The link below is to an article that takes a look at 10 Irish authors.
The link below is to an article that takes a look at 9 reasons why authors need newsletters.
The link below is to an article that takes a look at the relationships between book authors and their translators.
An emerging genre of fiction in France is providing an unlikely brand of escapism. Growing numbers of French writers are choosing work as their subject matter – and it seems that readers can’t get enough of their novels.
The prix du roman d’entreprise et du travail, the French prize for the best business or work-related novel, is testament to the sustained popularity of workplace fiction across the Channel. The prize has been awarded annually since 2009, and this year’s winner will be announced at the Ministry of Employment in Paris on March 14.
Place de la Médiation, the body which set up the prize, is a training organisation specialising in mediation, the prevention of psychosocial risks, and quality of life at work. Co-organiser Technologia is a work-related risk prevention consultancy, which helps companies to evaluate health, safety and organisational issues.
The novels shortlisted for the prize in the past ten years reflect a broad range of jobs and sectors and a whole gamut of experiences. The texts clearly strike a chord with French readers, but English translations of these novels suggest many of the themes broached resonate in Anglo-Saxon culture too.
The prize certainly seeks to acknowledge a pre-existing literary interest in the theme of work. This is unsurprising in the wake of the global financial crisis and the changes and challenges this has brought. But the organisers also express a desire to actively mobilise fiction in a bid to help chart the often choppy waters of the modern workplace:
Through the power of fiction, [we] want to put the human back at the heart of business, to show the possibilities of a good quality professional life, and to relaunch social dialogue by bringing together in the [prize] jury all the social actors and specialists of the business world.
What better way to delve into this unusual genre than by reading some of the previous prize winners. Below are five books to get you started.
1. Underground Time
The first prize was awarded to Delphine de Vignan for Les heures souterraines. In this novel, the paths of a bullied marketing executive and a beleaguered on-call doctor converge and intersect as they traverse Paris over the course of a working day. A television adaptation followed, and an English translation was published by Bloomsbury in 2011. Work-related journeys and the underground as a symbol for the hidden or unseen side of working life have proved enduring themes, picked up by several subsequent winners.
2. The Man Who Risked It All
Laurent Gounelle’s Dieu voyage toujours incognito, winner of the 2011 prize, takes us from the depths of the underground to the top of the Eiffel Tour, where Alan Greenmor’s suicide attempt is interrupted by a mysterious stranger. Yves promises to teach him the secrets to happiness and success if Alan agrees to do whatever he asks. This intriguing premise caught the attention of self-help, inspirational and transformational book publisher Hay House, whose translation appeared in 2014.
3. The Reader on the 6.27
Le liseur du 6h27 by Jean-Paul Didierlaurent, the 2015 winner, tells the story of a reluctant book-pulping machine operative. Each day, Ghislain Vignolles rescues a few random pages from destruction, to read aloud to his fellow-commuters in the morning train. The novel crystallises the fraught relationship between intellectual life and manual work.
It also illustrates the tension between culture and commerce, arguably at its most pronounced in France, where cultural policy has traditionally insisted on the distinction between cultural artefacts and commercial products. The Independent review of the English translation describes the book as “a delightful tale about the kinship of reading”.
4. Undersea View
Slimane Kader took to the belly of a Caribbean cruise ship to research Avec vue sous la mer, which claimed the 2016 prize. His hilarious account of life as “joker”, or general dogsbody, is characterised by an amusing mishmash of cultural references: “I’m dreaming of The Love Boat, but getting a remake of Les Misérables” the narrator quips. The use of “verlan” – a suburban dialect in which syllables are reversed to create new words – underlines the topsy-turvy feel.
Unfortunately, there’s no English version as yet – I imagine the quickfire language play would challenge even the most adept of translators. But translation would help confirm the compelling literary voice Kader has given to an otherwise invisible group.
5. Woman at Sea
Catherine Poulain’s Le grand marin, the 2017 winner, is a rather more earnest account of work at sea. The author draws on her own experiences to recount narrator Lili’s travails in the male-dominated world of Alaskan fishing.
Le grand marin (the great sailor) is ostensibly the nickname Lili gives to her seafaring lover. The relationship is something of a red herring though, as the overriding passion in this novel is work. But the English title perhaps does Lili a disservice – she is less a floundering Woman at Sea, and more the true grand marin of the original.
