Opening almost any book by Tom Raworth and turning to the acknowledgements, one is immediately struck by how deeply his work is integrated into a little magazine network. From the British magazines fragmente and Grosseteste Review, to the American Acts, Io, Doones, and This, to other international magazines like Blue Pig (Paris), Der Gummibaum (Cologne), The Ant's Forefoot (Toronto), Das Kunstwerk (Baden‐Baden), Canards du Siècle Présent (Denmark), Mandala (Netherlands), DOC(K)S (Corsica), PÁGINAS (Tenerife), and Il Verri (Italy), Raworth's publishing networks range widely. Although a favoured avant‐garde poet among fellow poets and a few critics, Raworth's editorial work has received hardly any scholarly attention. But any discussion of Raworth's work will benefit from a closer look at the vast publication landscape of independent and university‐sponsored periodicals and small presses in which his work first appeared and continued to appear until his recent death (as in, for example, No Prizes, 4 (Winter 2015/2016)). His work as a publisher and printer, in turn, offers insights into the variety of his own writing and demonstrates the porousness of the avant‐garde groups with which he was involved.