Showing posts with label Young Writer of the Year Award. Show all posts
Showing posts with label Young Writer of the Year Award. Show all posts

Wednesday, December 05, 2018

Young Writer Award: The Reading Cure by Laura Freeman and KIngs of the Yukon by Adam Weymouth




Looks like I am going to manage to achieve my aim and finish reading the shortlisted books before the announcement of the winner on Thursday. Not much else has got done, apart from the editing of my short story, 'Kiss', which was longlisted in the Short Fiction Journal Prize in the Spring and has now been chosen by Toby Litt for publication on the Mechanics' Institute Review Online (which, unusually for a literary magazine, provides professional copyediting.)

Sitting reading all day long for a whole week and doing nothing much else besides is something I haven't done since I was a child, so there was a certain comforting nostalgia about it all, and it was an experience strangely echoed in Laura Freeman's shortlisted The Reading Cure: How Books Restored my Appetite. This is a bravely frank book in which Laura describes how she stopped eating at the age of thirteen, was diagnosed anorexic and prescribed bed rest, and having always been 'a bookish person', spent two years working her way through book after book - a book a day: it's quite clear she is a faster reader than I! - and she does say at one point that books were her gluttony. With the help of her mother, she managed to control the illness enough to go to university and hold down a job as a journalist on a national newspaper, but still had difficulties with food. However, reading Siegfried Sassoon's Memoirs of a Hunting Man, and its descriptions of hunting trips 'fortified' by breakfasts of boiled eggs and cocoa, marked the beginning of a change for Laura in her attitude to food which developed throughout her subsequent reading. She reads the whole of Dickens (in just over a year!) with its vivid depictions of characters' relationships to food (through from starvation to relish to gluttony), the travel writings of Patrick Leigh Fermor and Laurie Lee, the diaries of Virginia Woolf (who had her own difficult relationship with food) and a food-obsessed eighteenth century parson, the cookery writers M F K Fisher and Elizabeth David, and a good deal more (there are 169 books referenced in the bibliography).

My feeling of nostalgia was reinforced by the fact that much of this reading is Victorian or early-twentieth-century, and there's a fair amount of jolly upper-class 'munching' and so on which Laura wittily mimics and which took me back to the world that the books of my childhood introduced me to. (I began to wonder if contemporary writers don't write much about food, and the only two I can recall doing so with relish and sensuality are Michelle Roberts and Helen Simpson.) In addition, Laura also returned to her childhood reading, most of which was indeed my own: The Wind in the Willows, T H White, Little Women, Frances Hodgson Burnett, Pooh Bear, the Katy books and so on, though Harry Potter was way after my time. Laura rekindled for me the feeling of sitting on my bed with my tastebuds titillated as I read about the picnic feast in The Wind in the Willows, but I have to say that some of the lists of rich, buttery, creamy or syrup-drenched foods that she creates as she extracts them from her reading did make me feel queasy at times. In spite of the book's title, Laura is quite open about the fact that she is not absolutely cured, and makes clear that this is no self-help book, but simply a description of what she feels has worked for her. It's a brave book in its self-revelation, and is a testament to the restorative power of literature and reading.

And now from the sedentary pursuit of reading to sweeping down a river and over rapids, canoeing in the opposite direction to spawning salmon: Adam Weymouth's Kings of the Yukon: An Alaskan River Journey. I was gripped from the start by the explanation of the life cycle of the king salmon, and now I am involved in the lives of those whose people have lived for generations alongside the river and whose livelihoods are being destroyed by the drop in fish numbers and, ultimately I guess, climate change. An important book, I can see already.

