The poets’ home: how one small, heroic publisher shaped modern poetry

Founded in 1967, the pioneering Enitharmon Press established a new poetry world.

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Some books make little impression, others earn our respect. And others again make us greedy not just to read but to own them and return to them time and again. Enitharmon’s aptly titled The Heart’s Granary belongs to this last group. Beautifully produced, and with “poetry and prose from 50 years of Enitharmon Press” bursting the seams of its 380-odd pages, it’s an anthology designed not to prove a theory or establish a canon, but to celebrate the work of one of our most remarkable small publishers.

Enitharmon is well-known for its wide-ranging poetry list, but there’s plenty of prose here too. I particularly enjoyed this section of The Heart’s Granary, a tight-focused, characterful set of extracts from, among others, Sebastian Barry, Edward Thomas and Edmund White. There’s also extraordinary artwork. Alongside his literary list, Stephen Stuart-Smith, Enitharmon’s editor for the last 30 years, has run Enitharmon Editions, publishing many of the major names in postwar British art. Peter Blake, Gilbert & George, David Hockney, RB Kitaj and Paula Rego have all worked with him, and are represented in here alongside recouped treasures from David Jones and Gwen Raverat. Also among the colour plates are stunning cover designs from the press’s half century.

So this book is an unusually beautiful object. But its beauty shouldn’t detract from its seriousness. Enitharmon was among the crop of independent poetry publishers that sprang up in the 1960s and 1970s. Poetry was then passing through one of its phases of heightened popularity – it was the era of the Liverpool poets, and of 1965’s International Poetry Incarnation gala at the Albert Hall – just as trade publishers began to trim their lists. Together with Anvil (also founded in 1968), Carcanet (founded a year later), Peterloo (founded in 1972) and Bloodaxe (founded in 1978), Enitharmon established a new poetry world, in which some of the best writing from home and abroad appeared thanks to the editorial flair of a handful of visionary individuals.

Editors like Enitharmon’s founder Alan Clodd, who ran the press for 20 years, and his gifted successor Stuart-Smith, act as both acute literary minds and as entrepreneurs. They present readers with established giants while also mentoring home-grown talent. Early, Enitharmon published Federico García Lorca, Jorge Luis Borges and David Gascoyne; as well as much from Kathleen Raine, who had encouraged the press’s foundation. The list has remained markedly cosmopolitan. This tendency for independent publishers to brave the commercial risks associated with translation means that they become the go-to lists for adventurous readers.

But Enitharmon has also supported an exceptional number of important British and Irish poets at all stages in their careers. To browse The Heart’s Granary is to realise again what a mighty body of work, solo and collective, 50 years of the press represents. Here are Dannie Abse, Fred D’Aguiar, Simon Armitage, Ronald Blythe, Alan Brownjohn, Frances Cornford, C Day Lewis, Douglas Dunn, Ursula Fanthorpe, Thom Gunn, David Harsent, Lee Harwood, Geoffrey Hill, Ted Hughes, Frances Horovitz, Michael Longley, John Montague, Paul Muldoon, Pascale Petit, Robin Robertson, Benjamin Zephaniah… not to mention four Nobel laureates: Beckett, Heaney, Pinter and Tranströmer. Even this roll-call of “headliners” – just a small proportion of the poets Enitharmon has published down the years – gives a sense of the tremendous range of work the press has nurtured.

Opening up such a broad church might risk diluting the publishing vision. How can, say, Geoffrey Hill and Benjamin Zephaniah be juxtaposed coherently? I suspect the answer lies partly in Stuart-Smith’s acute editorial sensibility, and partly in his poets’ shared shamelessness of artistic purpose. Enitharmon’s house style traditionally stands against hedging or fakery, and for sincerity in whatever poetic form. Open this book at random and, “Bury me up to my neck/in the sands of my father’s desert,” Pascale Petit’s incendiary “The Burning” declares, while in “Irting Valley” Frances Horovitz questions “can a star be lost/or a stone?”, and Isaac Rosenberg, in “August 1914”, asks “What in our lives is burnt/In the fire of this?/The heart’s dear granary?/The much we shall miss?”

Rosenberg’s is of course the anthology’s title poem. For, like Anvil and Peterloo, Enitharmon’s literary list was dealt a mortal blow when the Arts Council cut off funding. The work collected richly here adds up to a joyous read that should be on everyone’s bedside table. But it also reminds us that in certain fields – education, faith, philosophy, poetry – the market is not always right, and neither is cultural fashion. It reminds us, that’s to say, of “The much we shall miss” if every Enitharmon has to close, and the lights of writing, thinking and art go out. 

The Heart’s Granary: Poetry and Prose from Fifty Years of Enitharmon Press
Compiled by Lawrence Sail
Enitharmon Press, 384pp, £30

Fiona Sampson’s books include “In Search of Mary Shelley” (Profile)

This article first appeared in the 12 April 2018 issue of the New Statesman, Syria’s world war