Imprints, Magazines & Presses
Post-Nearly Press
Neil Jackson
Newcastle Upon Tyne, UK
2014-
Newcastle Upon Tyne, UK
2014-
Neil Jackson & Iain Sinclair. Improving the Image of Destruction (2014)
“I started Post-Nearly Press at the age of 44 but I'd always been attracted to small-scale, completely independent publishing. It began in my teens, collecting a lot of the independent music fanzines that were very prevalent in the UK indie scene in the mid 1980s, such as Woosh magazine and the Sarah Records booklets, plus mags like Clod and Debris. There were dozens of titles—a real boom. I liked the directness, and the irrelevance of any industry permission or approval. Nobody seemed to care about image rights or things like copyright. It felt very liberated. It felt like it could happen quickly; and I realised that ordinary people were doing it. In the 1990s I went on to produce around a dozen issues of a free satirical mag—stapled, black and white, A5—with friends. No one could understand why it didn't cost any money (it was done on a work photocopier) or why there was no advertising in it (apart from ones that subverted the meaning of real adverts). In my late thirties I was invited to start writing book and film reviews for Albion Magazine by the editor, Isabel Taylor. Post-Nearly Press is a direct result of that. It started up specifically as an outlet for a massive surplus of Iain Sinclair material from an interview he gave me at his home in March 2014. I asked Iain if I could do something with it—which, if I'm honest, had been my intention all along. He was very drawn to the idea of creating a print-only, limited edition item—initially for distribution at an event named 70x70 at the Barbican, London. (This became the first item by Post-Nearly Press, Improving the Image of Destruction, which missed the Barbican event by two weeks.) As time went on I came to see a deeper sense of worth in doing these things as print-only, and thanked Iain for nudging me down that route. Things moved from there and the press became a vehicle for a 'conversations' series, although I plan to diversify the output in the coming years into modern poetry/prose/images, etc. 'Against online landfill' is a half-serious 'mission statement', but it does essentially sum things up. In conversation I generally describe it as print-only, limited edition items of interest to the modern alternative culture. But I do stress the non-internet aspect. Anything by the press has to be a physical item that goes on a physical journey. Non-downloadable. Finite. That has become the entire point. It's not a regressive or anti-technology aim—I’m a software developer by trade—it's more a question I want to ask about how we deal with content now.”
—Neil Jackson, April 2015
—Neil Jackson, April 2015
Selected output
Neil Jackson & Iain Sinclair. Improving the Image of Destruction (2014)
Neil Jackson & Chris Petit. Film Without Film (2015)
Neil Jackson & Andrew Kötting. The Suspension of Disbelief by Means of a Common Sense (2015)
Neil Jackson & Alan Moore. Cometh the Moment, Cometh the Mandrill (2017)
Neil Jackson & Chris Petit. Film Without Film (2015)
Neil Jackson & Andrew Kötting. The Suspension of Disbelief by Means of a Common Sense (2015)
Neil Jackson & Alan Moore. Cometh the Moment, Cometh the Mandrill (2017)