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Bookseller Louisa Theobald reviews Fallen Land

Posted By: Rowan Whiteside, 26 August 2015



Bookseller Louisa Theobald reviews Fallen Land, one of our Brave New Reads titles, written by Patrick Flanery. Get a feel of the book below:

Fallen Land is Patrick Flanery’s second novel and one that is stuffed full of themes which range from the nature of madness and cruelty, the legacy of family abuse and the intrusion of business into every sector of our life.

Most overtly, Patrick Flanery explores and dissects the American dream through his cast of diverse characters, and finds the dream wanting. There is the widow Louise Washington, a teacher who is unable to keep her farm profitable after her husband’s death. There is Paul Krovik, the callous property developer who buys Louise's land, driven by dreams of a gleaming subdivision which unravels into a nightmare of lawsuits and foreclosure. Sent mad by his failure Paul loses his family and holes himself up in an underground bunker attached to his former home. Into this house moves Nathaniel Noailles, a ‘director of rehabilitation’ at EKK, a corporation which seeks to monetize the prison population as effective slave labour. As the rain begins to hit this unnamed Midwestern land and a flood begins to rise, Patrick Flanery creates a tense atmosphere where the fates of these three characters collide and the book builds to a tragic conclusion.

It is partly a dystopian vision of corporate greed and partly a psychological thriller of two men’s descent into madness. It has a modern setting yet it seethes with a gothic menace. Patrick Flanery’s skill is building a world where the very land on which the characters place their feet seems to simmer with threat as sinkholes appear to swallow objects whole. Flanery's prose is dark and intense and wholly effective in keeping the reader turning the pages. It is an unsettling read, disturbing but fascinating.

Patrick Flanery will be reading from Fallen Land at Bury St Edmunds Library on the 22nd September, 7pm. Tickets are only £2 and can be purchased online, or directly from the library.

Find out more about Fallen Land.

Enjoy extra Fallen Land content, including podcasts and films.

Listen to a recording of our Brave New Reads event with Patrick Flanery below.


Follow Patrick Flanery on Twitter
@PFlaneryAuthor.

Find out more about Brave New Reads.

Would you be interested in joining the Readers' Circle? Find out more about the group, and how to apply.

Fallen Land is available to borrow from the Norfolk, Suffolk and Cambridge Libraries.

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"Pulled Gently Back in the Direction of Your Goals" - Rebecca Done on the value of Writing Coaching

Posted By: Anonymous, 18 August 2015

Rebecca Done’s debut novel This Secret We’re Keeping will be published by Penguin in March 2016. Here she shares how our coaching sessions provided a sounding board for ideas and something ‘to pull you gently back in the direction of your goals’ 

Coaching and Creativity

As a copywriter and novelist, I know there are times when writing can be tough. Whether you do it for pleasure or professionally, writing does have a frustrating little habit of throwing up obstacles along the way. Perhaps you’re experiencing writer’s block, struggling to protect your writing time, or finding it hard to reach your goals in the face of everything else life has to throw at you. Overcoming these barriers can seem like an impossible task, and that’s where writing coaching comes in.

Writing coaching is all about exploring how to overcome the challenges you’re facing and moving forward as a writer. That can mean different things for different people: finally nailing the plot of that short story, hitting ‘The end’ on your first novel, or finding new ways to develop so your work doesn’t stagnate. 

The latter certainly rang true for me last summer. I was working full-time as an in-house copywriter during the day, and spending every spare minute of my own time putting the final touches to my first novel so my agent could begin the nerve-racking process of submitting to publishers. Essentially I was living and breathing writing, and doing little else. With a high volume of creative briefs to tackle at work – for a brand that has a very distinctive voice – the imperative to deliver something original and exciting day-in day-out was as pressing as ever. Finding different ways to keep my writing fresh was something I knew coaching could help with.

Heidi asked me to come to our first session with some ideas about what I wanted to discuss. Aside from anything else, it was fantastic to simply have some time in a room with someone sharing the ups and downs of writing life! As a practising professional, Heidi knew exactly what I was talking about. This helped to maximise our time during the session, as she has a first-hand understanding of many of the problems and issues that writers commonly face.

The great thing about coaching is that it’s very pressure-free. It feels like an exploration of ideas and possibilities, and it’s certainly not about being told what to do. Heidi began by asking me a series of open questions designed to be a jumping-off point for us to explore together what I could do practically to move forward. What’s brilliant about conversations like this is that they tend to throw up a lot of ‘Oh – I’d never thought about it like that’ moments, which for a writer is fantastic because it draws your mind along new paths and gets you excited about fresh ideas. 

The main focus of my initial session with Heidi was to come up with new ways of approaching creative briefs at work – how to dream up different concepts, how to cope with self-doubt, what I could do to spark new ideas when a deadline’s looming and I’m against the clock. Together we created a list of things to work on and I went away re-energised, invigorated and brimming with ideas. This, combined with my follow-up session, helped me to compile what was essentially a creative toolkit that I now use whenever I’m writing. 

As a writer you might routinely receive feedback on your work from a writing group, friends or employer – but it’s less likely you’ll be questioned about how you wrote something. For me, even just articulating out loud how I put the words together was fascinating – I’d never really pondered over it that much, and it definitely served to highlight where my strengths and weaknesses lay. 

You might find you only need one coaching session – it’s amazing how just this short amount of time can focus the mind and generate solutions. For me, having more than one session was useful, because it gave me a timeframe within which to shape my ideas before bringing them back for more discussion. 
Writing coaching is very much about manageable steps, which is great if you’re feeling overwhelmed. It breaks down the problem into mini-goals that don’t feel too daunting to tackle.

Although editing a novel is a different process to nailing a killer headline for an advertising campaign, I have found that I employ a lot of the same techniques for both. Many of the thoughts and ideas I discussed with Heidi in a copywriting context became invaluable during the editing process for my novel, and they’ve certainly helped my brain to fire in a different way. Thinking of new creative ideas when I’m convinced I’m all out of them is something that’s relevant to both walks of my writing life, and beyond. It really doesn’t matter what kind of writing you do: coaching is applicable to any and every strand.

As a result of these sessions, I was able to create myself a dossier that I could refer back to whenever I needed a little inspiration hit. Writing coaching isn’t only useful for now – what you glean from it is like a resource you can draw upon when times get tough or you feel particularly stretched. Something to pull you gently back in the direction of your goals. Whether you’re struggling for time or banging your head against writer’s block, coaching is an opportunity to share your difficulties with someone who understands, and who can help you explore ways of moving past (or through) them in a supportive environment.
I can’t recommend writing coaching highly enough. It remains one of the most valuable things I have done as a writer to date. 


Rebecca Done is a copywriter and author living in Norwich. Her first novel, This Secret We’re Keeping, will be published by Penguin in March 2016. 
Follow Rebecca on Twitter @writerbex

Writers’ Centre offer various sessions with two professional writing coaches – Heidi Williamson and Katherine Skala. It is easy to book a session online, or contact us if you would like more information. 

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Readers' Circle Member Anna Reviews Black Country

Posted By: Miranda Langford, 18 August 2015



Anna Reckin, Readers' Circle Member, gives a tempting introduction to Liz Berry's debut collection Black Country, a 2015 Brave New Reads pick.

Black Country was my number one selection for the Brave New Reads poetry choice, so I’m thrilled that it made it into the final six books! It’s sparkling with wit, energy and linguistic virtuosity, as well as being wonderfully unafraid of myth and magic.

I really appreciate the range of poetry included in the collection, especially the more magical pieces, which read like a poetic re-imagining of Angela Carter. Here are poems that are themselves spells and invocations; including the exhilarating opening piece, ‘Bird’. Others, like ‘Christmas Eve’ and ‘Wulfrun Hotel’ are more straightforward lyrics of landscapes and cityscapes.

The sparkiness of Berry’s writing isn’t superficial glitter; the fairytale elements are grounded in the themes woven throughout the collection: home and flight, love and loss.

My only hesitation would be over the design of the cover, with its dark gray drapes: classy but oh-so-sombre . . . Where are the sparks?!





Black Country
is available to borrow from the Norfolk, Suffolk and Cambridge Libraries.

Would you be interested in joining the Readers' Circle? Find out more about the group, and how to apply.



About Anna Reckin

Anna lives in Norwich, where she works part-time as a creative-writing teacher and freelance editor. She holds an MA in Creative Writing from the University of Minnesota and a PhD in the Poetics Programme at SUNY Buffalo. Her poems have appeared in magazines in the UK and the US, including Shearsman, How2, Poetry Wales and Chain. Her first book, Broder (Traffic Street Press, 2000), won a Minnesota Book Award; a pamphlet, Spill (Chibcha Press) appeared in 2004. Her first book-length collection, Three Reds (Shearsman, 2011) draws on materials from Portugal, Australia, China and East Anglia. She is currently working on her second, supported by a grant from Arts Council England.

Visit Anna's website.



