“the strangest book I’ve ever read”

Fri 11 Mar 2022 - Filed under: Not a Journal., John Crowley, Robert Freeman Wexler| Posted by: Gavin

Well here’s a fine thing that should set many a Small Beer reader’s Spider senses tingling: John Crowley — whose own new novel Flint and Mirror comes out next month from Tor — sent along this note after reading an early copy of Robert Freeman Wexler’s forthcoming novel, The Silverberg Business:

“Certainly the strangest book I’ve ever read, and strangeness is a thing that I take to. The grotesque horrors, the impossibilities, the shifting scenes, Silverberg’s skull, the skull-heads, the wooden house that turns into a mansion without the detective finding it particularly odd. It is in fact a book not like anything I’ve ever read.”
— John Crowley, author of Little, Big

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So and So

Wed 9 Mar 2022 - Filed under: Not a Journal., events, Richard Butner| Posted by: Gavin

If you’re in the Raleigh, NC, area, the Triad, North Carolina, the southeastern part of the USA, in other words, somewhat close by, please do plan to head to So and So Books on Saturday, April 2, at 6 p.m. where Richard Butner will be reading from his new story collection, The Adventurists, and will be in conversation with John Kessel. Introductions by Wilton Barnhardt.

Refreshments provided by Anisette.

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Venus of Chalk ebook

Fri 4 Mar 2022 - Filed under: Not a Journal., ebooks, Susan Stinson, Weightless Books| Posted by: Gavin

I’m happy to say that next month we’re adding another Susan Stinson novel, Venus of Chalk, to our list. First published in 2004 by Firebrand Books this will be the first ebook edition. Susan lives near us in Western Mass and to keep it really local here’s a word on it from another fabulous and famous local author, Lesléa Newman, author of Heather Has Two Mommies,

“Carline is brave, strong and beautiful, just like Susan Stinson’s writing. As a reader, I was fascinated by Carline’s journey; as a writer I was dazzled by the language in which it was told.”

And here’s more about the book:

In Susan Stinson’s shimmering second novel, three friends drive from Massachusetts to Texas to unload an old bus, and in the process become the selves they were meant to be.

Carline’s life is settled and happy: she has a great home with her partner, Lillian, and a job she loves as the editor of a respected pamphlet series, The Modern Homemaker. But after an unpleasant harassment experience in her home town, when her aunt calls from Texas she surprises herself as much as anyone and says yes to the opportunity to accompany two friends across the country in an old bus. Stinson’s always sensual and humorous writing tingles on the page and nothing is quite what’s expected as Carline sews her way across the country and makes notes for her new pamphlet, “How to Ride a Bus.”

Venus of Chalk was a finalist for the Lambda Literary and Benjamin Franklin awards, and a Top 10 Publishing Triangle lesbian book of the year.

It comes out April 5th and is available to preorder now — DRM-free of course! — on Weightless now and will be available at all the usual ebookstores.

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New Month, New Book

Wed 2 Mar 2022 - Filed under: Not a Journal., Richard Butner| Posted by: Gavin

This month we’ll publish our first title of 2022, Richard Butner’s long awaited debut The Adventurists. We have copies going out to reviewers and so on now and the cover, by Wesley Allsbrook, on the felted paper is is a beautiful thing to behold.

You can get a sneak peak at the book in the new March/April issue of Uncanny Magazine which just went out and among many tasty things includes a new Butner story, Under Green.

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Spirits Abroad a finalist for the Bradbury Prize

Wed 23 Feb 2022 - Filed under: Not a Journal., Awards, Zen Cho| Posted by: Gavin

Delighted to see that Zen Cho’s collection Spirits Abroad is one of 5 finalists for the Bradbury Prize — “The Ray Bradbury Prize for Science Fiction, Fantasy & Speculative Fiction, sponsored by the Ray Bradbury Foundation, honors and extends Bradbury’s literary legacy by celebrating and elevating the writers working in his field today. Bradbury always made his own rules, writing across specific genre boundaries throughout his career.”

