Blog
I meant to write this note on August 12th – the anniversary of Stalin’s murder of a number of literary figures including the poets Leyb Kvitko, Peretz Markish, David Hofshteyn and Itzik Fefer, the novelist David Bergelson and others. The event – in 1952 – became known by the title of this blog entry.
I’ve been working with Joseph Sherman on a book of Soviet Yiddish writers in translation – mostly fiction rather than poetry – which will come out next February. The book will feature work from 1917, when Yiddish writing flourished with state encouragement after the Russian revolution, until 1947 when Stalin closed the remaining outlets for Jewish cultural expression, and arrested most of those around the Jewish Anti-Fascist Committee.
Other writers and artists had already been arrested and shot, or in the case of the theatre director Solomon Mikhoels, had been killed in a staged car accident.
I’ve spoken to old Jewish communists who said it was 12th August 1952 that caused them to break from “the Party”, not the usual “Hungary in 1956” rupture. Although at the time most of these writers were known and read internationally in Yiddish little has appeared in English.
Poetry is of course still a dangerous game, but few events in literature have been so catastrophic, and so forgotten.
comments (0)
London Magazine
When Inpress member The London Magazine lost its (pretty substantial) annual grant from the Arts Council, and its editor, few people expected it to survive. But over the summer its young acting editor and a team of other young people started visiting Festivals.
It used to be policemen that got younger, now it's magazine editors. They came to our Lowdham Festival to read extracts from the magazine's glorious past. Maybe it was that invitation that prompted them to plan their Xmas issue as a celebration of that past. Whatever, here's (an edited) note from the TLM team:
The London Magazine Seeks Contributions for Christmas Issue
Reply to: admin@thelondonmagazine.net
Deadline: November 1st (outlines); December 1st (finished pieces)
We are planning to have a Christmas issue in which we celebrate the history of The London Magazine. I would like to invite writers to submit ideas for articles relating to the great literary figures published in TLM, as well as ideas relating to the development of early literary publications and their impact on the careers of people like Hazlitt and Boswell. There is a wealth of material in an online archive available from Michigan University of our back issues from the very first issue in 1732 (http://onlinebooks.library.upenn.edu/webbin/serial?id=londonmag), through to the 1800's.
We also have an extensive archive of material from its relaunch in the 1950's under John Lehmann and Alan Ross, which I can have scanned and sent to those who would like to work from the material.
I have a few suggestions for articles:
-De Quincy’s 'Opium Eaters', (first published in The London Magazine) and its relevance to today's drug culture.
-Many of the great romantic poets were published under John Scott's editorship in the 19th century. I would be interested in articles on the development of the Romantic Movement focussing on the work of poets such as Wordsworth and Keats that were published in early issues of The London Magazine. For online copies of the relevant issues go to:http://onlinebooks.library.upenn.edu/webbin/serial?id=londonmag
-There is a great deal of Ted Hughes' and Sylvia Plath's early work published in the 50's and 60's. It is poignant to read the biographies in the back: "Sylvia Plath... is the wife of Ted Hughes". We could make available a list of the poems published by each of these poets, and I would welcome articles or memoir pieces discussing their early work and careers.
-Art: From 1700 to the present: What were the major trends? How did magazine presentation and artwork develop? Or art from the 1950's to now (as discussed in TLM--I can make a list available of the artists discussed plus scanned articles).
- The development of early literary and arts magazines, (and the rivalry between them as exhibited by The Gentleman’s Magazine towards The London Magazine) and their impact on the work of great literary figures (particularly Hazlitt, Boswell, De Quincey)
-The development of the 'Columnist' (Boswell wrote a series of columns as 'the Hypochondriak', it would be interesting to do something on Boswell's columns specifically or development of the ‘column’ in general).
-A look at the life and work of John Lehmann and/or Alan Ross, and or a look at the work of all the editors from John Scott (who was killed in a duel) to Sebastian Barker, my predecessor.
Please send all ideas to admin@thelondonmagazine.net. The deadline for completed copy is December 1, but I would like to have all outlines by November 1, 2008.
