Verbivoracious Press Syllabus

An inexhaustive list of works, with painful omissions and shameless editor preferences, demonstrating feats of immense skill with language, form, or structure (feats one might label innovative or original), or whose chutzpah pleased the editors greatly, arranged in no particular order and with no significance to the entries rendered in bold type, to give the reader a greater sense of the Verbivoracious Press aesthetic (ahead of the official statement), and presented below in tornado form:

Jonathan Swift—A Modest Proposal Lawrence Durrell—The Avignon Quintet Russell Hoban—Kleinzeit Muriel Spark—The Comforters Raymond Federman—Double or Nothing Gabriel Josipovici—The Echo Chamber & Only Joking Charles Newman—In Partial Disgrace Nicholas Mosley—Impossible Object David Markson—The Last Novel Ishmael Reed—The Freelance Pallbearers Sławomir Mrożek—The Elephant Stanley Elkin—The Magic Kingdom Christine Brooke-Rose—Between, Thru, Amalgamemnon & Verbivore Alexander Theroux—Darconville’s Cat J.M.G. Le Clézio—Terra Amata Alasdair Gray—Poor Things Gilbert Sorrentino—Pack of Lies Trilogy Ignácio de Loyola Brandão—Anonymous Celebrity Lydia Davis—Varieties of Disturbance Rikki Ducornet—The Elements Quartet Ferdinand Del Paso—Palinuro of Mexico Adam Thirlwell—Miss Herbert Laurence Sterne—Tristram Shandy Anthony Burgess—A Clockwork Orange Don Delillo—White Noise Percival Everett—Glyph Roald Dahl—The Twits David Foster Wallace—Brief Interviews with Hideous Men Xialuo Guo—UFO in Her Eyes Meredith Brosnan—Mr. Dynamite Felipe Alfau—Chromos Robert Alan Jamieson—A Day at the Office Nicola Barker—Darkmans Gore Vidal—Duluth Nicholson Baker—U & I Michel Butor—Mobile Georges Perec—A Void Ali Smith—Hotel World Jacques Roubaud—The Hortense Trilogy Dubravka Ugrešić— Thank You For Not Reading Raymond Queneau—Exercises in Style Tatyana Tolstaya—The Slynx B.S. Johnson—The Omnibus Italo Calvino—If on a Winter’s Night a Traveller Donald Barthelme—Sixty Stories Curtis White—Requiem Camilo José Cela—Christ Versus Arizona J.G. Ballard—The Atrocity Exhibition Will Self—Walking to Hollywood Flann O’Brien—The Complete Novels Gilbert Adair—The Death of the Author Lucy Ellmann—Dot in the Universe Paolo Sorrentino—Everybody’s Right Umberto Eco—On Literature Walter M. Miller—A Canticle For Leibowitz Milorad Pavic—Dictionary of the Khazars Steven Moore—The Novel: An Alternative History Vols I & II

Our third festschrift, The Syllabus, contains 100 essays on most of these texts, available here.

Official Verbivoracious Press Statement of Aesthetics

Our aesthetic is, to save time and deflate arrogance, the unconventional and experimental. Our press has three raisons d’être. Grape ά republishes out of print titles ignored by other non-profit publishing houses with more funding and interns than ours (we have zero of both, but it doesn’t deter us), primarily by non-conformist writers, although if we bag the rights to a conventional author whose work we adore, we’re not planning to sit on our hands (although we sit elsewhere). Sultana β fêtes one fabulous and unsung innovator or mischief-maker on a triannual basis by soliciting donated submissions from writers, critics, readers, poets, hobos, and librarians, to create a series of festschrifts where egos, agendas, and carping opinions are eschewed in favour of a celebration of deserving literature, away from the sniping eye of Critical Consensus. Currant γ assists authors of the daring to find a platform for publishing. Our compensation model is somewhat similar to the (un)popular DIY aesthetic emerging among other publishers of unconventional fictioneers (i.e that those undertaking the avant-garde in such a diabolical era for literature deserve no payment at best and a horse-whipping at worst—not because we subscribe to such a worthy notion, but because literature and lucre make forlorn bedfellows).  We offer authors our full editorial backing (at which sneering suggests a lack of sensibility), the actuality of a designed cover on a physical and a digital book (we believe in saving trees), the opportunity to add an absolute-value commission set by the individual author to the unit production cost of her/his print-on-demand book, a minimal royalty for ebooks based on number of Verbivoracious Press subscribers, and no advance.  Due to extreme and deeply religious differences in the editors’ respective definitions of “unconventional,” the selection process will be torturous, and thorough scrutiny of our Submissions page is a prerequisite to ensure your manuscript arrives and impacts on us (in preference to the spam box).