An Iranian childrens’ book illustrator Ehsan Abdollahi has been denied a visa to visit the Edinburgh International Book Festival. Publishers have branded the decision “disgusting”.
The Bookseller broke the story and I’m quoted in Heloise Wood’s report, commenting for English PEN. Continue reading “Quoted in The Bookseller Condeming a Visa Refusal”
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?”
I’m delighted to have a short story featured in Crises and Conflicts, a new anthology of space and military science fiction, just published by NewCon Press as part of their 10th Anniversary celebrations.
My piece, ‘Round Trip’ is a tale of loneliness, obsession, patience, and the tedious experience of waiting for a no-frills budget space shuttle to Jupiter (we’ve all be there).
The central science fiction idea in the story is that the universe is finite and curved, a theory developed by the cosmologist Professor Janna Levin. I can highly recommend her book How The Universe Got Its Spots and her beautiful Moth story ‘Life on a Mobius Strip‘. Continue reading “Crises and Conflicts from NewCon Press”
I’m delighted to have a story featured in the anthology We Need to Talk, launched yesterday. The publisher is Jurassic London—here’s the blurb from their website:
All of us, at some point, are involved in difficult conversations. Whether that’s tough talks with clients or bosses, or break-ups, or coming out, or telling someone you love them, or giving advice to that friend who just doesn’t want to hear it. Some conversations are even more difficult, as sufferers of any potentially serious illness will know.
But one thing’s for sure, these conversations are fascinating. So much so that we’ve teamed up with Kindred and The Eve Appeal, to launch a writing competition on the theme of difficult conversations.
My story is called ‘Frozen Out’, an awkward conversation between a husband and wife. Its inclusion in the anthology is all the sweeter because the other eighteen stories are uniformly excellent. Continue reading “We Need To Talk launched for The Eve Appeal”
At first blush, the success of the No More Page 3 campaign does not look like a victory for free speech. After all, a thing that was being published, is no longer being published. The prudish censors have prevailed, right?
Look again. No law has been invoked to stop Rupert Murdoch from printing nipples on Page 3 (or, for that matter, Page 4 or 5). MPs did not vote on a new Bill. No lawyers have filed a complaint, no judge has granted an injunction. The law is not involved. Freedom of speech means a choice over whether to publish, and Mr Murdoch has chosen not to publish pictures of topless women any more. Continue reading “The No More Page 3 Campaign is a Victory for Free Speech But Not For Feminism”
Exciting news: Jurassic London have just announced the forthcoming publication of my novella, The Good Shabti. Here’s the beuatiful and incredibly scary cover art by award winning artist Jeffrey Alan Love.
From the publisher’s description:
The Good Shabti is a story that spans thousands of years. In the twilight days of Pharoah Mentuhotep, a slave stumbles into the path of imperial ambitions. And in contemporary times, a brilliant scientist and her ruthless companions come close to achieving the impossible: the revivification of an ancient mummy. The two stories weave together in a tale that combines science and myth, anticipation and horror…
I will almost certainly post some commentary and little nuggets of extra information about Pharaoh Mentuhotep IV or the writing process or something, between now and the launch in September. You know, to create a buzz…
Those who have been really paying attention will recall that Jurassic London published a short story by me a little while ago. if you wanted to read that story for free, well, if you subscribed to the Pornokitsch Weekly Fiction mailing list, then maybe , just maybe, something to your advantage will materialise in your inbox tomorrow morning.
The latest act of literary campaigning from English PEN is to publish Jail Verse: Poems from Kondengui Prison by Enoh Meyomesse.
Enoh has been an opposition activist in Cameroon for decades. In 2012 he stood in the presidential elections against authoritarian strong-man Paul Biya. Soon after he was arrested for apparently trying to organise a coup. The authorities later dropped that accusation, and instead manufactured trumped up charges of robbery. There were no witnesses to this alleged crime, yet he was convicted anyway. PEN International consider the conviction and imprisonment to be a violation of Enoh Meyomesse’s right to freedom of expression.
While in prison, Enoh was able to write and publish Poème Carcéral, a collection of poetry. We at PEN put a call out to our members for volunteer translators, and managed to get the book translated into English. This month I designed a cover graphic, and published the book as a print-on-demand paperback, available from Lulu.com. E-book versions (both ePub and Kindle) are also available for download.
I am particularly pleased that we were able to publish the book under a creative commons licence. Enoh Meyomesse is in prison and this publication is intended to give him a voice once more. The creative commons licence encourages further translation, remixing and performance of the poems, amplifying what once was censored.
I am surprised I missed this as the time: Tweets from Tahrir. Its a compilation of tweets from Tahrir Square during the Arab Spring uprisings, edited by Nadia Idle and Alex Nunns. During the protests I suggested that the protestors in ‘the world’s biggest think-tank’ publish their hopes for the future of Egypt and that new technologies could help them do it very quickly. Idle and Nunns appear to have got this precise project published within a month.
This book obviously owes something to James Bridle’s TweetBook. It is also a companion to books like We Are Iran and Diaries of an Unfinished Revolution, two collections drawn from blogs and activists, and supported by English PEN’s Writers in Translation programme.
The release today of The Reluctant Fundamentalist, based on Mohsin Hamed’s brilliant novel, reminded me to post this article I wrote for InPrint, the magazine of the Society of Young Publishers. It was published last month, in the issue timed to co-incide with the London Book Fair.
Who drives our culture? Conventional wisdom says it is Hollywood. After all, it is the ﬁlm industry that produces the most highly paid artistes and the most visible ‘A listers’. Film is a visual medium and it churns out icons at a steady, lucrative rate. The four-hour Oscars telecast is beamed live around the world.
By contrast, the announcement of the Man Booker Prize does not even get its own TV slot in schedules. The announcement is allowed to interrupt the news broadcasts, but the analysis and reactions are made to wait until a scheduled bulletin and it’s never the lead story.
Film claims global relevance, whereas publishing is parochial. Film claims to be popular, whereas publishing is elitist. Continue reading “Is publishing the true cultural engine of our time?”