I Supported These Two Publishers On Kickstarter And You Should Too

We all spend a lot of time moaning about the inequalities of ‘mainstream’ culture. Often, it is the small independents who counter this trend.

I’ve just made small donations to Kickstarter projects run by two UK-based, independent international publishers.

First: Make Influx Press Bigger and Better.

Influx are responsible for the sui generis creative non-fiction book Imaginary Cities by Darran Anderson, a sweeping take on how architecture affects our minds and how our minds affect architecture. The book is great and (with hindsight) it would have made money for whoever published it. But that was by no means apparrent before publication and it was the Influx team who took the risk. I’m supporting their funding drive so that they can put more literature like that into the world… and of course to get one of their forthcoming publications as a ‘reward’ for my support. Continue reading “I Supported These Two Publishers On Kickstarter And You Should Too”

Open Casket: Cultural Appropriation or Secular Blasphemy?

Censorship of the painting would set a dangerous precedent that would disproportionately affect black artists

A controversy has erupted around the Whitney Biennial in New York. Protestors have demanded that a Dana Schutz painting of murder victim Emmett Till be removed from the exhibition with the further recommendation that it be “destroyed and not entered into and any museum or market”. This is a clear call for censorship.

Emmett Till was an 14 year old African-American, murdered in Mississippi in 1955 after being accused of flirting with a white woman. His killers were acquitted of the crime by an all-white jury.

Till’s mother Mamie famously requested an open casket, so the terrible disfigurement of her son could be witnessed by everyone. This decision exposed to the world the brutality of lynchings and lack of civil rights for black people. Continue reading “Open Casket: Cultural Appropriation or Secular Blasphemy?”

How Do We Make Diversity Scale?

How does the great work done by indies to platform more diverse voices scale to the larger publishing and production companies?

It is the Oscar’s this weekend and La La Land is favoured to win Best Picture.

In this op-ed piece for the Independent, Amrou Al-Kadhi laments the way Arab characters exist on the periphery of most Western cinema.

Stories onscreen have the rare ability to arouse empathy for diverse characters in audiences across the world, so leaving out Arab and Muslim voices in such a context of global Islamophobia is particularly damaging. With masterful directors, sublime works like Moonlight happen; now the story of gay black masculinity in the Miami ghetto has become that much more relatable and mainstream. It is my genuine belief that if the TV and film industry had been more diligent in representing Arab characters – with all our humane, complex, intersectional three-dimensionality – xenophobia would not be as pandemic as it is today.

Reading this challenge to the film industry, I naturally began to think of how the literary community measures up on the same issue. Although I don’t exactly work in the publishing industry, English PEN works closely with publishers and writers, and the debate over who gets published and what gets published is always close and loud. Continue reading “How Do We Make Diversity Scale?”

The Exposure of Elena Ferrante: A Writer-on-Writer Attack on Free Speech

The opportunistic words of one writer will mutate, and perhaps cripple, the literature of another.

The Italian journalist Claudio Gatti has caused controversy this week, with the publication of an article that claims to reveal the true identiy of the celebrated novelist Elena Ferrante.  Published in English on the New York Review of Books blog, and simultaneously in German, Italian and French, the article sets out the evidence Gatti has found that points to a particular woman, who he names.1

Anonymity and pseudonymity are often a pre-requisite for freedom of expression.  Whistle-blowers usually need to keep their names away from whatever they have told journalists, lest they lose their jobs or even their liberty.  This is the main reason why English PEN, for whom I work, campaigns so vigorously against draconian surveillance laws and for better protections for those handling journalistic material. Continue reading “The Exposure of Elena Ferrante: A Writer-on-Writer Attack on Free Speech”

59 Productions to produce City of Glass for the stage

This multi-layered book is perfect for the 59 productions treatment

This week 59 Productions (the radical design and production company than I had a hand in setting up) announced their latest project.  Its an adaptation of Paul Auster’s City of Glass by Duncan Macmillian, the acclaimed writer of People Places Things.  The show is directed by my friend Leo Warner and is a co-production with Home and the Lyric Hammersmith.

