{"id":10188,"date":"2026-04-23T18:35:14","date_gmt":"2026-04-23T18:35:14","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/littlepuss-press-celebrates-trans-community-indie-publishing-ethos-culture-the-indypendent\/"},"modified":"2026-04-23T18:35:14","modified_gmt":"2026-04-23T18:35:14","slug":"littlepuss-press-celebrates-trans-community-indie-publishing-ethos-culture-the-indypendent","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/littlepuss-press-celebrates-trans-community-indie-publishing-ethos-culture-the-indypendent\/","title":{"rendered":"LittlePuss Press Celebrates Trans Community, Indie Publishing Ethos Culture \u2013 The Indypendent"},"content":{"rendered":"

LittlePuss Press was born on a winter day at a small gathering during the pandemic in editor Cat Fitzpatrick\u2019s backyard. Fitzpatrick and future-publisher Casey Plett, were \u201cgetting extremely fucked up\u201d and airing their grievances that Meanwhile, Elsewhere<\/em>\u2014an anthology of science fiction stories from trans writers the pair edited\u2014had gone out of print when their former publishing house, Topside Press, shuttered.\u00a0<\/p>\n

In the midst of this conversation, the writer Jeanne Thornton pointed out they have the rights to Meanwhile, Elsewhere<\/em>. Why not just reprint it?<\/p>\n

\u201cThe next morning, I woke up with a raging hangover and began to research how to print books,\u201d said Plett.\u00a0<\/p>\n

At Topside Press, which published Plett\u2019s book A Safe Girl to Love,<\/em> Fitzpatrick was a staff editor. Fitzpatrick described the press as having a \u201crevolutionary presence of the trans literary scene.\u201d It was for her and many of her peers, the first time they had encountered books being published by and for trans people.<\/p>\n

Topside Press disbanded in 2017. \u201cIt was very dramatic. Everyone was very burnt out and very upset,\u201d said Fitzpatrick. Fitzpatrick and Plett said they were just waiting for some other, younger people to come along and fill the gaping absence that Topside left.\u00a0<\/p>\n

In the years in between Topside\u2019s implosion and their drunken COVID-era conversation, Plett got a job at a press in Ontario, Canada, where she learned how to manage logistics in publishing and distribution, and deal with big box chains, publicity, and back-end tasks. Combined with Fitzpatrick\u2019s experience as a staff editor at Topside, there was no part of the publishing process they didn\u2019t know how to do.\u00a0<\/p>\n

So LittlePuss came to be. Fitzpatrick and Plett first put out the anthology they had edited, Meanwhile, Elsewhere<\/em>. Then came activist Cecilia Gentili\u2019s memoir Faltas: Letters to Everyone in My Hometown Who Isn\u2019t My Rapist<\/em>. They rescued Emily Zhou\u2019s Girlfriends <\/em>from the slush pile after opening submissions in 2021. The wonderfully lived-in collection of short stories about love and being young and trans went on to win Publishing Triangle\u2019s Leslie Feinberg Award, and was nominated for a Lambda Award. Zhou became LittlePuss\u2019 third employee, a contributing editor.\u00a0<\/p>\n

LittlePuss Press\u2019 releases are surprising, exhilarating and anything but conventional. It fills a much-needed space with innovative and excellent writing that\u2019s hard to imagine being put out by most mainstream publishing houses.\u00a0<\/p>\n

LittlePuss Press\u2019 spring roster exemplifies the ethos of their former works: high-caliber pieces with distinctive voices from working-class trans writers. The poetry collection, Missed Connections with Tall Girls<\/em>, by Gwen Aube (who described herself to Plett as half Miranda July and half William Burroughs) came out on April 7. Plastic, Prism, Void: Part One <\/em>by Violet Allen, Fitzpatrick summarized as a \u201cmeta fictional romantasy about an Asian American trans guy Power Ranger and a Black trans lady Sailor Moon villain in parallel universes. But it\u2019s written in the style of 1940 screwball comedies,\u201d will be released on May 19.\u00a0<\/p>\n

\u201cI am definitely not exempted from this, but most trans writing is by people from middle class or upper class backgrounds. And so it\u2019s exciting that we\u2019ve got a whole season of people who are from working class backgrounds,\u201d said Fitzpatrick. \u201cAnd they couldn\u2019t be more different. \u2026 Gwen is like, \u2018I\u2019m working class and I\u2019m proud and fuck you poshers.\u2019 And Violet is like \u2018I come from a poor, rural Black community, but I got into Princeton and I can speak Greek and Latin.\u2019\u201d<\/p>\n

\n
\n

Once their books are printed and in the world, they don\u2019t need any institutions or systems to depend upon\u2014they simply exist.\u00a0<\/p>\n<\/blockquote>\n<\/figure>\n

LittlePuss Press\u2019 is \u201ca feminist press run by trans women. We believe in printing on paper, intensive editing, and throwing lots of parties.\u201d\u00a0<\/p>\n

