When I first moved to London, I was lucky enough to be asked to housesit for the parents of one of my dearest schoolfriends in the beautiful part of town called Chiswick. Their flat wasn’t by the river, but I soon made a habit of walking all the way from Barnes Bridge to Hammersmith Bridge, up and down the footpaths by the river called Malls: Chiswick Mall, Upper and Lower Mall. Last week I visited the place again for the first time in twenty years, and although there seem to be even more rich people around in that area, and new developments have been built to reflect that, it still has some of its old charm.
I’ve read 160 books this year, so it’s impossible to stick to a list of a mere ten top favourites. So instead I’ve organised things by categories. Don’t worry, I won’t quite name 160 books! After a stint of rereading and a look at modern classics from the first half of the 20th century, I am now becoming more contemporary and looking at this year’s releases. This used to form the bulk of my reading back in 2013-2016 when I was doing a lot of crime fiction reviewing, but I have been much slower to read them these past 2-3 years. I now much prefer for the buzz to die down. The buzz for the titles below is more than justified, though!
Polly Barton: Fifty Sounds, Fitzcarraldo Editions
This book meant so much to me personally, both as a budding translator and as someone who studied Japanese, lived briefly in Japan and worked for Japanese organisations in the past. It is also written in such an interesting way: not just a memoir, not just an essay about translation or cultural encounters, and also a Bildungsroman, cutting a young person’s ego and certainties down to size (in painful ways, occasionally). Unashamedly subjective and yet universal.
…if language learning is anything, it is the always-bruised but ever-renewing desire to draw close: to a person, a territory, a culture, an idea, an indefinable feeling’
Caleb Azumah Nelson: Open Water, Penguin.
I was utterly smitten with the beautiful, sensous, rhythmic prose of this one, a real prose poem, and for once the use of the second person felt completely justified. It also made me feel about nineteen-twenty again!
A short novel, more like a novella, that is a love song in more ways than one: a love story of boy meets girl which on the surface seems conventional enough; a loving description of London and its black communities; a celebration of what it means to be young and hopeful, but also wounded and fearful.
Lucy Caldwell: Intimacies, Faber & Faber.
The author captures the humdrum of the everyday but also the numinous moments of awareness, of things that occasionally make us change (but most frequently don’t). Understated yet so powerful – a voice that grows and grows on you at each reading.
We think the test will come on the days we’re ready for them, braced and prepared, but they don’t: the come to us unheralded, unexpected, in disguise, the ordinariest of moments. I wish I could tell you my struggles in a way that would be meaningful or even of some practical use. But the secret, most important battles we fight are almost untranslatable to anyone else; and besides, you’ll have your own seething weirs of tigerish waters to cross.
Ulrich Alexander Boschwitz: The Passenger, transl. Philip Boehm, Pushkin Press.
No other book conveys the plight of refugees so accurately, without being about refugees explicitly. In this portrayal of a privileged German Jew who suddenly finds himself on the run after Kristallnacht, the sense of hopelessness, of feeling hunted and unwanted, of casual and deliberate racism, the bureaucratic hurdles that make it nearly impossible to escape still feel extremely topical.
The dark heart of the story is perfectly mirrored in its noir apparel and style, which I suspect the author derived from the German and American cinema of the time. Imagine the absurd situations of a character from a Kafka novella, combined with the sharp social critique of Joseph Roth, and the poignant, yet somewhat deadpan delivery of Hans Fallada, married to the frenetic and clumsy action of the narrator from Alexander Lernet-Holenia’s I Was Jack Mortimer.
Yulia Yakovleva: Punishment of a Hunter, transl. Ruth Ahmedzai Kemp, Pushkin Vertigo.
The first book in a very promising new series featuring retro-detective Zaitsev, set in 1930s St Petersburg, with the Stalinist oppression never far from the surface. There is a real sense of menace behind the perky crime fiction conventions which keep the story zipping along at a good pace, and a complicated story featuring serial killers, political machinations and priceless stolen treasure. In equal measure entertaining and educational, but we are never allowed to forget just how dangerous those times were.
