Spotlight on the Best Anthology Shortlist

Here is our final spotlight, last but not least! If you haven’t voted yet, be sure to do so soon as voting closes on 24th May. There are still a handful of tickets left for the awards on 27th May. Find out more on our partner website.

Alice – Ekphrasis at the British Library, ed. by Abegail Morley, Catherine Smith and Emer Gillespie (Joy Lane Publishing)

The work in this small volume of poetry adds up to so much more than the sum of its parts. We are so thrilled, on behalf of every single one of the thirty six poets who contributed such interesting and genuinely thought-provoking work, to have been short-listed for this award.

Invited to respond to the British Library exhibition, ‘150 Years of Alice’, Ekphrasis – founded by writers Emer Gillespie, Abegail Morley and Catherine Smith – commissioned 36 exciting poets from across Britain and beyond, to engage with Alice in any way they chose. The result is Alice/Ekphrasis. We are so proud of this collaborative project, which has produced such extraordinary poetry, poetry that we feel now becomes part of the cultural history of Alice itself. Fourteen poets gave two stunning live performances in the foyer of the British Library in March, proving too how poetry can connect exhibition and audience.

Why voters think it should win:

Simply a great project that not only commemorated the 150th anniversary of Alice but celebrated this unforgettable landmark story with 32 pieces of poetry. It was stunning and beautiful… an unfolding of different perspectives.

This publication gives Alice a new perspective and a beautiful voice. It takes you down a few of the endless possibilities that may be Alice

A collection from a wide range of good poets. I saw many of them reading their work. It was a magical/fascinating/entertaining/inspirational event.

Being Dad: Short Stories about Fatherhood, ed. by Dan Coxon (Tangent Books)

The Being Dad anthology has been a labour of love for all concerned, so we’re thrilled to make this year’s shortlist. For a small project like ours this feels as big as the Booker!

Being Dad front cover
Fatherhood is in a state of flux. In Being Dad, 15 contemporary writers – all fathers themselves – explore the highs and lows of fatherhood through 15 new short stories. From protective instincts gone awry to the ghosts of our fathers haunting every parenting decision, these stories shine a light on what it means to be a father in the twenty-first century. Featuring new stories by: Toby Litt, Nikesh Shukla, Dan Rhodes, Courttia Newland, Nicholas Royle, Dan Powell, Rodge Glass, R.J. Price, Tim Sykes, Lander Hawes, Andrew McDonnell, Iain Robinson, Richard W. Strachan, Richard V. Hirst and Samuel Wright.

Why voters think it should work:

Insightful, though-provoking yet humorous – a brilliant collection of parental reflection.

Because the stories are wide-ranging and brilliant. There really aren’t any duds. I love the subject matter, and Dan Coxon has got some really big names to write stories, including Nikesh Shukla and Nicholas Royle. I loved it.

Haven’t you got a copy? Every home bookshelf deserves this anthology,

Open Pen Anthology, ed. Sean Preston (Open Pen)

It’s been our biggest year in the five years our free short fiction magazine has been in print. So we’re left pinching ourselves that on top of everything else, we’ve been nominated for two awards. Well done to our writers.

The Open Pen Anthology is a collection of our favourite short stories from the first five years of Open Pen. What makes this collection different from the usual magazine anthology format is that there are new stories from each of the selected authors. Quite by accident, this dynamic drives a larger story throughout the book. That story is the journey of the thirteen Open Penauthors, how they’ve grown as writers, and in some cases how they’ve grown as people. The mix of old and new short stories means that the book serves as a “best of”, as well as staying true to the Open Pen mantra in providing new and relevant short fiction. In the collection’s foreword, Paul Ewen’s Francis Plug (author of the hilarious How To Be A Public Author) said, “It’s more like a shot of absinthe than a pint of boring lager.”

Why voters think it should win:

The book is really surprising, funny in some ways and touching in others.

Because they understand that literature is just a word but writing is truth plus technique.

Supports new writers of innovative short stories.

Over the Line: an Introduction to Poetry Comics, ed. By Chrissy Williams and Tom Humberstone (Sidekick Books)

The Saboteur Awards are the only awards that recognise the collaborative, cross-genre work that Sidekick Books publishes. It’s been a pleasure to work with Chrissy Williams and Tom Humberstone, the passionate editors behind Over The Line, and we’re thrilled to be up for Best Anthology. Thank you!


