It was great to be back at the London Library for last night’s Young Writer of the Year Award prize-giving ceremony. I got to meet Anne Cater (Random Things through my Letterbox) from the shadow panel, who’s coordinated a few blog tours I’ve participated in, as well as Ova Ceren (Excuse My Reading). It was also good to see shadow panelist Linda (Linda’s Book Bag) again and hang out with Clare (A Little Blog of Books), also on the shadow panel in my year, and Eric (Lonesome Reader), who seems to get around to every London literary event.
In case you haven’t heard, the shadow panel chose Salt Slow by Julia Armfield as their very deserving winner, but the official winner was Raymond Antrobus for his poetry collection The Perseverance. In all honesty, I’d given no thought to the possibility of it winning, mostly because Antrobus has already won several major prizes for the book, including this year’s £30,000 Rathbones Folio Prize (I reviewed it for the Prize’s blog tour). Now, there’s no rule saying you can’t win multiple prizes for the same book, but what struck me strangely about this case is that Kate Clanchy was a judge for both the Folio Prize and the Young Writer Award.
Antrobus seemed genuinely taken aback by his win and gave a very gracious speech in which he said that he looked forward to all the shortlistees contributing to the canon of English literature. He was quickly whisked away for a photo shoot, so I didn’t get a chance to congratulate him or have my book signed, but I did get to meet Julia Armfield and Yara Rodrigues Fowler and get their autographs.
Some interesting statistics for you: in three of the past four years the shadow panel has chosen a short story collection as its winner (and they say no one likes short stories these days!). In none of those four years did the shadow panel correctly predict the official winner – so, gosh, is it the kiss of death to be the shadow panel winner?!
In the official press release, chair of judges and Sunday Times literary editor Andrew Holgate writes that The Perseverance is “both very personal and immensely resonant. The result is a memoir in verse very, very affecting and fresh.” Poet Kate Clanchy adds, “we wanted to find a writer who both speaks for now and who we were confident would continue to produce valuable, central work. … it was the humanity of the book, its tempered kindness, and the commitment not just to recognising difference but to the difficult act of forgiveness that made us confident we had found a winner for this extraordinary year.”
Also present at the ceremony were Sarah Moss (who teaches at the University of Warwick, the Award’s new co-sponsor) and Katya Taylor. I could have sworn I spotted Deborah Levy, too, but after conferring with other book bloggers we decided it was just someone who looked a lot like her.
In any event, it was lovely to see London all lit up with Christmas lights and to spend a couple of hours celebrating up-and-coming writing talent. (And I just managed to catch the last train home and avoid a rail replacement bus nightmare.)
Looking forward to next year already!
This past weekend was my fifth time attending Nature Matters, the annual New Networks for Nature conference. I’ve written about it on the blog a few times before: last year’s 10th anniversary meeting in Stamford, plus once when there was a particular focus on nature poetry and another time when it was held in Cambridge. This year the theme was “Time for Nature” and the conference was held at the very posh St Peter’s School in York, which dates back to 627 and resembles an Oxford college. We have close friends in York, but our timing was off in that they were in Italy this week. However, they sent us a key to their house and let us stay there while they were away, which saved us having to book an Airbnb or guest house.
What makes Nature Matters so special is its interdisciplinary nature: visual artists, poets, musicians, writers, activists, academics and conservationists alike attend and speak. So although the event might seem geared more towards my ecologist husband, there’s always plenty to interest me, too. In particular, I enjoyed the panel discussions on nature in children’s books and new directions for nature writing. This year the organizers were determined to make the speakers’ roster more diverse, so some panels were three-quarters or wholly female, and four people of color appeared on the stage. (That might not seem like a great record, but in a field so dominated by white males it’s at least a start.)
The Friday was a particularly brilliant day, the best day of sessions I can remember in any year. After a presentation by wildlife photographer and painter Robert Fuller, the first session was “Nature in Deep Time,” featuring three archaeologists from northern universities who talked about cave art, woodcraft, and evidence of rapid climate change. “Taking a long view, we get a very different perspective,” Professor Terry O’Connor of the University of York observed. The topic felt timely and tied in with a number of books that have come out this year, including Time Song by Julia Blackburn, Surfacing by Kathleen Jamie and Underland by Robert Macfarlane.