If you haven’t found your favourite book of 2021 in the brief list above, there is still a chance they made my ‘Sheer Entertainment’ category, which will follow shortly, or else in my New Discoveries and Deeper Dives section.
Yesterday I ventured back to work in central London for the first time since the 16th of March, 2020. Obviously, the student-facing or facilities management staff have been going in fairly regularly already, but from September this year, all of us in professional services as well are required to spend at least 40% of our working hours in the office. I will not quibble about the wisdom of that, other than to say that most of the courses I support and deliver are still online, which I can support better from home, while the other half of my work is content creation, which again benefits from quiet focus. However, I have missed the leafy, academic atmosphere of Bloomsbury and the iconic building where I work. With sunshine and relatively quiet streets before the students return (and ignoring the building works), it was very pleasant indeed to be back.
Senate House Library kindly waived my enormous fine for overdue books. They are celebrating 150 years since the foundation of the library this year, and will have a virtual exhibition of 150 of its most interesting books and artefacts. These include one of the first printed edition of Copernicus’ work, a manuscript of Don Juan by Lord Byron, a first edition of one of the first slave autobiographies, the Nazi Black Book for the British Isles and much more.
Although it was quiet, cool and very safe inside the building, and it was nice to wander around the streets nearby and discover my favourite Greek deli The Life Goddess was still making excellent traditional Greek desserts, the commute was as bad as I had remembered: busy, maskless, insufficient number of coaches on the train, long waits on the Underground. Add to that a very long day (so that I could avoid rush hour). the ‘novely’ of wearing respectable shoes and carrying a heavy backpack with a laptop while going up and down stairs, and you will understand why I collapsed for 45 minutes on my bed when I got back home.
In time, it will no doubt become more manageable. In the meantime, I have one very contented customer who is delighted that I am working from home still on most days.
After a particularly fraught and busy period at work, I had been looking forward to this week of annual leave. I was going to do so much (Cardiff, writing, day trips to London, editing translations, reviewing, major cleaning blitzes around the house) – but I should have realised that all my poor battered body and brain wanted to do was relax.
My older son vetoed Cardiff last weekend, because he wanted to watch the Euros Final in England rather than Wales. I’d been having second thoughts about travelling anyway, with the rising cases of Covid and the possibility of being pinged about going into self-isolation (which happened to a friend of mine when she went away for a mini-writing retreat in Eastbourne the week before). So we cancelled the hotel and instead wandered a little closer to home. Savill Gardens in Windsor Great Park no longer had the glorious rhododendrons, but there was still plenty to admire there.
On Wednesday we braved a trip to London – the first time I’ve been into town since 16th March 2020. It felt like a good time to go, before the breakdown of any and all restrictions on 19th July. Needless to say, GWR lived up to my bad impression of it: there was no accurate or up-todate information about how busy the trains were, nor about changing trains and platforms. I booked tickets and was told I had to reserve seats for part of the journey, which I initially thought was reassuring. If you reserve seats, you at least know that it’s not going to be crowded, right? Wrong! Turns out that every single seat had been sold – so there was no social distancing. Although on some of the trains there were big signs saying not to sit facing other passengers, we had to sit facing other passengers, including those who did not wear masks.
We went to visit the newly-opened Japan House on Kensington High Street, so we could walk there from Paddington via Kensington Gardens. In the morning, the park was quite quiet, partly because of the cloud cover. In the afternoon, however, when the sun came out, it was a typical London summer day: dog walkers, sports activities, children playing. The streets and shops were busy too (perhaps not like Oxford Street in the pre-Christmas frenzy, but busy enough). I struggled to see what people were complaining about in terms of restrictions or having their personal liberties curtailed.
The Japan House itself was slightly disappointing – or perhaps our expectations for it had been too high. According to the website, it is one of only three such centres around the world, set over three floors, housing exhibitions, a library, a restaurant and all sorts of other things. You had to book in advance for the library, but we ended up having the whole place to ourselves, which was just as well, since it was just one small room: interesting books, but simply not enough of them (and not enough variety – mostly design or visual arts). The ground floor exhibition/shop was beautiful, but a bit too heavily curated, upmarket and expensive. The afternoon tea we had at the restaurant was delicious, but expensive and not very filling (especially with two teenage boys – they had to buy sandwiches to eat immediately before and after).
