What I am up to!

I thought, as I am about to go into hiding for a bit, that I ought to update my writing news. This isn’t my day job, but my goodness there’s a lot happening with me, books and writing.

Before Christmas, we hope to give you information on events for the launch of my new novel, Saving Lucia. This is an extraordinary adventure, starring Violet Gibson, the Irish Aristocrat who tried to assassinate Mussolini in 1926…Isn’t this a beautiful cover? Note the bird. It’s a passerine. Note the four lit windows. I LOVE IT and pretty soon will tell you why it has this design and whose windows they are.

savingluciaCOVER

We have been working on final edits and book has now gone to proof. I hope that I might see you at London or Bath launches in April and there will be events during the year.

This is a very busy year for me. In addition to teaching, tutoring and mentoring young people, I am also a volunteer and I need to see my two eldest boys through exam years and also…in September…my first volume of short stories is out. You can even pre-order now as part of the subscription service from Influx: https://www.influxpress.com/famished

It’s wonderful to see such different cover styles; this brilliant edible plate that gets weirder the more you look at it. 18 stories: weird fiction, bit punky, lots of Welsh, terrible feasts, gothic pop shops, killer sweets and some funny bits of consumption. It’s very different to Saving Lucia, but I will be so interested to see people make comparisons and find links. Because, there are some. To discuss later, I hope. And next year, we will bring you details of launches and maybe lascivious lunches and oooh.

famished cover-c (1)

I have an essay – a memoir piece – called ‘In Order to Live’ in April’s Dodo Ink Anthology, Trauma: Art as a Response to Mental Health and towards summer, you can see my weird fiction, ‘House’, in a new anthology from Unsung Stories. I hope that, during the year, I will have the opportunity to write further pieces connected with the two books I have out next year.

Alongside all this, I have a further short story collection on submission – ‘Ravished’ – and another novel, The Revelations of Celia Masters, which is historical fiction, waiting to be read. And I am working with my agent, Kate Johnson of Mackenzie Wolf http://www.mwlit.com/ on other things. She is in actual fact the best agent in the world. You might have noticed me tweeting questions about all kinds of things from zebra feet to The Holy Grail. I tell you no more about why. But I can say that what I am working on is Magical Realism and I was lucky enough to have a brilliant beta reader for this that I’d love to name…but will embarrass at a later date. I am small fry compared to the folk this chap has worked with!

As to my first two books, Killing Hapless Ally and The Life of Almost, these are on the move so not with their original publisher and we will give you news on these all in good time.

You know, I have only been writing for four years and next week I am going to be handing in my seventh book. I just rocked up, daft and loud as I am; I assumed that I could not do this, though I have spent my life around books. Reader, writer, doubter: I was wrong. Publishing and writing have, I know, got a way to go in terms of access and possibility. We hear about gatekeepers and you have to understand why. But I also want to say, consider this: is the gatekeeper YOU, mired in so much self doubt that you cannot move? Doubt is normal and healthy and proves you are self-reflective. You will be a better writer because of it.

If, over the coming years, I can encourage you to get the books you want to write out into the world, then you tell me, okay?

Here’s a picture of me so you recognise me. One of my kids took it; no filters; nothing fancy.

Hello.

annapic

Anna. x

My compendium of failure and on beating the odds (an updated piece)

In the past few weeks I’ve been paying particular attention to people’s comments on twitter (mainly) about the impossible odds of getting a publisher for a book, or of getting an agent. I also see writers frustrated not only at rejection but at not getting a reply. Moreover, about perceived barriers to finding an agent or publisher and about not being listed for competitions. I thought I would write in response to this because I have launched and had to relaunch. Let me know if you have found this in any way helpful. Oh – and when it comes to competitions and applying for things, I’m going all out here. I BET I HAVE FAILED* MORE THAN YOU.