Next up was “Now or Never – Fighting for Nature,” featuring three female activists: Ruth Peacey, a filmmaker for BBC Wildlife whose subjects have included bird persecution in the Mediterranean; Sally Goldsmith, a campaigner who deployed poems and songs against the mass street tree-cutting campaign in Sheffield and helped save some 10,000 trees; and Hatti Owens, an environmental lawyer with ClientEarth who has partnered with Extinction Rebellion. The panel chair and one of this year’s organizers, writer Amy-Jane Beer, noted that activism is no longer radical, but an obligation.
Either side of lunch, Dr. Sara Goodacre of the University of Nottingham SpiderLab demonstrated how money spiders walk on water and “sail” using two raised legs to cope with wind; and Dr. Geoff Oxford of the University of York told the successful conservation story of the tansy beetle, which has recently been celebrated with a crowdfunded wall mural on the corner of York’s Queen Street and the Tansy Beetle Bar at the Rattle Owl restaurant on Micklegate. After the day’s proceedings, we joined a general movement over to see the mural and toast the bar’s grand opening.
The children’s books session featured Anneliese Emmans Dean, who gave very entertaining performances of her poems on insects and birds; Gill Lewis, who writes middle grade novels that introduce children to environmental issues; and Yuval Zommer, who writes and illustrates nonfiction guides with titles like The Big Book of Bugs and The Big Book of Blooms. Panel chair Ben Hoare, another of this year’s organizers and a former editor of BBC Wildlife magazine, concluded that children’s books should be joyous and not preachy.
There was still more to come on this jam-packed Friday! “The Funny Thing about Nature…” was essentially three stand-up comedy routines by Simon Watt, creator of the Ugly Animal Appreciation Society; Helen Pilcher, who has written a speculative book about the science of de-extinction; and Hugh Warwick, an author and hedgehog enthusiast. The language got a little crass in this session, but all three speakers were genuinely funny. As Watt put it, “Sincerity should not be our only weapon” in the fight for nature; he’s trying to reach the people who aren’t “already on our side.”
After free gin and tonics provided by local producers SloeMotion, we had the absolute treat of a performance by Kitty Macfarlane, whose folk songs are inspired by the natural world. The title track of her 2018 album Namer of Clouds is about Luke Howard, who created the naming system for clouds (cumulus, stratus, and so on) in 1802. Other songs are about eels, a starling murmuration and the Sardinian tradition of weaving sea silk. She often incorporates field recordings of birdsong, and writes about her native Somerset Levels. Her voice is gorgeously clear, reminding me of Emily Smith’s. We bought her album and EP at once.
Saturday was a slightly less memorable day, with sessions on insects and the uplands, an interview with clean rivers campaigner (and former pop star) Feargal Sharkey, and the short film Raising the Hare by Bevis Bowden. Most engaging for me was a four-person discussion on new directions for nature writing, chaired by author and academic Richard Kerridge. Katharine Norbury is editing the Women on Nature anthology, which I have supported via Unbound; it’s due out next year. She went all the way back to Julian of Norwich and has included novelists, poets, gardeners and farmers – lots of women who wouldn’t have called themselves ‘nature writers’.
Anita Sethi, a journalist from Manchester, speaks out about inequality of access to nature due to race, gender and class. She read part of her essay “On Class and the Countryside” from the Common People anthology edited by Kit de Waal. Zakiya McKenzie, a London-born Jamaican, was a Forest England writer in residence and founded the Green & Black project to give underprivileged children trips to the countryside. Richard Smyth, the author of A Sweet, Wild Note, spoke of the need for robust nature writing – and criticism. He stressed that it’s not good enough for nature writing to be “charming” or “lyrical”; it’s too important to be merely pleasant. I would have liked to hear him explore this more and for it to turn into more of a debate, but the discussion drifted into praise for experimental and speculative forms.
There’s something for everyone at this conference; some of the elements that I didn’t get on with or found pretentious were others’ highlights, so it’s all a matter of taste. Spending time in York, one of my favorite cities, was an added bonus. We managed to fit in a trip to the National Railway Museum and lunch at Bettys on the Sunday before our train back.
Next year’s conference will be at the University of East Anglia in Norwich, 10–12 July. I’ve never been to Norwich so look forward to visiting it and attending the full conference once again. It’s always a fascinating, inspiring weekend with a wide range of speakers and ideas.
Would any of the conference’s themes or events have interested you?
