We are finalizing the final proof of The Lost Country, to be published by Dzanc Books in July, 2018. Words cannot describe how exciting it is to get the advance reader and see all of our hard work realized. Everyone at the William Gay Archive is grateful to Dzanc Books and Publisher and Editor in chief Michelle Dotter for their dedication in seeing this book through.
I'm very excited to announce the website dedicated to Southern author William Gay and the William Gay Archive. With contributions from the Archive members, I have put together a website that celebrates the writings and paintings of a great American writer.
We will be updating the site with news and information on upcoming posthumous releases from Anomolaic Press and the other publishers handling the material. There are galleries of William throughout his life and his oil paintings. We have talked about putting up an unreleased short story or two down the road. The site will continue to grow, and our hope is that William's prose will continue to touch readers as it has touched us.
I will still continue this blog of my involvement with editing and doing photography and design for the Archive, as this continues to be a very exciting part of my life.
Unfortunately, we caught a few errors in our latest book proof of Stoneburner and are working to correct them. This will probably set the release back into February 2018.
I've used the time to improve the slipcover design and I can say for certain this will be the final cover. Added are a brushstroke of black along the spine and some new text. The book's now really striking from the shelf and the spine's easier to read, while one is still able to get a sense of William's painting a whole. I also reduced the size of the Stoneburner cover logo slightly to show more of the end drips.
Thank you everyone for your support and interest. We really value those that have written and shared their excitement for William Gay's works, past and future.
It's safe to say that all of us at the William Gay Archive were hoping Stoneburner would be out by now. Through trial and error we are finding the self publishing world to be a thorny one, and we are working hard to get the book to a place that we all can be proud of.
We had some setbacks with the inside book layout, and I have tinkered with my dust jacket design some. A third book proof has been ordered, and once that is reviewed and approved by all of us at the Archive, we will go ahead and send the presses into motion.
It is looking like December 2017 for the release. Thank you for everyone's interest and support in this book and the other posthumous books to come. We all appreciate it.
It's hard for me to express what a strange honor it is for me to be working on the writings and jacket design for William's second posthumous release, Stoneburner. Long before I became involved with the archive project, I was a fan. I would read William's books and imagine what I would do for the covers. His writing spoke to some of my imagery and I felt a commonality. And so the years pass and an unlikely fate intervenes.
My original proposal for the Stoneburner cover was to do it entirely of my own design. JM White, William's friend, publisher, and director of the archive pushed for inclusion of one of William's paintings. He explained that William always wanted his paintings on the covers of his books, and it bothered William when the larger publishers didn't use them. During his lifetime, only two books had his paintings on the covers, Wittgenstein's Lolita and Time Done Been Won't Be No More, both published by JM White and Wild Dog Press.
I looked over many of William's paintings and selected a snowy farm house scene. There is a location in the novel where this is fitting, and I liked the painting's somber tone. The symmetrical composition of the painting naturally lent itself to both front and back covers. I made an effort not to manipulate any of the image, and to cover as little of it as possible and still have it work in a larger design.
In adding the ink brushstrokes and drips, I was thinking about the growing unraveling for the characters in the novel, the sense that things are falling apart and becoming uncontrolled. At some point during the design of this book, I began to realize the cover was an unexpected collaboration with one of my favorite authors. I can only hope William approves.
The inception of Anomolaic Press began in early 2014, when I was helping a group of William Gay's friends and admirers prepare what was to be the first manuscript of posthumous writings, This Ride's Not Over Yet. Our original intention was that we would publish the book ourselves under the imprint Anomolaic Press. During this time I created the two-headed whippoorwill image and Anomolaic Press logo. The manuscript was shelved when Dzanc Books voiced interest in purchasing the rights to Little Sister Death and The Lost Country.
The manuscript of Stoneburner has been completed for some time, but it was necessary to explore all the publishing options with different presses. In the end, we decided to release the book ourselves, and resurrect Anomolaic Press. In doing so, it will ensure several points: we have absolute editorial control, the book looks and is printed they way we think William would want, and most importantly, control over all profits so that they may go to William Gay's family.
The word anomolaic was a favorite of William's, and appears in several of his writings. We thought it an appropriate name for our press, as well as a tribute to the man himself.
Years ago, before I was involved with William Gay's archive, I was a fan and avid reader of his works. I often searched out any images or videos I could find of the man. To discover a new image of his rough-hewn face or to hear the deep Tennessee in his voice was always thrilling.
It was a pleasure to work on the new author photograph for the upcoming William Gay novel, Stoneburner. Originally taken by JM White, I converted it to black and white, did a few touch ups, and added some atmosphere.
Little Sister Death, the first William Gay book to be published posthumously, is now out in paperback from Dzanc Books. This is one of the William Gay manuscripts that I helped edit, and I'm pleased to see it continue to be published and find new readers.
David Binder is a young, successful writer living in Chicago and suffering from writer’s block. He stares at the blank page, and the blank page stares back — until inspiration strikes in the form of a ghost story that captivated him as a child. With his pregnant wife and young daughter in tow, he sets out to explore the myth of Virginia Beale, Faery Queen of the Haunted Dell. But as his investigation takes him deeper and deeper into the legacy of blood and violence that casts its shadow over the old Beale farm, Binder finds himself obsessed with a force that’s as wicked as it is seductive.
A stirring literary rendition of Tennessee’s famed Curse of the Bell Witch, Little Sister Death skillfully toes the line between Southern Gothic and horror, and further cements William Gay’s legacy as not only one of the South’s finest writers, but among the best that American literature has to offer.