*TRIED; STUCK MY NECK OUT; WAS NERVOUS BUT DID IT ANYWAY….

road closed signage
Photo by Pedro Sandrini on Pexels.com
  1. I started writing long-form in late 2014 and wrote a memoir. I can’t quite remember whether it was this year or the following but I submitted it in the Mslexia memoir competition and it was not longlisted. I remember being gutted and crying a lot. I wouldn’t now, but at the time….
  2. In early 2015 I completely rewrote the book and changed it into autobiographical fiction. I submitted it to six agents and three replied with a no; one didn’t reply (with a clear statement that if no reply in…however long it was…it was a no) and the other two didn’t reply at all, even after chasing.
  3. I decided I would send it to an independent publisher and there it was accepted. This memoir went on to be my first book, Killing Hapless Ally, published in 2016 and, although, there were some bright spots and I had many lovely responses because it was about mental illness and resonated with people, was profiled and used as a teaching resource (still is), this book was otherwise pretty invisible. Somehow I hadn’t quite banked on this; probably because I was still really ignorant of how book publishing and marketing worked. And also, I do tend to be wildly optimistic about things!
  4. I wrote a novella right after that, The Life of Almost, and I had two full requests from agents. One never wrote back at full, the other, who had seemed extremely keen, rejected it but asked for my next book. Because I was completely naive, I wrote that to time for them and they then rejected it with a form rejection and I never heard from them again. My previous publisher then took it and it sank pretty much without trace, mood lightened by some wonderfully supportive booksellers and reviewers and readers. This was tough. On my release and book launch day I was crying and feeling wretched, pulled up by a lovely bookshop and some truly great people in the publishing industry, including a really nice agent who had rejected my work but was just a good egg. BUT
  5. …do you know what you do when you finish a book, or it’s out and about? Or when your book sinks? You get off your sorry arse and you write another one! This was my third book, Saving Lucia. I did have an agent meeting (we are now in the summer of 2018) about this one, but I want to tell you – and I am not going to name any names in any of this – that particular agent is someone whom I am proud to keep in touch with because they are so blinking nice and supportive and ethical and that is something to bear in mind. Someone may not be a good fit for you, but that doesn’t mean you cannot maintain really wonderful links with them. This is friendship and community, but it is also commerce. Where was I? For this past year or two I had been reading more and more books from the indies presses in the UK and beyond and it changed my life. It was so exciting. I got to know them, and their work and tried to develop an understanding of their vision; I sent Saving Lucia to seven independent publishers; two were a no with nice comments and I had three requests for fulls. Two didn’t reply at all. Still haven’t, you little buggers. But let’s say there was a fair bit of interest there. Saving Lucia is being published by the awesome Bluemoose Books next April. YAY. And did I say that while I was waiting I wrote another book, a work of historical fiction? It would be wrong to tell you any details now because all in good time…generally publishers will want first refusal on your next book so… (should I get rid of this bit? No, I think it’s ok.) I also met the person who was, in future, to become my agent around this time; just chatting through things, even though I had nothing to offer them right then. Because DO YOU KNOW WHAT? This doesn’t always work how you think it will work. Actually, we talked about hats and reading and what was the best kind of cake and America and Britain and ranging between the two (as we both do). But mostly about reading. And a bit about writing and what I might be up to.
  6. Well, so…I have done another book, I have now got a wonderful yes on Saving Lucia and I seem to have sort of got ahead. It was at this point that I started tinkering and ended up writing two short story collections. This was in very late 2018 and early 2019. I did this for stimulation and pleasure and it made me so happy. Again, this didn’t happen how I thought it would. I hit upon the idea of two themed books: the first with the theme of food and feasts and consumption (as in consuming, not TB) and that is Famished, out with Influx Press next September and while I was hanging around on that – request for full very quickly – and just after I had a decision – YAY – I wrote the other collection, and I am not telling you much about that other than to say it’s positively macabre but I hope you will find it funny too, one day. Oh – and I am also now agented. WHOAH.
  7. Right. So that’s books three and four coming to you in one year (2020) and that means that, in under five years, I have written 7 books (I have just finished number 7 now; it’s another novel and this time, magical realism, currently hanging out with a beta reader the pedigree of whom…well…maybe I can tell you about that if he doesn’t hate my book) and I am not entirely sure how this has been done with the kids hollering and my teaching and dusting and looking after chickens and cats (and see below) and volunteer work and physical and mental health challenges (you get the picture), but I think I took so long to start that once I had, well I was not going to give up. Plus I loved it.