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On the International Literary Translation and Creative Writing Summer School

Posted By: Writers' Centre Norwich, 12 August 2015

Run by the British Centre for Literary Translation in partnership with Writers’ Centre Norwich, the International Literary Translation and Creative Writing Summer School brings together translators from different countries for a one-week intensive programme of literary translation and creative writing practice in Norwich. WCN Programme Assistant Tina García reflects on this year's summer school, as it celebrated its 15th edition in the Julian Study Centre at UEA and at WCN’s new home in Dragon Hall.

I have always felt grateful to literary translators: without their work I wouldn’t have been able to discover many great authors and read some of my favourite books, masterpieces which have somehow changed my way of looking at the world or texts which have just (just!?) made me smile during the reading – and sometimes, quite a long time after it. Now that I am a foreigner in the UK, using a non-native language on a daily basis, I am even more aware of the importance of their work, not only in a literary context, also in a cultural one: translated literature is a way of discovering new cultures, new ideas, different ways of seeing, thinking, living.

For that reason, I felt really lucky when I had the opportunity of collaborating in the organisation of the International Literary Translation and Creative Writing Summer School together with our colleagues from the British Centre for Literary Translation. From the 26th July to 1st August 2015 at the UEA and at the new home of the Writers’ Centre Norwich – the beautiful Dragon Hall-almost 50 participants from many different countries took part in a series of creative writing and translation workshops.

All of them translated into English, but from different languages depending on the workshop: from Dutch (led by David Colmer and Jeroen Thijssen), German (with Katy Derbyshire and Kristof Magnusson), Italian (Howard Curtis and Andrea Tarabbia), Korean (Deborah Smith and Han Kang) and Norwegian (Kari Dickson and Brit Bildøen), but also two multilingual, one for prose led by Sarah Bower and Daniel Hahn; the other one for poetry with George Szirtes. In every single workshop participants and tutors organised their work in a different way, but sharing the same goal: not to translate in just a literal way, word by word, but to go beyond that and translate the cultural context, the feeling, the sensibility of the writer. A very enriching point in this summer school was the fact that in most of the workshops the authors of the texts being translated were involved in the working process and answering the queries that the translators had. 



This year for the first time the summer school also included creative writing workshops with Sarah Bower, Sharlene Teo, Cecilia Rossi, Henrietta Rose-Innes and Eliza Robertson. Sessions where the translators were invited to develop their own writing, adapting texts to different voices and contexts, reinterpreting them and also, being aware of the constraints that a translator can face when working.

Whilst the 2015 summer school has finished, the translations and texts created by the participants – and successfully presented during the last afternoon at Dragon Hall - will remain, and are a good souvenir of a very intensive and fulfilling week. 

See you next year!

The British Centre for Literary Translation is Britain's leading centre for the development, promotion and support of literary translation.

Discover forthcoming Writers' Centre Norwich events on our website, or sign up to our newsletter to receive timely offers and updates.

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Giggles and Gasps with Anneliese Mackintosh

Posted By: Rowan Whiteside, 11 August 2015



Bookseller Louisa Theobald reports on our Brave New Reads finale with Anneliese Mackintosh, author of Any Other Mouth.

I absolutely loved reading Any Other Mouth. It is exactly the sort of book that sums up Brave New Reads. It is provocative, experimental in its content and, best of all, written by a writer at the start of fantastic career. Anneliese Mackintosh's debut is a collection of linked short stories that blurs fiction and memoir by drawing on her own experiences of academia, sex, her father's death and living with Borderline Personality Disorder. Any Other Mouth felt so bold and uncompromising that I couldn't wait to attend the Brave New Reads finale and hear Anneliese speak. And clearly I was not alone, as the the room at the Norfolk and Norwich Millennium Library was abuzz with anticipation.

The Brave New Reads Programme Co-Ordinator Melanie Kidd began with an introduction that outlined Anneliese's pedigree, (many of the individual stories have been shortlisted or won a whole host of short fiction prizes whilst the collection itself won the 2014 Green Carnation prize), before discussing the strength of feeling that Any Other Mouth has generated: thousands of library loans, scores of heated discussions and impassioned feedback!

Next Anneliese read the story 'Doctors' from Any Other Mouth, and her previous experience on the live literature scene was immediately apparent. She had a lively and theatrical reading style, with spirited gestures and an excellent comic timing which was invigorating to watch. Wry jokes peppered a story that took a darker turn as Anneliese detailed her father's passing and her subsequent grief. I was on the edge of my seat as her tone softened and drew the audience in.

After the reading there was a discussion with questions from Melanie and Readers' Circle members Isabelle and Frances: all three were deeply impressed and affected by the book. Anneliese described the shift in her writing process following her father's death, how she quit her job and spent two months writing rants about things she was angry about, calling them explosions of feelings and screams on the page. She added that she still felt so emotionally close to the material that some stories she is unable to read publicly for fear of tears. Another recurring point was the liberating feeling of writing for oneself as therapy, in contrast to the process involved in taking that writing and shaping it for public consumption: she called it the initial splurge. Anneliese was also very frank about the way her writing had tested her relationship with her family.

It was fantastic event which left me feeling very lucky to hear such an honest discussion of the role of creating art in order to navigate one's own emotional landscape. It was also great to share that experience with a group of engaged, intelligent and curious readers. A brave and bold event indeed!


Listen to Anneliese read her short story 'Doctors':


Listen to a podcast of the whole event:

 
See photos from the event.

Find out more about Any Other Mouth.

Read Sam's review of Any Other Mouth.

Enjoy extra Any Other Mouth content, including videos and interviews.

Follow Anneliese on Twitter @AnnelieseMack

Would you be interested in joining the Readers' Circle? Find out more about the group, and how to apply.

Any Other Mouth is available to borrow from the Norfolk, Suffolk and Cambridge Libraries.

 

 


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Readers' Circle Member Frances Reviews The Dead Lake

Posted By: Rowan Whiteside, 28 July 2015



The Dead Lake is one of our Brave New Reads titles, written by Hamid Ismailov and translated by Andrew Bromfield. Get a taster of the book with Frances' review:

I'm going to write about my experiences of being part of last year's Readers Circle, and specifically one of my favourite books The Dead Lake.

Before I start there are three things you should know about me:

1. I love reading. I've always read. At one point I wanted to write, but as my first book would need to win the Man Booker prize I wasn't sure I could handle the disappointment.
2. I'd like to be a literary pundit.
3. I've always wanted to be a judge of the Man Booker prize.

So, what's not to like about being a reader for Brave New Reads?  I get to read very many interesting, entertaining, great books. I get to judge and rank them and discuss them. My opinions count as much as the next persons. And at the end, if I'm lucky, the books about which I have been passionate and fought for get to be chosen for the summer event. And, wow, have I been lucky this year! Of the 5 selected books 2 were in my top 5. Oh, and until I joined this reading group I had never read a book of poetry. Now I have, and I will again. I have lost my fear.

Now to The Dead Lake by Hamid Ismailov. This book from Peirene Press forms part of their Coming-Of-Age series. As such it deals with a young boy's maturation. He lives with his family and one set of neighbours on the desolate Russian Steppes during the period when Russia was competing with America to become the premier nuclear weapons force in the world. Russian nuclear explosions rendered an enormous area of the steppes a Dead Zone. The story that this boy, now a man, tells to a stranger on a train is moving, shocking, and heart-breaking. The more I think about it as I write this the more I think it is truly wonderful.

Hamid Ismailov had to flee to the UK from Uzbekistan in 1994 because of his "unacceptable democratic tendencies". His work is still banned there. I thought the translation was excellent. It was poetic. For me, this book illustrates the fantastic work that publishers like Peirene do in making accessible works in other languages.  

Find out more about The Dead Lake.

Enjoy extra content from the The Dead Lake including interviews and photos

Follow Hamid on Twitter @Ismailov_writer.

Find out more about Brave New Reads.

Would you be interested in joining the Readers' Circle? Find out more about the group, and how to apply.

The Dead Lake is available to borrow from the Norfolk, Suffolk and Cambridge Libraries.

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Translating Myanmar

Posted By: Kate Griffin, 22 July 2015

Kate Griffin, WCN Associate Programme Director, reports back from Link the Worlds in Myanmar, and discusses the issues faced by Burmese writers, translators and publishers.  

In May 2015, I was lucky enough to visit Myanmar for Link the Worlds, a week-long series of translation workshops and literary discussions in Yangon. Writers’ Centre Norwich had been planning the event for just over a year, in partnership with PEN Myanmar and the Select Centre in Singapore. A truly international collaboration, other partners and funders included the British Centre for Literary Translation, Penguin Random House, the Taw Win Foundation, PEN International, the British Council and the National Arts Council of Singapore

Myanmar has only recently emerged from a long period of isolation. Throughout the week, we explored ways to revive the flow of contemporary writing and ideas between Myanmar and other countries, particularly in South East Asia. 