Over 70 pages of original work, with a detailed intro & showcase of other artists working in this exciting hybrid medium. This book grew from a shared interest in Poetry Comics by Chrissy Williams and Tom Humberstone. Chrissy began teaching on Poetry Comics in 2012 at the Poetry School, London. The class turned into an informal Poetry Comics workshop group in SE London, a monthly meeting where collaborations were undertaken, then published on (as Poetry and Comics). Tom had been editing and publishing anthologies of alternative comics called Solipsistic Pop and was a pivotal attendee of the SE London group. It had been decided that the book should function both as an introduction, publishing existing work, and also as a showcase for new work created specifically with the interaction of poetry text and sequential art in mind.

Why voters think they should win:

This is a long overdue anthology exploring one of literature’s least understood genres. An important book.

For creating a genre it itself.

Nobody has ever done a book like this before

Schooldays (Paper Swans Press)

I am thrilled that Paper Swans Press has been shortlisted for its inaugural award  — Schooldays is a ‘behind the bike sheds’ anthology of poetry, of which we are extremely proud.


Schooldays. The best days of your life?

Schooldays, from Paper Swans Press, is an anthology that takes us back through shared memories and experiences, teaching us that school is not just about its physical structure, the buildings that house us. It is about learning — who we are. We come to realise that the lessons learned are not just those of Maths, History or Latin, but those of life: how we are shaped by our teachers, our friends; our enemies.

Why voters think it should win:

A thoroughly enjoyable anthology combining poetry and flash – schooldays are of course a shared experience as different as Pink Floyd & Madness so the appeal is obvious. Standouts for me were Katy Ewing’s ‘School Souls’ & Roderick Bates’s ‘Scinetific Inquiry…’ – coincidentally one after the other they stayed with me.

A superb collection, evocative, moving and eclectic. Paper Swans Press has excelled itself with this publication.

Paper Swans Press have produced an exceptional anthology on the theme of ‘Schoodays’. Each piece is extremely strong in its own right and together they make a wonderful collection.

Spotlight on the Best Magazine Shortlist

The spotlight on each category continues, this time with the Best Magazines. There’s a real range here, from the UK’s longest running monthly magazine to a newbie magazine. What they each have in common is that they go beyond the page to create a real community around their publications – just read the voters’ comments to see for yourself!

Bunbury magazine

So proud to be nominated for Best Magazine but now we have to get tattoos!

Issue 12 Spiral (1)

Bunbury Magazine is an arts and literature digital magazine, covering everything from writing in all forms and genres, to fine art and photography, from music to stand up comedy and everything in between. Our ethos is ‘If you love it, we’ll love it’. We work hard with new and established writers to help shape their work and have a big commitment to grass-roots creativity. Past interviews have included Jasika Nicole (TV’s Fringe), Michael R. Perry (Writer of The Voices) and Phil Jupitus.

Why voters think they should win:

The staff are hard workers, the features are interesting and I’ve seen the editorial team out and about scoping out various underground artistic endeavours that would otherwise remain underexposed.

Immediately the presentation is eye catching. The layout inside is designed perfectly.

Bunbury Magazine is an amazing collective that is run by two really lovely people in Keri-Ann and Geoff who really care about what they do. Their passion for poetry is matched only by the quality of their output; an essential read for anyone who cares about poetry or indeed the world in which we live.



We’re very proud to make the shortlist, especially since it was our first issue back in October. It’s awards like these that bring the spotlight to smaller magazine’s like ours and the others on the shortlist, so we’re all chuffed to be involved.


Funhouse is a magazine concerned with the body, created and edited by Oliver Zarandi, with Fran Marchesi designing and art directing it. The 1st issue features work from Doctor Richard Barnett and Patty Cottrell, as well as illustration by Guy Field, Viet Tran and Alex Widdowson. There is also Fresh Cuts too, Funhouse’s online journal, with short stories, interviews and a podcast which interviews medical historians, theatre producers and anybody who is interesting. The 2nd issue – out at the end of May – is focused on conflicted bodies and features short fiction, poetry, essays and comics. Most recently, the magazine was named one of the top 10 literary magazines in the English-speaking world by Stack and featured alongside big-hitters such as The White Review, All-Story: Zoetrope and other indie faves like American Chordata and Guts.