This is the second theatre adaptation of Jane Eyre that I’ve reviewed since I started my blog (and my second trip to Newbury’s Corn Exchange within two weeks). The previous one was just over four years ago, of the celebrated touring production that I saw at London’s National Theatre (review here). In comparing my notes from last night with my write-up from four years ago, I’ve discovered that the two productions were fairly similar in approach, with a bare-bones collection of wooden structures and furniture creating the set, and a handful of actors covering all the parts. Last night’s was even more stripped-back, with just a few blackened planks and a partial staircase representing the ruin of Thornfield Hall and serving as the backdrop for all the other settings. And here there were only five cast members, as compared to the NT’s 10: three actresses and two actors, with all bar one (Jane) revolving through the roles via simple costume changes like donning a bonnet or a waistcoat.
Probably my favorite aspect of this production was the live music. An antique piano stood at stage left and all the actors took turns playing it for background music or as part of a specific scene. Other instruments were also taken up occasionally: fiddle, cello, guitar, harmonium and recorder. Whereas the NT production made anachronistic use of pop songs, this production stuck to folk music that seemed appropriate to the time period. St. John Rivers’s pompous piety was exaggerated for comic effect, with Mrs. Fairfax another particularly amusing character. As in the NT show, one actor even briefly played Pilot the dog.
There were a few decisions that were less than successful for me, though. An eight-year jump between Helen’s death at Lowood School and Jane’s arrival at Thornfield Hall feels like a jolt. Jane wears the same dress throughout and nothing indicates her aging. She narrates her story as if she is revisiting her life in her mind. At a few points these explanations from the front of the stage slow down the action. Meanwhile, the strong Yorkshire accent the actress used was so much like Daisy’s in Downton Abbey that I struggled to take her seriously – it’s too much of a contrast with the Queen’s English most of the other characters speak. Is what we think of as a Yorkshire accent now actually how people spoke at that time?
But the chief transgression was omitting the pivotal scene in which Jane hears Rochester calling out to her and knows she has to return to Thornfield. Instead, Jane just makes a rational decision to “go home” after St. John leaves for India. Did the director think that modern audiences would find the mild supernatural content too unbelievable? Or was it just a practical matter in that the actor portraying Rochester happened to be playing the piano at that point? Surely a way could have been found around that.
In any case, it was a pleasant way to pass a few hours on a squally October night.
There is more information on the play, including photographs and a video trailer, on the Corn Exchange website.
What’s the last thing you saw at the theatre?
Through a giveaway on Eric’s blog, I won tickets to see Bernardine Evaristo and Jennifer Nansubuga Makumbi speak about their latest books at the London Literature Festival (this year’s theme: “Once Upon Our Times”) at the Southbank Centre yesterday. It was great to meet up with fellow bloggers Eric and Eleanor to hear these two black women writers read from their recent work and discuss feminism, the political landscape for writers of African descent, and their experiments with form.
Frustrated by the lack of black women in British literature, Evaristo started writing Girl, Woman, Other in 2013. She began with Carole (Anglo-Nigerian, like herself), who has to change to fit in, first at Oxford and then as a City banker. Next she moved on to the stories of Carole’s mother and school friend, and the book grew from there. All told, there are four mother–daughter pairs. Evaristo believes her background as an actress (in her twenties) allowed her to almost become these characters and write them from the inside, so that even though the chapters are written in the third person they feel like first-person narratives. The 12 flawed, complex main characters are “equal protagonists,” she insisted. Her aim was “to explore multiplicity to address our invisibility.” She characterizes the book’s style as “fusion fiction”: an accessible take on the experimental novel, with unorthodox, free-flowing language that allows readers to move easily between the different characters’ storylines.
Both Evaristo and Makumbi admitted to having a complicated relationship with feminism, Evaristo because the feminism of the 1980s did not seem to include black women and Makumbi because the fight for equality is still ongoing in patriarchal African societies like her native Uganda’s. Evaristo feels that feminism is now more inclusive and, also thanks to the #MeToo movement, there has been a place for her book that may not have been there five or 10 years ago. (The same goes for Makumbi, who has only now found a publisher for her very feminist first novel, which was rejected in the 2000s.) Both authors spoke of the ways in which people are made to feel “Other”: through sex, race and class. Makumbi pointed out that Africans experience a specific racism separate from other blacks in Britain. “I’m not racist, but I draw the line at Africans” is how she caricatured this view.