The London Magazine was founded in 1732, and published for 53 years as a counterbalance to The Gentleman’s Magazine. It was re-launched in 1820 under John Scott’s editorship. He championed the work of Wordsworth, Lamb, De Quincey, Clare, Hood, Carlyle, and the ‘Cockney School’ of John Keats, Leigh Hunt, and William Hazlitt. Welcoming The London Magazine under John Lehmann’s editorship, T.S. Eliot saw it not as ‘a vehicle of expression for critics occupying university posts’, but as ‘the magazine which will boldly assume the existence of a public interested in serious literature’. No other review of literature and the arts claims such a history. From the 1700's until the present day, both Nobel Prize winners and unpublished artists, writers and poets have graced the pages of The London Magazine. We will continue to showcase the best and brightest writers, artists and commentators, and we have had many of today’s best writers in recent issues, including Nicholas Royle, Penelope Shuttle, Anne Stewart, Tim Turnbull, Trevor Hoyle, Annie Freud, Roddy Lumsden, Graham Buchan, Leah Fritz, John Hartley Williams, Todd Swift, Martyn Crucefix, Tim Cumming, Andy Brown and Neil Curry. Consistently on the pulse of what is happening in the literary scene,and a meeting place of the day’s greatest minds, The London Magazine abides. Best regards, Sara-Mae Tuson
Acting Editor, The London Magazine, Tel: 02084005882 www.thelondonmagazine.net
comments (0)
Mahmoud Darwish
An estimated 10,000 people attended the funeral of the Palestinian poet Mahmoud Darwish. Given the difficulty in travelling around occupied Palestine this number is even more dramatic. Tributes, obituaries and news stories have covered the life and work of Darwish, as an activist and a poet. It is hard to imagine many poets' names being known by 10,000 people here let alone attending a funeral. But Darwish always got a crowd, whether that be in Cairo or Haifa. His most recent collection in Britain, The Butterfly's Burden, was published by our friends at Bloodaxe, but his work regularly appeared in the journal of Inpress member Banipal. Their website www.banipal.co.uk includes tributes to him and selections from his poetry that have been published in the journal together with links to other sources of Darwish material. The Banipal editors are planning a special memorial edition of the journal, which will be featured on the Inpress website when it comes out.
Darwish also wrote for another member press, Modern Poetry in Translation and their special issue on Palestine is well worth purchasing to read a range of Palestinian poets. You can find it through www.mptmagazine.com. Copies are of course available via Inpress.
comments (0)
"The country of my heart"
Eastwood in Nottinghamshire is the home of the DH Lawrence industry. There is his birthplace museum, a terraced house done out for visitors; the DH Lawrence Heritage Centre, Durban House; and the DH Lawrence Festival, of which more anon.
DHL based several of his novels around Eastwood - including Sons and Lovers, The Rainbow, Lady Chatterley - and is still a controversial figure. A few times over the years I've heard people from around Eastwood refer to him as "dirty Lawrence". Once I heard an ex-pitman rant about Lawrence because not only was his mother a teacher but his father was an "overman" - a foreman, and all "you outsiders" think that he represented the working class, and it was his father's job that set the family apart, not his mother's. But of course Lawrence does have his local fans, including the late Leslie Williamson, author of the novel Jobey which was set during the miners' strike of 1926.
Controversial or no, Eastwood businesses do what they can to capitalise on their best known son. I particularly admire the "Lawrence Snackery". Images of Lawrence's phoenix symbol abound, and there's an historic trail. The rows of cottages on Princes Road are reckoned to represent a decent view of what housing was like in his day.
Eastwood needs Lawrence by the look of things - the main street includes a variety of tattoo parlours, undertakers and charity shops as well as the usual suspects. You need never worry about cooking though, with ten takeaways to choose from on the main drag in the evening, and others only open daytime. At one time thousands of people would have worked in the local pits and such jobs are hard to replace. As Les Williamson once said, coal runs through the veins of Eastwood people.
The fifth DH Lawrence Festival has just started - see www.broxtowe.gov.uk/dhlheritage. I admire the organisation that can make a festival based on one man afresh every year. There are literary events (I have a hand in a couple of the smaller events) and walks in "Lawrence country". The latter are recommended, especially if they take in Minton's Tearooms at Greasley. There's also a good new exhibition on Lawrence and mining at Durban House, once the place that "young Bert" (as Lawrence was called) unhappily queued up for his father's wages.
Outside of the Lawrence centres the local library looks good after a major makeover, but the only place you can buy a book is a charity bookshop run by the local hospice.