Sunday, December 02, 2018

Young Writer Award: The Mermaid and Mrs Hancock by Imogen Hermes Gowar



Well, here's another quite amazing debut novel - a dazzling almost-500-pager set in the eighteenth century, the story of a widowed merchant seaman and a courtesan whose fortunes come together over a 'mermaid' with which the ship's captain returns from a voyage, having sold the vessel to obtain it. This sets in train a breathtaking and involving story in which characters battle the desires, longings and fears the mermaid stands for, and women in particular try to steer a course between the only options apart from lady's companion available to any genteel woman without means at that point in history: that of wife or courtesan. Taking place in the high-class brothel and the shipping worlds of eighteenth-century London, the book is rich in characters, each delineated with great insight and humanity, and in vivid historical detail. In many ways the novel adopts the mode and ethos of the true eighteenth-century novel - there is the same wry but humane irony of tone one finds in Fielding, the same third-person objectivity of narration, a picaresque feel to the plot, and an admirable, indeed enviable, authenticity of language. However, the novel also slyly undercuts that historical form, most obviously by concentrating on the lives and predicaments of eighteenth-century women (revealing in the process little-aired facts about their personal and sexual hygiene), and by concerning itself deeply with the psychology and interiority of the characters - all lent psychological immediacy and intimacy by the contemporary mode of present-tense narration. And it's very moving.

It's no wonder that this book has been shortlisted for so many prizes.

Thursday, November 29, 2018

Young Writer Award: Elmet by Fiona Mozley

Next Thursday, a week today, the winner of the Sunday Times/Peters Fraser and Dunlop Young Writer of the Year Award will be announced. I've been too busy in the last ten days or so to blog or even do much reading - mainly I've been working on an essay for a textbook of essays by second-generation Irish writers, which has needed huge contemplation and the deep scouring of my memory and so has taken up most of my mental capacity. However, having got that and other stuff out of the way, I'm now intending to finish reading the shortlist before that date. (Wish me luck: I still have three of them to read, including Imogen Hermes Gowar's 500-page whopper The Mermaid and Mrs Hancock!)

I have read Fiona Mozley's Elmet, however. There are books you can think good but which basically you can take or leave, and there are books that take you, grab you by the scruff of the neck and refuse to let go until the final page, leaving you drained yet filled, adrenalin-drained but filled with huge emotion, and with wonder, and a different view of the world. Fiona's book is one of the latter. The story of Daniel, who lives with his father and sister in a house they have built in a Yorkshire wood, the remains of the Celtic Kingdom of Elmet, it deals with an aspect of society that you don't see much in fiction - a world of drifters existing on the edges of society, and the violence that erupts when the two come into conflict over land and property. When such people do appear in fiction, they are usually held in the stranglehold of an author's middle-class voice (which always makes me feel weary!), but that is by no means the case here. I don't know how Fiona has done it - she seems such a nice young woman! - but she has tapped right into the ethos and psychology of that world with an earthy yet lyrical register that seems entirely authentic. I was coming towards the end of this book one afternoon when I needed to go shopping for food for visitors arriving that evening, but I just couldn't move. Darkness came down outside, but I couldn't even make myself get up to switch on the overhead light, and as I sat beside the fire coming to the violent end of the story, my heart was pounding with excitement and dread and my eyes were filled with tears of both joy and despair. I don't think the book's entirely perfect - I would say that sometimes the sensibility and articulacy are too sophisticated for its narrator Daniel - but I forgive it that utterly for its insight, its language, its bravery, and the experience it gave me, and quite frankly, for a debut it's amazing.

Sunday, November 18, 2018

Shortlistees for the Sunday Times/Peters Fraser and Dunlop Young Writer of the Year Award


I had a very good time yesterday at an event for bloggers, meeting the four authors shortlisted for the Sunday Times/Peters Fraser and Dunlop Young Writer of the Year Award.