Of course, for a Japanophile such as myself, it was still very interesting and I discovered some fascinating historical Japanese photos. But do not plan to spend the whole day there, as we thought we would. There simply isn’t enough to do and the chairs in the library are not that comfortable. Still, it was not a wasted afternoon, because we managed to do some clothes shopping, which is nearly impossible to do in our town, which has only a smallish M&S and a SportsDirect. We did not go into any bookshops, although I later found out there is a Waterstone’s a little further away on High Street Kensington.
The very next day, I ventured into London again, this time in a friend’s car to the Riverside Studios in Hammersmith, to see Samuel Beckett’s Happy Days. I don’t think I was too popular with my friend for choosing such a pared-down, depressing play which feels very apposite for the loneliness of lockdown. But I rather enjoyed its bleakness, and the multitude of ways in which it could be interpreted: the humiliation of old age and impotence or amnesia, the burden of caring responsibilities, the grinding down of personality in a long and not very happy marriage, the need to be seen and appreciated.
Most of the rest of my holiday was relatively humdrum. I slept nearly eight hours most days (a record for me), read a lot of undemanding books (which is not to say badly-written – just not heavy topics), only logged onto my work email once to check if I still needed to help out a colleague with a Zoom call. I had quite a bit of school and car-related admin to do, ordered a new sofa, gave the porch a thorough clean and even went to the gym and for a run. I also tried not to get angry about news and politics and news, about not losing a gramme of weight in spite of my best efforts to eat healthily and follow an intermittent fasting programme. I have watched just two films this week, mostly because my son’s laptop (which we connect to the TV to watch things) is on its dying legs: The Battle of Algiers, a powerful documentary-style Italian film about French colonialism and the war in Algeria, and Midsommar, about which I might write a whole blog post re: the misappropriation and misinterpretation of religious cults and folklore.
Instead of feeling guilty about ‘vegetating’, I call this a ‘fallow field’ period, which, as all farmers know, is so necessary to improve the yield of future crops. As part of my ‘three field rotation’ programme, next week I start the BCLT translation summer school, after which I probably will require another week of annual leave to recover. There is no doubt that I would rather be doing that than the day job (aka ‘main crop’), though!
This debut novel by Guy Gunaratne doesn’t really need much by way of introduction. It has won the Dylan Thomas Prize, the Jhalak Prize, was longlisted for the Man Booker Prize, shortlisted for the Goldsmiths Prize. The author is a film-maker, covering post-conflict areas around the world, and this sensibility serves him well in presenting London as a place of multicultural influences and friendships, yes, but also simmering resentments, occasionally exploding into full aggression and rioting.
Yoos, Selvon and Ardan are three lads growing up on or around a council estate in Neasden, North London. They all have ‘elsewhere’ in their blood (i.e. their parents were immigrants) and they are mates: they bus together to school, they are in the same year, they play football on the estate. A loose, unspoken friendship binds them, but is it enough to make up for their differences? Selvon is training hard and listening to motivational podcasts, keen to get a sports scholarship and make his way out of the place. Ardan’s way out is through his music, he writes lyrics and dreams of success as a grime artist. Yoos (Yusuf) is Muslim and doesn’t much like the wave of radicalism engulfing his brother and the mosque where his father used to be the Imam.
In a normal world, they could remain friends, a proud showcase for diversity and integration. But this is London one hot summer when a black boy struck down an off-duty soldier with a cleaver, shouting something about what happens to infidels. So races and religions are pitted against each other, and London’s ‘scowling youth’ are at the end of their tether, ‘fury was like a fever in the air’. There is no possibility of leading a normal life, of not taking sides. Over the course of just two days, we move from the gritty everyday to tragedy to comedy and back to tragedy again, all conveyed in a language that closely follows oral traditions, belonging to several generations and cultural backgrounds. It is both deeply depressing and ultimately uplifting. It is impossible to read this book without feeling somehow changed. It reminded me, both in terms of subject matter, and the friendship of the main characters, of the cult film La Haine.
