News and views
Mariko Nagai plans for her forthcoming residency in Norwich, UNESCO City of Literature
WCN is excited to announce the first of two Japanese writers visiting Norwich UNESCO City of Literature this year, as part of a residency programme generously supported by the Nippon Foundation.
is an author, translator and photographer. She is Associate Professor of creative writing and Japanese literature at Temple University in Tokyo. Mariko's residency in Norwich will take place between 1 July and 1 August. Website
'I never know what a space would do to the projects at hand – I’ve often started a residency thinking I would work on a particular writing, only to find that the space demanded that I work on a different project. When I came across Writers' Centre Norwich's call for Japanese translators and writers to apply, I was in Singapore for a conference/research, thick in the history of karayuki-san (oversea Japanese prostitutes from the late 19th – early 20th century). Of course, I thought, this is what I want to work on, and Norwich, being in the UK, is a perfect place to work on this project. It would only make sense, I reasoned, to work on this project about imperialism and body trafficking and migrant workers in the country that was one of the imperial powers, the country which Japan looked upon as a model of imperialism.
For the month of June, ever since I found out that I got the residency fellowship, I’ve been preparing for it: reading, thinking, creating an extensive outline, and daydreaming about these women’s lives who ended up in places like Singapore, Mumbai, Vietnam, Cape Hope, whose bodies were intimately connected with aspirations of the new empire. Then a week ago, when I invited Sawako Nakayasu to do a talk on translation (the 2016 PEN Translation Award winner, The Collected Poems of Chika Sagawa) at my university, her talk inspired me to dig up an old manuscript – an eight year old translation of Fumiko Hayashi’s Hourouki – and to reevaluate my relationship with it. Though portions of it have been published in journals, I didn’t revise it enough to pitch it for a book publication. Is it time to rework on it? Yes, I thought to myself, Fumiko’s book needs to be read now, maybe not eight years ago, but now – her book which deals with earthquakes, collapsing economy, unemployment, militarism, patriarchy, all the things that are relevant today, needs to go out in the world. And of course, I have a new project I’ve been daydreaming about for a year or so - about shifting borders and migrations and displacement and nationalism - that I still don’t know what narrative shape it will take.
What will I work on? These are the projects I will be packing in my bag, but to tell you the truth, I won’t know until I get to Norwich. Maybe the city will reveal to me to a project I haven’t even dreamt up yet.'
Concise Novel, Epic Poem: Signs Preceding the End of the World Reviewed
Readers' Circle member Roland Ayers reviews Brave New Reads pick Signs Preceding the End of the World. Read on to see what he thinks:
Unusually there is no poetry selection among this year’s Brave New Reads. Yet with prose as poetic as Yuri Herrera’s, who needs poetry? In fact, the exact choice of words were not his, translated as they were from the author’s Mexican Spanish to English – or as the novel would put it, from latin to anglo – by Lisa Dillman. The Translator’s Note at the end provides some insight into the challenges translation presents. According to Lisa Dillman the original prose is ‘often infused with understated affection and tenderness’, its style ‘elegantly spare’, the use of language 'nothing short of stunning’. It is tribute to the meticulousness of her translation that such qualities shine through into anglo.
Language itself is one of the novel’s themes. Its sassy, yet tender-hearted young female switchboard operator protagonist Makina, operates phones in native tongue, latin tongue and the ‘new tongue’ of those who have crossed to the North. She ‘knew how to keep quiet in all three too’. The word verse is frequently used as a verb meaning to exit. In the Spanish, jarchar, from the Arabic kharja, it was inspired by concluding verses of Arabic and Hebrew poems of the thirteenth century. They would tell of a transformative exit, often a lover’s goodbye, in a feminine voice. The whole novel turns out to be just such an exit for Makina when she heads to the North (the word America never used).
The novel’s nine-chaptered structure draws on the rich literary heritage of the Meshika (known to us anglos as Aztecs) who told of nine underworlds to be passed through following certain kinds of death, each underworld the losing of something, a transition to something less human, something new. Underworld in general is a theme. An ominous opening passage sees a sinkhole open, swallowing ‘all the oxygen around and even the screams of passers-by’. Underground trains ‘ran round the entire circulatory system but never left the belly’. Tunnels lead out onto a deserted baseball arena where anglos ‘play a game to celebrate who they are’ and a top dog latin godfather plays out his own sport.
And that haunting final chapter. But you don’t want me to tell you about the final chapter, you want to be haunted by it for yourself, along with all one-hundred-and-seven pages of this concise, yet epic tale. And if you are reading this before 10th June, you will want to attend the Meet the Author event too
. If you then visit a bar in Mexico, you’ll want to order an authentically unpasteurised and delightfully alliterative pecan pulque. Alas, not served in the Norwich branch of Marzano.
Get a taster of Signs Preceding the End of the World with the opening chapters.
Borrow Signs Preceding the End of the World from Cambridgeshire Libraries, Norfolk Libraries, or Suffolk Libraries.
Find out more about Signs Preceding the End of the World.
Find out more about Brave New Reads.
About Roland Ayers
Roland Ayers is a Writers’ Centre Norwich member who is grateful to the Brave New Reads
selection procedure for exposing him to literature, good, bad and amazing, he would not have otherwise discovered. When not reading potential Brave New Reads, he reads about neuroscience, linguistics, neurolinguistics, cognitive psychology, philosophy, running and North Korea.
Hurrah! Brave New Reads 2016 is here!
May heralds the start of summer and the beginning of the bank holiday season. But most importantly, May brings Brave New Reads
back to libraries in Norfolk, Suffolk and Cambridgeshire.
What’s Brave New Reads, I hear you cry!
As I said earlier, Brave New Reads is special because the books were chosen by readers. We call these literature lovers the Reader’s Circle
, and they hail from all walks of life and all parts of East Anglia. To choose the final six, this dedicated crew read a longlist of over 120 books and whittled down the selection again and again until we ended up with the crème de la crème of modern publications.
Without further ado, the books are:
The Last Pilot by Benjamin Johncock‘First light was a diesel spill across the sky. The ground was gray. The hard silence of the desert sung.’