This year’s shortlist includes the story of a forgotten employee left to his own devices when his company is restructured, a professional fall from grace in the wake of the Bataclan terrorist attack, and a second novel from Poulain, with seasonal work in Provence the backdrop this time.
The common draw, as in previous years –- and somewhat ironically, given the subject matter –- is escapism. We are afforded either a tantalising glimpse into the working lives of others, or else a fresh perspective on our own. English readers will be equally fascinated by French details and universal themes – and translators’ pens are sure to be poised.
Kangaroos are the most visible of Australia’s unique animals, but despite their charm and national icon status, Australian writers perpetually kill them off.
A kangaroo appears struggling in a rabbit trap, doomed and dying in Charlotte Wood’s The Natural Way of Things, while Tim Winton has one killed on the road, dissected and fed to dogs in Breath. These are just two of many Australian authors who have represented the kangaroo as a victim.
Kangaroos were a creature of wonder for early European explorers such as Dampier and Banks, but it didn’t take long for their public image to descend to that of a pest. Early settlers considered them competition, nibbling all the best pasture quicker than their sheep and cows, and they soon took up arms against the bounding menace.
The wild kangaroo population of Australia is still commercially slaughtered for dog food. In New South Wales, landholders and volunteers can be simply licensed to kill them for reasons of damage control, and some parts of Western Australia have an open permit system for non-commercial shooting. On any given day, there are usually several being mashed into the blue metal of highways, surrounded by crows and in various states of decomposition.
The expendable nature of the kangaroo may be a widely held view in Australia, but it’s a bitter irony that the creature which defines us to the rest of the world is perpetually under siege, in life and in literature.
Fiction’s dead roos
In Stephen Daisley’s 2016 novel Coming Rain, the author kills off a kangaroo with “a great thump” against the side of a truck, giving a gruesome description of the sweetening of the tail for stew.
The live joey almost has its head smashed against a tree but, owing to its “cuteness” it becomes a pet, wearing a straw hat. The stereotype of the cute joey is alive and well in children’s fiction too, but in adult fiction the kangaroo is dead.
In Tim Winton’s Breath, narrator Pikelet comes across surf guru, Sando, who has hit a kangaroo with his Kombi ute. Sando finishes it off with the jack handle from the car, pounded a couple of times into its head. His response to this act is very matter-of-fact: “This is what happens. And it isn’t lovely.”
Sando drags the “roadkill” into the tray of his ute and takes it home to butcher it. He is prepared for this, with a meat hook hanging from a tree, and he skins and guts the kangaroo. Pikelet observes this with some emotional discomfort, “shrinking from him a little” but accepts the flourbag of meat to take home to his parents who “wouldn’t eat roo meat in a million years”. He “hoiks” the meat into the bushes on the ride home.
Charlotte Wood considers the horror of roadkill in The Children, where Australian animals are killed by passing traffic and compared to contaminated “cushions”. Wood also kills a kangaroo (and a lot of rabbits) in The Natural Way of Things. Central character Yolanda snares a “large grey kangaroo” in a rabbit trap and finds it still alive:
Vainly, the kangaroo shifts and scuffles again. Then it lowers its head and lengthens its mighty neck, black eyes fixed on them, and lets out three long, hoarse snarls. Its snout fattens, nostrils flared.
Fearful of the sharp claws on its “delicate forefeet” they sit beside it, wondering how to set it free and instead bring it water and leave it to die slowly.
The image of the kangaroo is linked to death through earlier works from Australian authors too. The iconic 1940 poem, Native-Born by Eve Langley presents a detailed account of a dead kangaroo, while Randolph Stow’s 1958 novel To the Islands features kangaroos and wallabies being shot and eaten.
Australian fiction is, so often, deeply entangled with nature. Anxiety around the bush, as described in D.H. Lawrence’s novel Kangaroo back in the 1920s, is a feature of settler Australian fiction, tied together with violence, trauma and a sense of the uncanny.
Docile and violent all at once, the watchful gaze and twitching ears of kangaroos are, perhaps, reminders of that uneasiness the settlers felt.