I have been mailing copies to various LA Times prizes for years and I am happy to see the continued crossover between the Fiction and the Bradbury Prize. I’m also interested to see all the other books up for the various awards — and I’m sorry I won’t be making the trek to the LA Times Book Fest. Kelly has been and Jed once tabled there for Small Beer Press. One of these years I’d like to get footsore and hot and talk to a million people there. One of these years. As ever, congratulations to all the finalists, thanks for the judges who read all the books, and thanks for Ray, for the stories and for passing on the joy.

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Retro Neo Noir

Tue 22 Feb 2022 - Filed under: Not a Journal., Robert Wexler| Posted by: Gavin

J. Robert Lennon just sent along after reading Robert Freeman Wexler’s original and unexpected Western detective novel — with just a hint of WHAT!? — which comes out in August when up here in the northern hemisphere we’re all going to be baking and it will be just the right temperature to read The Silverberg Business:

“This philosophical Jewish-Texan retro-neo-noir — at once detective story, western, and ambling picaresque — is populated by a memorable cast of schemers, toughs, and oddballs, and rendered with a keen eye and ear for detail.”

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Good Weekend for Never Have I Ever

Mon 14 Feb 2022 - Filed under: Not a Journal., Awards, Isabel Yap| Posted by: Gavin

Congratulations to Isabel Yap whose debut collection Never Have I Ever received a Stabby Award this weekend! That was a new award for me and I’m delighted to discover it this way.

Then I read that Never was shortlisted for the 2022 Crawford Award “presented annually by the International Association for the Fantastic in the Arts for a first book of fantasy.” Usman T. Malik won the award for his collection Midnight Doorways: Fables from Pakistan (Kitab) and E. Lily Yu’s novel On Fragile Waves (Erewhon) was the other runner-up. Congratulations all — and may all weekends be as fun!

The news comes in slightly too late to go on the cover of the second printing of the book — it is back at the printer slowly making its way through the general slowdown and will be back in stock oh in a blink of an eye (as slowed down to last weeks and weeks).

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On Publishing Angélica Gorodischer

Mon 7 Feb 2022 - Filed under: Not a Journal., Amalia Gladhart, Angelica Gorodischer, remembering, Sue Burke, Ursula K. Le Guin| Posted by: Gavin

On Saturday, Feb. 5, 2022 I was incredibly sorry to read in an email from Amalia Gladhart, who translated Trafalgar for us as well as Jaguars’ Tomb for Vanderbilt UP, that Argentinean author Angélica Gorodischer had died at her home in Rosario at the age of 93. Here’s a link to the obituary Amalia sent.

We published the first three of Angélica’s books to be translated into English: Kalpa Imperial (translated by Ursula K. Le Guin) in 2003, followed by Trafalgar (translated by Amalia Gladhart) in 2013, and Prodigies (translated by Sue Burke) in 2015.

Publishing Angélica’s books — and meeting her when she came up to the WisCon conference in Madison, Wisconsin, in 2003 — have been one of the highlights of our work here at the press. Kelly and I publishing Angélica’s books in our third season put Small Beer onto a different plane and meant that we could from our early years use Kalpa Imperial to show that we had very broad horizons in our sights. Angélica was exceedingly generous to share her books with us and we very appreciative. The story of how we came to publish the books, while not as interesting as any of Angélica’s own wide ranging stories, shows a little of how publishing works, with a drop of luck, much hard work and juggling, and a little of being in the right place at the right time.