Literary exchange in Burma – now Myanmar – flourished in the years after the declaration of independence in 1948. The Burma Translation Society was established in Rangoon in 1947, and high quality translations of the best literature from other countries became available to readers and writers in Burma. Despite the opening up of the country three or so years ago, in today’s Myanmar many of the translations available in bookshops still date from this period. Censorship has meant that since the 1960s, little world literature – other than Soviet literature – has been translated into Burmese. Since the 1990s, translators have been making an effort to change the situation, but in Myanmar, translation tends to be a labour of love, with little or no financial remuneration. Although there is a need to nurture a new generation of literary translators, there is no systematic support in the form of workshops, or skills development in schools and colleges. 



This means that Burmese readers have difficulty gaining access to more contemporary writing and ideas from around the world, and Burmese writers find themselves isolated from their international counterparts. At the same time, little contemporary Burmese writing is translated into other languages as there is a shortage of experienced literary translators who can translate out of the languages of Myanmar. We hoped that Link the Worlds would be a first step towards changing this.

PEN Myanmar

Since its establishment in late 2013, PEN Myanmar has aimed to encourage dialogue between writers
and readers, reaching out to different parts of Burmese society by holding literary discussions in public places across the country, including on trains and at bus stops. The level of education in Myanmar is low, so people read very little. PEN Myanmar president Ma Thida said that children need to be encouraged to read and write short stories and poems. 

As part of its drive to open up the Burmese literary scene, PEN Myanmar holds literary evenings in Yangon (in English), presenting non-Burmese literature, as well as writing from the other ethnic states of Myanmar. Little ethnic literature is available, because of censorship; PEN would like to help develop more writing and translation between Burmese and ethnic languages. This is also the focus of the British Council’s Hidden Words Hidden Worlds project.

Publishing

The independent publishing sector in Myanmar is small but growing. Our partner San Mon Aung’s publishing house Ngar Doe Sar Pay ('Our Literature') is part of a new generation of independent publishers forging a new Burmese publishing scene and bringing it to the international stage. 

There are four main barriers to publishing in Myanmar, according to San Mon Aung. The distribution system is terrible; the lack of a reliable postal system makes it difficult to get books to readers, either via bookshops or direct. It’s also difficult to collect money from bookshops, and therefore to survive.

Secondly, the reading rate is very low; a book that sells 1,000 copies is considered a bestseller. Thirdly, publishers struggle to find quality writers and translators; even when they do, high quality and literary style don’t necessarily attract a lot of new readers. Finally, although official censorship is in the past, there are still a lot of laws that control publishing – in effect an alternative version of censorship. 

Editing

Generally there is not a strong culture of editing in the Burmese publishing industry, and many of the small independent publishers cannot afford to hire editors. Most Burmese editors work for periodicals rather than publishers. Myo Myint Nyein, one of the few experienced editors in Myanmar, told us that until two or three years ago there was an official censorship bureau overseeing publications. The editor was captain of the ship, navigating the waters of censorship. And in daily life, whenever people had a conversation they felt had to self-edit before they spoke; this atmosphere of caution has left its mark on writers. Burmese writers are still resistant to editing when they see it being used as a form of censorship.



Nowadays, editors are more able to focus on style rather than policing content, but even this can be complicated, for a number of reasons. Spoken Burmese sounds smooth, but when the informal language is written down it can be full of grammatical mistakes. Readers in Myanmar don’t mind this, but if the translation echoes this informality, international readers may be less understanding.
 
Translation

Another barrier for many publishers in South East Asia more generally is the linguistic diversity of the region; translation is very important for books to travel even to neighbouring countries. There are no literary agents in Myanmar to promote either Burmese or other writers. It is expensive for Burmese publishers to pay for copyright, as books have such a low circulation and make so little money. 

Link the Worlds was welcomed by all concerned, as a first step towards improving the situation for
literary translation in Myanmar. At the core of the five-day event were two workshops, each with ten participants from different parts of Myanmar. The Burmese to English group worked with workshop leader Moe Thet Han to translate work by UK author Suzanne Joinson and Singaporean author Alfian Sa’at into Burmese. The English to Burmese group translated work by Myanmar writers Nay Myo and Min Khite Soe San into English, under the guidance of Alfred Birnbaum.

‘I enjoyed the opportunity to talk to people from Myanmar,’ said Suzanne Joinson. ‘Using the process of translation as a common task, what really opened up was a range of narratives: stories, explorations of language, communication. I have already edited a short story for one participant, and have been in touch with another about Burmese writers. It’s a unique chance to make friends from a distant part of the world.’ 

Alfian Sa’at said he ‘really appreciated the experience as someone living in Southeast Asia. There haven’t been many initiatives to understand the region and I have to admit that Myanmar was never really in my radar as a writer. But now I’m really keen on reading works from Myanmar writers and hoping that these little acts of connecting with one another will lead to greater cultural integration among the Southeast Asian nations.’

One of the senior translators praised Link the Worlds as the first major translation event in Myanmar since 1969. We hope that we won’t have to wait as long until the next time. 



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Never never never never / Shame - Worlds 2015 Part IV by George Szirtes

Posted By: Miranda Langford, 22 July 2015

George Szirtes continues his blog on Worlds Literature Festival, sharing his personal experience of the provocations, salons and readings. Reflecting on the fourth day, he discusses literary translation, and writing as an act of political resistance.

After the Wednesday salon there was a two hour session on translation in which three authors appeared with their translators. 

The authors read a sentence or two in the original language then the translars read longer passages in translation. Each author was then invited to ask their translator three questions. 

This session was led by Erica Jarnes. The three writers - Geir Gulliksen, Han Kang and Sigitas Parulskis - write in quite different ways about quite different things. The translators were asked the normal but vital translation questions and each answered differently. Deborah Smith, the translator of Han Kang, argued that the translator should feed the text through her blood stream by accessing the experience described. Deborah Dawkin, who had just one week to translate a longish passage of Geir’s book about gender and sexuality thought it was the original text one should go back to time after time. Translation, she said, was like acting, a fascinating if unexplored idea. Romas insisted that the translator should know the full cultural and historical context, be utterly at home in both languages, and that translators never never never never improved original texts or, if there were mistakes in the text they should be left to the copy editor. (This concurs with Nabokov’s view of translators as mischievous and incompetent servants who think they know better than the genius writers they serve. Max Sebald too kept his eye closely on what his translators were up to.)

In the Salon on Thursday, Mamta Sagar and Sigitas Parulskis gave the provocations.

Mamta talked of India with its many languages of which her own, Kannada is one. One may make a name for oneself in one language alone, but that name may be extended by translation into other Indian languages. Being translated into, or writing in English made one available to an international public and offered the chance of international reputation. However, there were many complications such as religion, caste and gender. Reputation, she argued, was rooted in imagined memory, a memory that was exclusive and omitted anything it didn’t want to admit, particularly the writing of women and the Dalit (or Untouchables). Social and gender roles would be defined by ideals derived from sacred or mythological text, the Ramayana. Male roles were defined by Rama: female by Sita. If individuals departed from these models their reputations were ruined. The current government of India led by Modi emphasised the martial aspect of Rama and looked to very conservative interpretations of the Ramayana. The women’s movement had brought progress but the major roles were still all male (Bhavit argued that this was not the case now and that all the major festivals had equal numbers of men and women as well as Dalit writers.)


Afterwards there were questions about women-only publishers. Mamta didn’t like the idea of special spots for ‘women’ poets feeling that this meant they were expected to produce ‘women’s poetry’and be like the flowers at a reception. Indian writing should not be looking to package particular groups in specific ways but focus on diversity. India was after all a secular democratic nation. (Mamta’s work is much translated but generally in workshops at festivals or universities.) There was talk of the tension between Hindu and Muslim and Mamta mentioned but did not expand on the episode of the  Godhra train blaze. Marion Molteno argued that the increasing popularity of the ghazal verse form in Urdu was evidence of an essential anti-fundamentalism. Jon Morley wondered how far writing was a form of resistance. Someone else asked whether there were examples of writers forging a reputation in one language than forging a different one in another.

Sigitas’s provocation was read by his translator, Romas. It was the story behind his current book which is about the murder of Lithuanian Jews, as much by Lithuanians as by German Nazis. It was in the Imperial War Museum in London that he discovered how, in his own small home community of just over two thousand, over a thousand Jews were executed. No one had ever mentioned this or chose to remember it, partly because years of Soviet occupation had implanted the idea that it was the Germans alone who were the murderers and that the victims were not so much Jews as communists. This became a matter of “shameful knowledge” in Lithuania and for him too personally. Not even his mother - who had lived through it - believed that Lithuanians could do this. Sigitas went on to resist the idea that literature should by ideologically committed which was not surprising in view of years of ideologically committed  or controlled literature. There was no repentance in Lithuanian society, he said, only denial. How much time did it take for a corpse to become a historical corpse, he asked. We are, he said, parasites living on the corpses of the past. Lithuanians, he added, had certainly suffered but suffering can make you more cruel. There was a constant referring back to Christian belief in both Sigitas’s novel and his provocation. Religion was a form of resistance to the Soviets. It is deeply embedded in Lithuanian people. 


