Behind the Scenes

“Oxtail is one of those dishes where there’s really no right or wrong way to season it (although Jamaicans and Southerners might try to convince you otherwise), so the only thing I can tell you is that when someone makes it for you, or when you make it, and when you share it or eat it alone, it should make you feel like someone gathered the strength of their hands to make something for you that says love.”  

—Destiny O. Birdsong, from “Build Back a Body”

Destiny O. Birdsong’s essay “Build Back a Body” and Shay Youngblood’s “Feasting on Bread and Dry Bones” both feature oxtail—a staple of Southern U.S. comfort food. One of our favorite threads in Bigger Than Bravery: Black Resilience and Reclamation in a Time of Pandemic is the that way food enriches our lives and evokes memories. Birdsong prepares oxtail while exploring memories and the challenges of managing an autoimmune disease during a pandemic. Similarly, Shay Youngblood relies on cooking as a way to cope, while observing food insecurity in her community. These essays led us to ask: what exactly is oxtail, and how is it served? 

Oxtail is the tail of a cow, “a part of the animal that, traditionally, no one wanted,” as Birdsong reminds us in her essay. Once considered the animal’s scraps, oxtail is now a delicacy that sells for more than seven dollars per pound. 

Popular in Caribbean communities, particularly Jamaica, oxtail is often braised and served over rice with a rich, juicy sauce, or it may be cooked in a stew with butter beans. To find oxtail, just head to your local international market. 

Birdsong hints about seasoning oxtail, writing, “At home, I rub thyme, allspice, and paprika into each disc of meat, still stiff with cold and now gritty with salt.” 

In “Feasting on Bread and Dry Bones,” Youngblood suggests creating a stew. “When I craved meat, I made oxtail stew with thyme and a good red wine for gravy that I sopped up with a thick slice of bread.” 

“Many of my recipes are a combination of googling three to four recipes, intuition, taste and what I have on hand,” Youngblood responded when asked to share her recipe. “The oxtail recipe I made up as I went along. I remember, and I tell myself a story when I make comfort foods.” 

Inspired by Youngblood’s approach, we suggest starting with the recipes below. But there’s really no wrong way to do it! Just tell yourself a story as you go.

From the New York Times 

From New Orleans native Kenneth Temple, author of the cookbook Southern Creole 

From Tiffany of Foodie Not a Chef, which showcases Afro-Caribbean recipes 

From AJ and Mirlene of Savory Thoughts, which highlights traditional Haitian recipes 

For more food memories and tips on cooking oxtail, read Destiny O. Birdsong’s “Build Back a Body” and Shay Youngblood’s “Feasting on Bread and Dry Bones” in Bigger Than Bravery. If you’re not much of a cook, don’t worry; these essays have all the rich details you’ll need to taste oxtail, simply by reading.

Find Destiny O. Birdsong’s and Shay Youngblood’s essays in Bigger Than Bravery: Black Resilience and Reclamation in a Time of Pandemic.

Thanks to Lookout staffers Jenna Johnson and Wyatt Leong for compiling this article.

Beginning in fall 2023, UNCW’s MFA program is offering students a complementary post-baccalaureate certificate in literary publishing. The 15-hour degree prepares graduates to work in publishing, editing, publicity, marketing, grant writing, and book and magazine design and production, among other areas. Students also learn skills beneficial in a variety of adjacent fields—from public relations to arts management. At the heart of the program are apprenticeships with the department’s award-winning literary entities: imprint Lookout Books and magazines Ecotone and Chautauqua.

As Lookout’s graduate publishing assistant, I’ve found hands-on experiences with the imprint to be invaluable. I chose UNCW’s MFA program because I wanted to explore professional options as I gained practical, real-world experience. I was uncertain about the exact career I wanted to pursue after graduation. Working at Lookout over the past two semesters has helped me fine-tune my goals and discover new skills.

After careful preparation, planning, and care, I helped launch the imprint’s latest title, Bigger Than Bravery: Black Resilience and Reclamation in a Time of Pandemic, in November. I helped design the anthology’s interior and cover, executed an accompanying social media campaign, and am now seeing my work pay off in the form of accolades and national media attention for the book. It’s come with satisfaction and excitement I’ve never felt before.