At the Festival opening Sean Matthews from the Nottingham University DH Lawrence Research Centre asked how many of the audience of 70 were brought up in Eastwood; four only put their hands up. I could not help but feel that the town could do with another round of "Pagans" - the Eastwood circle of friends that included Lawrence, Jesse Chambers, Willy Hopkins and others to stir things up a bit in modern times.
comments (0)
What I did on my holidays # 2
Rugby and woollens is what comes to mind when you think of Hawick, if indeed you think of it at all. Give or take the odd Walter Scott, the Scottish Borders are not awash with well known writers, living or dead. And, frankly, anyone who wades through Walter Scott deserves a medal. I can't remember Hawick having a new bookshop for the last 30 or so years, save for a dull WH Smith and a dull Menzies before it. There is a longstanding second hand bookshop called Waterspade but I have never, ever found it to be open. This last week the visible books in the tiny shop window are different to the ones a few months ago, but there is no other sign of life. No opening hours are given; there is no website. Could it be a front for money laundering? Is the owner called Marie Celeste?
But there is somewhere to go: a wee cafe called the Damascus Drum, www.damascusdrum.co.uk, run by Chris Ryan. I'd never gone in the back of the cafe before, imagining the second hand books were for decoration only. Big mistake - the selection is rare. I felt my whole reading life passing in front of me looking at the shelves, which are especially packed with travel writing of the Bruce Chatwin era. I spent a couple of pounds on an old Penguin S Y Agnon book I'd not seen before and fought off buying the a book by the New Zealand writer Elizabeth Knox. And this is clearly where Hawick literati meet... the next night the local writing group was launching its latest anthology, there were some other small press mags around. Just as I was leaving I was cheered to find a bunch of teachers discussing the Hawick teenage book award. The Drum is on Silver Street - the same street that a couple of gay men were ran out of town from some thirty something years back. That it is the same street feels appropriate somehow, the old Scotland and the new.
I was cheered also to see the library looking good (I'd worked there in 1972). And there is one other small gem - the Turkish interest coffee table mag Cornucopia (www.cornucopia.net) is based in the town. It's a bit glossy for me, but from Hawick? Almost enough to make me move back. Well, almost.
comments (0)
What I did on my holidays
Berwick is famous for being a Scottish town in England, and whose football team "the wee 'gers" play in the Scottish League. It should also be famous for its main shopping street - Maryport - which is probably the most dangerous road crossing known to pedestrians. Berwick is a slightly faded seaside resort, some of whose restaurants are grossly overpriced and some of whose restaurants remain in a rather splendid 1950s timewarp. I like it. There is one street - Bridge Street - which includes a "green" shop, called The Green Shop, a music shop called The Music Shop and an excellent bookshop called The Bridge Street Bookshop. Very literal in that part of the world. Unfortunately the Anytown high street chains (on that dangerous Maryport) have taken away most of the footfall, leaving the street stranded away from what is now the main thoroughfare. The painter LS Lowry drew, then painted Bridge Street as it was in the 1930s. Bustling. Some of the shops have the old shopfrontages you can see in the Lowry painting, but the shops he drew that promoted Berwick Cockles are very sad looking. And so Bridge Street Bookshop is off to be Bridge Street Bookshop at the Townhouse, taking over the shop space and the cafe at the old town hall, right at the end of the row of national chains. I wish it well but am rather sad it has had to move. Berwick Cockles are the local sweetie, since you ask. And the Kings Arms Hotel has a statue of Dickens in full flow, addressing the crowds in the Old Assembly Hall where he spoke once or twice on his reading tour. Next: Hawick.
comments (0)
Much better words than mine - Spillage from the Riptides of Desire
Whilst I was in the middle of lamenting yesterday how difficult it is to write fantastic phrases about new titles that would have booksellers tripping over themselves to order copies, (if only...) Vic Peterson in Contemporary Poetry Review must have been thinking along similar lines in respect of jacket copy, see: Spillage from the Riptides of Desire: Poetry Blurbs cprw.com
I've lifted a small quote from his article below. "... a book’s jacket copy blurbs are recommendations—a way to convey the product’s style and promise. A blurb, in this respect, is a kind of mini-book review, and the eminence of the recommending writer lends credence to the praise. A few words of approval are by no means as thoroughgoing as an essay in a literary periodical; but the point is not entirely different, at least if the writer’s loyalty is to the reader. Honest book reviews toe an ethical line, and jacket commendations aspire to a similar integrity of judgment; a good plug turns you on to the right book for the right reasons..."