James asked whether the book was unusual for Sigitas. It was important to irritate yourself, Sigitas replied. Without irritation, no literature. Erica wondered whether it was odd that he should be promoted by the state when he was writing something that questioned the narrative of the Lithuanian nation. The state did not determine culture, argued Rita Valiukonyte, the Cultural Attaché at the Lithuanian Embassy in London. Was the opposite view - a guiltless version - expressed in Lithuanian literature, asked Dan? There is an anti-Semitic spirit in Lithuania, said Sigitas, but it is not overt in literature. Jack Wang said his own book - about Vienna’s Kristallnacht - began at the opposite end, with a pride in saving Jews. What, asked Deborah Dawkin, was the effect, on both nation and writer, of the awareness that once a book like this was translated everyone outside would be invited to view the nation’s dirty washing. (I would have answered that the role of some Lithuanian people in the extermintations has long not been a secret and it was just that Lithuanian authors hadn’t referred to it). Sigitas replied that he gets panned for it and called a lot names. Kyoko made a very interesting remark at the end: We like to take the side of the victim, she said, but that makes it very hard for us to imagine ourselves as perpetrators, and went on to ask whether the obscenity referred to by Sigitas in his provocation consisted of the act itself or of the describing of it. It was the describing, said Sigitas, but it had to be done for didactic reasons.

What is it we identify with in stories of atrocities elsewhere? In the case of Sigitas and Lithuania we were moved to hear that truth could be spoken in a place where previously there was concealment. But are we glad to hear such things only because they confirm our superiority? Would we have acted better than the Lithuanians? Perhaps the story should inspire us to tell truths about our own circumstances rather than feel too comfortable about our sympathies for distant victims.

Sigitas’s angle on reputation concerned the reputation of his own society, not so much in the outside world but at home. Reputation could be a lie. In Mamta’s case reputation was a social status you could lose, a repressive force. Was Creative Writing about the power of partially closed societies - such as universities, but also publishers perhaps - to make reputations that that flattered their own preferences and extended their own power?

This is the fourth in a series of blogs reporting back from Worlds Literature Festival, and more blogs will be posted over the next few weeks. The first blog, "Introducing the Octopus", the second, "The Whirligig of Time", and the third, "Solitude and the Racket", can be found on our website. Alternatively, you can watch the provocations on YouTube or listen to them on SoundCloud.  

Find out more about Worlds Literature Festival.

George Szirtes was born in Budapest in 1948, and came to England with his family after the 1956 Hungarian uprising. He was educated in England, training as a painter, and has always written in English. In recent years he has worked as a translator of Hungarian literature, producing editions of such writers as Ottó Orbán, Zsuzsa Rakovszky and Ágnes Nemes Nagy. He co-edited Bloodaxe’s Hungarian anthology The Colonnade of Teeth. His Bloodaxe poetry books are The Budapest File (2000); An English Apocalypse (2001); Reel (2004), winner of the T.S. Eliot Prize; New & Collected Poems (2008); The Burning of the Books and other poems (2009) and Bad Machine (2013). Bloodaxe has also published John Sears’ critical study Reading George Szirtes (2008). Szirtes lives in Norfolk and recently retired from teaching at the University of East Anglia. He is currently translating the Man Booker Prize winner László Krasznahorkai.


Visit George's website.

Follow George on Twitter @George_Szirtes.

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Brave New Reads: #ReadingSpot Competition

Posted By: Miranda Langford, 15 July 2015




To coincide with our Brave New Reads summer programme, we've been running an exciting competition on our Twitter and Instagram pages. WCN Communications Intern Miranda tells us more, and explains how finding a new #ReadingSpot can be just as exhilarating as finding a new read.

Sometimes allowing ourselves time to sit down and relax with a book is a hard thing to do. We often say that we don’t have enough hours in a day, that time reading is time that could be spent doing something more productive, like finally replying to those emails, clearing out the cupboard under the stairs or giving the dog his long-overdue bath. Placing our undivided attention on a new novel, memoir, or collection of poetry seems just too indulgent. As Arthur Schopenhauer said: ‘Buying books would be a good thing if one could also buy the time to read them’. Consequently, we often end up opening our books whenever and wherever we get a spare moment, and can find a relaxing reading spot in the most unlikely of places.

In the summer I usually find myself waking up earlier than usual, and recently I’ve started to dedicate the first half hour of my day to reading. I sit down in a comfy chair and squeeze in a chapter or two while I have breakfast (and an all-important bucket of coffee) and, for a little while, my mind is allowed to drift off somewhere else. My book stays with me throughout the day, often in a heap at the bottom of my bag, getting dog-eared and damp as I carry it around and wait for another moment of quiet. Ideally, I would spend an entire morning sat back in that comfy chair, turning page after page of whatever I’m reading that week without having to re-renter the real world, but I can’t deny that I have found some imaginative and varied ad-hoc reading spots over the years.


I’ve read Jack Kerouac on a transatlantic flight to New York, Jane Austen in a Hertfordshire park, Ian McEwan in the Student Union at UEA; I’ve taken books to beaches, bars, banks and birthday parties, and even carried a tattered copy of Harry Potter in my backpack whilst climbing a volcano in Costa Rica. Reading spots can be as diverse as the books being read. Sometimes, I’ll want nothing more than to curl up in an armchair reading Gatsby for the tenth time. Other times, I’ll be on a train heading somewhere new and unexplored, courageously reading a new book by an author I’ve never encountered before.


To coincide with our Brave New Reads summer programme, here at WCN we’ve been running a competition on our Twitter and Instagram pages to see where our followers are devouring their books this July. From rugged countryside in Yorkshire to pebbles on Brighton beach, from a cosy bedroom chair to a seat on the number 28 bus, we’ve seen some great reading spots all over the UK, and have become quite envious in the process!

Every Wednesday we are sharing our favourite two pictures from the week on our social media accounts, and sending the lucky winner and runner-up a Brave New Reads book or tote bag. 

Are you reading something new and brave in your usual, comfy spot? Or an old favourite in an exciting new place? Wherever and whatever you’re reading, we’d love to see it!

To enter our competition, simply tweet @WritersCentre with a picture of your #readingspot, using the hashtag #BraveNewReads. You can also follow our Instagram account @WritersCentre, and tag us in your #readingspot on there. 


Here are some of our favourites so far:





The first week's winner was @HattieLC on Twitter, with this enviable view of Calder Valley, Yorkshire.She described it as a 'perfect reading escape' and we have to agree - it looks idyllic! 

 









@woollen_bullet was our second winner. She tagged us in this picturesque snapshot of the Norfolk Broads over on Instagram - her prize was a copy of Badgerlands, a Brave New Reads title by Norfolk author Patrick Barkham.






 







Our first runner-up was @gettingtonomi on Twitter. It seems there was a strong 'tea' theme that first week!







 

 

 





We had two runners-up as a special treat for week two. First, @leanne.rio tagged us in this breathtaking bath picture on Instagram. There really is nothing better than a good book and a long soak!




 

 

 




Our other runner-up for the second week was @MrStuAnderson, who tweeted us this picture of him and William Faulkner sharing a bus journey. All runners-up win a Brave New Reads tote bag, which will no doubt prove useful for carrying their various books around!




 


All our Brave New Reads titles are available to borrow from the Norfolk, Suffolk and Cambridgeshire Libraries.

Anneliese Mackintosh, author of Brave New Reads title Any Other Mouth will be joining us at the Norfolk & Norwich Millennium Library on the 5th of August, 6pm. Join us to enjoy a brilliant, funny reading and to find out more about Brave New Reads.

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Solitude and the Racket - Worlds 2015 Part III by George Szirtes

Posted By: Miranda Langford, 15 July 2015

George Szirtes continues his blog on Worlds Literature Festivalsharing his personal experience of the provocations, salons and readings. Reflecting on the third day, he discusses taught Creative Writing degrees, and the role of professional writers in academic institutions.

On Wednesday morning the attention turned, as it often does, to Creative Writing (henceforth CW for short) and its place in university. Did this relate directly to reputation or was it something quite separate, an intruder in our menagerie? Jon Cook quoted Malcolm Bradbury on the unlikelihood of transforming small talent to big talent more of establishing a significant climate within which writing in general might prosper.

D J (David) Taylor led the attack via Cyril Connolly’s 1938 book, Enemies of Promise. What Connolly - a “romantic, classicist, sensualist and anti-academic” in David’s words - offered us in his book was mostly a critical view and a personal memoir, but in the middle section of the same book, he examined factors militating against the production of great literature and the writing life proper: these included hack-work, political committment, escapism, the pressure of ‘promise’, sex, domesticity (the famous pram in the hall) and last, and possibly worst of all, success itself.

