The past few years have been big for small presses. The two most recent Man Booker Award-winning novels were published by the same small press in England: London’s Oneworld Publications put out both Marlon James’ A Brief History of Seven Killings (2014) and the British edition of Paul Beatty’s The Sellout (2015). Meanwhile, in the United States, Coffee House Press in Minneapolis put out the first American edition of Eimear McBride’s acclaimed debut tour-de-force, A Girl is a Half-Formed Thing (2013) which won the Baileys Women’s Prize for Fiction. Anyone who claims that we are entering a golden era of small press publishing certainly has a point; however, it remains the case that small presses have often been bastions of the literary avant-garde, championing works that would go on to become classics in the face of disinterest or adversity. A prime example of this phenomenon is James Joyce’s Ulysses (1922).