Lookout Practicum staff members Morissa Young, Tierra Ripley, and Felicia Rosemary Urso at the book launch

“It’s impossible not to learn from Emily Smith as she explains in real time why we’re taking each step in the publishing process. Instead of focusing on one area, students get to explore as many as we’d like. . . .  I’m actively developing new perspectives that will be crucial to my success post-MFA, in publishing and well beyond it.”

With Bigger Than Bravery: Black Resilience and Reclamation in a Time of Pandemic hurdling toward its November 15, 2022 pub date, the Lookout team has been working behind the scenes on creative promotions. It’s bittersweet to reach this milestone without Bigger Than Bravery’s editor, Valerie Boyd, here to help us usher her final book into reviewers’ and early readers’ hands, but we’re infusing every galley that leaves our offices with her incomparable spirit.

For Lookout, promotional kits are meant not only to generate excitement but to contextualize and enlarge the conversation around our books. They include, of course, early reading copies and details about the book, but we always add extras to remind recipients how deeply we invest in each project we acquire. Over the past two semesters, publishing students in UNCW’s MFA and BFA programs have worked with book practicum instructor and publisher Emily Smith, as well as editor KaToya Ellis Fleming, to curate Bigger Than Bravery promotions with all the dedication and care that Valerie Boyd brought to her curation of the anthology itself.

The Commemorative Pin

As we grieved and processed Valerie Boyd’s unexpected passing, we thought about items that might meaningfully honor her legacy. We wanted this commemorative piece of the kit to be solemn yet bold, representative of Valerie and her work on Bigger Than Bravery, as well as her life’s work as a mentor and friend to so many writers and editors of color. The enamel pin calls to mind memorial pins often worn to remember a loved one. Borrowing from the book’s subtitle, we selected the phrase “Black Resilience. Black Reclamation.” When finished pins arrived, we placed all two hundred of them by hand on a custom card-stock backing. Each is anchored by two small black hearts.

Letterpress Broadside

Lookout staffer and letterpress artist Ollie Loorz designed and typeset an excerpt from Valerie Boyd’s introduction to Bigger Than Bravery:

“I offer you a glimpse into your own bravery, your own greatness, your own transcendent freedom.”

Emily Smith’s book publishing practicum then took a field trip to Port City Letterpress here in Wilmington, where Ollie gave us a demonstration and let us each take a turn at the wheel of the studio’s Chandler & Price platen press. What a beautiful day, watching Valerie Boyd’s words kiss the paper again and again—in that bold magenta ink!

Students in the UNCW’s MFA and BFA publishing-certificate programs help power Lookout Books through their work in the Publishing Practicum, taught by faculty publisher Emily Smith. To introduce this semester’s staff, we asked each of them to share a book that offered comfort or served as a source of joy throughout remote learning due to the Covid-19 pandemic. Get to know our team below, and then visit your favorite local bookstore to pick up these titles. You can also follow the provided links; sales through our Bookshop storefront benefit both independent booksellers and the work of Lookout Books. Win-win!

Amanda Ake is a third-year MFA candidate in creative nonfiction and the graduate publishing assistant for Lookout Books. With a background in website and social media management, she’s particularly excited to help Lookout’s next title make its way into the hands of readers. 

Recently, she enjoyed the themes of inheritance, intimacy, and identity found within the essay collection Spilt Milk (McSweeney’s, 2021) by Courtney Zoffness.

Zoe Howard is a senior earning a BFA in creative writing and a Certificate in Publishing. She looks forward to lending a hand in the care and identity that a year of Lookout’s attention can cultivate for a debut author or underrepresented voice.

She keeps returning to the work of poet Gabrielle Grace Hogan, especially her debut digital micro-chapbook Sentimental Violence: Some Poems About Tonya Harding (Ghost City Press, 2020).  

At Ecotone, we carefully consider interior layout, text treatment, and design because we want the held object to be a pleasing vehicle for the written content. The Ecotone design team works to create an individualized design for each opening page of fiction and nonfiction. They are charged with creating a visual feel, considering images and type, to accompany and amplify the impact of the piece. In this blog department, staff designers highlight past Ecotone spread designs that inspire them, and discuss design principles they incorporate in their work.