David invented a family, the Littlejohns, one member of which in an earlier generation wrote neglected books but survived by hackwork. A later, contemporary figure in the same family proceeded from a CW degree to book publication then returned to university to join what David called a racket, wherein academics write for each other and lose contact with the greater public. He preferred the earlier generation if only because they did things in the real world, the academic world not being considered real.


Instead of asking questions at this stage, Jon Morley, in the chair, asked Vesna Goldsworthy to respond with her own provocation. Vesna talked of her early youth of writing poetry and of her parents’ determination that she should be a doctor. She studied Comparative Literature instead, but the study of it led her to write less and less as the course went on. Studying literature as a subject of criticism did not make one a writer, she said: vets don’t make jockeys. She referred to Hanif Kureishi’s contemptuous dismissal of CW while teaching it. There were the natural comparison with other Arts subjects such as music and visual art where no-one thought to question the idea of formal, institutional education. Was CW a vocational course that prepared you for the life of a wage-earning writer. Would it help you to succeed, to gain a reputation?” Or was it something else? Was the respectability of academic opinion actually one of the underwriters of reputation, I wondered? Vesna herself did not make too high a claim for institutions and shared a certain writerly wariness of them.


In the discussion afterwards Geir Gulliksen suggested that the best a CW course could do was to create good readers, and added that publishing - the field in which he worked - was also a kind of institution. Jonty Driver said he had heard that the Norwegian state bought a thousand copies of all literary books. True, said Geir, the state does intervene to save the literature that it recognizes as literature. Jack Wang has long experience of teaching CW and referred to an essay by Chad Harbach comparing the MFA culture of universities with the NYC culture of writing in a world of publishers. Neither was free of limiting considerations he said but at least the university allowed for experminet and the avant-garde. Ana Clavel talked of the problem of commercialisation in Mexico, Mamta Sagar of the tension between Comparative Literature and straight Literature Departments. James Shea remarked that CW was hardly new since there were ancient schools of haiku in Japan and China and that CW was currently expanding in China and Singapore. Anna Funder wondered how teaching might affect one’s writing while Erica said publishers (and she had worked in publishing) don’t really like CW.  This may be so, I thought, but if they really didn’t like it they wouldn’t be publishing as many graduates as they do.

Lauren K Alleyne commented that institutions bestowed a kind of respectabilty in the eyes of the outside world (as for example in the eyes of her own parents). Kyoko Yoshida had done an MFA course and returned to Japan to find that people back home no idea what that meant. She did however emphasise that there existed in CW an ethical contract that agreed your writing, and desire to write, were legitimate and guaranteed that it would be taken seriously. I suggested that not only had writers always met, albeit informally and without institutions, but that before CW started it had been a matter of luck if you happened to come across senior writers willing to discuss your work in person, I also suggested that teaching was essentially intelligent conversation. Dan - whom I had in fact taught at one time - agreed but rightly pointed out the increasingly high cost of such courses. 



Lucy Hughes-Hallett wondered why CW should not be regarded, almost incidentally,  as a kind of vocational training providing transferable skills just as other humanities degrees did. You did not necessarily have to become a writer. Thinking and reading were the important things. Amit pointed out that CW classes were the only ones where no one ever bunked off. Students wanted every minute they could get. He also noted a certain tension between literary theory in reading, and reading for literary style. Deborah Smith agreed with Kyoko and imagined CW must be a great deal better than straight English Literature which was a matter of ploughing through work by a lot of dead white men.

Romas Kinka worried about the lack of support and respect for translators. Jack said it was a matter of earning a living. All writers had to do it one way or the other and modern pedagogic practice was far from the racket DJT had called it: it was a profession with high professional standards. Bhavit Mehta surprised us by arguing that there no shrinking readership, that readership was wider than ever, it was just that readers weren’t all reading in hard-copy book form. DJT ended on a different note: that of a necessary solitude. He lamented its loss in the climate of workshops, social media and public forums. The notion of writers not just writing but developing in solitude was, I thought, worth considering.

Are you interested in creative writing? Writers' Centre Norwich has teamed up with the world-renowned University of East Anglia and developed new Creative Writing Courses to help you advance with your writing. Available both online, and face-to-face, these Creative Writing Courses are taught by critically acclaimed professional writers and are open to writers of various levels and disciplines. Find out more and book your place.  

This is the third in a series of blogs reporting back from Worlds Literature Festival, and more blogs will be posted over the next few weeks. The first blog, "Introducing the Octopus", and the second, "The Whirligig of Time", can be found on our website. Alternatively, you can watch the provocations on YouTube or listen to them on SoundCloud

Find out more about Worlds Literature Festival.

George Szirtes was born in Budapest in 1948, and came to England with his family after the 1956 Hungarian uprising. He was educated in England, training as a painter, and has always written in English. In recent years he has worked as a translator of Hungarian literature, producing editions of such writers as Ottó Orbán, Zsuzsa Rakovszky and Ágnes Nemes Nagy. He co-edited Bloodaxe’s Hungarian anthology The Colonnade of Teeth. His Bloodaxe poetry books are The Budapest File (2000); An English Apocalypse (2001); Reel (2004), winner of the T.S. Eliot Prize; New & Collected Poems (2008); The Burning of the Books and other poems (2009) and Bad Machine (2013). Bloodaxe has also published John Sears’ critical study Reading George Szirtes (2008). Szirtes lives in Norfolk and recently retired from teaching at the University of East Anglia. He is currently translating the Man Booker Prize winner László Krasznahorkai.


Visit George's website.

Follow George on Twitter @George_Szirtes.

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Bookseller Isabelle Shares Her Thoughts on Brave New Reads

Posted By: Rowan Whiteside, 13 July 2015



Isabelle King, bookseller at Waterstones Castle Street blogs on Brave New Reads and Prayers for the Stolen by Jennifer Clement.

I first discovered Brave New Reads, previously known as Summer Reads, last year when I was working voluntarily for Future Radio, producing pieces about literary events in Norwich. What particularly caught my eye about this project was the variety of books and events on the programme. Everything from dark, experimental poetry, to vivacious contemporary fiction and surrealist crime; this would surely make a dynamic radio piece.

With this in mind, I attended various Summer Reads books clubs and events for the purpose of the piece; a small pocket recorder in hand and donning some overtly large headphones, which might have made me look like an eighties DJ, but pride aside, they got the job done.

What really came across at every event I attended was WCN’s passion for the books on the list, evident through their effort to capture the experience of the book. The launch event, for example, with Hiromi Kawakami, whose book Strange Weather in Tokyo was selected for this list, featured a buffet of sake and sushi to help bring the book to life, as it has countless sumptuously detailed food references.

I should mention this book was a particular favourite of mine, not only as a beautifully crafted exploration of an modern relationship, but also because I happen to like food!

Needless to say, in attending these events, it didn’t take long before I was far more than a representative for Future Radio, I was an enthusiastic audience member and avid reader of the books on the list, who just so happened to be wearing enormous headphones.



One year on, I work as a Bookseller in Waterstones. The Castle Street shop has a window space and book stand dedicated to WCN’s current list. Having personally explored Summer Reads last year, it’s been interesting to delve into them this year in a customer focused role, keeping a public view in mind.

What’s really struck me about working in Waterstones is how much customers really do want to try something different; something they wouldn’t normally pick up, and this is where ‘Brave New Reads’ comes in handy as a Bookseller. For one thing, the title offers an instant sense of adventure.

A huge factor in chatting to customers about the books involves talking about WCN’s process of The Reader’s Circle. This is an interestingly democratic process, in which a group of roughly fifty people read one hundred and fifty books then slowly, through a voting process, narrow them down to just six books!

People tend to find the idea of The Reader’s Circle very appealing; they like that the books have been chosen by people rather than institutions. There’s a sense of freedom and risk-taking involved in this, which makes the list accessible and openly ditches that stuffy concept of ‘this is what clever people read’ which tends to put people off book suggestions.

A particular favourite of mine is Jennifer Clement’s Prayers for The Stolen. The story offers a brutal and unsparing insight into the life of a young girl growing up in a remote part of Mexico, run by the drug cartel, where being a woman is a dangerous and devastating experience. In spite of a dark backdrop, the story is interwoven with warmth and humour when it comes to exploring the ‘tell it like it is’ way Ladydi views the world under the influence of her feisty, no-nonsense mother.

The book packed a punch a page and I couldn’t put it down. For more info on this year’s list, pop into Waterstones or visit www.bravenewreads.org.uk!


Find out more about Prayers for the Stolen
.

Take your reading further with extra Prayers for the Stolen resources, including videos, interviews and podcasts.

Find out more about Brave New Reads
.

Anneliese Mackintosh, author of Brave New Reads title Any Other Mouth will be joining us at the Norfolk & Norwich Millennium Library on the 5th of August, 6pm. Join us to enjoy a brilliant, funny reading and to find out more about Brave New Reads.