In 1998 Kelly read and admired a section of Kalpa Imperial, The End of a Dynasty, or The Natural History of Ferrets, in the anthology Starlight 2, edited by Patrick Nielsen Hayden, which had been translated by Ursula K. Le Guin. This was not the first translation of Angélica’s work into English. According to this useful site, Alberto Manguel translated “Man’s Dwelling Place” for his anthology Other Fires: Short Fiction by Latin American Women (Three Rivers, 1985); four of her stories were translated (by Monica Bruno, Mary G. Berg, and two by Lorraine Elena Roses) for the 1991 White Pine Press anthology, Secret Weavers, edited by Marjorie Agosin; and Diana L. Vélez translated “Camera Obscura” for Latin American Literary Review, 19 (37).

At some point after reading Starlight 2, Kelly wondered if Ursula had translated more of Angélica’s work. We had met Ursula once or twice at WisCon, an annual feminist science-fiction convention in Madison, Wisconsin, which we all loved and so we sent her a letter. I am still amazed at the response.

At this point, the two of us had published four books through Small Beer: in 2001, Kelly’s first collection, Stranger Things Happen and Ray Vukcevich’s collection Meet Me in the Moon Room, and in 2002, two books by Carol Emshwiller, a novel, The Mount, and a collection, Report to the Men’s Club. While talking to Carol we found out that Ursula was a big fan of Carol’s books and asked Ursula if she would blurb one of Carol’s books — Ursula said she could not . . . because she admired Carol (here’s her review of Ledoyt) so much that she had just asked Carol to blurb one of her books. So when we wrote, rather out of the blue, asking about Kalpa Imperial we had at least corresponded a little and at some point I’d been brave enough to buy her a bourbon in Madison. (Ursula and Angélica were both smart, no nonsense, and more than a little bit terrifying.)

Ursula’s agent at the time was the late Linn Prentis of the Virginia Kidd Agency — who was a mixed blessing. She was willing to work with our tiny press but between her office having work done on it and not everyone being on the same computer system it took three months for the manuscript to be sent to us and the final deal — our first translation contracts — wasn’t concluded until January 2003. Here’s the Publishers Lunch announcement:

We were planning on publishing in August of that year — as we’d done for our first two seasons — but then an unmissable opportunity came up: the possibility that Angélica could attend WisCon on the Memorial Day weekend in May 2003. Suddenly everything was moving very fast. Fortunately for my monolingual self, Angélica’s English was strong: “I can make myself understood and I can understand your Scotch English. Je parle Français aussi.” (I read in the one of the obituaries that her 1988 Fulbright Scholarship allowed her to participate in the University of Iowa International Writing Program and she also taught at the University of Northern Colorado.)

She could do more than make herself understood. She was sharp and funny and sometimes returned emailed after trips to Ecuador or Bolivia (“where I thought I was going to die: 4,500m above sea level!”) and I learned that she too loved Carol’s books — I had mailed her our first four books and we were both delighted they arrived. The mail to Argentina then seemed to be about as reliable as the present day USPS.

And then the US started another war and we were all thrown for a loop (again).

However she was worried at the speed we were working.

She was right.

Our proofreader turned in a workmanlike job and after all the changes had been entered I sent the book to the printer. There’s nothing quite like having an internationally acclaimed award-winning author fly in from Argentina and when you meet for the first time she sits you down in an empty ballroom to show you the typos in her first book translated into English that you have just published.

Our printer also shifted the ship date at the last minute without telling us and we almost didn’t get books to the convention. For some reason they also individually shrink wrapped every copy. Ugh. It was both a fantastic and miserably stressful weekend and I learned that all that “extra time” in publishing schedules is very necessary.

By a happy coincidence in 2003 another of Angélica’s short stories, “The Violet Embryos” translated by Sara Irausquin, was published in the anthology Cosmos Latinos: An Anthology of Science Fiction from Latin America and Spain (Wesleyan UP).

In the run up to the actual publication date of Kalpa Imperial, a bilingual friend of ours from the KGB Bar Fantastic Fiction reading series, Gabriel Mesa, offered to interview Angélica for the website Fantastic Metropolis. You can read the interview here which captures some of Angélica’s vivacity.