Why voters think they should win:

They have the best fiction and manage to make the magazine look beautiful at the same time.

Creative and bold with a unique approach.

Made me think differently about short story form

Open pen

It’s been our biggest year in the five years our free short fiction magazine has been in print. So we’re left pinching ourselves that on top of everything else, we’ve been nominated for two awards. Well done to our writers.

Open Pen Thirteen

Open Pen Magazine is a free short fiction magazine, based in London, stocked in independent bookshops around the country. It’s purpose is to provide up-and-coming writers with a print platform for their fiction; fiction that is willing to take a risk by writers with something to say. In being free, we hope to attract readers that either cannot afford subscriptions to literary fiction magazine, and attract casual readers to a form of literary fiction they may not have otherwise given a go. We’ve been called a “hipster rag”, and we’re fine with that. Contributor and author, N Quentin Woolf, said that our magazine is “Unpretentious, edgy, and utterly readable.”

Why voters think they should win:

This magazine has stuck it out for five years, is free and so accessible. It is also very pretty and well cared for. There is always some exciting writing in it.

This has been a great year from Open Pen, and they’re getting stronger and stronger. Love the fact that they feature so many new and ‘unknown’ voices.

Consistent high quality, very supportive of authors, and FREE!


Really excited to be shortlisted in the Saboteur Awards again this year.

19 cover

Prole publishes high quality, accessible and engaging writing. It’s all about the reader.

Why voters think they should win:

Goes from strength to strength. Consistently readable and thought-provoking prose and poetry. It practices what it preaches too – sharing profits with contributors.

Impressed by the work the editors put into it. Including the artwork, mix of poetry & fiction, and keep in touch with us on FB.

The work they publish is consistently engaging – the writing is always intelligent without being pretentious, serious without being humourless, and moving without being schmaltzy. It’s good in a deep, grown-up way – I always find something in there that stops me in my tracks, and that sticks with me for months afterwards.


Reach Poetry

Wow! 18 years of poets will be loving this! Longest UK printed monthly magazine, £10, 500 to help poets, thank you Sab Awards for the accolade. So proud.

212 nl

Reach Poetry has given so many poets their first publication. Many have gone on to great things. We publish new poets, established poets,  in a magazine that has lasted 213 issues and nearly 18 years. We give £50 each issue to winners of a readers vote. Free verse, formal verse, haiku – we look at the poetry, not the names. Our subscriber base is loyal, we’re proud of that. Join us.

Why voters think they should win:

Reach Magazine has held my attention for well over a decade. Always fresh, personal, universal and engaging.

Reach is always an enjoyable read, appealing to the less broken aspects of my personality – there is always joy in the natural world and rhyme is unapologetic! What makes Reach though is the continuity created by the readers month to month giving a sense of belonging without being cliquey – just my opinion!

One of the longest running UK mags and possibly the only monthly one. Inclusive and non arts funded and gives out £50 in prize money every month to the three most popular poems voted for by readers. Truly democratic and publishes new and established writers.


The Shortlist for the Saboteur Awards 2016

Over 1700 people nominated in this year’s Saboteur Awards, and once again we are in awe at the variety of work selected. The five most nominated works in each category have made it into the shortlist, and voting is now open until 24th May to determine the winners. The results will be announced on 27th May at a special evening event at Vout-O-Reenees. Find out more here.

Vote here

By popular demand, we’re also sharing a longlist in each category, 10 works or people that narrowly missed out on the shortlist. Some categories, such as Best Spoken Word Performer had over 300 separate people nominated, so we drew the line at 10 to give you a sample of the work that has been exciting people this year – do explore them too!

Over the next 24 days we will put the spotlight on each category so that you can get to know each shortlisted work or person – we encourage you to explore the categories you don’t normally dabble with.