I suggest you read the whole article - it's very good. All I can say is, thank goodness I don't have to write jacket copy.
comments (0)
Words, words, words - I'm so sick of words
We're preparing a new batch of Advance Information sheets (AIs) for the next batch of titles due for publication between January and March next year. These tell the booksellers well in advance, what our publishers are planning to launch on an unsuspecting public next year.
We try to work on the principle of less-is-more when finalising AIs because it's common knowledge that the Sales Rep. has between 2 and 5 seconds to catch a book buyer's attention and once the page has been turned over, that's it for a title that someone has worked long and hard to produce - at least, on that particular sales call.
Sometimes bullet points or 'pull quotes' work really well. Writing these is just so difficult that we blench at the thought of 40 or so AIs needing to be polished up each quarter. The words simply dry up and I'm full of admiration for people who can write copy.
Was it Fay Weldon who dreamed up the slogan 'go to work on an egg'? Whoever it was, it was masterly. The other one I like (whilst not liking the supermarket itself) is 'You shop we drop'.
Perhaps once we get the next stage of our website built, we should put together a volunteer 'buyers' team amongst the people who buy books from our site regularly. They may be able to help us decide what to say about new titles. Perhaps our books would then all become bestseller! Watch this space for information about our plans for new website modules.
comments (0)
Amazon and Abe Books
Today is one of those bad news days. Amazon strikes again and captures another internet bookseller and thus spread their tentacles through internet bookselling even further.
Hachette Livre are in the midst of a stand-off with Amazon over discounts and as they rank the following amongst their imprints, we should be worried: Headline Publishing Group, Hodder & Stoughton, John Murray, Orion Publishing Group, Octopus Publishing Group, Little, Brown Book Group, Hodder Education Group, and Chambers Harrap.
Is it now time for smaller publishing groups like ours to take a stand? I wonder what difference it would make to Amazon (if any), if all Inpress publishers refused to supply Amazon with any of their titles. Inpress members probably have about 3,000 titles still in print - not all of which are shown on this website - so we'd hardly be a worthwhile opponent if it were pistols at dawn or Gunfights at the O K Corral.
The level of discounts demanded from suppliers and the equally heavy discounting of titles on their site, in my view, devalues totally the effort that the author, designer, editor and publisher have put in to produce the book in the first place. There's nothing worse than agonising for hours over your choice of a book as a present for a loved one and then later discovering that it's been discounted to the point where it's almost worthless. What does that say about my choice of present for someone I care about? I hardly dare to think.
Should all UK publishers band together and refuse to supply Amazon? Self-interest I fear, will be the winner.
comments (0)
Chris Beckett
I noticed that The Turing Test mentioned in a previous posting (27th July) has been reviewed in Saturday's Guardian by Eric Brown.
Brown lauds Beckett's brilliance at depicting artificial intelligence and humanity's relation to it. In the same section, the lead article written by Tim Flannery,author of The Weather Makers reflects on global warming and the possibility of Armageddon if the world's political leaders don't act in concert before it's all too late. There's an astonishing list of related titles provided as well. So much to read and potentially so little time left for some of us to read everything we would wish.
Meanwhile film makers have given us a series of films dramatising the effect of climate change and there's been a substantial increase in the number of fiction titles taking elements of global warming and using them for complicated 'what if' plots.
I for one, hope all the dire warnings about the future of the planet remain in the realm of science fiction, but after reading Tim Flannery's article I suspect that wish lies more in the realm of fantasy. See: guardian.co.uk
comments (0)
Books at the mercy of money
Before anyone notices the potential plagiarism, let me say first that I've lifted part of the above phrase from letters to the editor at the Independent (dated 2nd August). Amanda Craig (critic and novelist) was expressing concern that Accountants are perhaps not the best custodians of art - in this case, books, when luck plays such a large part in who buys them. She laments the fact that getting enough sales (enough to earn out any advance that the publisher may have paid to the author) is a "savagely Darwinian process" in which the survivors aren't always the best books but the books that the publishers with the biggest marketing budgets have paid the retailers to display.