Technically brilliant and emotionally charged, this novel will transport you to America in the early days of the space race. Jim Harrison is in training to break the sound barrier, poised to become one of the very first astronauts, but his promise will be tested by a family crisis of stellar proportions. Discover a different world in this economic, elegant, and hugely powerful book.
‘An outstanding read: riveting, snappy, and very very cool.’ – Sam, Norwich Readers’ Circle
The Secret to Not Drowning by Colette Snowden‘“The secret to not drowning,” she says, “is to get out of the pool before you get too tired to keep swimming.”’
Marion can’t do anything without Him
knowing. Her only escape is her weekly swimming trip, but soon she’ll learn that taking the plunge creates far-reaching ripples. An intimate and immersive glimpse into emotional abuse, The Secret to Not Drowning
shows how the smallest of acts can be the bravest. Take a chance with this compelling and quietly wonderful novel.
‘A humorous and imaginative page turner, written with a terrifying sense of menace and discomfort.’ – Ruth, Cambridge Readers’ Circle
Spill Simmer Falter Wither by Sara Baume‘I was wrong to try and impose something of my humanness upon you, when being human never did me any good.’
The story of a lonely man, and his one-eyed rescue dog. One Eye and his owner are both outcasts from society, clumsily navigating the world as best they can, each completely dependent on the other. Simultaneously tender and tragic, this is a compassionate and claustrophobic tale of loneliness and friendship. Dog-lover or not, this poetically poignant novel is sure to touch your heart.
‘I found myself engrossed in this jewel of a story. Sensitive, funny and hugely affecting, Baume’s language ribbons naturally out onto the page.’ – Alvina, Ely Readers’ Circle
Just Mercy by Bryan Stevenson‘We are all broken by something. We have all hurt someone and been hurt. We all share the condition of brokenness even if our brokenness is not equivalent.’
This crucial and devastating non-fiction book takes us to death row, showing the heartbreaking histories of the prisoners and revealing the inherent prejudices of modern-day America. A scathing, virulent, and utterly necessary condemnation of the US justice system, this book is sure to leave you gasping, crying and raging, but also filled with gratitude and hope. Absolutely not to be missed.
‘An autobiography, a social history, a treatise on the importance of equal justice, and a gripping thriller.’ – Kathryn, Norwich Readers’ Circle
Signs Preceding the End of the World by Yuri Herrera (Translated by Lisa Dillman)‘They carried photos like promises but by the time they came back they were in tatters.’
Makina is gutsy, determined and not frightened of anything. When her mother asks her to travel from Mexico to the US to find her brother, she sets off almost immediately, pausing only to meet the local underlords. Carrying an unknown package from a kingpin, she traverses underworlds, borders, and boundaries, crossing dreamy lands. Echoing Greek myths, this breath-taking novella will move you to other planes of existence.
‘Full of heart and guts, poetic, brief and rich – nothing short of stunning.’ – Roland, Norwich Readers’ CircleThe Illusion of Separateness by Simon Van Booy‘He did what they told him to do. He would have done anything they told him to do. He hid inside the pronoun
An uplifting tale of interconnection, coincidence, and the strangeness of life, this striking novel explores the impact of small actions. Moving across time and space, from wartime Britain to modern-day California, The Illusion of Separateness
shows the tenderness of people, and how seemingly simple actions have great consequences. Haunting, luminous, and totally absorbing, this book will give you a fresh perspective on what it means to be human.
‘Beautifully written. A magical read, which kept me captivated until the very last page!’ – Joy, Huntingdon Readers’ Circle
In Memory of Lakshmi Holmström
Associate Programme Director Kate Griffin pays tribute to Lakshmi Holmström, the preeminent translator of Tamil literature, who passed away this week.
I first came to know Lakshmi Holmström when she took part in the Worlds literary festival, with the writer Ambai. Lakshmi had been translating Ambai’s work from Tamil into English since the early 1990s. As well as giving readings, they visited groups in local libraries and shared with them Ambai’s short stories, an unusual opportunity for readers in Norfolk to learn about the lives of Tamil women in India. And it is for this that Lakshmi will be remembered, for bringing contemporary Tamil writing to world readers. The editor R. Sivapriya has written a tribute to Lakshmi Holmström and her translations in Scroll.in
In recent years, Lakshmi focused on translating poetry, particularly poetry from Sri Lanka during and after the war. At the British Centre for Literary Translation, Lakshmi gave a workshop with acclaimed Sri Lankan poet R. Cheran; her translation of his collection of poetry is published by Arc Publications. And in February this year, we were delighted to host at Dragon Hall the launch of Lost Evenings Lost Live
s, a bilingual anthology of Sri Lankan war poetry edited and translated by Lakshmi Holmström and Sascha Ebeling. It’s a powerful anthology, with a range of poets and styles, and many poems by women. You can listen to a recording of this very moving event here
Lakshmi was particularly dedicated to bringing into English the work of Dalit (formerly known as ‘Untouchable’) writers such as Bama, and the voices of young women poets. Her anthology Wild Girls, Wicked Words
, featuring Kutti Revathi, Sukirtharani, Malathi Maitri and Salma, was last month included in the Best Translated Book Award poetry longlist. One of the judges, Deborah Smith, wrote about the significance of this controversial collection here
Lakshmi Holmström was widely recognised as the preeminent translator of Tamil literature, receiving a number of prizes, including the prestigious AK Ramanujan Prize for Translation in South Asia in spring this year. She was also a dedicated teacher and mentor, generous with her time and keen to nurture the next generation of Tamil translators. For the last year or so, she taught (with Subashree Krishnaswamy) the Tamil strand of our Translators Lab
, determinedly balancing her bouts of chemotherapy with the more enjoyable demands of the online course, and encouraging her students, of whom she was proud.
Lakshmi was an inspiration to all of us who knew her, and we will miss her very much.
Our Communications Intern Jo Thompson picks her highlights from the City of Literature programme
Simon Armitage, Irvine Welsh, Jackie Kay; our new Communications Intern Jo Thompson picks favourites from the City of Literature line-up at Norfolk & Norwich Festival 2016.