Alongside the three boys and two additional older characters whose relationship to them is initially somewhat unclear, there is a sixth character, perhaps even THE main character in the book: the city itself. The description of London in all its confused, noisy, vast, pluralistic muddle made me think instantly of Paris at the time of the Commune, and not just because I was reading the two books at nearly the same time.
Neither of the two cities prove to be a haven; idealism and hopes for a better life are doomed, whether it’s the dreams of immigrants or those trying to build a new utopian social order.
I know this city and its sickness of violence and mean living. These things come in sharp ruptures that don’t discern. It was the fury. Horror curled into horror. Violence trailing back for centuries… Each of us were caught in the same swirl, all held together with our own small furies in this single mad, monstrous and lunatic city.
Compare that to the description of Paris of the years 1869-1874 by Rupert Christiansen in Paris Babylon:
… a noisy multifariousness and confusion, and a hostile resilience to all attempts to placate or silence them. Like every city, it argued with itself, constantly pulling in a thousand different directions, growing like a virus, in an unreasonable organic fashion. The reality of Paris is its people’s voices and stories, motivated by the pressure of immediate daily experience and the ceaseless flow of misinformation we call ‘news’; it cannot be reduced to a thesis, an image or a generalization.
It’s these ‘other voices’, often forgotten voices but nevertheless an organic part of the city, that finally take centre stage in the novel. Although the three young men have the most seductive voices, it is old and frail Nelson who has some of the best lines about the high price the city demands of its inhabitants.
This grey, miserable place what hold the young in like a pig pen… Lord, I wish I could tell my son what I know. All that I know about how the city raise a young man’s fury. How it bend him back, beat him down with so much hard rain he want shelter with whoever will carry him.
In Christiansen’s view, the Commune too was not so much a calculated political strategy and rebellion, but a furious instinctive response to the destruction of a way of life to give room to the modernisations of Haussmann and the humiliation of the Prussian siege. It ‘simply had to happen… for reasons beyond reason.’
I found reading the two books in parallel to be an enlightening experience. And both of them, in a way, end with a declaration of love to the great cities which somehow remain elusive, annoying, impossible to capture in their full complexity. The cities and their infuriating, maddening, heroic people.
So here it all is, this London. A place that you can love, make rhymes out of pyres and romance of the colours, talk gladly of the changes and the flux and the rise and the fall without feelings its storm rain on your skin and its bone-scarring winds, a city that won’t love you back unless you become insoluble to the fury, the madness of bound and unbound peoples and the immovables of the place. The joy. The lights lies in the armoured few, those willing to run, run on and run forever just to prove it possible.
Now that I work in London, going there has become more of a chore than a delight. Although I appreciate the shows, exhibitions and bookshops, I rarely venture on its streets for any other reason. So it is a rare delight to be able to share some of London’s secrets with my sons. I took a day off on Wednesday because we had tickets for Les Miserables and we decided to combine it with a little extra.
So we took one of the guided London Walks around the legal quarter of London, the Inns of Court. A great opportunity to nosy around some hidden passageways and admire tranquil private gardens and old architecture (open to the public, but mostly unknown to the public) just moments away from the craziness of High Holborn and Fleet Street.
Isn’t it funny how certain privileged classes recreated the Oxbridge world wherever they went (Eton, Harrow and then barristers’ chambers) so that they need never leave its gracious bubble?
Although I’d read Victor Hugo’s Les Miserables (and a few of his other works), I’d never seen the show, nor even listened much to the music. As for my boys, they only had a vague idea about the story (and for my younger son, who is not a musical enthusiast, it was decidedly too long). I did get my revolutions wrong when I tried to explain the background to them. I thought it harked back to the 1848 revolution, but it turns out it was a very brief revolutionary streak in 1832. I also thought that Hugo had written the book around the time of the Paris Commune, but it appeared in 1862. However, it is true that he was not very keen on monarchy, that he was defiant and vocal about poverty and the return to autocratic rule after the original French revolution. As my older son said: ‘The French have had a lot of revolutions, haven’t they?’
