Akoya Publishing, the London-based independent press launched last year by Norwegian entrepreneur Camilla Hagen and managing director Xenia Stafford, is following its soft launch in the fall of 2025, when it published two titles, with a full slate of 16 books this year. The press, which focuses primarily on translated literary fiction, non-fiction, and poetry, has a nearly full list scheduled for 2027 as well.
Akoya's founding premise is that translated literature is underrepresented in the market. Hagen, who studied comparative literature in London and previously worked in business and brand-building in Norway, said she was struck after moving to the U.K. by how translated works were siloed from mainstream literary culture. "Growing up in Norway, we don't separate translated books from other kinds of literature," she said. "It's a German author, it's a Spanish author, but you read all kinds of books." She also identified an arbitrage opportunity: acquiring rights to internationally recognized authors costs a fraction of what it costs to get the rights to comparable U.K. literary talent. "I really thought there was an opportunity to do something there—and really came to the conclusion that this is the time in life to set sail with my own venture, combining my passion for literature with the business acumen I have within building brands," she said.
The 2026 list of authors includes Liliana Colanzi's short story collection You Glow in the Dark, translated by Chris Andrews; Marta Sanz's autofiction My Clavicle and Other Massive Misalignments, translated by Katie King; Helle Helle's they, translated by Martin Aitken; Ada d'Adamo's memoir Gravity; and Book of Wills, featuring last testaments by 18 Gazan writers. The press has also begun publishing English-language work, including U.S. author Morgan Day's The Oldest Bitch Alive and a poetry collection, Horses, by Navajo Nation poet Jake Skeets.
Distribution is currently U.K. and Commonwealth, with world rights held for some titles enabling sales into Asia and other markets. Akoya is focused on establishing a U.K. track record before pursuing U.S. partnerships. "We would rather sell very well in the U.K., and then hopefully partner with someone in the U.S.," Hagen said.
The press operates on a traditional advance-against-royalties model and credits translator names on front covers. Translation costs are partially offset by grants from foreign governments and cultural bodies, though Hagen noted the press cannot rely on that funding consistently. Akoya currently prints in the U.K. but is evaluating lower-cost European options. The press publishes high-quality paperbacks with flaps rather than hardcovers, and also produces e-books and audiobooks.
With a team that is largely female—and both founders are mothers—Stafford said Akoya is also a deliberate departure from traditional publishing culture. "I'm not saying it was a patriarchal system, but I'm saying it was a patriarchal system," she said. "What we have at Akoya is special: trust, community, doing what you love, feeling seen and understood."
Publishing director Kate Harvey, formerly of Picador and Vintage, said the press moves quickly while remaining intentional. "There are decades of industry experience within the team, and where that meets the vision of Camilla and Xenia, who bring acumen from other sectors as well as great taste, there's a huge sense of possibility," she said.
Hagen sees growing receptivity to translated work in the U.K. market, particularly among younger readers. "There is a real interest in translated works," she said. "The younger generation is interested in reading it and curious about understanding more." She added that the press intends to grow carefully. "We want to ensure that each title gets the reviews and the attention it deserves. To build that foundation, brick by brick—that's important to us."