Seeing Simon Armitage and Daljit Nagra billed for appearance, I booked two tickets for Fierce Light
before I’d started at WCN, or checked whether my partner had the night off. I now know this world-premier event commemorating the Battle of Somme is a part of the City of Literature Programme
. The programme is the biggest it’s ever been, and working to prepare this bumper crop of big names and exciting events has, needless to say, resulted in buying more tickets.
It’s also meant bothering my friends. Every event is likely to appeal to someone. Fans of Trainspotting
have been alerted to an evening with Irvine Wels
h in the Adnams Spiegeltent. My fellow medievalists were made aware of the discussions on Julian of Norwich and Margery Kempe
, two of the first women ever published. With Ben Rawlence
talking from experience about life in Dadaab, the world’s largest refugee camp, bestselling authors like Kate Summerscale
sharing their latest novels, graphic novelists
discussing their craft, and the biggest names in poetry
performing, the festival really packs a punch. Browsing the events is a joy, and real confirmation, if any were still needed, that Norwich deserves its UNESCO City of Literature status.
remains a standout event for me. New work has been produced by the poets to think seriously about war, its immediate complexities and what it can mean to us now, 100 years on. Accompanying the poetry are short films, specially commissioned. In one of her poems for the event Jackie Kay writes ‘the past is lively, impossible to pin down’. Perhaps this is why mixing film, poetry and images in an attempt to in some way recapture World War feels so appropriate. Jackie has worked with her father, discussing his experiences of war, as well as her son, a filmmaker, to create the multi-media work that will be showcased at Fierce Light. It all promises to be something really special, and I’m glad I’ll be there for it.
I was less immediately sure what to make of The Story Machine
. It’s enigmatic, advertised as a literary event like nothing you’ve experienced before, powered by literature and oiled by theatre, and has become the feature I’m most excited about. The participants hear live stories from world-renowned writers, but not from the usual distance, sitting in rows with an author at a microphone. The Story Machine will be held at Dragon Hall, the stunning medieval home of WCN. Attendees are encouraged to wander through its rooms, garden, cellars at their leisure, making use of the street food pop-ups and specially-curated bar
, taking in short stories in unexpected, intimate, immersive, truly one-off ways.
It feels unusual to not know exactly what you’re in for with this event, the charming twists held back to genuinely surprise and enchant on the day, but the more I think about it the truer it seems to storytelling. Hearing about the plans in the office feels like a spoiler.
The Story Machine
is full of surprises, delights that must be discovered, live literature truly alive. It asks the audience to shift gear, let their cogs turn over in fresh ways, and put a little trust in an innovative literary festival bound to please.
Click to see the full City of Literature programme.
French Tear, Red Lotus, Mr Jameson...our literary themed taster cocktails for The Story Machine
Things are stepping up a gear at Writers' Centre Norwich, Dragon Hall as we begin preparations for the immersive, interactive, multi-sensory Story Machine.
With three hours of video projects, illuminations, live performances and more set within the (hopefully) sunny grounds of our beautiful medieval building, we're expecting you to get a little thirsty. So what's on the menu you ask? Take a peek...
COCKTAIL TASTING MENU
Our taster menu - kindly invented by the cocktail connoisseurs at 42 King Street
- corresponds with some of the stories taking place during the day.
‘Theatre Six’ by Sarah Hall
French Tear: spiced rum, orange liquor, and fruit juice provide a tart accompaniment to this troubling picture of the near future.
‘Here We Are’ by Lucy Caldwell
Red Lotus: a romantic combination of lychee liqueur, vodka, cranberry juice and fresh lime. A drinkable, fruity cocktail with a bright pink colouring resembling the neon of the early 1990s.
‘The Fly’ by Katherine Mansfield
Rum and Raisin Old Fashioned: a modern take on an old whiskey classic.
‘Mr Salary’ by Sally Rooney
Mr Jameson: whiskey with a mixture of melon liquor and fresh kiwi to create a unique and unexpected mix.
‘A Cruelty’ by Kevin Barry
Unexpected Classics: a choice between a rum based classic and a popular tequila cocktail served with an unexpected twist. Breaking the routine of classic cocktail drinking.
‘Still’ by Anna Metcalfe
Plum Negroni: a fitting twist on the timeless classic using plum liqueur to resemble the plum tree and creating a glorious culmination to the evening.
Cocktails are £5 each, or you can have a taste of all six over the course of the event for £20. Steady on now, though...these will be smaller measures!
We've also got food available from the lovely Purple Plum Catering
, including vegetarian and vegan options. Each meal comes with your choice of story: 'The Reader' or 'The Writer' by Etgar Keret.
UNESCO Creative Leader Nicholl Hardwick reports on her experience so far
This week we caught up with UNESCO Creative Leader Nicholl Hardwick. Nicholl has been very involved with the Creative Leaders' programme so far and has been instrumental in delivering key creative workshops to young people. Below, she offers her perspective on the positive outcome of these sessions for those involved.
'The Lynx in Thetford Forest' Workshop at Avenue Junior Primary School
Young minds are the future of the generations to come. Children approach, explore and attack life in a way that can sometimes get lost as we grow older. We become aware of how the world around us expects us to be, and we can allow that to become our substance when this shouldn’t be the case. However, in today's society, it seems as if children are taught to dampen their creative senses in order to become more ready for the fast world they will soon be working in. To me that is a loss. A loss of talent, a loss of gift, and most of all, a loss of creative exploration.
This is why I wanted to take part in this workshop. The children were given full reign to create a collaborative poem not only with the volunteers, but with one another. They decided the sounds the poem would make, they decide the path the story would go and they let their creative senses run free, not feeling limited by sounds, expressions or movement. The poem we created together revolved around the subject of the Lynx and the possibility of it being re-wilded into Thetford Forest. The children had complete authoritative control over the Lynx’s behaviour, how it would think (because of course a Lynx wouldn’t think in sentences!) and how it feels whilst residing in Thetford Forest. The entire class were encouraged to become involved in shouting sounds and performing movements. The whole process was a chance for kids to really connect with their creative talents without restriction or the need to feel regimented in one way of learning.
