MOIST: A Publishing Press with a Difference

‘Moist’ is frequently cited as the most hated word in the English language. In 2016, it topped that list following a survey conducted by Oxford University Press. It’s a word many of us have some aversion to, due to subconscious connections to things that aren’t all that pleasant. An interesting choice, then, to name a publishing press MOIST, but that’s exactly what Susan and Paul Finlay did back in 2020. Perhaps fitting for a press that seeks to "publish writing that emerges from profound unease, dissatisfaction, or disgust with the present." They think the term 'moist' as being provocative yet playfully ambiguous, possessing connotations that are simultaneously desirable, arousing, and repellent all at the same time. 

In case all the mentions of ‘moist’ have not entirely grossed you out yet, it’s perhaps ironic to note, as current co-editor of MOIST Hugh Nicholson did, that my chat with him and fellow co-editor Nastassja Simensky took place on a very ‘moist’ day in the July heatwave. (I’ll leave that description there.)

Working with independent publishers grants authors a chance to retain more autonomy over their work, with greater control over questions of editing, cover design, and their book’s distribution. In the case of larger presses, such processes are often outsourced, leaving the author’s work subject to the decisions of third parties or marketing departments. Where larger presses may decide whether to publish a book based on market trends, MOIST described their ambition: "for readerships to emerge from the books themselves, rather than from attempting to accommodate or adjust texts to fit a preexisting audience."

This is a freedom that the co-editors at MOIST relish – one they believe situates independent presses as the vanguard of publishing, by providing platforms for more experimental, unusual, or sometimes overlooked voices. Where established presses may be risk-averse, MOIST do not shy away from certain taboo topics, styles, or approaches that perhaps may be questioned by other presses.  

What does a book published by MOIST look like? They primarily publish works of experimental fiction and poetry. However, they also enjoy reading experimental non-fiction; the moments where the boundaries between these genres start to slip and slide. They’re not keen to hunt out books of a particular theme or subject, just to come across remarkable writing that takes them by surprise. As a small and comparatively recent press, MOIST’s identity is a work in progress, continually evolving according to whatever submissions come into their inbox or catch their fancy. 

Talking of submissions, you may be a writer yourself and have read the above and thought: ‘MOIST sounds perfect for my manuscript!’ MOIST usually has an annual open call for submissions, with the next one to be expected in Spring 2027. 

Of course, it goes without saying that, like all publishers, getting a manuscript published with MOIST is extremely competitive. During their last open call, MOIST received over 100 submissions, yet they typically publish only three works per season. However, MOIST is very keen to encounter writing by people with different backgrounds and life experiences. The co-editors themselves both studied Fine Art, and they love to see how people's non-writing jobs and lifestyles influence or shape their writing. Nastassja said: "It is an honour that people put their trust in editors to read their manuscripts, which they may have been working on for years."

Such a sentiment is reflected in MOIST’s most recent publication - Gran Partita – a collection of poetry by Matthew McDonald. Matthew is both editor of the poetry journal Berlin Lit and the lead double bassist in the Berlin Philharmonic Orchestra. Gran Partita takes readers on a ‘surreal and haunting journey’ – one in which we encounter ‘glamorous concert halls and hotel playlists; bad dates and talking lizards; self-help manuals and ghostly choirs.’ The collection was launched in Berlin earlier this year, alongside performances by pop musician Bonaparte, LIA LIA, and Matthew himself - an example, if ever there was one, that successful submissions to MOIST really can come in all forms.

In March this year, Ghost Driver, the debut novel by author Nell Osborne, was named joint winner of The Queen Mary Small Press Fiction Prize – an experience MOIST described as ‘slightly surreal’. Formerly known as The Republic of Consciousness Prize, the Queen Mary Prize is awarded annually to the best novel published by a small UK independent press. Prize winnings are split between the press and author in a bid to recognise the shared and collaborative efforts of both parties.

Ghost Driver is a strange and somewhat dystopian tale. At the outset, we encounter Malory, a young woman in her 30s, who works in a dead-end job at a place called The Institution. Walking home from a typically challenging evening of post-work drinks, she encounters a mysterious figure who appears from out of the darkness, which then sets off a chain of events marked by paranoia, disappearance, self-confrontation, and psychological collapse. 

Underlying Ghost Driver is a commentary on the creeping logics of administration – on workplace surveillance, monitoring, and the pressures of performance. And yet, Malory doesn’t really understand her job or know what she’s meant to be doing; at one moment, she’s brought before an employment panel for her lack of ‘enthusiasm’, but finds herself entirely oblivious as to the metrics she is being assessed against. As the novel’s plot deepens, other creatures appear – a large black housefly, a volunteer policeman, childhood memories of engorged slugs – and the reader begins to lose track of the boundaries between reality and Malory’s imagination, in a narrative that’s both very funny and profoundly bleak.

Experimental and thought-provoking, it’s no surprise either that the editors describe feeling that "rare moment of knowing we had to say yes" when the manuscript appeared in the inbox, or that the novel has gone on to receive such critical acclaim. 

When asked about the future landscape of the publishing industry, along with the growth of audiobooks, AI, and the radical promises of technological transformation, the co-editors both stated that: "while many of these technologies have changed habits, and no doubt pose a challenge to writing and publishing, writing and publishing will adapt and change in response."

For a large group, there has been an active rejection of tech, and a return to the more analogue and human – nothing beats picking up an actual book. I certainly have to agree that there’s something lovely about reading a quality paper book, knowing that it has been written by someone who enjoys what they do, published by a press that deeply cares about their craft. When reading a book from MOIST, it is clear there is no doubt about the above.

MOIST works closely with independent Nottingham retailers such as Five Leaves, Beam & Nottingham Contemporary. Their books are also available for purchase on their website.

@coolmoistbooks