We have tried our best to contact everyone shortlisted prior to this announcement, but not everyone’s contact details are easily available, so if you spot yourself here and haven’t heard from us, do drop a line to Anna Jamieson at prize [at]

In no particular order:


Best Poetry Pamphlet 

Best Poetry Pamphlet Shortlist:

Border Lines by Stuart A. Paterson (Indigo Dreams Publishing)
Codes of Conduct by Neil Elder (Cinnamon Press)
I Am Where by Julie Morrissy (Eyewear Publishing)
Malkin by Camille Ralphs (The Emma Press)
Nothing here is wild, everything is open by Tania Hershman (Southword Editions)

Best Poetry pamphlet longlist:
Deerhart by Yvonne Reddick (Knives, Forks and Spoons Press)
Delicious by Padraig Regan (Lifeboat)
Density of Salt by Kate Garrett (Indigo Dreams Publishing)
Dissolve to: LA by James Trevelyan (The Emma Press)
Echolocation by Becky Cherriman (Mother’s Milk Books)
Lapstrake by Wendy Pratt (Flarestack Poets)
Optograms by Stephen Watt (Wild Word Press)
Swimming With Endorphins by Fran Isherwood
True Tales of the Coutryside, Deborah Alma (The Emma Press)
Wound by Richard Scott (Rialto)

Best Wildcard

Best Wildcard Shortlist

Alchemy by Abi Palmer
COP21 performance by Sophia Walker
Deerhart (art and poetry exhibition)

Seymour Poets at BlueSCI
Marcas Mac an Tuairneir

Best Wildcard Longlist:
Ad Hoc Fiction
End of All Things Podcast
I am not a silent poet
Irish Poetry Shop
Lunar Poetry Podcasts
Oz Hardwick
The Fat Damsel
Well Versed, ed. Jody Porter
Women Aloud NI initiative
Write Out Loud

Best Magazine

Best Magazine Shortlist

Bunbury magazine
Open pen
Reach Poetry

Best Magazine Longlist:

Bare Fiction
Hand Job Zine
Lakeview International Journal of Literature and Arts
Lighthouse Literary Journal
Prac Crit
The Missing Slate

Best Collaborative Work

Best Collaborative Work Shortlist:

And No Animal Is Without An Enemy by Megan Nolan with Linda Stupart, Penny Goring, Eoghan Ryan, Rachel Benson.
Fool’s World – A Tarot by Tom de Freston and Helen Ivory
Haunt Harrogate by Imove
Little Metropolis by Adam Horovitz & Joe Reeve
The Enemies Project by SJ Fowler et al.

Best Collaborative Work Longlist:

Hell Creek Anthology by JT Welsch and Dom&Ink
Congregation of Innocents: Five Curious Tales
Roulade: The Alchemy Issue
Speaking of empty fields by Ian Bailey and Colin Davies
Surveyors’ Riddles by Alistair Noon and Giles Goodland
Captain Fly’s Bucket List by Vasiliki Legaki and Agnes Marton
Londinium (Dugdale Centre, Enfield) by Anthony Fisher and Jools Barrett
AWOL by John Fuller and Andrew Wynn Owen (The Emma Press)
Are you There? Jasmine Ann Cooray & Upswing.
What Makes our Eyes Smileed. Shelley Tracey

Best Anthology

Best Anthology Shortlist:

Alice – Ekphrasis at the British Library (Joy Lane Publishing)
Being Dad: Short Stories about Fatherhood (Tangent Books)
Open Pen Anthology (Open Pen)
Over the Line: an Introduction to Poetry Comics (Sidekick Books)
Schooldays (Paper Swans Press)

Best Anthology Longlist:
Best British Poetry 2015 (Salt)
Blueshift: Art from Poetry – Poetry from Art ed. Karen Dennison
Casual Electrocution of Strangers (Literary Salmon)
Coming Together in Verse ed. by Ashley Lister
Futures: Poetry of the Greek Crisis (Penned in the Margins)
Over Land, Over Sea: poems for those seeking refuge (Five Leaves Bookshop)
some mark made ed. Sue Rainsford
Stanzas: Year One Anthology of Best New Irish Writing
The Forgotten and the Fantastical 2 (Mother’s Milk Books)
Unthology 7 (Unthank Books)

Best Spoken Word Performer 

Best Spoken Word Performer Shortlist: 

Susan Evans
Emily Harrison
Jemima Foxtrot
Sophia Walker
Luke Wright

Best spoken word performer longlist:
Ash Dickinson
Robert Garnham
Salena Godden
Jackie Hagan
Kieren King
Hollie McNish
Andrew ‘Mulletproof’ Graves
Ross Sutherland
Kate Tempest
Agnes Török

Best Reviewer

Best Reviewer shortlist:

Dave Coates
Joey Connolly
Emma Lee
Fiona Moore
Bethany W Pope

Best reviewer longlist:
Isabel Costello
Nandini Dhar
Katy Evans-Bush
Greg Freeman
Naomi Frisby
Afric McGlinchey
James O’Leary
David Turner
Charles Whalley
Ben Wilkinson

Most Innovative Publisher

Most Innovative Publisher Shortlist:

Burning Eye Books
Eyewear Publishing
Indigo Dreams Publishing
Penned in the Margins
The Emma Press

Most Innovative Publisher Longlist:
Cinnamon Press
Dead Ink Books
Gatehouse Press
Knives, Forks and Spoons Press
Mother’s Milk Books
Murder Slim Press
Paper Swans Press
Test Centre
Unthank Books
Urbane Publications

Best Novella 

Best Novella Shortlist:

Black cradle by u.v ray (Murder Slim Books)
Filled with Ghosts by Karen Little (Onion Custard Publishing Ltd)
Kumkum Malhotra by Preti Taneja (Gatehouse Press)
The Lost Art of Sinking by Naomi Booth (Penned in the Margins)
The Shape of Dogs’ Eyes by Harry Gallon (Dead Ink)

Best Novella longlist:
Cho Snog ‘s a Tha Thu by Alison Lang (Sandstone Press)
Department of Speculation by Jenny Offill (Granta)
Grans & Ammo by Mark Farley (Sanitarium Press)
Heroes of Hendonby James Whitman (CreateSpace Independent Publishing Platform)
In Casting Off, J.O. Morgan (Happenstance Press)
Killochries by Jim Carruth (Freight Books)
Pony Castle by Sofia Banzhaf (Metatron)
The Harlequin by Nina Allan (Sandstone Press)
The Vegetarian by Han Kang (Portobello Books)
Virus by Linda Stupart (Arcadia Missa)

Best Spoken Word Show

Best Spoken Word Show shortlist:

Cult Friction by Sophia Walker
God Save the Teen by Andrew ‘Mulletproof’ Graves
If You’re Happy And You Know It – Take This Survey by Agnes Török
Melody by Jemima Foxtrot (co-written and directed by Lucy Allan)
What I learned from Johnny Bevan by Luke Wright

Best Spoken Word Show longlist:
Asking Nicely by Hannah Chutzpah
Burning Books by Jess Green and the Mischief Kids
Council House Poetry Louise Fazackerley
Fat girls don’t dance by Maria Ferguson
Kraftwerk Badger Spaceship by Fat Roland
Miserable Malcolm’s Graveside Mannerby Bill Jones
Ovid’s Heroines by Clare Pollard
Pop Tart: Now That’s What I Call 40! by Rod Tame
Sunspots by Simon Barraclough
Until You Hear That Bell by Sean Mahoney

Best regular spoken word night 

Best regular spoken word night shortlist:

Bad Language (Manchester)
Evidently (Salford)
Liars’ League (London)
Loud Poets (Edinburgh)
Stanzas: An Evening of Words (Limerick)

Best regular spoken word night longlist:
A Lovely Word (Liverpool)
Bang Said The Gun (London)
Cafe Rio (Glasgow)
Fictions of every kind (Leeds)
Find the Right Words (Leicester)
Hammer & Tongue (Cambridge)
Mr Fluffypunk’s Penny Gaff (Stroud)
Poetry on the spot (Bournemouth)
Rally & Broad (Edinburgh)
Vanguard Readings (London)

Best Short Story Collection 

Best Short Story Collection Shortlist: 

Between Here And Knitwear, by Chrissie Gittins (Unthank Books)
Children’s Children by Jan Carson (Liberties Press)
Dinosaurs on other planets by Danielle Mclaughlin (Stinging Fly)
Spiderseed by David Hartley (Sleepy House Press)
Treats by Lara Williams (Freight Books)

Longlist for Best Short Story Collection:

Dark Doors by LMA Bauman-Milner (Indigo Dreams Publishing)
Faerie Thorn & Other Stories by Jane Talbot (Blackstaff Press)
Jellyfish by Janice Galloway (Freight Books)
Light Box by K J Orr (Daunt Books Publishing)
Miyoko & Other Stories by Michelle Tudor (Platypus Press)
Mr Jolly by Michael Stewart (Valley Press)
On the Edges of Vision by Helen McClory (Queen’s Ferry Press)
Storiesby Joseph Ridgwell (Bottle of Smoke Press)
Vertigo by Joanna Walsh (And Other Stories)
What Is Not Yours Is Not Yoursby Helen Oyeyemi (Picador)

Vote now!