All the shortlisted books this year are debuts, and two this year are non-fiction. Laura Freeman's The Reading Cure: How Books Restored My Appetite, part memoir and part literary appreciation, charts how the enticing descriptions of food and meals in literature cured her of her anorexia, and Adam Weymouth, a journalist with an interest in the environment, recounts in Kings of the Yukon a journey he made with his partner down that river in a small boat, and explores the impact of modernity on the progress of its King Salmon. The two novels, both written by historians, come already garnered with prizes. Fiona Mozley's Elmet won the Somerset Maugham Award and the Polari Prize, and has picked up several prestigious short- and long-listings including a short-listing for the Man Booker and a long-listing for the Women's Prize. Told in a lyrical yet tough language often recalling older dialect, the novel is the narration of Daniel, who has lived in the woods on the edge of society with his father and sister, but now something terrible has happened... Imogen Hermes Gowar's The Mermaid and Mrs Hancock, a historical novel featuring the real-life eighteenth-century 'mermaid' in the British Museum where Imogen was working, won the Mslexia First Novel Competition and was shortlisted for the Women's Fiction Prize among others.

Interestingly, this year only one of the shortlisted authors, Imogen, had done an MA in novel writing, and even Imogen agreed with the others that she likes best to work alone, to finish the entire first draft of a novel before showing it to anyone (I would agree!), and that she wrote The Mermaid and Mrs Hancock 'as an escape' from the novel she was writing for her MA.

I have to say that the authors were all lovely - entirely open and unaffected in spite of their success. This year I hadn't read any of the books beforehand, and I'm looking forward to them all. On the train back I started with Fiona's Elmet and was so engrossed I had no idea that the two hours between London and Stockport had passed, and I almost missed getting my things together and getting off in time.

l-r in the pic above: Adaam Weymouth, Fiona Mozley, Sunday Times Literary Editor Andrew Holgate, Imogen Hermes Gowar and Laura Freeman.

Monday, November 21, 2016

A literary weekend: a meeting with prize shortlistees, reading with literary icons and a new review of Unthology 7.

On Saturday I zoomed off to London, first to attend a gathering for bloggers to meet the shortlistees of the Sunday Times/Peters Fraser and Dunlop Young Writer of the Year award, and then on in the evening to Waterstone's Piccadilly to read at Word Factory.

The Young Writer shortlist is fantastic, and we had a great afternoon chatting to the shortlistees and hearing them read and being interviewed by Andrew Holgate, prize judge and Literary Editor of The Sunday Times (below). You can read more about it on my critical blog, Fictionbitch, and the thoughts it prompted for me concerning innovative fiction and marketing.


After that it was off to Word Factory. I was reading with Lionel Shriver and novelist and Mslexia editor Debbie Taylor, at the end of a day-long festival for short-story writers, Small Like a Bullet. I read the title story from my collection, Used to Be (and the really great audience was gratifyingly receptive, laughing in all the right places - I guess a roomful of storytellers was just the right audience for a story about story-telling!). Debbie then read from her latest novel Herring Girl, which I have recently read: a fascinating and really quite daring tale of reincarnation set exactly where she lives, in a converted lighthouse at the mouth of the River Tyne, with a depiction of the past so vividly real and particular that I suspect Debbie of having indeed been there then! Finally Lionel entertained us with the tale of her commission from a luxury hotel chain, which she fulfilled by writing a story subverting the whole idea of luxury hotels. She then read us the story, in which, with her customary verbal irony, she put paid to the notion of luxury itself.

Afterwards poet and Word Factory organiser Cathy Galvin chaired a discussion that ranged from the the popularity or otherwise of short stories and publishers' attitudes to them, to the question of whether they are leading to brand-new forms that defy categorisation - Max Porter's Grief is the Thing with Feathers, one of the shortlisted books in the Young Writer Award, being cited as an example. Here's a photo taken by my online friend and Word Factory regular Oscar Windsor Smith:


And as I was coming back on the train next day, I discovered that there's a new review of Unthology 7 from brilliant writer Aiden O'Reilly. He loves the anthology:

I think this is probably the best anthology I’ve read, including all those ‘best new’ anthologies that come out every couple of years. There are just so many standout stories here

and I am of course thrilled by what he, such a talented writer himself, says of my story:

I loved the prose of Elizabeth Baines’ Looking for the Castle ... it’s just perfectly written.