Award winning indie publisher | poetry | essays | fiction | Widening access to the arts | Editor: @GodzillaKent | Reviews: stuart@brokensleepbooks.com
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Joined October 2014
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To everyone who’s bought a book from us recently: thank you.
We’re reaching for just 10% of our subscribers and followers to buy a book from us, which would sustain our work in a big way.
If you haven’t yet, and you can, we’d love your support.
brokensleepbooks.com
ALT A minimalist digital graphic on a white background. Bold black text at the top reads 'What if just 10% bought a book?' Beneath it is a simple open book icon, followed by smaller black text saying, 'Your support changes everything.' In red text below, it reads, 'To everyone who’s already bought a book—thank you.' At the bottom, the website 'brokensleepbooks.com' is displayed.
We've launched a crowdfunder to help us publish next year's books, and we'd love your support.
There's a reward at every level, from backlist lucky dips and slightly battered misprints to new books, a whole year of books, and feedback on your poems
crowdfunder.co.uk/p/help-bro…
Print costs keep rising, & our new distribution model will put our books on bookshop shelves, but it means paying for stock up front, months before money comes back. We'd rather be sustained by readers than grants that disappear from one year to the next.
crowdfunder.co.uk/p/help-bro…
In 2022, 178 of you backed our last crowdfunder, and it made a real difference. We'd love to have you with us again. The campaign closes on 31st December.
Please do help us by sharing this crowdfunder far and wide! Every share helps!
crowdfunder.co.uk/p/help-bro…
Abstraktion und Einfühlung is Percival Everett's collection of seventeen poems on modern art, first published in 2008, moving among the work of Picasso, Manet, Gauguin, and Van Gogh and the museums that house it.
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Presiding over the book is the gaze itself, unreliable and indispensable, on which every picture, and every word, depends for its existence.
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Percival Everett is a distinguished professor of English at USC. His most recent novel, James, won the Pulitzer Prize. American Fiction, the feature film based on his novel Erasure, won the Academy Award for Best Adapted Screenplay in 2024.
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Strangers gathers a three-year collaboration between twelve Syrian mothers and caregivers displaced in Beirut's Shatila camp, the practitioners of Laban Theatre Company, and the project's researchers and filmmaker.
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Around this sits a week-by-week diary of twenty-six rehearsals, critical chapters on maternal authority in displacement, and post-performance interviews with five of the participants.
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Edited by Abi Weaver with Farah Wardani and Daniele Rugo, it treats motherhood as a political position rather than a background condition, and declines the humanitarian image's request for pity.
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Bowl of Grapes by Lenni Sanders is a pamphlet of appetite and its embarrassments, where the body is at once the site of pleasure and a problem to be managed.
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Sanders writes from baths, beds, packing boxes, and other people's houses, tracking desire, medication, sleeplessness, and dreams with a humour that stays dry even at its most exposed.
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Bowl of Grapes makes luxury inseparable from cruelty, complicating the abundance of the table. The register moves between the lewd, the frightened, and the tender, and Sanders ends at a threshold, weighing what it would cost to leave the body behind.
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The Ballad of Malady Nelson is a poetry comic that builds with momentum, each panel swallowing the lines before it until a single sentence has grown into a catalogue of chronic illness, botched surgery, and care that never arrives.
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Against a backdrop of pandemic Britain, economic collapse, and neighbourly ritual, illness becomes both spectacle and domestic labour, and the ballad's mounting refrain starts to sound like an accusation.
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The Ballad of Malady Nelson is humorous, weird, mad, unsettling, original and unmissable.
— Astra Papachristodoulou
It’s an unbearable hotspot and linguistic contagion of feeling.
— Tim Etchells
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After a Short Illness is John Whitehouse's meditation on aphasia, written from the aftermath of a stroke that almost severed his speech. The poems work in short, image-dense stanzas that measure the distance between talk and utterance.
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Whitehouse finds company among others estranged from language, Zazetsky writing his way back from a head wound and Baudelaire silenced in an asylum, and what accumulates is less lament than an account of language repossessed word by word.
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