City of Glass (part of Auster’s New York Triology) is an intriguing post-modern detective story that plays with ideas of reality, identity and imagination.  I think its a perfect fit for the kind of art that Warner and the remarkable 59 Productions team create.  In a recent interview with the Financial Times, he outlines their approach. Continue reading “59 Productions to produce City of Glass for the stage”

Literary Campaigning at its Best

Solidarity and activism is not the only outcome of this writing—the cultural conversation is being advanced too

During my time working for English PEN I’ve often used the phrase ‘literary campaigning’ to describe our particular style of activism.  Its a term that probably seems self evident: we use literature to draw attention to the situation of writers at risk.  For example, we might read the writing of an imprisoned poet outside an embassy, or stage a world-wide reading at multiple locations around the world.

Its an approach that has value for several reasons.  Not only is it non-violent, but it is also not particularly hostile or antagonistic to those who have imprisoned the writer or who are responsible for their persecution.  So it has a diplomatic quality.

It also a fantastic act of solidarity for the embattled writer.  Where they have been entirely censored through imprisonment (or even death) it is a way to give them a voice and restore to them some sort of expression. Continue reading “Literary Campaigning at its Best”

Harry Potter and the Ethnographic Refusal

To what extent should people explain their culture to outsiders?

JK Rowling periodically releases short pieces of writing on her Pottermore site that build upon the Harry Potter world.  She has recently published information on wizarding schools around the world, such as Uagadou in Uganda or Mahoutokoro in Japan.  Its a clever way to engage fans from all over the world, bringing a little bit of the magic to those who might not readily see themselves reflected in Ron, Hermione and Harry.

But with her ‘History of Magic in North America‘ JK Rowling appears to have become unstuck.  Her attempt to integrate the Native American community into her world building has drawn criticism… not least because she lumps the myriad tribes and Nations together under one ‘Native American community’ catch-all.   Continue reading “Harry Potter and the Ethnographic Refusal”

In Praise of The Room Three

We are challenged by an island’s worth of puzzles as the player is transported to the gothic mansion of Grey Holm and the hostile hospitality of The Craftsman

For the past few weeks I’ve been playing The Room series, a set of three games for mobile devices by Fireproof Games.  This week I completed The Room Three, and thought I’d write a quick review.

The premise of all three games is simple.  The player is presented with an ornate contraption, and the task is to unlock the secrets contained within.  Do you pull this lever, or press that button? What combination of switches must you flick in order to open the door? How do I make that panel slide back? Where is the key that fits that lock? Continue reading “In Praise of The Room Three”

Rhodes, Political Correctness and the Censorship of History

Is this censorship or merely curation?

You’re all aware of the controversy surrounding the Cecil Rhodes statue at Oxford University, right?

To recap: Cecil Rhodes (1853-1902) was the colonialist, businessman and white supremacist whose career in Southern Africa had huge impact on the continent.  The celebrated Rhodes Scholarship programme at Oxford University was established by his estate. As such, there is a statue of him at Oriel College at Oxford.  Some current students are campaigning to have the statue removed on the grounds that Rhodes was a racist and not someone who should be glorified in stone.

This campaign is happening in a milieu of renewed debates about freedom of expression and decency at universities.  I am against ‘no platform’ policies,  and against the abuse of useful innovations such as Safe Spaces and Trigger Warnings as a way to shut down offensive speech. Continue reading “Rhodes, Political Correctness and the Censorship of History”

Even the most offensive art can have two meanings

This week, the satirical magazine Charlie Hebdo was criticised for publishing a shocking cartoon about migrants and rape culture.

It features a depiction of the terrible image of drowned three year-old Aylan Kurdi alongside what appear to be some dirty old men, chasing women Benny Hill style.


Continue reading “Even the most offensive art can have two meanings”