The book found many friends at independent bookshops and a few months later it was reviewed in the New York Times Book Review. It was easy to be enthusiastic about, as I loved it so much.

Being a very small press, I struggled with how we could afford more translations of Angélica’s work. I knew I wanted to read them but I didn’t know enough about the industry to even know where to begin. So I put a tiny line on our website saying that we were always looking for more translations of Angélica’s work. A couple of people contacted us over the years, usually grad students, to see if we had any funding or if they could work with us. My (ongoing) problem was that I have to read the full book before I can tell if I’m going to publish it so I could not read just a chapter or two. Early as 2003, two books were especially recommended to me: a short story collection, Trafalgar, and a novel, Prodigies. Both of them were said to be very different from Kalpa Imperial which only deepened my interest.

In 2011 I discovered something which made it much less likely that we would be able to publish another of Angélica’s books. All the checks we had sent to her agent from 2004 – 2011 had been cashed but none of the money had been sent on. I was truly horrified — I can still hardly believe it. I can see how easily it happened — many international editions don’t earn out their advances and I trusted the agent, of course, so I never checked with Angélica to see if she was receiving the money.

When I found out from the agent by email she replied saying how expensive it was (as it still is) to send money to Argentina, but that was no excuse. Despite my pushing, nothing happened until the agent retired and someone else took over that we were able to make any headway. I had given up on the agent by then and the Argentinean government had made it easier to send money into the country so I was able to send everything owed to Angélica. At some later time, the agency paid the press back for the unsent royalties — minus their percentage. Anyway, she was a good agent for a lot of people for many years and had done good work for Angélica at first.

Then, as I was trying to get information from the agent about the unpaid royalties, came the news that Angélica was going to be awarded a Life Achievement Award from the World Fantasy Awards at their November 2011 convention — a lovely prize for a writer who had dipped in and out of many genres and who received many awards: here are a few from her extended bio:

1964 “Vea & Lea” award, III contest of detective stories
1965 “Club del Orden” award
1984 “Más Allá” award; “Poblet” award, “Premoi Konex”
1984-85 Emecé award
1985 “Sigfried Radaelli Club de los Trece”
1986 Gilgamesh (Spain)
1991 Gilgamesh (Spain)
1994 “Platinum Konex”
1996 “Dignity” award granted by the Permanent Assembly for Human Rights for works and activity in women’s rights
1998 Silvina Bullrich award, granted by the Argentina Writers’ Society to the best novel written by a woman during the three precedent years
2000: “Esteban Echeverría”
2007: Premio ILCH, California
2014: Konex Career Award
2017: Honorary Doctorate, National University of Cuyo
2018: Prix Imaginales for Kalpa Imperial
2018: Grand Prize for Artistic Career from the National Fund for the Arts for her contribution to Argentine culture.

At first it seemed the organization was going to bring Angélica in to receive the award in person but it did not work out. Another translator, Edward Gauvin, who had translated French author Georges-Olivier Châteaureynaud’s stories in a collection, A Life on Paper, was good enough to collect the award in her place. This is the speech Angélica sent:

As you may see, I am not here, but just now, at this exact moment I am in Rosario, very far away from here but thinking of you all, and I wonder: what are they thinking now? Are they happy to be here? Yes. I know you are, and then, of course, I am happy too. And I feel immensely grateful. This Award is very important to me. It comes to my hands at the right moment. At eighty-three years old, I can count so many blessings: my husband, my sons, my daughter, my grandsons and my granddaughter, and my accomplices: the words I put in my thirty books of narrative. As Jorge Luis Borges said once I am condemned to the Spanish words. And I am trying to say in my poor English that I feel happy and joyful and that I send you my love and my gratitude. Thank you.