Ecotone staffer Alexis Olson considers Talia Lakshmi Kolluri’s “What We Fed to the Manticore” spread from Issue 21, designed by Morgan Davis.

The blend of hand-lettering and photography really draws me to this design. “What We Fed to the Manticore” is grounded in place, much like the spread is grounded by the mangrove roots. I love how the shape of the letterforms mimic the flow of water or silt while acknowledging the playfulness of the story’s animal first-person point of view. The mangrove roots were designed by taking the original image via Flickr and using the magnetic lasso in Photoshop to eliminate the background. This isolates the creeping roots of the tree while leaving plenty of white space for the text to live in. The image, title, attribution, and text work together to communicate a fantastical tone, perfectly complementing the story.

The C-SPAN Cities Tour came right here to Wilmington to highlight our literary culture, including a segment focusing on the Pub Lab with the Lookout Practicum and director Emily Smith.

Check out the video here, and the rest of the segments too, including:

• Dana Sachs, “The Life We Were Given: Operation Babylift, International Adoption, and the Children of War in Vietnam”
• New Hanover County Library’s North Carolina History Room
• Literary Walking Tour of Wilmington with Old Books on Front Street Bookstore

I’ve worked at a local bookstore as long as I’ve known about UNCW’s Publishing Laboratory. They’re both small, independent, and full of people I want to be when I grow up. They both give loving homes to books that might be ignored at larger institutions.

But here’s the thing about being small: it takes big effort. Huge, in fact. Let’s just go ahead and call it a gigantic labor of love. Small presses like Lookout compete with larger publishers before the book even makes it to the shelf (if it does that). Most indie publishers have limited budgets from which to offer authors advances for their manuscripts, and it’s not surprising that big numbers consistently compel great writers to sign with the big houses and their imprints.

Even when indie publishers bring great titles into the world (or, like Lookout, only one per year), it’s especially difficult for bookstores to sell the books of small presses. At Pomegranate Books, where I work, we often receive boxes of press kits and advance reading copies for the big books that big publishers want us to stock. Sure, we’d love to shelve every novel by our favorite indie presses, but will those titles move as fast as the mass-marketed books that everyone and their cousin want to read?

Pomegranate Books is small, but even for larger independent stores with more shelf space and more customers, there are different challenges to selling indie books. Trade publishers often offer volume discounts, or additional in-store advertising money to incentivize stocking and prominently displaying their books. So big-publisher books get coveted window display and shelf space even if a bookseller would prefer to give attention to her new favorite by an indie press. The New York Times wrote about this back in 1996, and it’s still a tiresome obstacle.

Instead of advertising money, Lookout offers gratitude to indie bookstores in the form of author visits, signings, and readings in their stores. At Flyleaf Books in Chapel Hill, Lookout’s publisher and editors tagged along with authors Steve Almond and Matthew Neill Null to offer free publishing workshops and to serve on panels after the authors’ readings. And Lookout celebrates indie stories such as Brookline Booksmith, which to date has sold almost six hundred copies of its first title, Binocular Vision: New & Selected Stories by Edith Pearlman! That collection found its way into the hands of hundreds more readers thanks to the generous support of booksellers at Harvard Book Store, Porter Square Books, and Politics & Prose, which hosted Edith Pearlman for one of her first public readings from Binocular Vision.

Millions of books exist in this world—in fact, I encourage everyone to purchase So Many Books by Gabriel Zaid, an exhilarating read published by another indie press, Paul Dry Books—but our store has fewer than five employees. Perhaps, if we had the time and human capital to dedicate regular hours to discovering new books by small presses, we’d be able to better hand sell their books. Instead, we struggle simply to stay up-to-date on the titles brought to our attention through large mailings and marketing budgets.

The better an independent press can convey its mission, purpose, and we-consider-every-little-detail attitude, the more inclined a bookstore’s owners and staff will be to share that appreciation for thoughtfully made books with their customers. It’s extremely difficult to verbalize or advertise that feeling, but Lookout serves as proof that it can work.

These five best practices from Lookout Books include things I wish I saw more of as a bookseller—from every press, big or small.