It's a sad reflection on publishing when bestsellers are made rather than born. After many years in the 'trade' I'm still horrified by the amounts that publishers must pay if they want their books to be displayed in any prominent form in major bookshops. In my ideal world bestsellers come about when people buy the book because someone has discovered it to be a fascinating or wonderful read and tells everyone else about it or asks 'have you read this book?' and one author and one publisher is made deleriously happy because the intelligent reading public has discovered another gem for themselves. Sadly, flying pigs are thin on the ground in my neck of the woods.
comments (0)
Welsh envy
I'm suffering from Welsh envy. That does not mean I'm desperate to sing Cwm Rhondda at Cardiff Arms Park; I'd rather watch someone knitting than watch rugby. I'm talking books here. I've just been on Inpress member Parthian's website Parthian Books and trawled through the pile of agencies, festivals, international projects devoted to Welsh literature, the range of national magazines including Planet - which is always worth a read, by the way.
There is also the Library of Wales, a reprint series - published by Parthian - dedicated to bringing back to print books by Raymond Williams, Alun Lewis, Lewis Jones, Dannie Abse and the like. Of course Parthian advertises a launch event for the latest batch in Canada where there are people studying and promoting Welsh books. And I've not even got onto Welsh language books, these are all books in English. Parthian are lucky to have a nation's literature to draw on, or at least the English writing part of it, and a visible target audience. Somehow I can't really imagine a "Library of the East Midlands" having resonance. We've got the writers, start with John Clare and work your way north. But no East Midlands culture or identity.
Parthian also has some great modern writers, including Rachel Trezise, whose name I always have to look up twice to spell correctly. She writes of the seamy side of life in the run down valleys. Rachel also wrote the book with my current fave title, Dial M for Merthyr and I'm pretty sure I heard something by her on Radio 4 the other day. The Parthian site is probably a good place to start if you want to explore Welsh lit - though do skip over the picture of members of their staff disco dancing.
No doubt Parthian will say, ah yes, but nobody in England takes Welsh literature seriously, we have to fight for shelf space with the international best sellers in the chains even in Cardiff, and what about the north/south divide in our country? And what about English culture imperialism?
All I can say is I'll swap you Nottingham any time.
comments (0)
Being commercial
In the last post I talked about the Arts Council wanting Inpress to be more commercial. Apologies to any readers who find this discussion a bit arcane/internal. I've said I agree with this commercial approach. But what does commercial mean in small press terms? This has caused some debate within our ranks. On the one side are the poetry presses, shuddering at the thought of being squeezed out in favour of the younger, thrusting fiction editors who are more commercial than they have the right to be. On the other side sit the literary and non-fiction editors who sigh when they see a first poetry collection by an unknown writer and are convinced that Inpress sales agents trying to flog all our books will put off the bookshop buyers forever by offering them - OH MY GOD - poetry. The truth of course is somewhere in the middle. Inpress is now a bit stricter about turfing out member presses that become inactive and clog up our arteries, and a bit more ambitious about taking in presses that might have an impact on shops. We have just agreed to take on the excellent Welsh literary press Alcemi, not that long ago took in the specialist jazz press Northway and my own press, Five Leaves, is pretty commercial in places. On the other hand, we've scooped up three prominent poetry presses in the last year - Smokestack, Bluechrome (which also publishes fiction) and Hearing Eye. So we haven't exactly given up on those slim volumes.
What we are, however, is determined that poetry books look as good as possible, are presented well to the shops and are given the best chance possible in what is the most difficult market. Anybody who looks at a poetry section in a big bookshop will realise what we are up against. And poetry books will always sell best at Festivals and readings. We would like them to achieve more space in shops. But - authors please note - we cannot achieve the impossible.
Meanwhile we are building the Inpress group. A couple of excellent poetry magazines are likely to be added soon, and we are in discussion with some other fiction presses.
We have to have a balance - presses that can sell into shops, and help get us profile with the shop buyers - but also ensure that our specialist concerns do not slip down behind the sofa. Some poetry DOES sell well in shops, even if it is a minority of our material - and there is no guarantee on the other stuff. But unless our list is commercial enough we won't be seen by bookshop buyers at all.