And here is Gauvin’s speech on accepting the award:

Any committee (or convention) that gives a prize like this to a person like this needs no reminder of the kind I’m about to give, so let me position this as preaching to the choir rather as a pat on its back, or a collective prayer. Angélica Gorodischer has been given a tremendous honor but one that I hope will serve to take her a step further down the trail first blazed eight years ago by the publication of Ursula K. Le Guin’s translation of Kalpa Imperial by Small Beer Press, Angélica’s publisher and mine.

Giving her this award is a little like hanging a medal round the tip of the iceberg whose other nine-tenths I hope one see the light of English day. By a curious metonymy of publishing economies, single books sometimes stand in for entire bodies of work. In the worst cases, single authors are allowed to stand in for entire countries or languages, as if the attention span of English-speaking readers were not enough to hold more than one complicated, funny-sounding name in its mind at a time. Or, as if with such an award, we Anglophones deigned to notice the rest of a world with a nod and now owed no more. We in this room know better.

Let fantasy, which draws already from so many folkloric world traditions, truly become world fantasy. Thank you.

At yet the same time, I received an email from a writer and translator, Amalia Gladhart, an Associate Professor of Spanish Department of Romance Languages. Amalia had translated two books by Ecuadorian writer Alicia Yánez Cossío (The Potbellied Virgin, UT Press, 2006, and Beyond the Islands, UNO Press, 2011) and after reading Kalpa Imperial and finding the note on our website, she contacted us about translating Trafalgar. She had been in touch with Angélica, had begun translating Trafalgar, and was heading to Rosario to teach so would be able to go over her translation directly. I was delighted and when she sent me the translation I was enamored of the strangeness of the book in which an intergalactic salesman tells stories of his travels to his friends back in a coffeeshop in Rosario.

We placed some of the stories in magazines (The Sense of the Circle [interview],  The Best Day of the Year, Trafalgar and Josefina) and published the book in 2013. The colors in the cover came out muddier than the sharp piece of art we had selected. Our then printer didn’t agree with us and would not reprint so we did not work with them again. Despite the muddy cover, much to my relief, Angélica was very pleased and Amalia translated her letter on receipt of the books:

Dear Gavin: I received the copies of Trafalgar, just marvelous. The first thing I did was to caress them, because they are so beautiful that they call to the hand and the eye. What a fine object, so attractive, so precious. Afterwards, of course, with great feeling I began to turn the pages and, as always, I was stunned by Amalia’s expert translation. Well, everything is perfect, and I am very happy, very moved, and Amalia and I are planning public presentations and dialogues in bookstores, the College of Translators, etc., here in Rosario, to make the book known. Many thanks for everything and let’s keep in touch as in the past.
With warm greetings,
hugs,
Angélica

In 2020 Trafalgar was reprinted in the UK as part of a new Penguin Classics line and I very much like the presentation and the quotes they’ve used:

“A novel that is unlike anything I’ve ever read, one part pulp adventure to one part realistic depiction of the affluent, nearly-idle bourgeoisie, but always leaning more towards the former in its inventiveness and pure sense of fun.” — Los Angeles Review of Books

In an email in 2004, Ursula had said she was reading Prodigies and found it “fascinating and extremely difficult.” In his 2003 interview, Gabriel Mesa had asked Angélica:

Q. If after KALPA you had to choose another of your novels to be translated into English, which would it be?

A: PRODIGIOS, always PRODIGIOS which I believe is the best thing I have ever written in my life. Of course no one would read it because it is a difficult text.

A few months after Trafalgar came out we were approached by another writer translator, Sue Burke, to see if we were still interested in a translation of that very novel, Prodigies. An American, she was then living in Madrid and her most recent translation was Terra Nova: An Anthology of Contemporary Science Fiction (Sportula, 2013). Given that Angélica thought it was the best thing she had written, how could I resist? I may have ignored the last line in her answer above.

Prodigies is as promised, a slim, fabulous, somewhat difficult novel. We placed excerpts in the journals Eleven Eleven and Spolia Magazine. Reading it is like diving into a dream, with sentences and paragraphs that leave no room for coming up for air so the reader has to go with it or drown.