The fact that Australian literature seems intent on killing off this national icon is deeply disturbing – but it is also deeply ingrained.
In contrast with kangaroos, thylacines are well and truly alive in Australian literature despite being extinct since 1936. They appear in over 250 works listed in the AustLit database of Australian literature, including 18 novels since 1988.
Among these are Julia Leigh’s The Hunter, Sonya Hartnett’s Stripes of the Sidestep Wolf and Louis Nowra’s Into That Forest, as well as children’s fiction, drama, film, short fiction and poetry. These thylacines often meet with violent ends, but their aliveness in fiction is astounding compared to the kangaroo.
Contemporary Australia is sentimental about the thylacine as a strange creature lost because of “ignorance”. They are now a thing of wonder, destroyed by misguided colonial settlers who are long gone. But if they weren’t extinct, would we treat them any better? Would we protect them? Often that is the point writers are trying to make by invoking the extinct “tiger” in the first place.
Our relationship with kangaroos (and thylacines), both in fiction and in reality, is symptomatic of what Stow called our “bitter heritage”. So perhaps it is unsurprising, given the violence of colonisation, that it has had (and is still having) an impact on the way writers represent the Australian landscape and all who inhabit it.
This article is based on research published in a forthcoming article for Antipodes.
In Mules and Men (1935), anthropologist, creative writer and Harlem Renaissance upstart Zora Neale Hurston relays the evocative folktale “Why the Sister in Black Works Hardest.” Fatigued after the work of Creation, God casts a massive bundle onto the earth. Intrigued by the mysterious object, a white Southern woman during the antebellum era asks her husband to retrieve it. Reluctant to tote the load himself, the master instructs a slave to fetch it.
Soon wearied of the task, the slave then commands his wife to shoulder the burden. She does so, excited at the prospect of exploring the contents. When she opens the package, however, what leaps out at her and Black women for all posterity is none other than hard work.
African American women writers have tackled the hard work of representing a diverse spectrum of lived and imagined experiences, including and especially their own. This labour occurs against the backdrop of centuries-long struggles with racist oppression and gender-based violence, including — but not limited to — slavery’s culture of endemic rape, forced or interrupted motherhood, infanticide, concubinage, fractured families and egregious physical and mental abuse.
Hard work as groundwork
Renowned abolitionist Frederick Douglass recalls in his 1845 slave narrative how witnessing the serial whippings of his Aunt Hester impacted him “with awful force.” He explains, “it was the blood-stained gate, the entrance to the hell of slavery, through which I was about to pass. It was a most terrible spectacle.”
These ordeals also emerge in slave narratives by women. Harriet Jacobs’ Incidents in the Life of a Slave Girl (1861) emphasizes such travails. A target of relentless sexual harassment by her much-older master, Jacobs laments, “When they told me my new-born babe was a girl, my heart was heavier than it had ever been before. Slavery is terrible for men; but it is far more terrible for women.”
Once emancipated, African American women still faced staggering impediments when pursuing educational, entrepreneurial and employment opportunities. Political participation meant restrictions on voting rights both as women and as people of colour. Racist caricatures impugned everything from a woman’s intelligence and moral capacity to her skin color, texture of hair and body shape. Stereotypes like the docile Mammy, the Tragic Mulatta, the clownish Topsy, the oversexed Jezebel, the greedy Welfare Queen, the amoral Hoodrat and the Mad Black Woman (still prevalent today) remain testaments to a history of disrespect and erasure.
Hurston’s tale symbolizes the enduring social struggles Black women have faced living in what feminist critic bell hooks has termed white supremacist capitalist patriarchy.
In addition to influential autobiographers like Maya Angelou, dramatists like Lorraine Hansberry and poets like Gwendolyn Brooks, fiction writers have consistently demonstrated how imaginative art can simultaneously inform, persuade, entertain, catalyze social change and address individual as well as collective concerns.
Here is a short list of pivotal texts by African American women from the past century. These writers are but a small sample of the artists and intellectuals whose output resisted the force of what contemporary feminist critic Moya Bailey has termed misogynoir, or the corrosive fusion of anti-Blackness and misogyny prevalent in popular culture today. These women have completed the groundwork — and hard work — of envisioning a more just, inclusive society going forward.
