"a mix of online, performance and print…"

Hogarth Press edition of The Waste Land
(from: Wake Forest University)

"...The stark truth is that poetry publishing is not going to be particularly commercially viable, given that the total value of UK poetry sales has gone from £8.4m in 2009 to £6.7m last year. Mind you, Salt [Publishing] seems to have been particularly severely affected if you compare its fall of 25% last year to the overall 15.9% drop. In one sense, it could be argued that Salt's decision is good news for Faber, Bloodaxe, Carcanet, Shearsman and all those Saboteur shortlisted indies, since it means that there are fewer big fish swimming round a shrinking pool.

     However, it would be a serious error to equate the demise of a single publisher with the overall state of health of poetry. Even Salt director Chris Hamilton-Emery has noted the 'massive increase in the number of poetry publications coming out,' and he's right.
     Jim Bennet's extremely useful Poetry Kit website lists more than 400 UK poetry publishers, and while the list is broad (it includes Faber) and perhaps a bit out of date (it also includes Salt) it shows the range of publishers around. As for the US, a quick look at the SPD [Small Press Distribution] site indicates that the situation there isn't much different."
— The Guardian
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"The Hogarth Press was founded by the Woolfs in 1917. In the early years it was a hand press in the dining room at Hogarth House in Richmond, England, on which Leonard and Virginia hand set and printed their own works and those of their friends and associates.
     Between 1917 and 1946, the Hogarth Press published 525 titles (34 hand-printed by the Woolfs), including works by T.S. Eliot, E.M. Forster, Katherine Mansfield, Robert Graves, H.G. Wells, and many others. Leonard Woolf later wrote that 'The publication of T.S. Eliot’s Poems must be marked as a red letter day for the Press and for us.'"
— Megan Mulder, Z. Smith Reynolds Library Blog
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From: Longbarrow Press

''Edgelands [by Matthew Clegg] is a sequence of poems adapted from the classical Japanese tanka form. On one level the sequence is about a man dealing with a painful separation by taking a series of walks into his locale – the edge of north Sheffield. On another, it is a work of what is now being called ‘psychogeography.’ How do our built environments express elements of our consciousness or unconsciousness?"
— Longbarrow Press
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Nobel Prize Winner, 1961 - Ivo Andrić

"J. R. R. Tolkien may have won over millions of devoted fans across the globe with The Lord of the Rings, but to a small committee in Sweden known as the Nobel prize jury, his epic tale of Middle Earth just wasn't up to scratch.
     Newly declassified documents showing the inner workings of the world's most prestigious literary prize have revealed that, 50 years ago, Tolkien was rejected because The Lord Of The Rings had 'not in any way measured up to storytelling of the highest quality'.
     Nominated by his friend C S Lewis - author of The Chronicles Of Narnia - in 1961, Tolkien was swiftly dismissed by the committee along with other lauded figures such as Graham Greene and EM Forster as they awarded that year's prize to Yugoslavian writer Ivo Andrić instead."
— Huffington Post
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"At the beginning of the book [The Bridge on the Drina] Andrić focuses on a small Serbian boy taken from his mother as part of the levy of Christian subjects of the Sultan (devshirme). Andrić describes how the mothers of these children follow their sons wailing, until they reach a river where the children are taken across by ferry and the mothers can no longer follow. That child becomes a Muslim and, taking a Turkish name (Mehmed, later Mehmed pasha Sokolović), is promoted quickly and around the age of 60 becomes Grand Vizier. Yet, that moment of separation still haunts him and he decides to order the building of a bridge at a point on the river where he was parted from his mother."
— Wikipedia
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