I adored the class and the entire experience, and I was hugely impressed with the classes enthusiasm as well as the work they produced. When children are given the freedom to enthusiastically create something new and imaginative, the outcome is always beautifully unpredictable.
Harriet Martineau Creative Writing Workshop
Taking part in this workshop was a huge honour for me. Not only was it about a locally born woman who achieved amazing heights in the persual of equality and fairness, but it was also a chance to hear from the young women of today, and give them a platform for creative freedom and expression. The whole point of this session was to create a discussion, allow thoughts to be verbalised, and encourage ideas to become engaged.
Harriet Martineau created literature for those, who at that time, did not have a platform for their voices to be heard. Women, the poor and non-white citizens were all silenced through oppression in the 1800’s, and it is through this lens we wanted the young women of the session to start thinking. Who is silenced in our community today? Why are they silenced? How can we make them heard?
This sparked off a very challenging discussion which encouraged the young women to not only bring in their own experiences as females, but also to include the perspectives of a whole spectrum of people who continuously fail to have their voices significantly heard in today's society. The main groups they came up with were the silenced voices of the young generation, women of all races and ethnicities, and those who suffer from mental health problems. Of course there are so many voices that go unheard in the society we live in, but in a short workshop session, these were the ones the young women decided to focus on.
Not only did we want to identify certain silenced voices, but we also wanted to deconstruct why these voices were being excluded from main stream discussions. The overall consensus was that it was down to the media, the patriarchal institutions around us and also the need for people to feel safe and not wanting to approach a stigma because that would then involve them being seen as disruptive to the status quo.
The discussion allowed the whole group to get involved and share personal stories as well as critically observe the world around them. The workshops aim was to hone in on the groups creative talent. We wanted to build a vision around them and their own personal ideas. Hence why once the discussion took place we challenged the girls to take everything they had learnt and contributed and use it to create an idea for a revolutionary novel. It could be in any format they wish, whether that be prose, fiction or non-fiction, poetry, visual art etc. The main rule was that it had to be something which resonated with them personally.
Far too often are not only women, but so many other demographics forced to silence themselves in order to conform to the pre-existing order of things. This workshop aimed to break away from that and allow these young women to really engage with the world around them, and feel confident enough to criticize its flaws in order to work towards effective change.
Just over a month remains until the world premiere of Fierce Light, a major national co-commission from 14-18 NOW, Norfolk & Norwich Festival and Writers' Centre Norwich. Below, WCN Programme Manager Sam Ruddock allows us to peek behind the curtain at what lies in store at this very special commemoration of the Battle of the Somme. /
The past is lively, impossible to pin down.
So writes Jackie Kay in the brand new commissioned poem she has produced for Fierce Light
, a commemoration of the Battle of the Somme. And it’s this challenge of how we make sense of such vast and indescribably bloody events as the Battle of the Somme – casualty figures numbered around 57,000 for the British on the first day alone, of which nearly 19,000 were deaths – that inspired the idea for Fierce Light in the first place. The changes wreaked on our world by World War One reached beyond politics, economics and technology into the very fabric of our daily lives, our communities and relationships. It was the artists of that war – perhaps the poets above all – who took on the challenge to make sense of a world transformed almost beyond recognition.
So, to commemorate the centenary anniversary of the Battle of the Somme, Fierce Light has brought together outstanding poets from the UK and around the world to look once more at the legacy of battle, the forces changing our world, and the struggles we face to make sense of them.
Jackie Kay has gone back to explore the story of her grandfather, Joseph Kay, who fought in the second Battle of the Somme, was captured, and injured, and survived the conflict. She visited Imperial War Museum North in Manchester and with an historian tracked down the records of her grandfather – including the date he was captured as a prisoner of war and the names of the medals he was awarded. He’s remembered in Jackie’s poem as a ‘shy man, bit withdrawn, shrapnel in his arm’, singing the miners lullaby Coorie Doon in the pre-dawn light.
On telling her ninety year old dad about this, Jackie reported that he was overcome with new knowledge and memories of his father. He appears in Jackie’s poem, too, remembering seeing his father up early to polish the buttons on his tram drivers uniform, and he, still singing Coorie Doon, ‘still singing his father.’
Jackie has subsequently worked with her filmmaker son, Matthew, on the film of Fierce Light, meaning that in one way or another, four generations have been involved in what you will see at Fierce Light.
The psychological fallout of war, which can be explored in our event with Matthew Green, author of Aftershock: Surviving War, Surviving Peace, is also mined by Daljit Nagra, in his response to Siegfried Sassoon’s ‘A 1940 Memory’. There’s a passage in Nagra’s piece which I find almost unbearably moving and utterly poignant to the memory of war, impossible as it is to pin down.
Dear Jack, what blurs you most
so great words forever moral
your mind to war recall?
Is it the soldier smithereens
at your arm, the Hun dispersed
by your pluck that day you lay
in their bunker to read sonnets?
Or how you just couldn’t die?
Look at you now, our haunted
Elsewhere, Paul Muldoon’s takes us into the mind of a young infantryman from the Ulster Division, on July 1st 1916 - the first Day of the Battle of the Somme. It’s barely three months since the Easter Rising, and he finds himself ‘entrenched/no less physically than politically’ in the struggle for Irish independence. But he’s also a young soldier, big questions of national struggles and the world, take a backseat when compared to memories of home, and of Giselle, the girl he met just before departing for the front. It’s classic Muldoon, and the pastoral offers a contrast to what we know is coming in the forthcoming battle. This contrast, and what it opens up in contextualising the destruction of the battle and the fall of man, is also at the heart of Simon Armitage’s ‘Still’ that will be presented alongside Fierce Light. I’ll write more about that – and Yrsa Daley-Ward and Bill Manhire’s work in the coming weeks, as well as the wonderful filmmakers, who have been adapting these great new works of poetry.
We hope to see you at the Fierce Light
event at Norwich Playhouse on Friday 13 May, and the exhibition that runs at East Gallery
throughout the Festival.