Quicksand (1928) and Passing (1929) by Nella Larsen
These novellas follow mixed-race women whose uneasy status on the colour line (including the lure of passing as white) complicates their lives in dangerous, even fatal ways. Passing is revolutionary for its depiction of homoerotic tension between two upper-middle-class Black women. Quicksand offers insight into the exoticization of African American women abroad and the contest between art and domesticity as viable avenues for a fulfilling life.
Their Eyes Were Watching God (1937) by Zora Neale Hurston
This story is the lyrical account of thrice-married Janie Crawford who finds a mature vision of love and fulfillment amid incessant gossip and a difficult family history. The all-Black township of Eatonville, Fla., and the rich “muck” of the Everglades contribute to a portrait of community health, daily striving and resolute self-awareness.
The Street (1946) by Ann Petry
This social realist novel follows single mother Lutie Johnson as she attempts to make a life for her young son in a predatory urban space. Weathering sexism, racism, classism, poverty and intense personal frustration, Lutie attempts to resist the brutality of the environment that gives the novel its loaded name.
The Bluest Eye (1970) by Toni Morrison
This book is a searing portrait of a young girl’s coming-of-age and eventual undoing in the years following the Great Depression. Tumultuous family dynamics, psychological trauma and incest, the quest for compassion and self-love, and the toxic myth of Black ugliness coalesce in this first novel by the Nobel Laureate and author of neo-slave narrative Beloved (1987).
Kindred (1979) by Octavia Butler
Oscillating between the 1970s and the early 19th century, this science fiction odyssey (re)connects a contemporary Black woman writer and her white husband with her ancestors on a Maryland plantation. The novel is buoyed up by the dramatic tension of time travel and the juxtaposition of the pre-civil War Antebellum-era with Civil Rights-era racial attitudes, including those about interracial love and allyship.
The Women of Brewster Place (1982) by Gloria Naylor
Structured like a narrative quilt, these interconnected experiences of seven women span different generations, professions, class backgrounds and understandings of their place in the world. The eroded apartment complex that links them is the backdrop for unbearable pain as well as the promise of transformation and reconciliation.
The Color Purple (1982) by Alice Walker
A tale of two sisters, Celie and Nettie, this novel constellates their love and longing via letters and imagined conversations across the Atlantic. Unsparing in its critique of domestic violence and toxic masculinity, yet tender in its treatment of various human weaknesses, the novel underscores Black women’s need for self-regard and mutual care. Not only are these acts revolutionary, but they also offer a glimpse of the divine.
Novelists are used to staring out of windows, not out at audiences. We write in solitude, and expect our readers to read in solitude. And then, for a few, the phone rings. A publicist has struck lucky with your book. It’s been shortlisted for a literary award. You can no longer be private. You have to perform live.
This year a leading independent publisher told me how he takes on a maximum of two new fiction writers a year. He knows that literary festivals and ever slimmer book review pages won’t want to hear about them. His sole hope for these books is that they win a literary prize. The big one, of course, is the Man Booker Prize.
Just one independent publisher made it to this year’s shortlist: Faber & Faber with Anna Burns’ Milkman. Faber has a kitty it can raid for the £5,000 charged to shortlisted publishers for promotional costs. And there has been plenty of promotion. As Burns admitted recently: “I can’t say anything more about my book … I’m talked out. My brain has pulled over the curtains.”
The Man Booker is something of a winner-takes-all contest. Check the current Top 20 bestsellers for original fiction and not a single shortlisted title reaches the chart. But the winner pretty much always leaps to the top. So how are the current shortlisted writers coping with this brief spell in the limelight?
Two days before the winner was due to be announced the writers encountered each other for the first time for a Sunday night appearance at London’s Royal Festival Hall. The audience paid up to £35 a ticket to hear these writers read and talk. Take this Man Booker reading as its own performance contest, and which writer would win?
I settled in my seat with mixed expectations. In Britain, you can coax the occasional creative writing student into a soft-voiced reading, but most hate the prospect. On the other hand, writing classes in the US have spoken delivery and response at their core. In 2014, the Man Booker opened entry to US writers, so I expected the two shortlisted American writers, Rachel Kushner and Richard Powers, to leap out of the blocks.