There were some differences to the book, but luckily it has been so long since I read it, that they didn’t jar too much. The main difference I observed (aside from an attenuation of the social critique) was that Éponine becomes a much more sympathetic and less complex character in the musical adaptation, while Gavroche appears to be almost comic relief, with an added element of bathos when he dies. There was far less time to become emotionally attached to Fantine or any of the revolutionaries, so their deaths were not all that poignant, although the music tried its best to tug at your heartstrings.
In conclusion, there is a lot of truth in that old Samuel Johnson saying: ‘Who is tired of London is tired of life’. There is always something new to discover there.
Being such a huge David Bowie fan, you can imagine that I jumped at once at the chance to join the virtual book club initiated by his son Duncan Jones. January’s read was Hawksmoor by Peter Ackroyd and what an interesting experience that was!
I struggled initially with the Samuel Pepys style and orthography in the 17th century timeline (although I enjoyed the diaries of Pepys and Evelyn in my late teens). I certainly preferred the 20th century timeline, perhaps because it felt like a more straightforward crime investigation. But of course it is nothing of the sort. How to describe the plot? In the late 17th century (or perhaps early 18th), Nicholas Dyer is an architect working with Sir Christoper Wren to rebuild London’s churches after the Great Fire. He seems to believe in pagan practices that a durable church building requires a human sacrifice (see the Ballad of Mesterul Manole in Romanian folklore (and similar to legends in all parts of the Balkans). Except that the folklore versions imply that nothing of artistic merit that is lasting and unique can be built without the creator’s self-sacrifice, while Dyer seems more eager to sacrifice other people, usually vagrants he finds on the streets of London. In the 20th century timeline, Nicholas Hawksmoor is a detective who is investigating some serial killings on the site of Dyer’s churches in London’s East End.
Past and present seem to brush against each other. Names, characters, places, events are mirrored, sometimes in unexpected ways, in both narratives, but it takes a very attentive reader to keep precise track of the similarities and differences. Certain themes are handled obsessively in both timelines: dust, shadows and time (running out of time, in particular). London appears as a sulphurous, sinister city, harbouring all sorts of evil thoughts and deeds, riddled with real and metaphorical plagues.
Certain streets or patches of ground provoked a malevolence which generally seemed to be quite without motive.
And for a moment Hawksmoor saw his job as that of rubbing away the grease and detritus which obscured the real picture of the world in the way that a blackened church must be cleaned before the true texture of its stone can be seen.
This is a multi-layered work and therefore open to many interpretations, but one aspect which stood out for me was the struggle between rationality (Sir Christopher Wren’s ordered, mathematical world – and that of Hawksmoor’s assistant Dyer) and irrational urges, impulses or dark passions of the architect Dyer and Hawksmoor himself. As someone who prides herself on being a rational creature of the Enlightenment rather than of dark medieval obscurantism, yet I keep demanding a pathos to go with all the logos, a heartbeat to go with all the analysis, I somehow felt stuck in the middle. But perhaps that’s the point: that these opposing forces exist in most of us. A fascinating read, but a bit exhausting, I have to admit.
I began to wonder if that was the reason why it’s been out of print: that maybe the patience and close attention required for such experimental fiction has fallen out of fashion. In my student days in the 1990s this would have been precisely what would have attracted me to this book: that feeling of co-exploration, of being made to work for your enjoyment. Perhaps true crime podcasts have replaced literary structural wizardry and the detective work required for piecing together clues finds its outlet elsewhere.
The Poetry Society’s newly refurbished Poetry Café in the heart of Covent Garden is reopening. I’d been there a couple of times in the past, when it was a bit run-down but nevertheless full of poetic passion and open mic sessions. It is much more streamlined, clean and bright now.
I attended an amazing Poem-A-Thon fundraiser on Saturday 22nd July to help with the final details of the refurbishment. More than sixty poets read or recited their poetry for a solid ten hours (ten minutes for each poet, audience could come and go as they pleased).