All the Brave New Reads titles are available to borrow from the Norfolk, Suffolk and Cambridgeshire Libraries, and available to purchase from Waterstones and all good bookshops.

Isabelle
is a Bookseller at Waterstones as well as an avid reader, writer and tea drinker.
She won and was short-listed for two creative competitions on IdeasTap which encouraged her to pull up her writing socks and crack on with 'that novel.' She is currently working on a story project with support from Norfolk Museums' Collections Centre, and is the founder of literary events Books Talk Back, with support from The British Library. Find out more about Books Talk Back.

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National Conversation: Lost Stories, Unheard Voices - Diversity in Literature

Posted By: Anonymous, 10 July 2015

By Kerry Hudson.

On Thursday 9th July, Kerry Hudson presented a rousing provocation to a full house at our National Conversation debate on diversity at Bloomsbury Institute. Here is the provocation in full.

As a working class, queer, female writer I was welcomed with open arms into the publishing world. My debut novel was received with enthusiasm, nominated for prizes and I was invited to teach at respected institutions. The industry has been nothing but kind and supportive of my work and though I earn less than I did when I worked in a call centre, I’m rich in getting to do what I love for a living and I’m very grateful for that.

So for a while I forgot to look around and check the level of the playing field for others like me. Now I’ve viewed the skew of that field – which turns out to be more of a mountainous plane – I realise I am one of the lucky few and I am angry. 

We are losing stories in the UK. We are narrowing our literary culture. We have a publishing industry which continues to perpetuate its failure to reflect the extraordinary spectrum of communities in this country and so we are losing that potential vitality, social exploration and innovation in the books we publish. 

Unless we tackle this lack of inclusivity, the mountains marginalised writers must climb in order to get and stay published, we may never reach our true potential as an industry. 

Let me tell you about how stories are lost, how voices remain unheard. 

Imagine four writers. For our purposes let’s agree that they are talented and that they’ll write brilliant, sales-worthy books. They are BME (black, minority, ethnic, 14% of the population overall and 40% in London), LGBT (5-7% according to government figures), working-class (in the Great British Class Survey 48% were catogorised as ‘below’ middle class), have a disability (19% of the population according to the Disability Rights Commission). 

The BME writer studies for a creative writing MA, but only a handful of professors are BME and this is also reflected in the number of fellow-BME students. Our working class writer simply can’t afford the fees for an MA or even a part-time writing course. This writer works two jobs and writes in the evenings and on weekends even though they’ve seen few books that represent the world they want to write about. Likewise for the writer with a disability who sees few disabled characters in books, few writers with disabilities profiled in newspapers. These writers think:  ‘Perhaps, my stories aren’t meant to be heard. I don’t belong.’ 

Still our writers persevere. They have written excellent, unique books and go in search of a literary agent, a publisher. However, the people who will read these books to decide if they are good enough and grant access, might not ‘connect’ with these books. In Spread the Word’s recent ‘Writing the Future: Black and Asian Writing in the UK’ report only 11% of publishing house respondents had recruitment ties with non-Oxbridge universities, suggesting that for 89% this was the sole graduate recruitment method, surprising given that Oxbridge graduates make up only 1% of the overall population. 

Unlike many industries, audits for diversity and support groups, for instance LGBT groups, aren’t a standard in publishing. Additionally, publishers are overwhelmingly London based and entry into the profession is largely by unpaid internship, excluding those who don’t have family or spousal support to work unwaged, often for substantial periods. 

Feedback comes in for our writers, variations of, ‘the writing is good, the story is original, but it didn’t speak to me. I don’t know how I’d sell this’. This is natural, to love a book it must resonate personally, it must, on some level, be representative of a society we recognise, have characters we relate to. Still, after many submissions, three of our authors do gain representation. Not so the BME writer who, like 53% of BME writers surveyed in ‘Writing the Future’, remains unagented. Instead, they find a home for their book through the hit and miss of unsolicited submission – without the support of an agent.

And so our writers are through the gates, into the kingdom. They had good stories to tell and they sell their books. Of course there are commercial concerns and the LGBT writer is asked to ‘straighten’ a few of their characters, while the BME writer’s editorial notes urge for ‘authenticity’ by which they seem to mean more ‘urban/African/recognizably “ethnic”’ though the writer is sure that the semi-autobiographic novel is authentically about their world. When it comes time to publicise the book, the disabled and working-class writers are asked to talk frankly about their personal experiences and childhood. While one welcomes the opportunity to speak about issues important to him, the other doesn’t wish to be defined by this single trait: publicity column inches reflect this decision.

Finally, the books are sent to reviewers, bookshops, Amazon warehouses. It hasn’t been easy, they’ve made compromises, but our writers are finally authors. But there’s an important detail which will affect some authors’ likelihood of achieving reviews in the broadsheets and prize listings which both contribute to getting enough sales to enable a second book – two of this gang are women. And since women are still reviewed less than their male counterparts and earn averagely 20% less, these books and authors have a greater struggle. 

Where there are debuts there should naturally come second novels. Unfortunately, our BME author remains unagented even after publishing a book and is unable to place his next novel. Our disabled writer suffered from her lack of press coverage, especially since she also got fewer reviews than expected, and so didn’t sell enough to get a second book contract. The working-class writer, though accepting that he’d have to live on very little, ultimately couldn’t sustain the added unpredictability of that small income and so took a salaried job. His first book was successful; he had the best intention of writing another book but never did. The LGBT writer was nominated for two LGBT awards and was supported by the LGBT community, she had a two book contract and, though her advances reduced as years progressed, she developed a loyal readership and was able to write without concern that she might alienate the presumed ‘mainstream’ reader. 

Four writers. One stays in print. The others, their future stories, are lost. The consequence? The consequence is that other emerging writers will look and fail to find voices like their own. It is young people in non-Oxbridge institutions who will have no idea that they may have potential careers in publishing and contribute to a literary culture. It is stories lost; voices unheard and a book buying public who have no idea how much of the possible spectrum of choice they are being denied. 

*

Without making change and making change now we risk turning our proud literary legacy into a factory producing mono-cultural, ‘safe-ish bets’ based on the success of previously published books in similar models. An industry where books are viewed as ‘units’ to be shifted, things of financial checks and balances. And of course in part they must be; this is a business. So perhaps the case for the safeguarding of culture isn’t enough? If you are thinking of the bottom line then consider an industry that benefits from the potential disposable income of £300 billion for the BME community  and approximately £80 billion each for ‘Pink Pound’ and those with disabilities . I believe the best books are created to entertain, to inspire both rational and revolutionary thinking, to contribute to an emotionally richer, better informed, intelligent society. But, if you think in pound signs then consider that even as our own books market is saturated we are able to harness our inherent diversity to perform within an increasingly competitive global market specifically because of this unique quality of our nation’s literary output.

Yet no matter how profit driven the publishing industry is compelled to be, we all understand what is being produced and sold here are not jumpers or smartphones. Books and stories are not just a business; they are a fundamental element of any evolved society. The reason that those who write, who communicate, who represent society in words are often the first to be persecuted by oppressive regimes is because words have immense power to change, influence and shape. And we must not relinquish that power by reducing it merely to profit and loss calculations.
Let's harness the enormous power of our diversity not only to meet our current financial objectives but fulfil our future responsibilities for generations to come.

Let’s make sure a career in publishing is seen as a viable option for people of all backgrounds – ensure secondary school work experience is offered, that publishers are represented at non-Oxbridge university career fairs. For writers, let’s identify talent early and nurture that talent with mentoring schemes, official or unofficial.  

In an industry where the annual profits of the Hachette Group were €197 million and Penguin Random House was €363 million , we can afford, and have a responsibility to, give more support to libraries, 337 of which have closed since 2011 in England alone, and offer book donations to the most deprived areas. Not only to inspire, plant a seed of hope and expand horizons but, more practically, to stimulate the habit, and thus the business, of reading. If we shift focus to portray the true multiplicity of society in books, young people will grow up immersed in a British cultural life that reflects their world and which fosters a creative environment that has inclusivity, innovation and collaboration at its heart.

Bursaries should be available to enable students from marginalised backgrounds to study creative subjects thus bringing the proven benefits of creativity and diversity not only to publishing but to all industries. Peer mentoring is possible if writers are recognised as being skilled workers, contributing as they do an important function to any developed society, who deserve to be paid a living wage (in the UK writers averagely earned £11,000 in 2013 which is £5000 less than the living wage), giving them time and resources to support new writers.  
For the sake of both our cultural evolution as a nation and our industry's ability to compete in a global market it’s essential to promote more diversity in agenting, editorial, marketing and sales teams. 