Angélica wrote around thirty books and so far Prodigies is the last translation of her work we’ve published — but never say never. Amalia Gladhart translated the dark, recursive, and fascinatingly structured Jaguars’ Tomb for Vanderbilt UP and Angélica’s name is now well enough known in the Anglophone world that I expect there will be more translations, perhaps published by us, perhaps elsewhere. Having more than one publisher means there is more than one team of publicists and editors talking up the books and there is more chance the books will find readers.

We were incredibly fortunate to work with Angélica — and her three translators — on these three books. I send my sympathies and condolences to Angélica’s family and those who knew and loved her and I am grateful that we have her books.

More

website

El Pais obituary

Locus obituary

Sofia Samatar on Kalpa Imperial

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Not Entirely Comfortable

Thu 20 Jan 2022 - Filed under: Not a Journal., Richard Butner| Posted by: Gavin

Another strong trade review came in for Richard Butner’s forthcoming debut collection, The Adventurists, this one from ALA’s Booklist which spotlights a few stories and like all of us who enjoy the book try and capture something of the author’s play with time and memory and then declares it:

“A worthwhile collection of not entirely comfortable stories exploring the past, the present, and the future.”

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Gravity Again

Tue 18 Jan 2022 - Filed under: Not a Journal., chuntering on, ebooks, Long Covid, Weightless Books| Posted by: Gavin

On January 1st of this year I hung up my space boots and Weightless Books became the sole property of my friend and cofounder, Michael J. DeLuca.

Michael and I began Weightless in late 2009. Weightless was nominally owned by me as I had the Small Beer business infrastructure in place so that I could pay sales tax and send out annual 1099s but it was an equal collaboration: we were each paid equally every quarter and we made decisions together. I admire Michael both for his work ethic (how American of me!) but also his wandering off to the woods, the way he and his wife are raising their kid, his way of moving through the world, his home brewing and baking, and although Weightless is a small niche website that could always be better, I have always enjoyed it as an excuse to work with him.

Where and Why Weightless

In 2009 Michael and I had been redoing the Small Beer Press website from a clunky hand-coded html site to an up-to-date (for its time) WordPress site and among the problems  we ran into was that of selling both print and ebook formats simultaneously from the site. (Let’s not talk about the difficulty of trying to bring in years of my hand-coded zine pages over!)

We’d been selling ebooks on the old site since 2005 but the PayPal cart architecture made selling both formats complicated. As is still true, Am*zon was dominating ebook sales and part of their method was to remove or threaten to remove the buy button on a on a book’s page. I did not want to have all the Small Beer ebooks in one basket so I self-distributed them to Fictionwise, Google, and B&N as well as Am*zon — as then, they dominate the ebook market. However, if we had our own site we’d never need to worry that one company could make all of our books disappear.

When it comes to publishing, I always like seeing if I can do something myself so we decided to try building a website that could automate some of the ebook delivery work. Michael is the technological heart of the website and he coded it. At the start, we had some Small Beer interns who helped – shout out to Diana Cao and Felice Ling! — but over the years it has been Michael on the tech side and then both of us doing everything else: importing ebooks, sending them out, fixing our own and publisher errors, paying royalties, hunting down missing ebook formats, importing yet more ebooks, dealing with hosting failures or PayPal and WordPress blips where sales did not come through, &c., &c. In the weeks since the new year I’ve already found it odd not to be regularly checking the Weightless email to see if there are questions. We designed the site as one that we’d be happy to buy from — although no matter what we did, it would always have been better if we’d had more money to make it load faster — so:

• there are no pop-ups
• we never sold ads
• we never sold anyone’s information
• we only stocked DRM-free ebooks.