Makumbi’s novel Kintu is a sprawling family saga that has been compared to Roots, but she has recently released a collection of short stories that focus on Ugandan immigration to Britain between the 1950s and today. She envisioned Manchester Happened as “a letter back home” to tell people what it’s really like to settle in a new country, as well as a chance to reflect on the underrepresented East African immigration experience. Much of the book is drawn from her life, such as working as an airport security officer to fund her creative writing degree. Her mentor recommended that she start writing stories as a way to counterbalance the intensity of Kintu – a chance to see the beginning, middle and end as a simple arc. She assumed short stories would be easier than a novel, yet her first story took her four years to write. It is as if she can only look into her past for brief moments, anyway, she explained, so the story form has been perfect. She has deliberately avoided the negativity of many migration narratives, she said: Things have in fact gone well for her, and we’ve heard about things going wrong many times before.
I’m over halfway through Girl, Woman, Other now, and enjoying it very much – but wondering if its breadth sacrifices some depth. Evaristo acknowledged that she felt a bit less attached to these characters than she has in novels where she followed just one or two characters all the way through. Still, she feels that she knows and understands these women, even if she doesn’t like or approve of all of them. She read excerpts from the sections about Yazz, a feisty and opinionated young woman waiting for her mother’s play to start, and Hattie, a strong-willed 93-year-old from a Northumberland farming family. Makumbi read from two stories, one about a Ugandan couple arriving in Manchester in 1950 and the other set in the airport security area. In the latter the protagonist confiscates a whip from a priest, a funny moment that seems to represent Makumbi’s style – moderator Irenosen Okojie, a Nigerian author, mentioned another notable story from the perspective of a Ugandan street dog newly pampered in Britain.
I hope to read Manchester Happened soon, and should be featuring an extract from it next week as part of the Ake Book Festival blog tour. I’ll also finish the Evaristo this week and expect it to be on my Best of 2019 fiction list.
Just a quick one to report on an event I attended in London last night – thanks to Annabel for asking if she could invite me along. This Penguin Influencers evening was held at sofa.com, a furniture showroom nestled beneath a railway arch near Southwark station. It was a slightly odd venue, but at least there were lots of comfy places to sit. Displays of proof copies were arranged on coffee tables so we could go around and fill our free Tana French tote bags with what caught our eye. There were a few dozen of us there: just one bloke; and mostly women younger than me.
It was good to meet some bloggers I recognized from Twitter and Facebook groups, including Rachel Gilbey (one of whose blog tours I’ve participated in) and Linda Hill (one of whose blog competitions I’ve won); I also spotted a couple more familiar faces, even though I didn’t get to say hello: Ova from Excuse My Reading and Umut from Umut Reviews. It was especially nice to see Beth Bonini, the Bookstagram queen, again. She used to live near me, though we didn’t realize that until just as she was moving from Newbury to London; she gave me her gorgeous bookcase.
As to the book acquisitions…
The Wych Elm by Tana French is now out in paperback. I’ve not read anything by French, but have meant to for a long time because many trusted bloggers think she’s terrific, even if (like me) they don’t ordinarily read crime. This just exceeds 500 pages, so I think I’ll make it my doorstopper for next month, and it will also tie in with the R.I.P. challenge.
I’d already read Olive, Again by Elizabeth Strout on my Kindle via a NetGalley download, but it’s great to now own one of my favorite releases of the year in print. (I found it difficult to go back through the e-book when writing my review because it didn’t have a proper table of contents and I’d forgotten all the chapter/story titles as I went along.)
Three Hours by Rosamund Lupton is coming out on January 9th. It’s a tense school shooting novel set in Somerset, and the publicist told us that if we don’t agree with her in all those clichés – ‘I couldn’t put it down; I stayed up all night reading it’ – we can sue her!
Dear Edward by Ann Napolitano is coming out on February 27th. Edward is the only survivor after a plane bound from New York City to Los Angeles crashes in Colorado. The novel is about how he rebuilds his life afterwards; the publicist warned us to bring tissues.
Keeper by Jessica Moor is Penguin’s lead debut title of 2020, coming out on March 19th. When a young woman is found dead at a popular suicide site, the police dismiss it as an open-and-shut case of suicide. But the others at the women’s shelter where Katie Straw worked aren’t convinced. We meet five very different women from the refuge and hear their stories, in the process learning about some of the major threats that face women today. There are already words of praise in from Val McDermid and Jeanette Winterson.
It probably won’t be until later in December that I start reading 2020 titles and reporting back on what I’ve read, plus listing the other releases I’m most looking forward to.
