Michael Marks Award and seen its writers net successes in all the major prizes, including the Forward Prize, the TS Eliot Prize and the National Poetry Competition? “We tend to think in nine-month stints – and


our daughter tells us we’ll be flat-broke in September,” says Ann. “Even so, we have to plan months in advance. In January, for instance, we’re bringing out the 40th anniver- sary edition of Poems on the Underground, which was founded by one of our poets, the late Gerard Benson. If we’re not successful with our current grant application, we’ll have a spell of us two not being paid, and trust that our workshops, competition and key titles will keep the operation going.” The couple, both poets themselves – published


by Bloodaxe and Carcanet – acknowledge that they are not motivated by profit, and the “busi- ness” is set up as a worker co-operative. “Occasionally it crosses our minds what it


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without the backing of Arts Council England. Because of our structure, we rely on project funding, which supports specific initiatives.”


O


ne recent such project was The Coal Anthology to mark the 40th anniversary of the miners’ strike. Smith|Doorstop worked with poet Sarah Wimbush and the


National Coal Mining Museum to provide workshops and events to produce a book of poetry and other creative responses to this defining historical episode. “Peter and I are both from mining families,


so that project meant a huge amount to us,” says Ann. “We feel strongly about being able, for example, to run events in libraries and other venues in places such as Selby, Barnsley or Rotherham where there might not always be much access to poetry. Five years ago, class was barely mentioned in publishing circles, so it’s good that it’s getting talked about more.” Despite personal ties to the area and former


mining communities, the Sansoms’ outlook in terms of talent-spotting could in no way be described as “local” or even “regional”, with their annual competition drawing entries from as far away as Denmark, Sri Lanka and Japan. “We’re more international than parochial in our tastes. The only common factor among our writers is that they love poetry and are widely read, so that informs their work,” says Peter. This appetite to learn from established writers


while also pushing boundaries is often seen in poets in the independent sector, suggests marketing manager Hebden. “It’s an exciting place to be if you’re interested in new, fresh


work because it’s where new voices – or those whose work is outside the mainstream – will often be found and established. A lot of new indies are launching, and these small presses are the lifeblood of publishing.” Despite this, the “market” remains perenni-


ally challenging, he points out. “Poetry seems to be constantly on the verge of both disappear- ing and having a huge renaissance. People would have been saying the same in the 1980s and probably will still be saying so in 40 years’ time.” This sense of often feeling like “outsiders”


– both in society but also within the publishing industry – means that there is less competitive- ness between poetry publishers than in other genres. “We’re like a family. When one indie has a success, it raises the interest in the type of books that indies publish,” says Hebden. The diversity of initiatives that The Poetry


Business is involved in – and the wide range of work it publishes – helps it tap into different revenue streams and spreads risk, but this is not solely a practical, commercial imperative. It reflects the team’s desire to bring new readers to the genre and, of course, discover new talent. “Ultimately, we’re just sensation seekers,” Ann


jokes. “You never know what’s going to arrive in your inbox or what someone you already work with will do next. That’s incredibly exciting. “We’ve never taken a ‘scattergun’ approach, though. We only work with people if we spot the makings of something truly special. There simply aren’t enough hours in the day, as we put a huge amount of time and effort into nurturing and editing talent.” So what does the future hold for this organi- sation that has twice won the prestigious


would be like to have a ‘proper’ job or a pension, but it’s usually only a fleeting thought,” says Ann. “What we do is exciting and we get to work with interesting people and feel like we’re doing something meaningful. It’s really important to believe the work you do makes a difference. “There are many, many unforgettable moments, too – like when one of your writers wins an award or when a poem truly comes alive in a workshop. When that happens, we always make a point of celebrating with people and helping them share their success.” Clearly the “Sheffield spirit” remains as


alive as ever in Ann, Peter and The Poetry Business team.


Key backlist


Ann and Peter Sansom, Sarah Wimbush (eds) The COAL Anthology Smith|Doorstop Books, 4/11/2024, £10.99, 9781914914898


To mark the 40th anniversary of the Miners’ Strike, The Poetry Business worked with Sarah Wimbush and the National Coal Mining Museum for England to produce an anthology of poetry and other creative responses that encompass the years leading up to the strike, the strike itself and its aftermath. Includes work from established poets, including Ian McMillan, Gillian Clarke and Paul Bentley, alongside new voices. Features photography by John Harris, Keith Pattison and Ken Wilkinson. “Vivid prose, powerful verse and photographs of remarkable immediacy make this a compelling and still utterly relevant collection,” said Stuart Maconie.


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STEVE DEARDEN


Northern Powerhouse Focus Company Spotlight


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