Much of this provocation owes a debt to the excellent research conducted by the ‘Writing the Future: Black and Asian Writing in the UK’ report and I would call for similar reports relating to working class, LGBT and disabled individuals and communities working in publishing. I echo many of the report's recommendations, particularly regarding the improvement of diversity ratios by publishers signing up to the Equip Publishing Equality Charter which helps promote equality across UK publishing, bookselling and agenting, by driving forward change and increasing access to opportunities within the industry. Like most industries, audits on diversity retention and progression, diversity training, LGBT groups and wider recruitment avenues should be implemented. Alongside an industry ban of unpaid internships and introduction of a living wage for entry level publishing employees. This could herald the start of a movement to create a workforce which is able to relate to, and champion, more diverse voices thus making them more visible. 

I don’t believe anyone in the industry is unconcerned by its lack of diversity. I have nothing but respect for my colleagues in writing and publishing who I know to be incredibly hard working, passionate and intelligent with genuine integrity regarding the books they produce. I know that many will share my fears for the future of our literary culture, my frustration regarding a model which sets the odds against the representation of a huge proportion of our society. But it’s not enough simply to agree. This is our society and from the top down (more diversity in our boardrooms, an investigation into the glass ceiling existing for senior management) and grassroots up, each of us must take an individual responsibility to ask ‘what can I do?’



Kerry Hudson was born in Aberdeen. Her first novel, Tony Hogan Bought Me An Ice-Cream Float Before He Stole My Ma was published in 2012 by Chatto & Windus and was the winner of the Scottish First Book Award. It was also shortlisted for the Southbank Sky Arts Literature Award, Guardian First Book Award, Green Carnation Prize, Author’s Club First Novel Prize and the Polari First Book Award. Kerry’s second novel, Thirst, was published in 2014 by Chatto & Windus and was shortlisted for the Green Carnation Prize. Her books are also available in the US (Penguin), France (Editions Phillipe Rey) and Italy (Minimum Fax). Kerry founded The WoMentoring Project and has written for Grazia, Guardian Review and YOU Magazine. She has led writing workshops for the National Academy of Writing, Arvon Foundation and Writers’ Centre Norwich. 

The National Conversation events feature a full provocation, panel discussion and audience Q&A and are form a wide-ranging debate taking place around the country. Over the last twelve months we have been discussing pertinent literary issues with Ali Smith, Will Self, Michael Rosen, Kamila Shamsie, Philip Gwyn Jones, Meg Rosoff, a host of national partners and writers and now you.  Find out more about the National Conversation here.

Unpaid internships should be banned: read an overview of the diversity event in the Guardian.
Read a blog by Nikesh Shukla on his experiences of diversity here. 

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National Conversation: Four Examples of Diversity In Publishing by Nikesh Shukla

Posted By: Katy Carr, 06 July 2015

Nikesh Shukla writes about some of his experiences in the publishing world in advance of our National Conversation event on diversity at Bloomsbury Institute this Thursday.

1. Agents and Authenticity

Before Quartet Books picked up my first novel Coconut Unlimited – as a direct, unagented submission – and published it, I had sent it everywhere. I sent it to every agent and every publisher I could find. At the time I worked in the industry and so I met people all the time. My submissions weren’t always unsolicited, often it was someone I met at an event who seemed interested. They all rejected me, because, they said, the story of three hip-hop obsessed Asian boys was too niche. One agent, white, told me that she didn’t feel the characters were ‘authentically Asian enough’. I asked what she meant. My characters were drawn from my own authentically Asian observations and experiences. I was baffled. She said that none of them acted in a way that readers would identify as Asian. 

2. The Madness of Meritocracy

At London Book Fair four years ago, I sat on a panel about diversity. All the panellists agreed that one of the biggest problems with the industry was that because the make-up of the people in the houses was mostly white, the books they published by non-white writers felt like a romanticised or fetishised experience. We all agreed, as a panel, that the industry needed to be more diverse, so that the types of writers published were too. Someone (so ridiculously high up in the industry at the time it’s embarrassing) said that it was a meritocracy, because they tended to hire people through their internship programme. I told him that only a certain type of person can afford to do a free internship in London so a meritocracy is a fallacy. Later that day, at a party, he mistook me for another Asian male who worked in publishing.

3. Reviewing the Situation

A reviewer once said of one of my short stories that he was glad to see Indians going through the universal experience. That stuck with me. 

The characters weren’t Indian; one was Bengali, one was Pakistani, one was from Watford. That wasn’t even the issue for me – that generic catch-all of the continent as country (cf ‘African dress’, ‘Asian spices’) is not new. The thing I found most problematic about this comment was that it was even a question – that an entire subcontinent might miss out on ‘the universal experience’. It’s ‘universal’. That means it applies to everyone. That’s not a revelation. The universal experience isn’t an entirely Western concept. It’s a universal one. Like the Universal Declaration of Human Rights, or universal plug adaptors. 

It made me realise what the problem was with the wider literary establishment. The universal experience is for white people; other cultures have culturally specific experiences. 

4. Questions I’ve Been Asked In Interviews/At Events/At Launches

What do my parents think of me wanting to be a writer?

What do I think of [insert name of Pakistani/Bengali/Sri Lankan writer]?

Did I find it easier to get published because my partner is white?

Do I think by getting more Asian boys to read, it will make them less prone to being radicalised?

Do I think the term ‘people of colour’ is offensive to white people?

Thank you so much … your work really reminds me of all the yoga retreats I’ve been to in India.

*

The way diversity is viewed is not just an issue for people of colour to combat – it needs to be challenged in all its forms by all of us. That’s how intersectionality works. I recently wrote an essay as a provocation to white writers, asking them to help normalise the experience of others by occasionally including non-white characters in their work, not as a token, but because you recognise that it’s pretty messed up that people in books tend to be white unless they have to do something culturally/racially specific. Now, that’s a provocation for a utopian time when things like the above aren’t still happening in 2015. But they are. And you need to help me call it out, friend.

Do join us to continue this fascinating debate on diversity and publishing on Thursday 9th July.

Nikesh Shukla is a writer of fiction and for television. His new novel is Meatspace, the Guardian saying of the book that 'like Douglas Coupland's Generation X, this novel captures a cultural moment.' His debut, Coconut Unlimited was shortlisted for the Costa First Novel Award 2010. Nikesh’s short stories have been featured in: Best British Short Stories 2013, Five Dials, The Moth Magazine, Pen Pusher, The Sunday Times, Book Slam, BBC Radio 4, First City Magazine and Teller Magazine. He has written essays (‘Generation Vexed: What the Riots Don't Tell Us About Our Nation's Youth’), a novella (The Time Machine, 2013), and for TV, including ‘Two Dosas’ with Himesh Patel, and his Channel 4 Comedy Lab ‘Kabadasses’. Shukla has written for the Guardian, Esquire and BBC 2 and hosts the The Subaltern podcast, the anti-panel discussion featuring conversations with writers about writing.

The National Conversation events feature a full provocation, panel discussion and audience Q&A and are form a wide-ranging debate taking place around the country. Over the last twelve months we have been discussing pertinent literary issues with Ali Smith, Will Self, Michael Rosen, Kamila Shamsie, Philip Gwyn Jones, Meg Rosoff, a host of national partners and writers and now you. 

Have your say on twitter, (@writerscentre #NatConv), at the event or online below:

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The Whirligig of Time - Worlds 2015 Part II by George Szirtes

Posted By: Miranda Langford, 03 July 2015

George Szirtes continues his blog on Worlds Literature Festivalsharing his personal experience of the provocations, salons and readings. On the second day, he discusses the provocations from Chris Bigsby and Lucy Hughes-Hallett, on the distinctions between literary success and literary reputation. 

Gabriele D'Annunzio in Fiume

The whirligig of time was very much the subject of our first provocation, by Chris Bigsby, who started by exploring and expanding on the term reputation, by adding estimation and notoriety, to which others eventually added fame, success, prestige, stature, esteem, position, distinction, prominence. There were at least eight tentacles for our octopus here.  Chris went on to consider those whom we now regard as great but who were neglected at the ends of their lives: Hermann Melville and John Williams (who wrote Stoner), among them, but concentrating on the writer he himself has written about with such distinction, Arthur Miller, the estimation of whose work has gone up and down depending on where you were, in the US or in Britain. Was Miller accepted by Americans as the representative of all they considered best? Probably not. Was he regarded by Brits as what we thought a good liberal American should be? Probably yes.


But who is this ‘we’?  Are we the only ‘we‘ worth talking about? That question did arise afterwards, as did the notion of value, a much more complex term depending on who assigns it, and Erica Jarnes' fine distinction between success and reputation. Is selling more books an indication of reputation, or indeed of value? Amit Chaudhuri talked of the way reputation was constructed in terms of nationhood, but also of how some were required to run counter to the established narrative. How do revivals of reputation occur, asked Cathy Cole. Jack Wang pointed out that despite not being regarded as a true-blue or red-blooded American, Miller was still on school reading lists. 

