My guess is that this is the relevant further info for the updated version of things across the UK (although I've only skimmed in haste admittedly!): www.ukri.org/what-we-do/d...

Here's the news story about the changes from ukri: www.ukri.org/news/update-...

I don't know for sure these days, it used to vary by different consortiums by geographical area of the UK (e.g. SGSAH for Scotland, OOC for Oxbridge and Open U). However, I think that model might be partially or wholly gone and it's now this? (for Cam at least): www.csah.cam.ac.uk/education/ca...

I’m glad 😊 I found it helpful a couple of years back for research as part of a placement with the Queen Mary Small Press Fiction Prize (formerly the Republic of Consciousness)

This could be a useful starting point (no contact details but there are links to webpages): contemporarysmallpress.com/press

From the top of my (frazzled) head: fiction - def Isabel Waidner (both We are Made of Diamond Stuff and Sterling Karat Gold) and also Natasha Brown's Assembly. Also: Olivia Laing's Crudo (often compared to Seasonal) or Max Porter's Lanny. In poetry: Jay Bernard's Surge, Roger Robinson, Bhanu Kapil

Yes hopefully! There's enough silliness out in the world about literary "difficulty" and bizarre conflations of reception anxieties with texts; not to mention a weird insistence on the separateness of form and content (despite them being entwined and mutually constitutive)

Sounds excellent, and exactly the sort of thing I want to include on a future project on the contemporary maximalist novel

Absolutely - but there's got to be a teaching moment in there though, about the importance of intersectional feminism and class as a facet of gender equality

Prob not this book, but Namwali Serpell has a cool series of lectures called "Stranger Faces" (Transit Books, 2020) about the ethics and affect of strange faces (e.g. disabled, racially ambiguous, dead, animal, blank, digital)