Co-commissioned by 14-18 NOW, Norfolk & Norwich Festival and Writers’ Centre Norwich.
Spring Short Story Competitions 2016
Spring is the time of plans and projects, according to Tolstoy, and who are we to disagree?
Forget the spring cleaning, and get stuck into these short story competitions. With prizes ranging from cash, to publication, (and even a rather quirky competition for those interested in writing the future!) there's a lot to keep you away from the hoover and focused firmly on the keyboard!
Happy writing, and do let us know if you are successful!
Deadline: 25 April 2016
Open to publish and unpublished writers from the UK and abroad, this competition accepts short stories up 2200 words, and has an £8 entry fee. First prize is £1000, and winners will be published in the anthology.
Deadline: 29 April 2016
This year, the festival is seeking stories of up to 1000 words written by or for children. Winners will read their work at Oxford Festival of the Arts in June.
Deadline: 30 April 2016
Open to published and unpublished writers, both UK and overseas, this competition is very open with entries welcomed from any genre. There's an entry fee of £8, and a first prize of £1000 available.
The Cardiff Review Short Story Award
Deadline: 15 May 2016
Open to new and unpublished writers, this competition seeks short stories of between 1000-5000 words, and winners will be awarded a cash prize of £150. Entry fee £2.
The Sunderland Short Story Award
Deadline: 1 June 2016
Open to younger writers too, with categories for 11- 16 as well as Adults, this competition not only has a cash prize, but those shortlisted will have their work read by a literary agent and by publisher Unthank Books, who will consider work for publication in their anthology.
A prize for both short stories and flash fiction, The Brighton Prize folk have asked to be challenged and excited. Prizes of up to £500 available.
Deadline: 20 June 2016
A prize founded in commemoration of the centenary of one of our finest short story writers of the 20th Century, the annual prize of £1000 goes to the best unpublished short story and is published in Prospect, and RLS Review.
Deadline: 30 June 2016
A new short story competition, with a little bit of a twist! Entrants are asked to submit poems or short stories on the theme of an imagined future England, and the competition features a twist... but we'll let you find out about that yourself! Winners will be published online, and there's no entry fee.
A Factory of Art; Bringing The Story Machine to Life
In our second Story Machine blog from WCN Programme Manager Sam Ruddock, we're given a sneak preview of the accompanying sculptures, drawings and soundtracks that have been commissioned by talented artists in order to bring the Story Machine to life.
One of the great and unexpected joys of producing The Story Machine has been the other art works we’ve helped bring to life. Illustrations, drawings, sculptures, soundtracks, audio recordings, and more, all commissioned, designed, and developed to help explode the eighteen amazing stories off the page.
Our first task was to acquire a leg. And not just any leg, either. This leg had to represent the severed limb of a Poet Laureate who has been hung, drawn and quartered and is now being dragged to Scotland as a demonstration of England’s power! Given the illustrious subject matter, a manikin simply wouldn’t suffice. Film prosthetics proved a little lifeless, and not sadly in the way we wanted. We thought about trompe l’oeil painting to see if we could recreate the rotting look on a manikin. But nothing felt quite right.
That was until we came upon the work of Martha Todd
, a ceramic artist. Although not produced to imitate flesh, there was something in the angles of her feet that gave them a deeply human look. In one, the toes were curled underneath the foot, as though the entire weight of the body was crushing down upon it. In another, the toes were pointed, calling to mind crucifixion or other long-abandoned methods of execution. There was suffering in these sculptures, and something almost painted and metaphorical about their composition. We were enthralled and - after much hard work to source materials so that we could afford this beautiful, troubling limb – commissioned Martha to sculpt it for us. This is the first glimpse of that limb, ghostly white, spectral, shockingly disembodied.
Next up, Adam Avery AKA The Suffolk Punch Press
, was invited to produce a show poster to help visualise the extravaganza. We wanted to capture both the feel and textures of Dragon Hall, – essentially the canvas we are painting The Story Machine upon - and the sheer multiplicity of stories that are being produced. His response is one you will be familiar with: the wooden beams of the Great Hall adding texture to a series of icons that represent themes across the different stories. There’s a quirky feel to them, a sense that nothing may be quite as it seems. I love it and we’re hoping to have limited edition prints for sale on the day. I’ve already reserved one for me!
Elsewhere Beverley Coraldean of Geneality Art
came on board to produce pencil drawings to accompany our grand climax to the show: Anna Metcalfe’s transcendent exploration of the power of art to transform the everyday into the universal. I don’t want to give too much away about the story itself, other than to say that it revolves around the pictures that a boy and his father take each year as the last leaf of the plum tree in their garden falls to the ground. Beverley is producing thirty-two new images to accompany the show, and we have plans for them to become something altogether more dramatic in the final crescendo.
No tale of the lengths we’ve gone to for The Story Machine would be complete without the international exploits to record Etgar Keret reading his stories. He has done so, directly and specifically for The Story Machine. Huge thanks for this to Yochai Maital and Mishy Harman who produce and present Israeli Story
, modern stories about the ancient land of Israel and the people who live there. Without their assistance, Etgar’s remote involvement would not have been possible.
This has been a multimedia experience like nothing I’ve done before. It’s been a thrill to have new pieces of art float across my desk on a weekly basis, and I can’t wait to see them come together with the audience in May.
Come and be part of our grand experiment.
The Story Machine
This year's City of Literature programme at Norfolk & Norwich Festival 2016 features a brand new style of event for the literature sector - The Story Machine. Powered by literature and oiled by theatre, this is a unique interactive and immersive experience where stories from world-renowned writers seduce participants at every turn.
As a brand new event with a lot of surprises planned for the day, what can we expect in advance? Sam Ruddock, WCN Programme Manager and the driving force behind The Story Machine, will present a series of blogs over the coming weeks that helps to shed light on how he will bring The Story Machine to life and why it's such a ground breaking literary event.
The Story Machine is the literary festival I have always wanted to produce: a funhouse jam-packed with interactive, immersive, and brilliant short stories. There will be no lecterns, no audience sat quietly in ordered rows, no discussion about the author’s childhood or where – and on what – they write. Nothing but brilliant stories given the space and time to shine as brightly as they do on the page.