There were also tombola tickets for every entry (and I won some gorgeous posters of Poems on the Underground as well as a book of poetry by an American poet I had not heard of before, Nick Flynn). There were many poets I wanted to see, including Anthony Anaxagorou and Raymond Antrobus in the evening, but I could only stay for an hour and a half in the afternoon around the time that the poet I ‘sponsored’ was reading.
This was the very talented Rebecca Goss, whose poetry volume Her Birth is one of the most moving portrayals of the love and grief of parenthood, describing the loss of her infant daughter to a rare and incurable heart condition. She read much more cheerful poems on this occasion, and was every bit as enchanting as I expected her to be, but it’s those heartbreaking poems from her book that I remember above all:
but still have space
for her first days, last days.
Assure me I will keep her toes
accurate as maths, her smell
precise, her voice heard above birds.
Assure me I will not howl her name
during birth, that I will place
newborn fingers in my mouth,
taste only newness.
Then, I will consider another.
However, I was lucky enough to also hear Marc Brightside’s poems about his difficult relationship with his father, some very funny and topical poems with a political slant from George Szirtes (I will be attending a poetry course with him in the not too distant future) and Rishi Dastidar, as well as a good mix of seriousness and humour from Kavita Jindal, Ruth Smith and Mohib Khurram (who writes in both Urdu and English). A great introduction to both famous and emerging poets, of many different backgrounds! I only wish I could have stayed longer but will certainly be back for other events.
You can still donate to this campaign if you wish, but what I would really recommend is to attend the open mic sessions on the first Thursday of each month at 3:00 p.m. if you possibly can.
Back in the days when I used to work in London, my office was on Piccadilly, so I used to pop into the exhibitions at the Royal Academy quite frequently. This time I had to plan and travel to see the America After the Fall: Painting in the 1930s exhibition (as seen by Emma in Paris and associated with books of the time), which closes on the 4th of June, but I’m glad I did.
First, let me start by saying that it is rather small – only three rooms, making it at £12 entry fee for the exhibition – a high price/per room ratio. I have seen many more artists at the wonderful Phillips Collection in Washington DC. However, if you do not have access to American paintings, it is a good starting point, with a very informative guide in each room.
The exhibition was very popular and full of people of all ages, and I wonder if it is because the 1930s have such a resonance for us nowadays. Certainly I could detect many parallels:
a long drawn out economic depression and the decline of industry
admiring the dynamism of city life while bemoaning the loneliness it engenders
nostalgia for a glorious past and the ‘simpler’ country life
but, above all, unsettling visions of dystopia
Art born out of crisis and insecurity, art (and a nation) searching for its identity: it bears out the belief that art can remain after those troubled times have gone, and can offer a far better insight into all its fears and hopes, dreams and nightmares, than mere historical description can ever hope to capture.
I then had a lovely, protracted lunch with two friends from primary school. We’d not met in 30+ years, but were not short of topics to discuss even after we’d gone through all the ‘remember that horrible teacher?’, ‘remember when that wonderful teacher took us to the ballet?’, ‘remember what ghastly clothes we wore in that class picture?’ etc. etc. It turned out that our lives featured some great parallels (we all went to Cambridge, for instance, although at slightly different times, we all travelled widely and ended up doing something very different from what we originally studied), but above all, we all had a very international, open, tolerant outlook. Which goes to show that exposing children to different cultures when they are very young is the only way to foster diversity, genuine curiosity and willingness to understand.
Two more brief observations about my day in London.
- The Romanian Consulate was absolutely heaving with people renewing their passports and preparing to go home or in another EU country. I’ve applied for mine now but the earliest appointment I could get for passports for my children would be end of August. Hmmm, I wonder why everyone is in such a rush to have a Plan B?
- Arranging to meet friends at Waterstones Piccadilly is a dangerous sport. Especially if you are slightly early. This is what happened.