Kushner obliged. “I recently started to wear these glasses”, she tells us, “because they’ve started to shrink all the texts in all the books.” For her excerpt from The Mars Room she pops in and out of dialogue for a tale of hotwiring a cement mixer, and laughter trills around the auditorium. Yes, she did do her own audio book, she tells the host. “I read out loud while I’m writing so I felt I’d been practising to do that.” Her big interest is in voices, their “formal syncopation – the first person is traditionally a confessional tone, a challenging voice”.
Robin Robertson’s voice is more than challenging. The Long Take is a noir novel in verse, in which a World War II veteran finds himself among the denizens of Skid Row in 1940s Los Angeles. Robertson grips hold of the perspex lectern and delivers his reading with measured threat in every line. In conversation, he tells the London audience how the book reflects the “sense of urban paranoia and panic” that gripped him on first reaching London, and the “deep sense of existential dread” felt by German filmmakers in their post-war Hollywood exile.
For Burns, her characters are nameless and appear as voices in her head. She reads in the shock of a character’s short sentences. We find ourselves shocked. We find ourselves laughing. Anna reads on. It’s tough stuff.
Esi Edugyan smiles, thanks us, tells us she’s pleased to be with us. We warm to her and recognise her nerves – but something gets stuck. The voice of the protagonist in Washington Black is of a young 19th-century boy, a slave – and his first-person past tense narrative is literary. It belongs not so much in the author’s voice, but on paper.
Richard Powers read from his novel, The Overstory, as though in awe of it, his voice close to breaking. At 502 pages, The Overstory is the longest book on the shortlist, and the five-minute reading somehow gave a sense of its length. As fellow shortlister, Daisy Johnson, noted: “There’s something treelike in the way it’s written” – and it’s true: his reading accrued detail like growth rings.
And so to the two “Writer in Performance” awards I took it upon myself to present for the evening. Every writer gets a special award for taking the stage yet staying true to themselves – but, for the most constant laughter and spontaneous applause, the Audience Award goes to Rachel Kushner.
I had other award categories, which Daisy Johnson nailed in reading from her Everything Under – including eye contact with audience and an urgent clarity in her reading. But ironically what clinched the Judge’s Performance Award for Daisy Johnson is the writing. She spoke as an “I” talking to a “you”. She stripped away the literary and delivered the directness of raw speech.
We all applauded, the writers walked off to sign books – and soon one Man Booker winner will be hurtled into months of celebrity. The others, surely, will step from the public gaze and return to the journey Kushner spoke of, going “deeper in myself and trying to form a rich dialogue with my own consciousness”.
The link below is to an article that looks at 5 things not to say to authors (they are a touchy mob).
The link below is to an article that takes a look at mistakes authors make when connecting with readers.
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You likely recognize that the depiction of Latin American immigrants in politics today – as a menacing mass of recalcitrant Spanish-speaking invaders – is overwhelmingly negative.
What you may not know is that stereotypes suggesting that Latin Americans represent a threat to United States culture are not just morally repugnant – they’re also historically inaccurate. Spanish-language literature actually predates the Puritans’ writing in English by nearly a century.
As my research reveals, many renowned Latin American writers actually produced some of their finest work while living in the United States. Latina and Latino writers have made exceptional contributions to American literary history.
For a fresh take on what it means to be a Latina or Latino in the U.S. today, check out these five literary luminaries.
1. José Martí (Cuba, 1853-1895)
For Cubans, José Martí is the equivalent of George Washington, Ralph Waldo Emerson and Walt Whitman combined. Born in 1853 in Havana, Cuba, Martí wrote the bulk of his 28 volumes of prose, poetry and speeches in late 19th-century New York.
Working as a diplomat, translator, Spanish teacher and journalist, Martí interpreted current events and cultural questions from his office on Front Street, in lower Manhattan’s South Street Seaport.
He witnessed immigrants arriving by the boatload to New York – except the Chinese, who were banned in 1882. He knew about the lynching of black Americans and of atrocities against Native Americans. These stories found their way into Martí’s thinking about Latin America and its diaspora in the United States.
Martí also wrote dazzling accounts of New York, his adopted hometown, likening the cables of the brand-new Brooklyn Bridge to sated “colossal boa constrictors” resting atop towers.