  8. There have been some properly shit bits. The rejections; the no-replies. There are going to be more I expect when someone hates one of my books. Or lots of people do; it’s part of the business. But you MUST move on rather than feeling persecuted as well as rejected because your creativity will, I think, dwindle. That has happened a couple of times. Also, I mentioned relaunching. My first two books are now, as they say, between publishers. It wouldn’t be kind to comment on any of that because sometimes things go wrong, of course they do, but it is sad. Suck it up though because I have a new notebook. And on no replies – especially after a request for a full – not good enough, I feel. Plus, it causes people real upset.
  9. I have not mentioned an absolutely key thing. During this period, first word to page when I knew absolutely nothing about the writing and publishing industry, I have worked my tits off to make sure that I do know things. Maybe that’s how you beat the odds. Clearly the writing has to be there and you MUST listen to constructive criticism and advice and at least give it the time of day, but while you are working away, learn about the industry. Network. Well I didn’t know I was networking, because I call it HAVING A CHAT and I LOVE A CHAT. Expand your reading. Read as much as you can and diversely. Challenge yourself. When you submit, you really should know plenty about those to whom you are submitting. It has been bloody marvellous to do anyway, but I had read lots of books by Bluemoose and Influx and others I submitted to. That’s one example. Put the work in, because they did. Also, meet people and talk to them (HAVING A CHAT AGAIN); engage on social media if funds or your health or caring commitments mean you cannot get about; take an interest in others’ work – it is so life-giving and rewarding. Learn what an agent is, a publisher, and indie publisher, an editor (and the different types of editing); learn about book publicity and marketing, bookshops -especially our wonderful independent booksellers – and book marketing. And I was doing all this while I was writing; I also submitted various poems, short stories, creative non-fiction and short memoir, most of it, to my surprise, was published, though mostly not for money: for that reason, it had to be work I could do in pockets of time. I edited a couple of books and reviewed various books for online journals. I wrote a poetry collection which I submitted for Mslexia’s poetry anthology competition with Seren books and it didn’t get anywhere. You can tell I’ve been busy because I only just remembered about that. I also put together a comical parenting book based on diaries and blog posts I had done for various sites and submitted that to Unbound, where it was a no. Yep. I worked my tits off. I also tried, surmising I might be starting to look at least a bit credible, to help others forward. I have managed complex mental health stuff for a long time and I’ve got a couple of wacky health problems which aren’t always much fun, but that’s NOTHING compared with what many suffer; add to that the structural inequality which means that funds and resources preclude someone from writing. This is why I do four free manuscript reads a year: I think that life revolves, or ought to, around community and love. And chatting to people. Some people are twats, usually because they are (argue as you please) experiencing pain or threat in some way.
  10. Here is my summary catalogue of additional failure, because I see people getting upset that they do not make lists for competitions. I BET I HAVE FAILED MORE THAN YOU. I have never (other than Not the Booker) been longlisted. For anything? Let’s break this down. I didn’t make the Mslexia memoir list, my books were not longlisted for Rubery (that cost me £37!!!), Wellcome, Bath novel (twice!), Goldsmiths, Ondaatje, Exeter or Yeovil prizes; my complete poetry anthology didn’t make the Seren Books/Mslexia anthology; my short fiction and single poems have not made Fish, Costa or Bridport  and WHAT IS MORE I didn’t get a Gladstone Fellowship or Society of Authors Funding; because I didn’t, I a. got up at 4 in the morning to write and b. taught more and it was tough. But what are you going to do? Do you want to do this or not? Are reading and writing your lifeblood? Then there’s your answer.
  11. AND MAYBE THAT IS HOW YOU BEAT THE ODDS. You ignore them. You just write good stuff, as good as you can, keep talking to and meeting people; none of this has happened as I thought it would. A lot of things have happened because I met people and before anyone interprets that as schmoozing in inner circles, no: I mean I like chatting to people (apologies for the HAVING A CHAT repetition) and seeing what they do, asking them about their reading and so on. I am quite shy. but I love to talk to people (if that makes sense) and I think this has held me in good stead. When things go wrong, feel sad and let them go. Yes, there are clearly real things that need to change. Speaking as mum and English teacher, for example (there are other areas and fantastic people shining a light on access and unacceptable dead ends), it’s pretty clear that the industry needs to up its game on BAME books (and you too, exam boards!!!) – but for lots of other things, be sure it’s not a self-fulfilling prophecy; avoid feeling resentful and persecuted because that’ll stymie your creativity. Women: I won’t even engage with this stuff about ageism because, as I have been saying this week, unless I am about to get a horrid shock – my eldest son is nearly 18 so clearly I am 318 – I think we need to crack on and I have never experienced it and am not at all keen on its being used as positive marketing tool on the whole, because it’s reductive and I’d be lying. I’d say, ‘I’ll get my coat’, but I wrote that only to encourage and maybe make just one person less fearful.                                                                                                                                               AND I HOPE THAT, OVERALL, YOU’VE FOUND THIS LITTLE POST HAS MADE YOU FEEL BRAVER.
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    Photo by Pixabay on Pexels.com