If you are longlisted feel free to use this image:

Longlisted in the

Likewise, if you’re shortlisted, go for this one:


Congratulations everyone!


Open Pen #15

Reviewed by Joseph Johnston

Open Pen recognises the demand short stories make of their writers. Though small in scale and in form, they require vast amounts of effort and time to be given if they’re to be crafted properly. By focusing on certain details and magnifying them, they turn the minutia of life into the forces which embody and shape it. Writers must be masters of unresolved brevity, yet the stories must provide some sort of fulfilment. They are complete narratives, yet they are considered as single entities like sculptures. The debate has gone on for some time as to what a short story is and will continue to do so. A good short story is full of its own inherent contradictions that culminate into a work of art. If crafted well enough, they can give the reader something which no other form can, leaving them with a brief moment of satisfaction and perplexity, a sense of being levitated slightly above ground, which is almost ritualistic after every story. This is what every worthy writer hopes for and what every reader craves, and it is what each story in Issue Fifteen of Open Pen manages to deliver.


The initial story ‘The Shields’ adds proof of the publication’s confident and modern ethics on good writing. Whereas some publications would shy away from the raw subject matter of suicide and mental illness, with a voice that is unconventional in style, Open Pen has published it at the front and on the cover of Issue Fifteen. ‘The Shields’ is worthy of comparison to Denis Johnson or Clarice Lispector in its dreamlike ambience and surreal impressions, etc, etc, etc… Yes, comparisons can be made, and should be made to some extent, but this story is truly unique. Each line is crafted with enough consideration to be taken as a line from poetic verse: ‘he’d felt sadness like a cold breath in his neck, and he’d turned around to find its source.’ Open Pen is not desperate to cling onto contrived notions of experimentation or rawness, as the consequential stories within Issue Fifteen prove, but it does know a good story when it sees one, and it wants to make it known.

‘Wor Jackie’, the second story, offers a scene from the perspective of a teenage boy with his friends, with little more life experiences than that of a child’s. They are looking at a statue of a famous football player. A man approaches them who is carrying a bag of fish, and who implies to them all a sad prophecy of their lives in the future, a prophecy the narrator already appears to be quite aware of. The realist and terse narrative makes the stagnant lives of the characters ever more resonant. The Englishness of the dialect is refreshing. Many attempts to add a voice to a location is often over-emphasised, but here it is as subtle as the tragic narrative itself. There is a sense of the inescapable resignation towards their lives the boys will succumb to, if they haven’t already. In biblical terms, the fish is a symbol of salvation. In this story, the man carrying the fish is himself carrying the same symbol. He hands the fish to them, and they receive it, but they destroy it without intention. The stark reality is that the unmentioned prediction of their diminished and chanceless lives has been fulfilled by their own hopelessness, and they look down onto the floor at the fish, ‘watch it for a long time, until it stops flopping. It’s mouth opens and closes, and then it doesn’t.’ The emotional value lies within the thematic significance of the everyday. There is no doubt regarding the quality of this story.

Each narrative is certain of its sense of place and tone. ‘The Witch’s Funeral’ draws its realism in a manner similar to that of ‘Wor Jackie’. A family is planning the funeral of its husband and father on the same day as Maggie Thatcher’s, clearly damaged by Thatcher herself. The deeply personal and intimate has been mixed with the broader political and social. One cannot exist without being affected by the other. The observation of these two linking subjects culminates in an interesting study of one’s place within family and society.

Though the locations within each story are different, as with each theme and style, what remains true throughout is the urgency of the effect that a situation has on each of the character’s lives. In ‘Little Sparrow’, the last line of both the story and the collection refers to a character and declares that ‘no: she wasn’t going anywhere’, finalising the sense of the entrapment in her situation. Though many of the stories’ characters seem lost at times, or isolated, the emotional profundity and awareness displayed by the writers illuminates the path to true north for the reader.

Within its four walls, Issue Fifteen boasts of an editorial, five short stories, one flash, and a review of a bookshop at the end. All white good included… Obviously, good fiction cannot be atomised into its physicality the way that a property now is, and, though diverse and different, each story has found its place comfortably within the ‘Home of Open Literature’.