The IPG at 60 and Carcanet Press

As the IPG celebrates its 60th anniversary, we’ve invited some longstanding IPG members to reflect on their achievements, change and our role in their stories. Here are the thoughts of Michael Schmidt of Carcanet Press.

1. What achievements in publishing are you most proud of?

Survival and evolution for more than 50 years are a kind of achievement, thanks to the Arts Council, a dedicated proprietor, hard-working colleagues and wonderful writers, new and old. We have left a kind of bibliographical fingerprint on half a century’s poetry—and fiction, where we also shone for a few decades, in English and translation.

The New Poetries anthologies, which started in 1994 and appear every three or four years, are among my favourite projects. They alert readers to new writers, both British and foreign Anglophone, including Sophie Hannah, Sinead Morrissey, Nicole Kraus, Stephen (now Stephanie) Burt, Caroline Bird, Kei Miller, William Letford, Tara Bergin, Vahni Capildeo, John Clegg, Andre Naffis-Sahely, Mary-Jean Chan, Ned Denny, Jason Allen-Paisant, Parwana Fayyaz, Victoria Kennefick, Padraig Regan and Colm Toibin.

2. What do you think are the main ways independent publishing has changed since you first became involved in the sector?

There are more independent publishers now than there were in 1970. There is much more competition for writers, and since some poets have managed to break through and become major sellers, the large commercial houses are risking poetry more often. Review space for poetry has not grown, and prize culture plays a much larger part than it did. Big prizes can be transformative, not only for the author but for the publisher. Our first break was Elizabeth Jennings winning the WH Smith Award in 1987, after which WHS purchased 40,000 copies of her Collected Poems. It retailed at £6.95…

3. And what elements have stayed the same over that time?

Publishing remains collegiate, and we have a number of ‘big brothers’ in the trade to whom we can turn for counsel and even for help.

4. How do you think the IPG has evolved since you first joined?

Since it started the IPG has brought independents together and looked after their interests, giving us collectively a greater presence, remembering who we are and what we do. It’s a huge contribution to our culture. I always think that IPG makes us into a family. It opens doors.

5. Where do you see independent publishing heading in the next five years?

Independent publishing will continue to take creative risks, finding new writers, developing new sectors. I hope the independent booksellers, whom we support, will find the means and time to support us back.

Visit the Carcanet Press website