Three Romanian writers (one wrote in German, one mainly in French and one in Romanian), an Italian and an Englishman with international connections. The 1930s theme of menace continues too, not just with Isherwood, but also with Benjamin Fondane, who died in a concentration camp in 1944, Paul Celan’s parents died in labour camps during WW2, and Tabucchi’s book is set in Lisbon in 1938m in the grip of Portugal’s fascist dictatorship.
I already read Prater Violet by Christopher Isherwood last night. It’s a charming, if slight story about the time Isherwood was a script consultant for a film directed by an Austrian. Sadly, it does not take place in Vienna, but it describes a period of civil war in Vienna in February 1934, following the protests of socialist workers against Chancellor Dollfuss’ plan to create a one-party state, and huge uncertainty which led to an attempted coup by the Nazis and Dollfuss’ assassination in July 1934. An excellent indictment of British lack of interest in ‘Continental’ affairs at that time, particularly in this passage where an insensitive journalist asks the film director what he thinks of events in Austria and is surprised by the counter-attack of ‘Well, what do you think about it?’:
‘After all, Mr Bergmann… you must remember, it isn’t our affair. I mean, you really can’t expect people in England to care…’
Bergmann’s fist hit the table, so that the knives and forks rang. He turned scarlet in the face. He shouted, ‘I expect everybody to care! Everybody who is not a coward, a moron, a piece of dirt! I expect this whole damned island to care! I will tell you something: if they do not care, they will be made to care. The whole lot of you. You will be bombed and slaughtered and conquered. And do you know what I shall do? I shall sit by and smoke my cigar and laugh. And I shall say, “Yes, it’s terrible; and I do not give a damn. Not one damn.”‘
Patterson at last was looking a bit scared.
‘Don’t get me wrong, Mr Bergmann,’ he said hastily, ‘I quite agree with you… We don’t think enough of the other fellow and that’s a fact… Well, I must be toddling along. Glad to have seen you. We must have a talk, some day…’
Well, as you can see, even a day of leisure and admin in London ends up political at these times. I’m off to water the flowers, breathe in deeply and meditate.
I always knew Karen Sullivan of Orenda Books was a formidable woman and a passionate publisher, but she really outdid herself this evening. Where else can you see 15 excellent and diverse writers, from 7 different countries (8 if you count Scotland), all in the space of two hours on a Wednesday night in central London?
The concept was simple but effective: each writer introduced themselves and their book briefly, then each read a passage. There was a bit of time for Q&A at the end, but time just flew by and I could have listened to them for hours. They are a fun bunch of writers, who have gelled together really well and build upon each other’s words at public events. While it was predominantly a psychological thriller/crime fiction sort of evening, there are also some authors who have written outside that genre: Su Bristow with her poetic retelling of the Selkie myth, Louise Beech with her heartbreaking portrayals of children and Sarah Stovell with the story of an obsessive love which reminded me of Notes on a Scandal.
This was followed by an enormous and delicious cake, aquavit to celebrate the National Day of Norway alongside more usual beverages, and lots of informal mingling and book signing.
It was great to also meet some of the others on the Orenda team: editor West Camel, distribution group Turnaround, cover designer Mark Swan. There were familiar faces of bloggers as well. Karen has managed to create a real feeling of community and genuine enthusiasm around her authors and publishing house, which feels more like family than corporate care.
On the way there I was musing about Orenda’s ‘brand’. Karen makes no apologies about offering entertainment, but it is page-turning, original, good entertainment, rather than one relying on ‘more of the same cliché-churning drivel that is currently making money’, which some of the publishing giants are turning out. I may not love all of the books equally (I am not a huge action thriller fan, for example), but I have not disliked or left any Orenda book unread. I can count on them to entertain and enlighten, make me laugh and cry, while some of them have become huge favourites.
Of course I already owned all of the books, thanks to Orenda’s wonderful habit of involving bloggers and reviewers pre-release, but that didn’t stop me buying a few more to be signed or to give to friends. I also started Six Stories by Matt Wesolowski on the train on the way to the event and was so riveted that I did not stop until I finished it last night (or early this morning, rather).
The Roadshow will be stopping at Crimefest in Bristol next, so go and see them there if you get a chance. Congratulations to all, and I can’t wait to see what you are all up to next.