Though I might have hoped for a few more free books to make the cost of my train ticket into London feel worthwhile, I enjoyed connecting with fellow bloggers, hearing about some 2020 releases, and briefly fooling myself that I’m an influencer in the book world. At the very least, I’m now on a Penguin mailing list so might be invited to some future events or sent some proofs.
The winner of the 10th anniversary Wellcome Book Prize is Murmur, Will Eaves’s experimental novel about Alan Turing’s state of mind and body after being subjected to chemical castration for homosexuality. It is the third novel to win the Prize. Although it fell in the middle of the pack in our shadow panel voting because of drastically differing opinions, it was a personal favorite for Annabel and myself – though we won’t gloat (much) for predicting it as the winner!
Clare, Laura and I were there for the announcement at the Wellcome Collection in London. It was also lovely to meet Chloe Metzger, another book blogger who was on the blog tour, and to see UK book v/blogging legends Eric Karl Anderson and Simon Savidge again.
The judges’ chair, novelist Elif Shafak, said, “This prize is very special. It opens up new and vital conversations and creates bridges across disciplines.” At a time when we “are pushed into monolithic tribes and artificial categories, these interdisciplinary conversations can take us out of our comfort zones, encouraging cognitive flexibility.” She praised the six shortlisted books for their energy and the wide range of styles and subjects. “Each book, each author, from the beginning, has been treated with the utmost respect,” she reassured the audience, and the judges approached their task with “an open mind and an open heart,” arriving at an “inspiring, thought-provoking, but we believe also accessible, shortlist.”
The judges brought each of the five authors present (all but Thomas Page McBee) onto the stage one at a time for recognition. Shafak admired how Sandeep Jauhar weaves together his professional expertise with stories in Heart, and called Sarah Krasnostein’s The Trauma Cleaner a “strangely life-affirming and uplifting book about a remarkable woman. … It’s about transitions.”
Doctor and writer Kevin Fong championed Amateur, his answer to the question “which of these books, if I gave it to someone, would make them better.” McBee’s Canongate editor received the recognition/flowers on the author’s behalf.
Writer and broadcaster Rick Edwards chose Arnold Thomas Fanning’s Mind on Fire for its “pressability factor” – the book about which he kept saying to friends and family, “you must read this.” It’s an “uncomfortably honest” memoir, he remarked, “a vivid and unflinching window, and for me it was revelatory.”
Writer, critic and academic Jon Day spoke up for Murmur, “a novel of great power and astonishing achievement,” about “what it means to know another person.”
Lastly, writer, comedian and presenter Viv Groskop spoke about Ottessa Moshfegh’s My Year of Rest and Relaxation, which she described as “Jane Eyre meets Prozac Nation.” The judges “had a lot of fun” with this novel, she noted; it’s “caustic, feminist … original, playful, [and] strangely profound.”
But only one book could win the £30,000 10th anniversary prize, and it was one that Shafak predicted will be “a future classic,” Murmur. Will Eaves thanked Charles Boyle of CB Editions for taking a chance on his work. He also acknowledged Alan Turing, who, like him, attended King’s College, Cambridge. As he read Turing’s papers, Eaves reported, he was gripped by the quality of the writing – “there’s a voice there.” Finally, in a clearly emotional moment, he thanked his mother, who died several years ago and grew up in relative poverty. She was a passionate believer in education, and Eaves encouraged the audience to bear in mind the value of a state education when going to the polls.
After the announcement we found Sarah Krasnostein, our shadow panel winner, and got a photo and a signature. She gave us the scoop on her work-in-progress, which examines six case studies, three from Australia and three from the USA, of people with extreme religious or superstitious beliefs, such as a widow who believes her husband was abducted by aliens. She’s exploring the “cognitive dissonance” that goes on in these situations, she said. Can’t wait for the new book!
I also congratulated Will Eaves, whose book I’d covered for the blog tour, and got a signature. Other ‘celebrities’ spotted: Suzanne O’Sullivan, Ruth Padel and Robin Robertson. (Also a couple of familiar faces from Twitter that I couldn’t place, one of whom I later identified as Katya Taylor.)
I again acquired a Wellcome goody bag: this year’s limited-edition David Shrigley tote (I now have two so will pass one on to Annabel, who couldn’t be there) with an extra copy of The Trauma Cleaner to give to my sister.
Another great year of Wellcome festivities! Thanks to Midas PR, the Wellcome Book Prize and my shadow panel. Looking forward to next year already – I have a growing list of 2020 hopefuls I’ve read or intend to read.
See also: Laura’s post on the ceremony and the 5×15 event that took place the night before.