that will take on anything without a set-up fee and simply send royalties to the author, do poetry publishers need arts council subsidies any more?

 

A: When I was much younger and more resolved to fight the good fight, I would have said, ďNo. Publishers donít need funding. Let them publish poetry that sells or let them die trying. There are better things for governments and people to spend their money on.Ē Now I am older and I am tired. I wouldnít mind getting some subsidies, myself. Seriously, there are plenty of great poets out there, and so few people who are willing to buy books of poetry, and I wish I could help those poets leave something of themselves behind. I truly believe that the world needs artists who do not placate, artists who provide no moral sermon. Most popular writers do one or the other.

 

If small press poetry publishers aren't subsidized, then small presses (even if they are using print-on-demand) won't be able to afford to send their books to reviewers and libraries. And if none of these p.o.d. and short-run books gain attention or, at the very least, survive, then we've lost poets who could make some difference. And in the case of poets who self-publish, the work involved in designing and promoting books can be a serious distraction from writing, especially if said poets are already working 40 hours a week to pay the bills.

 

Q: If poetry presses are concerned with cultivating a wider readership, could this not be done more effectively via the Internet (where there are thousands of potential readers) rather than worrying about sales of printed poetry?

 

A: Yes, I believe the Internet can and does cultivate a wider readership. Do I believe that all people have access to the Internet? No. Also, I fear that corporations and our good governments (gangs, all) will exercise more and more control over what we publish. And whoís to say that we will always have the Internet? (People from about 20 different countries have visited Apocryphaltext; considering current events, I guess we wonít be getting any readers from Iran). I would prefer a world where print and electronic publications exist side by side. If not, the human record is very easily wiped out, and writers, both the living and the dead, are easily silenced.  

 

 

 

 

copyright © Alan May