“I first met Leland Cheuk when he read for Dead Rabbits — a reading series I co-host in New York City. Thoughtful, charismatic, and passionate about his work and the work of others, he immediately struck me as someone thinking on multiple planes about art and its role within the world. His writing operates in the same way; The Misadventures of Sulliver Pong is at once heartwarming and wrenching, examining heritage, immigrant life, and injustice in America with bite and comedic verve.
After publishing his first two books, The Misadventures of Sulliver Pong (CCLaP Publishing, 2015) and Letters from Dinosaurs (Thought Catalog Books, 2016), he’s now moving into publishing. I talked with Leland over the course of a few days via email, discussing his new endeavor, 7.13 Books, the state of modern publishing, and issues of inclusivity, diversity, and more.
The Millions: So, tell me about the mission of 7.13 Books. As we both know, there’s a wealth of small presses in the world now. What separates 7.13 from them? What unites it with them?
Leland Cheuk: Yes, there are a ton of great small presses out there. In terms of what 7.13 is about, the authors are going to play a big role in determining what the press represents as a brand. The books will be bold, impeccably written. They’ll look great. And there will be no good literary reason why the books aren’t mainstream and award-winning. Their existence as small press titles will be an indictment on the tired traditional publishing model offered by the Big Five publishers, who in reality have been out of the business of publishing literature for years, maybe decades. Three-hundred thousand books each year are published from the Big Five and maybe a few hundred are what any reader would consider literature. An argument can be made that the big houses are really in the business of publishing cookbooks, celebrity memoirs, and adult coloring pads.
For authors publishing with 7.13, they’ll be getting no bullshit. I won’t make promises I can’t keep. I’ll set clear expectations about what the press can and can’t do. The books get lots of editorial attention from me, and I give the author tons of control and input over every aspect of the book, from the cover design to the marketing and publicity.
TM: I’m interested in knowing about the final straw in relation to 7.13 Books. What pushed you towards developing the press?
LC: Like most writers who’ve been at it for 10, 15, 20 years, I felt I had done almost everything possible to get a book published. I’d done the work, gone to top residencies, signed with agents, and had close calls at big houses. But nothing happened. And nothing happened because the numbers are so daunting. Tens of thousands of qualified writers for a couple hundred deals. Every year, it seems like everyone is talking about the same two dozen or so titles as the big literary hits. The system is as rigged as the global economy.”