In the first of a series of blogs about The Story Machine, I want to share some of how we came to produce it, and what you might expect if you come along to its premier in May.
It all started with a team discussion of the art that’s made our hearts sing and our brains fizz over recent years. As we talked, what became apparent was that we all loved immersive experiences : theatre that asks the audience to get involved and shape it alongside the actors, Secret Cinema showings that let you step inside the world of the film, exhibitions that you can touch and feel and sometimes even taste.
Why, we asked ourselves, had we not encountered a literature festival experience like that? One answer that came immediately to mind was that we don’t need festivals for that. We’ve long believed that the reader is an active co-curator, conjuring the story in their mind every time they open a book. Recent research into the neurology of reading has even suggested that there is little more immersive for our brains than deeply settling in to read a book. So we changed the question: how we might recreate that immersive feeling of reading in a literature festival?
In searching for the answer, two things came in handy: the mass production of Moby Dick at the Southbank Centre’s London Literature Festival and Iliad by National Theatre Wales. I had never seen any literature festival treat a text with such dedication, respect, or joy as these did. In doing so, each showed that great literature, great writing, and great stories might be right at the centre of an event, rather than a small add-on as it so often is. Back at work I sat in the glorious glass-fronted gallery at Dragon Hall pondering these questions and came across an article about those amazing short story vending machine that had appeared in Grenoble. In that moment, it all came together in my mind.
This building might become a machine for discovering and engaging with great stories. An idea was born.
Stepping into The Story Machine will feel like you are entering a secret garden, or disappearing down Alice’s rabbit hole. There might not be a magic potion that shrinks you down to size – or for that matter a talking Mock Turtle (one day, one day!) – but as you explore our 15th century Grade 1 Listed home at Dragon Hall, you’ll encounter all sorts of beguiling characters and tales taking place in nooks and crannies in, outside, and under, this wonderful building. Over the course of three hours you’ll plot your way through stories by thirteen hand-picked writers from all over the world, sample story-themed food and cocktails, and uncover secret stories where you’d least expect them.
Jon McGregor – whose provocation
at the National Conversation also helped shape some of our thinking – will tell a story from the driver’s seat of a car. Israeli superstar Etgar Keret – one of the most cheekily playful writers I know – will whisper true stories across space and time in the dark of our cellars. In the Great Hall an unpublished new story by Sarah Hall kicks off a series exploring the relationship between humans and nature, that which we can create and that which we cannot control even in ourselves, life and art. We finish with a glorious crescendo as Norwich-based writer Anna Metcalfe’s debut collection blinds us with a moment of pure transcendence.
In curating the Story Machine we read hundreds of stories to find the ones that thrilled us. We weren’t short of talent, and I emerge with a renewed belief in the vitality, creativity and heart in the writing of this most difficult of forms. Along the way, we’ve been delighted to work with The Special Relationship who produced Moby Dick at the Southbank Centre, Granta’s exceptional New Irish Writing edition, our good friends at Galley Beggar Press, and Cathy Galvin’s Word Factory.
What is literature when it steps off the page to dance with us? What are stories when we find them to be so much more, or less, than we imagined? Come along to The Story Machine, and you might just start to find out.
Tickets for The Story Machine will go on-sale on Thursday 3 March 2016 from the Norfolk & Norwich Festival website www.nnfestival.org.uk
Postcard from Prague
In January, Norfolk writer and novelist Sarah Perry travelled to Prague, City of Literature, to begin her writing residency. As the end of this exciting experience draws near, she reflects on her early expectations and the reality of what she has gained - has she achieved all that she'd wanted to?
I'm nearing the end of a stint in Prague as a UNESCO Writer-in-Residence, representing (as ever!) Norwich. Both Prague and Norwich are UNESCO Cities of Literature, a status conferred on 20 cities worldwide in recognition of their active and richly diverse literary scenes. From my bed I look into the windows of a baroque opera house that wears a golden crown; now and then swans fly upriver through the snow. I've been eating date syrup on pumpernickel bread.
Before I left, I promised myself, my husband and my cat that I’d use these two months wisely. I would (I said) return a better and a wiser woman, with a good grasp of conversational Czech and 20,000 words of a third novel.
Reader, you’ll not be surprised to hear I achieved little of this. But much of what I've gained I could not possibly have predicted, and I've learned a good many things I’d no idea I didn't know.
I had no idea, for instance, of the extraordinary complexity of Czech history – of how its borders have shifted and changed like a cloud-bank in a high wind. No sooner did I grasp something (it was lost to Germany in the Munich Treaty) I’d immediately be wrong-footed (they call it, here, the Munich Betrayal). If I researched an event I’d find I’d only gone two inches into a rabbit-hole several fathoms deep and with many blind corners. Ask me, and I’ll tell you what little I know about Forest Glass, about the Moldavite gemstones found in the river Vltava, about the student who burned himself alive, about Master Jan Huss and the devils on his paper hat.
I visited Terezin, a ghetto for Czech Jews and a stopping-place on the way to the death-camps – but learned that here, too, German-speaking Czechs were detained at the end of the war. I discovered that the past here is not long-buried: I stayed in a flat where my friend prepared breakfast in a 1983 Communist kitchen, which was one of precisely two styles available to the citizens.
I've discovered what it is to live in a city that prizes its cultural heritage – even more, though I blush to say it, than Norwich. Take breakfast (a basket of bread, eggs with chives, pastries, hot chocolate and coffee) in one of the nearby cafes and you’ll be supplied, also, with a notepad and pencil. In my local café the walls are emblazoned with excerpts from Czech literature; it was here I met a retired Jewish scholar of linguistics and his Muslim friend, a professor of sociology in Arizona (the following day the professor emailed to let me know he’d bought my novel, and looked forward to my second). I've seen seven operas, most of them Czech: here, opera is taken seriously, but is not the preserve of the wealthy and is frequently attended by children in their party clothes.