1.    Authors

Lookout seeks works by emerging and historically underrepresented writers, as well as overlooked gems. Unlike large trade publishers, they aren’t beholden to stockholders or corporate owners, so they tend to be less motivated by profit margins. Bookstores know that they consider their publications works of art by literary artists, not just best-selling retail items (though they hope for that too!).

2.    Marketing

In developing media kits, Lookout makes or buys materials, when they can, from local or independent sellers. If a bookstore receives a promotional kit that includes unique, handmade materials, they’ll be more likely to give it attention. When Lookout staffer Anna Coe created coasters to celebrate the recent release of Matthew Neill Null’s Honey From the Lion, she ordered the wood slices from a supplier on Etsy and personally stamped and sealed every coaster!

Each year, the University of North Carolina hosts Writers’ Week, five days of workshops, panels, and readings where writers of local and national interest are invited to share their knowledge and work to students and Wilmington at large.

The Publishing Laboratory creates promotional materials including posters, the brochure, and (drum roll) commemorative broadsides! Heaps of them. Each writer provides an excerpt of their work and the Pub Lab’s six TAs then create a handheld design for audience members to take home after the nightly reading. Each broadside is a limited edition of forty prints that we produce right here in the lab.

Here’s what the process for creating a broadside looks like:

Getting acquainted with the work is key if we want to do it justice aesthetically. We read it many times. We brainstorm various adjectives, feelings, colors, and ideas that we associate with the work’s tone, language, form, mood etc.

We think.

We rummage through images in our brains, get inspired during walks, or while making coffee.

We get an idea! To make this idea perfect, we will need to make a dirty lip. We cover one of our lips with coffee (coffee looks more like dirt than dirt does, folks).

We take photos.

We import the photographs into Photoshop and NEVER forget to change the image mode to CMYK, to make sure the photo is saved at 300 dpi at the appropriate size, and to save the photograph as a tif.

We fail.

Undergraduate and graduate students enrolled in Book Building courses here at UNCW learn how to design, print, and bind their own chapbooks. They can use our perfect binder (cranky as she sometimes is), which holds pages together with hot glue, or they can stitch their books together with needle and thread. You probably don’t have a perfect binder like we do, but maybe you can think of a loved one who deserves a handmade book just the same. So we thought we’d share this step-by-step guide for creating your own chapbook and using the three-hole pamphlet stitch to bind it (sans, of course, the sentiments you will use to fill its pages–that’s up to you).

Supplies you’ll need:

• Paper for the interior: As many sheets and any type of paper that you want, but know that the more pages you include, the harder it will be to thread. I’m using 20lb white letter paper.
• Paper for the cover: One sheet the same size as your interior paper. You can decorate the cover with stamps, stickers, photographs, or anything else you like. I’m using 110lb white letter paper so the cover is heavier and thicker than the interior paper.
• Needle: Any size will work just fine
• Thread: While the Pub Lab prefers waxed thread, you can use any thread you’d like. The thread will be visible on the spine of the book, so think about how the color will complement your cover when you’re picking out thread.

Optional supplies:

• Bone folder
• Awl
• Paper trimmer

Step 1: Folding the Paper
Fold all of your paper in half. You can fold each sheet individually, or fold them all (including the cover) together. Folding each sheet separately gives you a crisper fold, especially if you use a bone folder to make a defined crease, but folding all of the sheets together will create a nice nested look for the pages while rounding out the spine. For this book, I folded all of the interior pages together, but folded the cover separately.

As Lookout staff members head home for the holidays, they’re carrying along copies of our books to distribute to various Little Free Libraries, those adorable little boxes of books sprouting up across the country, where anyone can pick up a book (or two) and bring back another to share.

Check your nearest Little Free Library for Binocular Vision by Edith Pearlman, God Bless America by Steve Almond, River Bend Chronicle by Ben Miller, When All the World Is Old by John Rybicki, and the Ecotone fiction anthology, Astoria to Zion. Books are on their way to Michigan, Minnesota, Pennsylvania, Virginia, Iowa, and Nebraska, as well as libraries in Lookout’s hometown of Wilmington, North Carolina.