Susan Barker lamented the lack of women among those considered important (importance being another term related to reputation), a problem pointed out in private discussion later by Dave Wilson, who remarked that all the names discussed at this session were white, male, and anglophone. Anna Funder did, on the other hand,  confirm the substantial reputation and stature of the Australian writer, Christina Stead. She talked of the importance of history and wondered how far literature was perceived as an aspect of history (or vice versa for that matter). Deborah Smith brought us back to the question of women’s writing and how it was evaluated according to different criteria in different places: in the west along feminist lines, but differently in other places with other histories and cultures (Catholicism and Buddhism were offered as examples in later sessions.)  Reputation might simply be a kind of noise, a form of agreement. It might in fact be constraining if if meant publishers would demand more of the same from any successful author. 

The dangers of success were (briefly) to reappear in D J Taylor’s provocation the next day.

Lucy Hughes-Hallett’s provocation on D’Annunzio was spellbinding and very much to the point, since her subject not only pursued reputation but understood perfectly how to get it. He was the genius of the publicity stunt, a polymath, brilliant at many things including poetry, seduction and rabble-rousing rhetoric. Reputation is not a sufficiently grand term for him: celebrity, superstardom, megastardom need to be introduced. D’Annunzio is born into the first age of mass media. He steps on people, he exploits people, he charms and discards people, he leads them into battle and into a fierce nationalism anticipating Il Duce whom he regards as vulgar. There was a lovely phrase Lucy used about D’Annunzio giving action the lasting power of symbol - and maybe that is what it takes. Dan then added another word to the growing lexicography of reputation by referring to D’Annunzio as a brand. Branding and mass media are very much of our age, but they begin with D’Annunzio. The poet as life as mask as symbol.


In the discussion afterwards Vesna talked of “the art of lifemaking”. Others talked of the way suicide fixes the author as identity, fate and destiny and how it makes us read their works in a different way. Stefan Zweig was mentioned as an example of fame arrested and amplified by suicide. Mishima was another such.  Jon Cook suggested that Allen Ginsberg’s public life was an extension of his poems. Lucy pointed to the line from Romanticism to Fascism. Amit mentioned Tagore who became a world celebrity, admired chiefly as a sage and purveyor of mysticism, rather than as was what he was in India: a poet. Chris Bigsby pointed to Mailer and Hemingway as conscious constructors of their own images. Consideration of the image and the self-image led us in the direction of social media. At one level inflation of the self appears comical: at another, venal and potentially disastrous.


This is the second in a series of blogs reporting back from Worlds Literature Festival, and more blogs will be posted over the next few weeks. Alternatively, you can watch the provocations on YouTube or listen to them on SoundCloud

Find out more about Worlds Literature Festival.

George Szirtes was born in Budapest in 1948, and came to England with his family after the 1956 Hungarian uprising. He was educated in England, training as a painter, and has always written in English. In recent years he has worked as a translator of Hungarian literature, producing editions of such writers as Ottó Orbán, Zsuzsa Rakovszky and Ágnes Nemes Nagy. He co-edited Bloodaxe’s Hungarian anthology The Colonnade of Teeth. His Bloodaxe poetry books are The Budapest File (2000); An English Apocalypse (2001); Reel (2004), winner of the T.S. Eliot Prize; New & Collected Poems (2008); The Burning of the Books and other poems (2009) and Bad Machine (2013). Bloodaxe has also published John Sears’ critical study Reading George Szirtes (2008). Szirtes lives in Norfolk and recently retired from teaching at the University of East Anglia. He is currently translating the Man Booker Prize winner László Krasznahorkai.


Visit George's website.

Follow George on Twitter @George_Szirtes.

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Introducing the Octopus - Worlds 2015 Part I by George Szirtes

Posted By: Rowan Whiteside, 30 June 2015

George Szirtes, who was recently described by Man Booker International Prize Winner László Krasznahorkai as ‘My Hero’ in the regular Guardian column, blogs on Worlds Literature Festival, reporting on the history and traditions of the festival and summarising the first provocation.

As some will know Norwich has hosted the Worlds Literature Festival for eleven years now and I have attended many of them and summed up the last three before being asked to sum up this one. Putting aside capital cities as centres of all the arts Norwich has been a city of literature for a long time, partly because of its history but chiefly because of the early establishment of the Creative Writing course at the UEA which has produced so many successful, prize winning and much praised writers. That MA course started in 1970 and began to offer PhD's in the mid-eighties. 

The New Writing Partnership was a collaboration between the city, the county and the university and was renamed the Writers' Centre Norwich in 2009. This partnership has been so successful that the city, which was already a City of Refuge, was named as England's first UNESCO City of Literature. It is now also in collaboration with the British Centre of Literary Translation, first set up by W G Sebald, and has a great ambitious programme. In other words Norwich is a hive of literary activity and each year's festival brings its internationally known writers to the city for the sessions known as salons and for public readings.

Each year the Festival has a set theme that eight writers are invited to address in the form of provocations that can be about half an hour long and are followed by a salon discussion. Last year the theme was Nostalgia, this time it was Reputation.



My task in summing up is to recall all the main points of the provocations and discussions and to try to link them together in a presentation lasting about half an hour. This could be a dry business so it is worth trying to hold it together with some running theme or metaphor. In this case it was an expression used by a first participant at the festival, Dan Richards who, in describing his unsuccessful attempts to sell a previous book to publishers, said it was like offering them an octopus in a suitcase.

The octopus follows.

First session and Jon Cook's introduction

It is very tempting to begin with the octopus in the suitcase that Dan Richards mentioned at the end of our very first provocation by Chris Bigsby. It is, after all, a creature with eight limbs and and we have had eight quite various tentacular provocations. Lucy Hughes-Hallett’s biography of Gabriele D’Annunzio, about whom she spoke that morning, is titled The Pike. Jon Cook then spoke of D’Annunzio being drawn to his public as a predatory bird to its prey. Kyoko Yoshida, in her reading told us a story about squirrels with secret gardens.  Liz Berry read us two poems featuring birds, in one of which she told us that a certain kind of pigeon was known in the Black Country as a Birmingham Roller, which I first misheard as a burning umbrella.  Anna Funder gave us, was it Ernst Toller, as “an animal, a beaked bird with a glossy black head”.  Then Vesna Goldsworthy suggested that hoping to be a writer by engaging in literary study was like preparing to be a jockey by qualifying as a vet. Then, at the very end, the publisher David Graham wondered whether he was a fox in a henhouse or a lamb to slaughter. 

Given all this I was rather hoping that I might be able to link all the sessions together by reference to various animals, but then the animals thinned out and grew somehow facetious and the only analogy I have left in my hand is the menagerie.

It would be equally tempting to begin with As You Like It and Jaques’ “all the world’s a stage” speech about the seven ages of man where the fourth age belongs to the soldier who is conveniently compared to a leopard:

Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth.

And that, I thought might cover a few bases in thinking of reputation in terms of honour and of quarrels, of the sheer transience of bubbles, and indeed of cannons, both the firing kind with two n’s and the kind - perhaps just as deadly, in its own way - with just one.

Jon Cook built his introduction to the salons on Pascale Casanova’s book, The World of Letters and set about exploring the idea of reputation and place. Where do you go to make your reputation? To the big cities, of course, to Paris, to London, to Berlin, to New York, to the great metropolis beyond your back yard. Metropolitan power, he said, following Casanova, was a matter of accumulation; of competition, rivalry and dispute (those jealousies mentioned in Jaques’s speech); and of concentration - a kind of density where all the books and ideas are crowded and jostling together.

He also brought our attention to the idea of a national literary consciousness which some posit as the glory, or even definition of a nation, while pointing to exceptions such as Stendhal who, notoriously (for his French countrymen)  preferred Shakespeare to Racine.

But wherever it’s happening now, he ended, it will probably go on to happen elsewhere. I suspect this ease and rapidity of movement has a great deal to do with the technology of immediate communication and globalisation of capital. In any case, as Feste, another melancholy clown in Shakespeare, points out “the whirligig of time brings in his revenges”.

This is the first in a series of blogs reporting back from Worlds Literature Festival, and more blogs will be posted over the next few weeks. Alternatively, you can watch the provocations on YouTube or listen to them on SoundCloud

Find out more about Worlds Literature Festival.

George Szirtes was born in Budapest in 1948, and came to England with his family after the 1956 Hungarian uprising. He was educated in England, training as a painter, and has always written in English. In recent years he has worked as a translator of Hungarian literature, producing editions of such writers as Ottó Orbán, Zsuzsa Rakovszky and Ágnes Nemes Nagy. He co-edited Bloodaxe’s Hungarian anthology The Colonnade of Teeth. His Bloodaxe poetry books are The Budapest File (2000); An English Apocalypse (2001); Reel (2004), winner of the T.S. Eliot Prize; New & Collected Poems (2008); The Burning of the Books and other poems (2009) and Bad Machine (2013). Bloodaxe has also published John Sears’ critical study Reading George Szirtes (2008). Szirtes lives in Norfolk and recently retired from teaching at the University of East Anglia. He is currently translating the Man Booker Prize winner László Krasznahorkai.


Visit George's website.

Follow George on Twitter @George_Szirtes.

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