Chicken-of-the-Woods fungus on The Dead Sweet Chestnut Tree at Shandy Hall alive in the time of Laurence Sterne

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Sterne’s seeming contemporariness is perhaps as a result of the dislocated narrative of Tristram Shandy. With its use of various visual devices, its gradual publication over a period of time, it might seem a fore-runner of some of the work to be seen at the Small Publishers Fair, and the wider stream of current publishing.

On the Small Publishers’ Fair

It seems to me that the Small Publishers Fair is a model of arts administration. Requiring no subsidy to make it work: the money in is the money out, and you can happily forget the Arts Council and pen-pushing.

Of course the whole enterprise is necessarily limited by corrective scale, and if you can only get 50 tables into the Conway Hall, then you have the requisite number of publishers. The New York Art Book Fair is overpowering with 10,000 visitors on the Saturday. The Small Publishers is almost a family affair by comparison, and long may it remain so, by far our favourite.

Clearly there may eventually be issues of demand, but so far this has not been a problem. It should never become an issue of ‘selection’ as at the esteemed Whitechapel, (in the age of Prizes), because it seems like self-selection has been adequate, and sharing tables and on a first come first served basis. I think the SPF can move into a new era, thanks to the ground work done by Martin Rogers and other RGAP comrades.

Simon Cutts. Coracle