Publishing

In the year 2008, Paul Harding, musician and sometime author, sent his manuscript Tinkers to a very small publishing house in what had once been the Bellevue mental hospital in New York City. This wasn't his first submission, but dogged rejection after rejection had followed all the others. Authors of all stripes know how this story goes: the optimistic envelopes that go out, the dreaded months of waiting, the judgement by faceless gatekeepers that "your book is not right for our list." Stupid lists. It's a gruelling process, second only to the endless lines of prospective divas wrapped around audition halls in New York. The underlying irony of all of this, you realise sooner or later, is that you can't get noticed if you haven't already been noticed. 

So, imagine Paul Harding in one of these lines, having his expectations cut off at the knees. Doors slammed in his face, and all that jazz. I have been in these lines myself for much of my writing career, most writers have. And anyone who has seen the portrayal of publishing houses in the recent film "American Fiction," understands how accurate the portrayal of the whimsical powers that order this. I can see them taking a look at "Tinkers" and tossing it aside. Not right for our list, or more damning: no market for this book. Because this kind of puts the period at the end of your aspirations: not only is your great literary effort not worthy of this publishing house, it doesn't stand a chance within the literary world as a whole. 

I studied with Paul Harding one summer, because I had read Tinkers and knew I had something to learn there. I barely ever pick up contemporary literature, but this one had me hook, line and sinker. The craft was outstanding. But it was a little too stream-of-consciousness, a little  Faulkneresque, perhaps, for modern tastes. It wasn't like anything else on the shelves at the time, and those editors in fancy or not even fancy publishing houses no doubt judged it held no click bait value. 

My story is that I have stood in all those queues for an opportunity to publish my books. I would get to the front of one line and then have to try another. And another. After a while, a person just runs out of steam. My big break came when an editor at Simon and Schuster  thought I was going to be the next Diana Gabaldon and took me on with Great Expectations. However, I was not the next Diana Gabaldon. I could have told them that if they had asked what auience my book was aimed at. Publishing day came and went. The numbers didn't stack up,  and so I was turned from prospective big bucks into an author that had failed the algorythm. They wouldn't entertain the sequels to the first book. The door had opened for a moment, and now it was shut. Thank you, ma'am. Not a sob story. That's just the way it goes in the world of corporate arts. 

Just to say, I understand the despair, the dispondancy Paul Harding must have felt when no one in the publishing world would give him the time of day. Until, one day, five years later, they did. Not corporate publishing, but a tiny publishing house in a building that used to house what society deemed its refuse. The irony is not lost here. But that was a very good day for Paul Harding and an even better one for Bellevue Publishing. Before it even came out, Tinkers was being noticed. Fifteen months later, it had won the Pulitzer prize. 

So, there you go. A success story, a little display of literary justice for someone who has spent most of her career gazing through the publishing shop window. I have a book coming out in October called "Mrs. McPhealy's American." It had failed with the publishing powers that be, just like Tinkers. In fact, in my book, there are even Tinkers (of the Scottish variety that lived on the shores of Scotland when I was growing up, not the kind of tinkerers in Harding's book.) I put my book back on the shelf I reserve for my unpublished works, and there it sat for years until last year Sybelline Press picked it up and opened their door. 

I am not saying that "Mrs. McPhealy's American," is on its way to a Pulitzer. The powers that govern that universe are as whimsical as the publishing world itself. Just to say that despondent authors shouldn't be blinded by the bright lights. Corporate America has made a mess of most things. The arts is only one branch of that destructive outgrowth. So, thank God for the small publisher, the independent book seller, the people with integrity who are trying to keep the flame of good art alive. Every writer with something to say and the craft to say it owes them a great debt.