In early 2011, friends of ours who run Blind Eye Books published a huge ten-part serialized novel by Ginn Hale called The Rifter which was incredibly popular and it helped us realize how much people like subscriptions. We approached mostly sf&f publishers and some of them tried the site and left and some are still there. We found that genre (primarily science fiction, fantasy, & horror and to a small extent, mystery) ebooks generally outsold nongenre ebooks. We worked with big and small publishers although given the time constraints of two people working in the interstices of their lives we had to set limits to what we could bring on — some of the parts we’d hoped to automate had never quite worked — so after bringing on many small magazines (closer to my heart on paper than ebook, but still) we eventually closed to new publishers although since we are both interested in forefronting diverse voices in recent months we did manage to bring on khōréō and Constelación.

But Also

In the past 11 years Michael and I have done a lot of other things. Most of my time has been taken up with our kid or Small Beer Press and a few years ago Michael founded Reckoning, an annual journal of creative writing on environmental justice.

Then in 2018 a used and new bookshop came up for sale in the next town over, Easthampton, where our Small Beer office is. I met my wife, Kelly, while working at a bookshop in Boston and I love the diversity of viewpoints independent bookshops put out into the world. At Small Beer we can only publish 6-10 books a year. At a bookshop we could put hundreds of books in front of people.

Kelly and I had long played with the idea of running a bookshop — but it was play. I knew we couldn’t afford to buy or open one in Northampton and since I hope never to move house again it was safe to think it would never be more than play. Our bookstore could be four stories with an elevator; 10,000 sq ft on one floor; it could only sell books by 19th century left-handed Scots writers. Besides, although we’d both worked at a couple of bookshops, we didn’t know how to run one. But on inquiring, it turned out the bookshop was much quieter than we’d known, and therefore affordable, and in 2019 Kelly used part of her MacArthur grant to buy it.

Kelly’s a full-time writer as well as the art director and editor of many Small Beer books, so as we imagined how our lives would be if bought the shop (and while we bounced hundreds of possible names for it off one another), it became clear we could only do so if I spent a fair amount of time there — which I wanted to — and if we found people we could work with.

The bookshop, Book Moon, has been fun and I’m happy to say we found great people to work with — although the first few months of the pandemic were a grind and as I type two booksellers are out with Covid (fingers crossed) and we are back to being only open for Curbside Pickup again. But over the past two pandemic years I kept running into the problem of there being too little time or not enough me to do all I wanted and I realized that something had to go: Small Beer, Weightless, or Book Moon.

3, 2, 1, You’re Out!

During one of our regular discussions on the future of Weightless, Michael said he would be happy to run it himself. Even though I knew I had to leave, I didn’t jump at this quite as fast as I expected I would. Not surprisingly, I found it quite hard to give up something I’d helped start, worked on, and still enjoy. But it seemed better for the site if I stood down since Michael was re-energized and excited about future possibilities. Michael has built a strong community with Reckoning which made me think that perhaps he could grow Weightless, too. Besides, if needed, I can still pitch in.

I’ve found the hard part is not to think I have lots of free time so I should go start something else. So far that’s been somewhat easy as (sorry, writers) there’s a lot of Small Beer reading to catch up on, 1099s are due, and our next book, Richard Butner’s The Adventurists, is coming out soon.

So now I’m part of the great resignation. Michael has registered the business in Michigan, the PayPal and bank accounts are now his, the hosting and url registration has been transferred. Historically Weightless didn’t made tons of money. It wasn’t volunteering but it was more that the site was a service that we liked providing, a place for readers to find something interesting and not just be part of the datacloud Am*zon etc. are eating every day. The site pays does not pay anything resembling Michael’s actual coding rates so  so I did not “cash out” my half of the business. I transferred it to Michael and walked away.

Thanks to everyone who has ever bought a book or subscribed to a magazine on Weightless. It was, believe or not, fun. It’s much better to have tried it, it did ok, than not try it. I strongly believe in the principles we founded the site on so Small Beer ebooks will still be distributed DRM-free on the site and I look forward to working with Michael for years to come.

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