My Czech constitutes a paltry handful of phrases, though by some fluke I pronounce them, I'm told, with so convincing a native accent I'm often met with streams of Slavic conversation I can never hope to understand. I have made friends with two Sarah's: an owl, and a musician. On the great Charles Bridge I've been warmly welcomed by a homeless man and his dog, Tiger: it was from them I learned how to say, “How are you?” I have discovered that jackdaws have eyes like blue shards of glass, and that if you keep your pockets supplied with biscuits they’ll come to know you by sight.
I am the proud owner of a membership card to the Prague Municipal Library, where I sit always at desk 209, beneath a vaulted plaster ceiling from which plaster cherubs daily struggle to escape. I do not have 20,000 words of a new book; but the novel in my head now is not the one hazily forming there in the security queue at Stansted - because I am not, quite, that writer.
Sarah Perry was born in Essex. She gained a PhD in Creative Writing & the Gothic from Royal Holloway in 2012, having been supervised by Andrew Motion. A winner of the Shiva Naipaul Memorial Prize & a Royal Holloway doctoral studentship, she was Writer-in-Residence at Gladstone's Library, January 2013. She is currently the UNESCO City of Literature Writer-in-Residence in Prague.
She has written for a number of publications including the Guardian, the Independent, Slightly Foxed and the Spectator. Her work has been broadcast on BBC Radio 4 and RTE 1.
Her debut novel After Me Comes the Flood won the East Anglian Book of the Year award 2014, and was longlisted for the Guardian First Book Award 2014 and the Folio Prize 2015. Her second novel, The Essex Serpent, will be published in June 2016.
Re-imagine India: WCN staff and Norwich writers form cultural connections with Kolkata, India
In January writers Patrick Barkham, Vesna Goldsworthy and Anjali Joseph were accompanied by WCN's Melanie Kidd, (Programme Coordinator) and Kate Griffin (Associate Programme Director) on a five day research and development trip to Kolkata, India. This marked the start of a partnership to form cultural connections between England’s first UNESCO City of Literature and East India’s educational and cultural centre.
Funded by Arts Council England and British Council the trip aimed to develop artistic links between the two countries, paving the way for a more substantial and sustainable project under ACE’s ‘Re-imagine India’ umbrella.
Melanie Kidd, Programme Coordinator at Writers’ Centre Norwich, shares her highlights from the trip below...
(l-r, Vesna Goldsworthy, Melanie Kidd, Patrick Barkham)
On Saturday the 9th January three writers, all with a strong connection to Norwich, along with myself and my colleague Kate, all met in Kolkata for a swift, exhilarating, petrol-fuelled, ride of India’s former capital. The colours of Kolkata are sweet and zingy, celebrating its vibrancy, and the rich, spicy smells of street food fight against the health-hazardous stench of exhaust fumes. Kolkata is busy. But it’s not chaotic. It’s very easy to inhale its rhythmic buzz and float down its smog-drenched streets.
Accompanying the writers nearly 5,000 miles on a smooth Air India flight, I spent much of my time simply wondering - why Kolkata? Once our extensive itinerary began, it soon became apparent why this Indian city was a one-stop-shop for literary inspiration and heritage!
Barely shaking off the jet lag, Monday morning saw our coffee-fuelled writers thrown into an eight hour literary symposium on ‘de-professionalisation’ at Presidency University. During the symposium I was inspired by the engagement and response of the students, darting between their lectures and the symposium, leaping from their seats to add ideas and opinions to the debate.
Later in the trip, during our literary walking tour our tour guide, Ramanuj, introduced us to Henry Louis Vivian Derozio in South Park Cemetery (well, his grave at least). Derozio was an Anglo-Indian radical thinker that in 1826, at the under-ripe-age of 17, became an English Literature teacher at Presidency, introducing the concepts of free thinking and learning through debate. During the symposium one of the students offered the opinion that universities should continue ‘opening their doors’ to other ideas, disciplines, training and values. I couldn’t help but think that Derozio would be ‘whooping’ in his grave, chuffed to bits that his teachings live on in those energetic students, challenging the ways in which they learn.
As my interests lie heavily in social development and community projects, one of the most inspiring moments of the trip for me is when we went for lunch with Naveen Kishore, founder of Seagull Books. Seagull is a small publishing company with a large reputation. Alongside publishing, Seagull also deliver projects such as The Seagull School of Publishing
, a heavily subsidised professional course in editing and book design for young people; and PeaceWorks
, using the arts to promote social change. Both of these projects are what I would call ‘investment’ projects; investing in the education, creativity and social development of young people and the community. What an inspiring publishing company, leaping down the path of social impact, investing in Kolkata’s cultural personality and future.
Towards the end of the trip, our literary tour guide, Ramanju, proudly said he believed that the people of Kolkata were less financially driven than in other parts of India, and more influenced by their passions. I had met several Bengalis on my trip that confirmed this, who had studied or trained to be scientists, mathematicians or accountants, but had dropped it all to follow a less financially driven career in culture and the arts. Something else that Ramanju had said got me thinking: ‘Everything in Kolkata can be fixed’. He was referring to the industrious nature of Kolkata, where everything that had been made by human hands could be fixed or changed by human hands. Nothing from the past goes to waste. Ramanju’s words meant something different for me, echoing a wider sense of cultural renovation.
That last evening those words stuck in my mind, as we watched the Appejay Literary Festival’s ceremonious launch; a festival that revitalises spaces entrenched in Kolkata’s cultural heritage using new writing and ideas. Kolkata was by no means slow-paced. However, it had a strong sense of reflection and pride. It is city that is comfortable in its skin; proud of its past which shapes its present, and inspiringly excited about its future.
Although our visit to Kolkata was brief, I took home the sense that culture is a ‘door way’; opening up a place for others to explore, unlocking a past, providing a path of opportunity and letting in other cultures and influences. The other thing I took home? A mountain of books from Seagull’s spider-web of a book shop! If you ever make it to Kolkata, take an extra suitcase for book shopping. It’s not called a literary city for nothing!
A most crucial year: Ruth Dugdall talks about how Escalator helped her become a published author
When ex-probation officer Ruth Dugdall applied for the Escalator writing competition in 2006, she saw it as her last-ditch attempt at pursuing crime writing as a career. Ten years later, she has published five successful novels and is living with her family in Luxembourg - 'the perfect home for a writer'.
