10 Mar 2008, Written by Laura Pearson in literary
Preserving Our Independents: Tin House
Peruse the academic journals and literary magazines at your local bookstore and you’ll likely encounter a fair share of stodgy stuff: you know, those periodicals that kind of all blend together, the ones that convey the message—via sober font choices, stale design, and page after page of uninterrupted text—“Take me seriously!”; “I am important!”; “I’ve been around for a hundred years!”
And then there is the literary journal Tin House that—by way of compelling themes, great cover art, and an aesthetically pleasing design approach (one that’s contemporary but never forced or offputtingly trend-driven)—stands out on the shelves. “Design has been important to us from the start,” says editor Rob Spillman. “When we first [launched] the magazine, we really wanted to make something that looked crafted… Back then, there was this prevailing attitude that literary magazines had to be like castor oil—ugly, hard to swallow, humorless, bland, but good for you. No wonder people said ‘bleck.’”
Tin House not only has good looks, but it also comes with plenty of personality. Open up an issue, which is also weightier than most other lit journals (coming in at around 200 or 300 pages), and the contents will not disappoint: engaging essays, envelope-pushing fiction, and original poetry by a range of writers, some new, some established. Each issue is loosely organized around a theme—e.g., evil, obsession, squatters, or psychedelia—which the contributors approach from various imaginative angles. One of my favorite issues is The Graphic Issue (#29) which features cover art and a graphic essay by Lynda Barry, an interview with Marjane Satrapi and an excerpt from her graphic novel Chicken With Plums, an excerpt from Women’s World—a painstakingly conceived collage of texts from 1960s women’s magazines, a satirical piece called “Why Have Their Been No Great Women Comics Artists?”, and much more. Another standout issue is Fantasic Women (#33), which presents writing by female authors who infuse their work with a degree of fantastical twists and modern-day magic. Contributors include Lydia Millet, Aimee Bender, Miranda July, Samantha Hunt, Shelley Jackson, Stacey Levine, and Kelly Link, to name a few. By delivering consistently solid writing in a very readable, very attractive format, both of these issues carry out theTin House mission: to “salute the artistic edge,” while remaining “rooted in the tenets of the classic storytelling tradition.”
This dedication to both graphic appeal and the narrative tradition extends beyond the magazine. The ten-year-old quarterly, which has offices in Portland and New York City, established a book-publishing arm five years ago. During that time, Tin House was in a three-year joint venture with Bloomsbury USA, but, after the contract ended, the journal decided to declare its independence and take sole control of the book division. “It was very useful to see how book production worked,” says Spillman, “but…we wanted more flexibility and control. Bloomsbury was limited by their huge overhead.”
Now Publishers Group West handles distribution of the books and magazine. Like many other independent publishers, Spillman admits that it can be difficult to bring attention to Tin House books with corporate publishers “making a lot of noise.” But he also notes that some people would rather tune out that noise and tune in to quality material: “These days, readers are increasingly looking to indie publishers for real books and not the “products” that the conglomerates feel that they must turn out to keep their institutional investors happy.”
So in spite of distribution-related challenges, Tin House has carved out a nice place for itself as a small press, garnering numerous awards and continuing to introduce new voices. “I’m encouraged by the indie scene. Through the web, it is easier than ever to find audiences…and now more than ever, there seems to be camaraderie among publishers. This is spreading worldwide,” says Spillman. who is also involved with African literary magazines—Kwani in Nairobi, Chimurenga in Cape Town, and Farafina in Lagos. “As for Tin House, I’m surprised by how far it seems to be reaching. I love nothing more than when I hear from a teenager in the middle of nowhere who has seen Lynda Barry or Kelly Link in the magazine, and it gives them encouragement to embrace their weirdness and creativity.”
Visit tinhouse.com for the latest news and look for the spring 08 issue, Off the Grid (#35), enlivening a bookstore shelf near you.
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