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Happy Stories, Mostly
Written by Nathalie op de Beeck, originally published in Publishers Weekly
Apr 28, 2023
Happy Stories, Mostly
Written by Nathalie op de Beeck, originally published in Publishers Weekly
Apr 28, 2023
Mainstream publishing’s LGBTQ content today resembles the transgressive indie fare of a decade ago. Poet Ocean Vuong’s queer coming-of-age novel, the 2019 Penguin Press release On Earth We’re Briefly Gorgeous, is a book club staple. Last year, MCD x FSG Originals resurrected Imogen Binnie’s out-of-print Nevada, a 2013 novel of transgender searchers; and Detransition, Baby (One World) by Torrey Peters, a novel about trans- and cisgender relationships and parenthood, received a PEN/Hemingway Award.
Even as the big houses lend more support to books by queer and trans authors and with LGBTQ themes, indie publishers, with a track record of being out and proud, continue to lead the charge. PW spoke with editors and others in the independent publishing scene about new queer-centric imprints, international perspectives on queer identities, and the quest for previously unheard voices and unexpected stories.
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As such, Feminist Press focuses on voice-driven narrative and bringing global work to the U.S. market. These include the collection Happy Stories, Mostly by Indonesian author Norman Erikson Pasaribu (trans. by Tiffany Tsao, June); biracial, nonbinary Gen Z activist Travis Alabanza’s manifesto None of the Above (Oct.); and Wild Geese (Sept.), the debut novel by trans Irish writer Soula Emmanuel.
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