Below, she explains how a year spent with Escalator made all the difference.
When I applied to Escalator in 2006 I had already experienced the recurring theme of any writer’s life: rejection. My second novel The Woman Before Me
won the Debut Dagger in 2005, and despite my being signed on the spot by a literary agent, the subsequent submission met with the resounding slamming of doors. I was disheartened, and applied to the one year programme as a last-ditch attempt to make a serious stab at being a writer.
Getting chosen was a wonderful boost. Not only was this a second re-enforcement of my writing, but during the Escalator scheme I would be mentored by the wonderful Michelle Spring, a seasoned crime novelist herself who was able to show me by example that writing takes persistence. The crucial difference between those who `make it` and those who fall by the wayside isn’t talent, but a certain doggedness that I saw in other writers who came to talk to us during the scheme. It was a year of learning, and of support.
The ten of us chosen that year became familiar with each other’s personal journey into writing, and we also began rooting for each other in the quest for agents and publishing deals. This atmosphere, this shared purpose, was something I valued immensely and I still keep in regular contact with other Escalator alumni – not just from my year, but subsequent years too; there is a shared kinship that I have not found on other mentoring programmes.
The scheme is, in many ways tailor-made, as you apply for Arts Council Funding for the things that will most help you personally. For example, I went on a week-long Arvon course for crime writers (and bagged an agent as a result). I also had financial assistance with childcare, so I could put in the hours needed to work on my novel, and a dedicated number of hours with Michelle to critique and edit it.
Though Escalator does not make any promises of success, you will have exposure to and contact with agents (there is a showcase at the end of the year, and many industry professional are invited). What you can be sure of, though, is that at the end of the year you will have honed the tools you need to achieve publication, you will have gained a greater insight into the publishing industry, and you will have a network of support to draw on.
After I finished the Escalator scheme, it was to be another four years before The Woman Before Me was published in 2010. Six years later, I have just published my fifth novel, and rights for my books have been sold around the world. I have a wonderful agent, and a new book is currently on submission. It has been a long, difficult, journey but Escalator was a crucial part of this, and I am very grateful indeed that it happened.
If you are about to apply, I wish you luck. You could be at the beginning of a very special twelve months!
Ruth Dugdall was born in 1971. She holds a BA honours degree in English Literature (Warwick University) and an MA in Social Work (University of East Anglia). She qualified as a probation officer in 1996 and has worked in prison with offenders guilty of serious crimes, including stalking, rape and murder. This has informed her crime writing. Since she started writing, Ruth has won awards in several writing competitions, and has had short stories published in the Winchester Writers' Conference and the Eva Wiggins Award anthologies.
Stuart Hobday: Encounters with Harriet Martineau
Writer Stuart Hobday is in the midst of fundraising for his biography of Harriet Martineau, the first female journalist. Below, he recounts what first drew him to Martineau as a historical figure and the reasons why she should be remembered.
Writing a book about Harriet Martineau is the culmination of 15 years of reading and researching into this fascinating nineteenth-century writer. I stumbled across Martineau whilst studying for my History Masters and looking into the context in which Darwin announced his evolutionary ideas. In particular, James Moore and Adrian Desmond gave Martineau much credit for radicalising the young Darwin. I then found out that we shared a home city of Norwich and I realised she was not well remembered there. In fact she was better remembered as a founder of social science and as a first wave feminist particularly in America. Of the nine biographies written about Martineau, seven have been penned by Americans.
Harriet was born in 1802 and shares the same birthplace - Gurney Court on Magdalen Street in Norwich - as Elizabeth Fry. As a teenager she became increasingly deaf and inhibited by shyness and illness. To compensate she educated herself through reading, encouraged by a free thinking Unitarian family and community around the Octagon Chapel on Colegate. In her 20s she began to write. The failure of her father’s textile business and his subsequent death affected her greatly, not least in leaving her having to make a living through her writing and embroidery. She had also seen first-hand how economics affects people’s lives and in the late 1820s she began to write fictional tales illustrating economic and political factors. Within two years these tales were widely read and influential. Her economic creed, as outlined in the tales, was one that would resonate today. She favoured free markets but with responsibility and wrote of the benefits of mutualism, cooperatives and was vehemently outspoken against injustice particularly slavery.
In 1830 she moved to London and her large readership meant that politicians courted her favour and writers and artists sought her company. She quickly became known for her ear trumpet which helped her overcome her deafness and to hold regular meetings with the great and the good. In 1834, at the height of her fame, she embarked on an intrepid tour of America. She was well known there for her anti-slavery writings but at first she kept quiet on the issue. The sight of the slave system in action abhorred her though and eventually, at a meeting in Boston, she spoke out against the still entrenched system. This made her a great ally of the abolitionist movement and the friends she made in the US were to inform her later journalism in the lead up to the American Civil War.
On her return she wrote several influential books. Society in America was one of the first books to closely analyse a society and its structures and was outspoken in its ridicule of religious dogma. She openly condemned the sexual motivations of slave owners and the chapter entitled ‘The Political Non-Existence of Women’ applied equally to Britain as the US. The book was widely reviewed in Britain and America and was widely condemned for its insolence.
It wasn’t just Darwin that she influenced; she was a free spirited, radical influence on George Eliot, Elisabeth Gaskell, Elisabeth Barrett Browning and Charlotte Bronte amongst others blazing a trail that they followed. In later years she became a strategic journalistic partner for Florence Nightingale’s campaign for cleaner, better hospitals and training for nurses and Josephine Butler’s campaign against the Contagious Diseases Acts.
Many written words have been expended providing sociological and gender analysis of Martineau’s career. In my book I wanted to portray the real human stories of her life and have devoted a chapter each to her encounters and relationships with these other nineteenth-century luminaries, many of whom she infused with defiant courage and causal determination. It was selected by Unbound for publication and I would be really grateful if you are able to support the crowd funding effort and help me get Harriet Martineau some of the recognition she deserves.