In March, I was honoured and delighted to be asked to give the keynote speech at the University of Roehampton’s Creative Writing Soiree, an annual evening of fiction, memoir and poetry readings done by the English and Creative Writing students. The suggested title of my talk was ‘The Writer in the World’ which gave me the chance to speak about creativity, literature and the work of English PEN in broader and grander terms than the speeches I am usually asked to give.
I confess to being quite pleased with the end result. Not, I must stress, in the delivery, which comes across as extemporised rather than pre-planned. But rather, the broad idea of what it means to be a ‘writer in the world’ and the pragmatic suggestions for how one might go about living as such a writer.
The speech included a potted history of English PEN, some thoughts on the moral obligations of free speech, my earliest memories of learning to read, and the grind and grit required to be ‘creative’. Its a good statement of what I believe. Continue reading “The Writer in the World”
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”
In a report about Ayatollah Khameni’s regressive and anti-Semitic views on feminism, this nugget:
Earlier this month, Khamenei issued a speech warning that “cultural attacks by the enemy are more dangerous than military attacks”, hitting out at human rights groups and think tanks.
The speech itself concerns the Iran-Iraq war. Khameni believes that intensive discussion and celebration of the ‘Sacred Defence Era’ will culturally fortify Iranians against the pernicious influence of Iran’s enemies. His definition of ‘culture’ is of course extremely narrow. But there is nevertheless something refreshing about the idea that cultural influence is more important and effective than military force! Continue reading “Fighting the Fundamentalists: More Books Please”
Watson: Sherlock, could it be…
Sherlock: It’s never twins.
I wrote a very short piece for Multiple Matters, the official magazine of TAMBA.
Twins are a irresistible plot device, particularly for science fiction and fantasy writers who can have their characters appear to be omnipresent, to teleport, or even return to life. The ploy works for the same reason that random people obsess over the multiples they meet at school or in a buggy at the shopping centre: twins are are part of our natural world, but they are also somehow magical. Continue reading “Multiple Matters: Twins in Fiction”
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?”
Writing in the New Yorker about Turkey, the novelist Elif Şafak begins thus:
The Hungarian-British writer Arthur Koestler, born in Budapest at the turn of the last century, became, over the course of his life, intimately familiar with the dangers of authoritarianism. It was the corroding effects of such rule on the human soul that preoccupied him as much as the unbridled concentration of power. “If power corrupts,” he wrote, “the reverse is also true: persecution corrupts the victim, though perhaps in subtler and more tragic ways.”
This is, I think, an under-explored aspect of human rights… or rather, human rights violations.
When one is in the business of defending human rights and free speech in other parts of the world, it’s easy to slip into a simple dichotomy: The censorious government is bad and corrupt; the dissidents are noble and good.
In reality, things are far more complicated. Not all activists, journalists and writers have the courage or even the means to fight back. Those outliers who continue to write what they think—and damn the consequences—are few and far between. This makes it easy for the Government to identify them and pick them off.
Most people aren’t that brave and instead find themselves corrupted in some way: As Şafak explains later in her essay, this might be through direct complicity with the regime; silence (a sort of sin of omission); or else a corruption of their literary output as it flees into metaphor and ambiguity.
My interview with Anjan Sundaram about what he saw happen to journalists in Rwanda is relevant to Elif’s analysis: he saw the full spectrum of reactions to authoritarianism, from cringing complicity to outright defiance.
More generally, the corruption of the person and the state that comes when human rights are denied is a crucial argument against any weakening of rights protections. As we prepare for a battle against a British Prime Minister intent on destroying our hard-won protections against state power, this is one of the arguments we must marshal: when the rights of some are abused, we are all diminished.
How to say this in a way that persuades?
Zoinks! Look what appeared on the mat this morning: my contributor copies of The Mammoth Book of the Mummy.
19 Tales of the Immortal Dead by Kage Baker, Gail Carriger, Karen Joy Fowler, Joe R. Landsdale, Kim Newman and many more. …
Including Robert Sharp. My novella The Good Shabti is in the anthology and I’m very proud.
The Good Shabti was, you will recall, launched in January 2015 and was, you will also recall, nominated for the Shirley Jackson Award. Continue reading “The Mammoth Book of the Mummy available in January”
On 9th November, the morning after the U.S. Presidential election, my friend Mark posted this to Facebook.
This morning makes me understand what it must feel like for those people who look at the political landscape, look at the establishment, look at the leader and say, ‘I don’t recognise this; it doesn’t speak to me; it doesn’t represent my situation. It doesn’t represent anyone I know.’ It’s a feeling of despair and dislocation. It’s the same feeling that makes people crave something different. Choose anything that’s different. Even a man like Donald Trump.
In the week since the election there have been thousands of op-eds and ‘hot-takes’ published on why Trump won the electoral college and the mindset of his voters. But surprisingly, I have not seen this particular sentiment—empathising directly with how such people are feeling—anywhere else. At least, not expressed so clearly. Continue reading “Empathising With Trump Voters”
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”
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”