It\u2019s a simple motto, but encodes LittlePuss\u2019 ideological commitments. Fitzpatrick and Plett see each part as being equally in service of their purpose of contributing to their community through the production of literature.\u00a0<\/p>\n

\u201cWe are both very suspicious towards this idea that literature is important because it builds a better world and it helps you be a better human being,\u201d Plett said. \u201cThat whole fucking David Foster Wallace thing.\u201d<\/p>\n

\u201cArt can just be something for you to talk to your friends about,\u201d agreed Fitzpatrick. \u201cPart of what makes a community is having a shared kind of set of texts you go to and you think about, and you can say \u2018Okay, we\u2019ve all read these, we have opinions on them, we have something that we can talk to each other about\u2019\u2014having shared reference points.\u201d<\/p>\n

That\u2019s also why Fitzpatrick and Plett insist that the throwing parties element of their motto matters too. When they first started LittlePuss, Plett remembers asking herself \u201cIs it meaningful and important that we throw a bunch of parties and get everybody drunk in Cat\u2019s house?\u201d\u00a0<\/p>\n

The conclusion both women came to, apparently instantly, was \u201cabsolutely.\u201d<\/p>\n

\u201cThere have been so many number of times that someone has said to me at a party that we\u2019ve thrown \u2018this is the most trans people I\u2019ve seen in one place ever,\u2019\u201d said Fitzpatrick.\u00a0<\/p>\n

Plett agrees, \u201cDefinitely our thing is books, but we like to do it in dark bars and houses with alcohol, and that\u2019s that.\u201d<\/p>\n

As for printing on paper? \u201cWe exist as an independent press because we don\u2019t actually trust the mainstream. We think you can\u2019t necessarily trust that system insofar as it includes you. It often does so in an effort to discipline you towards normality. And there\u2019s always going to be significant parts that it is not willing to include,\u201d said Fitzpatrick.\u00a0<\/p>\n

They experienced this firsthand, when the New York Times<\/em> profiled LittlePuss Press. While their experience with the reporter was positive, when the article was published online Fitzpatrick remembers seeing it placed side-by-side with one of the Times\u2019 <\/em>many stories on the so-called \u201ctransgender debate.\u201d Plett and Fitzpatrick say they learned something from that experience.\u00a0<\/p>\n

\u201cI don\u2019t mind working with these institutions. I\u2019m happy to. But I never, never, never want to depend on them. I want to build an infrastructure where we don\u2019t necessarily need them,\u201d said Plett.\u00a0<\/p>\n

That idea ties into the first principle of the motto: once their books are printed and in the world, they don\u2019t need any institutions or systems to depend upon\u2014they simply exist.\u00a0<\/p>\n

\u201cThe thing about print is that once a book\u2019s printed, once it\u2019s out there, it doesn\u2019t depend on anything. It\u2019s a physical object. You can give it to someone, you can sell it to someone, you can show it to someone. You can lend it to someone,\u201d Plett explained.\u00a0<\/p>\n

Intensive editing simply means that LittlePuss Press falls into the school of thought that they believe in good writing, rather than the idea that belonging to marginalized identity alone will lead you to producing good literature.\u00a0<\/p>\n

\u201cThe concept of value in literature is itself a kind of hegemonic and oppressive discourse, and we don\u2019t subscribe to that,\u201d said Fitzpatrick. \u201cWe think that there is such a thing as good writing, and we think we should have some, too.\u201d<\/p>\n

Fitzpatrick continued: \u201cThe point of the intensive editing is not that any literature that trans people produce will necessarily have value, although, to some extent, yes, because it\u2019s going to be interesting. But what we want is to make sure that we produce the best books we can, and the books that will be the most enjoyable to read, be the most intense expression of the kind of thing they\u2019re trying to express be, the grodiest, the weirdest, the funniest, the most completely thought through.\u201d<\/p>\n

\u201cWe are really, really dedicated to making excellent, outstanding literature. And we are willing to give lots and lots of our time and our resources to making that happen,\u201d said Plett.<\/p>\n

Read More<\/a><\/p>","protected":false},"excerpt":{"rendered":"

LittlePuss Press was born on a winter day at a small gathering during the pandemic in editor Cat Fitzpatrick\u2019s backyard. Fitzpatrick and future-publisher Casey Plett, were \u201cgetting extremely fucked up\u201d and airing their grievances that Meanwhile, Elsewhere\u2014an anthology of science fiction stories from trans writers the pair edited\u2014had gone out of print when their former...<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-10188","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nLittlePuss Press Celebrates Trans Community, Indie Publishing Ethos Culture \u2013 The Indypendent - Cultural Left<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/littlepuss-press-celebrates-trans-community-indie-publishing-ethos-culture-the-indypendent\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LittlePuss Press Celebrates Trans Community, Indie Publishing Ethos Culture \u2013 The Indypendent - Cultural Left\" \/>\n<meta property=\"og:description\" content=\"LittlePuss Press was born on a winter day at a small gathering during the pandemic in editor Cat Fitzpatrick\u2019s backyard. 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