Meantime our website sales are coming along nicely. If you can't find what you want in your local shop order it, or, better for our publishers - order it from our website.
comments (0)
ACES high
So far on this blog I've kept away from the politics of arts funding. Maybe I've felt there are enough people commenting. On the other hand most of the public debate is led by theatres and perhaps the literature world should be more vocal. I'm referring of course to the big cuts the Arts Council made at the end of last year in their list of clients, the ensuing storm and the very recent McIntosh report on the debacle. As an exercise in news management what happened last year was a corker. There was virtually nothing in the press about the new organisations the Arts Council funded, or those organisations who'd been given more money. Inpress was one of the latter. The news was all about the bad news - and some of it was very bad indeed for particular organisations.
Some individual members of Inpress did well out of the settlement, some did badly. Some did badly, appealled and had their grants re-instated. So it is difficult for us as an organisation. We are compromised. Our website development is funded by the increase in Arts Council funding. Indeed the keyboard I am typing on (at Five Leaves) was paid for by the Arts Council some years ago. Actually that is not true, the keyboard was a birthday present from my mother as she thought the previous keyboard "looked old fashioned" (in her 80s she took up computing big time), but the rest of the computing equipment was paid for by the Arts Council. Perhaps too - unlike theatres where everyone knows you need a subsidy - it is difficult for us to talk publicly about publishers getting public funding. Why those publishers? Why not Random House for their translations or less commercial writing? Why not shops which are willing to stock literary works?
The McIntosh report advocates much better communications between arts organisations and the Arts Council, greater use of peer reviews and better co-ordination between the regions and the national office. Can't argue with that.
Meantime the Arts Council has asked Inpress to be a bit more commercial, within the context of continuing to support small literary and arts presses. I agree with that. Next post I'll talk about what this means.
comments (0)
and yet another door closes
On the 27th of last month I wrote a whinging post on this blog, complaining that the Guardian had abolished its "small press corner" in the redesign of its Review section on Saturdays. I meant at the time to write in to the Guaridan to complain too, but have just noticed that the paper also abolished the letters page in the Review section at the same time. Admittedly some of the letters were keen to point out that Thomas Hardy usually ate his porridge at 8.15 every morning not 8.25 as mentioned in passing in some book review (or whatever) but it was an opportunity for readers. The Guardian is the most open of papers - check "Comment is Free" so why this closure?
ps The Guardian also abolished the Publishing News section. I keep remembering things that are no longer there.
comments (0)
Another good man down
I was sorry to hear yesterday that Harold Rosen has died. Harold was mostly known in the education world, and was an Emeritus Professor at the Institute of Education. His early books were about language and class and language and dialect among London schoolchildren, his later books about autobiography and memory. Five Leaves published a very different kind of book of his in 1999, Are You Still Circumcised?, a collection of Harold's autobiographical stories from his childhood in the Jewish East End. His was the first generation of English born Jewish children from poor immigrant families and his book gives a wonderful flavour of those days. The book was reprinted within a year but is now unavailable. It brought Harold a steady stream of letters from all over the world, people he'd been to school with, scuffled on street corners with. I'd promised his wife Betty that if Harold reached another big birthday and managed another story we'd do a new edition. Not to be. Harold met his first wife Connie in the Young Communist League, something often mentioned when profiling their son Michael Rosen. Harold's second wife, Betty Rosen, wrote an important book on storytelling. And Harold loved storytelling. We also published a later collection of his poems - Choose Your Frog. Poems? Stories really, many again returning to his long lost Jewish East End. There will be a memorial meeting in the future.
comments (0)
Time to cross that road
In an earlier post my colleague Stephanie Moncrieff remarked that she would not cross the road to buy the Morning Star, while respecting that the Star was doing a good job flying the (red) flag for poetry. Fair enough. But on Monday the Morning Star's editorial office was burnt out - no relation to the previous post on book burning, and Stephanie is not an arson suspect as the fire was caused by a good old-fashioned electrical fault. With the usual cheery/grim determination little publishers have the Star did not miss an issue even though the subs office was relocated to someone's front room and the editors office was squatting somewhere else. This perhaps led to the excellent combination on the front page of unrelated headings under the masthead announcing the office being gutted and inviting people to look inside for "some rare good news". The paper is a bit thinner for the moment - running without phones and files must be hard. The office contents are of course insured, but everybody knows that something like that costs a lot more than the price of replacement equipment. The way to help is to buy the Star for a week. It may be a bit thinner than normal, but that's fine. You don't have to read it. Just a little bit of publisher solidarity. 60p a day.
comments (1)