Upon the unveiling of the Statue of Liberty in 1886, Martí alluded to the fact that his distant island home, Cuba, remained a Spanish colony: “Those who have you, O Liberty, do not know you. Those deprived of you must not merely talk about, they must win you.”
Martí died in 1895, fighting for Cuba’s independence. In 2018, he was inducted into the New York State Writers Hall of Fame, alongside local luminaries Colson Whitehead and Alexander Hamilton.
2. Julia de Burgos (Puerto Rico, 1914-1953)
Puerto Rico’s greatest poet also migrated from her Caribbean home island, where she was a teacher, to the isle of Manhattan. Julia de Burgos recounts this literary journey in one of her most famous poems, “Yo misma fui mi ruta” – “I was my own route.”
De Burgos’ inventive, daring poetry did indeed forge a new path for feminists, Latina and otherwise, in the early 20th century.
Against pressure to identify as white, the mixed-race de Burgos proclaimed her African heritage, calling herself “Black, of pure tint.”
In one experimental 1938 poem, de Burgos addresses the distance between her liberated identity as a writer and her constricted role as a woman.
“You in yourself have no say; everyone governs you; your husband, your family,” she writes in “To Julia de Burgos.” “In me only my heart governs, only my thought; who governs in me is me.”
In 1953, de Burgos was found dead, without identification, in uptown Manhattan and buried anonymously in a potter’s field on Manhattan’s Hart Island. A month later, her compatriots retrieved her remains and reburied her in Puerto Rico.
The New York Times featured de Burgos – a “poet who helped shape Puerto Rico’s identity” – in its overlooked women’s obituary series in May.
3. Gloria Anzaldúa (Texas, 1942-2004)
The poet and essayist Gloria Anzaldúa came from a family of Mexican-American farm laborers.
Her ancestors had for generations lived in Texas’ Rio Grande Valley, near the border that Anzaldúa memorably defined as “an open wound where the Third World grates against the first and bleeds.”
Anzaldúa’s work often celebrates her community’s bilingualism. She portrays it as an act of survival against the “linguistic terrorism” of the U.S. public school system, which required English-only teaching and offered “accent elimination” classes in a part of the U.S. that used to be Mexico.
Anzaldúa found such insults to her nonstandard way of speaking excruciating. “Until I can take pride in my language,” she once wrote, “I cannot take pride in myself.”
Anzaldúa is increasingly recognized as one of the 20th century’s most influential feminist and anti-racist essayists.
4. Sandra Cisneros (Chicago, 1954-present)
No list of Latino authors is complete without Sandra Cisneros, author of the beloved “The House on Mango Street,” which has sold nearly 6 million copies and has been translated into over 20 languages.
My favorite of her novels is “Caramelo.” In this transnational coming-of-age story, a Mexican-American woman digs into her family history.
Learning from her abuela, Soledad, she discovers hidden truths about family tensions, border crossings and why her doting migrant papá, Inocencio, is not so innocent after all.
5. Cristina Henríquez (Delaware, 1971-present)
Cristina Henríquez, who was born in the U.S. after her Panamanian father went there to pursue graduate studies, is the best novelist you’ve never heard of.
Featuring first-person perspectives of Central and South Americans and Caribbean migrants, her books dramatically expand the popular conception of the U.S. Latino, long centered on Mexican-Americans and Puerto Ricans.
“The Book of Unknown Americans” tells the story of recent arrivals from Paraguay, Nicaragua, Guatemala, Panama, Puerto Rico and Mexico who live in a dingy apartment complex, enduring the back-breaking labor of harvesting mushrooms. Sometimes, after a 12-hour shift in the dark, they eat only oatmeal for dinner.
The teenage love story between the characters Maribel and Mayor – written in prose that The Washington Post says rises “to the level of poetry” – may help American readers appreciate the myriad reasons why Latin Americans migrate north, including dictatorships, a lack of specialized health care and violence.
That is, I think, Henríquez’s hope. As one Mexican character angrily states, in the U.S. he feels both invisible and vilified.
“I want them to see a guy who works hard, or a guy who loves his family,” he says. “I wish just one of those people, just one, would actually talk to me. … But none of them even want to try. We’re the unknown Americans.”