    Love, Anna.

Raising Sparks: an interview with Ariel Kahn about his debut novel

 Here is an interview with Dr Ariel Kahn. His book, Raising Sparks, published with Bluemoose yesterday. I read a proof copy some time and loved it. I’ve asked quite a range of questions here – not too many spoilers – and you’ll see that I’ve also asked him a little about the publisher and about indie presses. Both are close to my heart because over the past few years I’ve taken so much delight in making much of my own reading from small presses and writing for them. Also, my third novel, Saving Lucia, will be published by Bluemoose in 2020.  And my goodness they are doing well: amongst other things, author Ben Myers just won the Sir Walter Scott prize for The Gallows Pole. (Read now; the press bookshop is on the website listed at bottom!)

But back to you, Ariel. Congratulations and on with the questions.

Malka Sabbatto is a young woman who flees the confines of her traditional family in Jerusalem, followed by Moshe, a Russian immigrant and her father’s top student. After falling in with a sinister cult in Safed she escapes to Jaffa, where she starts to build a new life under the wing of an Arab chef. When she feels she has finally found contentment, a family tragedy forces her to return to Jerusalem.

RAISING SPARKS reveals the hidden worlds, shared histories and unknown stories of the modern Middle East. (From the publisher.)

raising sparks

For those who are about to read your book, tell me about its title and the beautiful illustration on the cover. It’s a tree which looks to be reflected and also part blooming, part aflame.

Hi Anna! Thanks for these very leading questions. So Raising Sparks is a concept in the Kabbalah, or Jewish mysticism, which really resonated with me. It comes from an alternative creation myth expounded by Isaac Luria, the 13th century “Lion of Safed” from who I’m descended. The sections of my novel correspond to the stages that Luria describes, and articulate the journey of my protagonist. He argued that when the world was created, God held back to allow it to form – contraction, withdrawal – “Tzimtzum” in Hebrew. Divine light then poured into creation, but the vessels that were meant to hold that light shattered, scattering fragments of light throughout creation. This stage is known as “Shevirat Hakelim”, or the breaking of the vessels. Rather than a pessimistic portrayal of a flawed creation, Luria’s myth suggests that humanity are co-creators with the Divine – we are responsible for the Raising of the Sparks, and for healing of the shattered world, known as “Tikkun”. How? As one of my characters puts it:

“There is a spark hidden inside everything and everyone in the world – every encounter, every experience, and every sensation. If you can be really present in the moment, you can set a spark free and return it to its source.”

The Tree on the gorgeous cover (designed by Stuart Brill) is the Tree of Life, a key symbol in Kabbalistic texts of the connection between the human and Divine. This always made sense to me, as trees are extraordinary beings, making food out of light, with their roots in the earth and their branches reaching up to heaven. The tree is sometimes portrayed upside down, with its roots in heaven, reaching down to earth – suggesting that the trees we see are mirror or reflections of the Divine reaching down to us, or through us. So on the back cover of Raising Sparks, the tree is inverted.

Malka, my protagonist, is a young female kabbalist in contemporary Israel. She experiences this tree at several points in the novel, and it is bound up with her identity. As she changes, so does her perspective on the tree. Her own abilities initially terrify her, and the flame suggests the power of the repressed rage and sense of entrapment she has felt. Working through that, she reaches a more whole place, effecting “Tikkun” in herself and others. She flowers.

Malka; Moshe. Is there any significance to those names? And what about the black cat that leads one to the other and to the room and to the tree?

Indeed there is! Malka means queen in Hebrew – her full name is Malka Sabbatto, or the Sabbath Queen. An aspect of Kabbalistic writing that really resonated with me was the notion that the reason the world is in such a state is because the Shekhina, the female aspect of the Divine is in hiding, in exile – when we raise the sparks, we help return her to her Beloved.  Another One of Luria’s followers, Solomon Alkabetz, penned a deeply erotic poem to the Sabbath Queen which is still sung on Friday nights in synagogues around the world to welcome the Sabbath. Malka channels this feminist Divine energy, and challenges and disrupts the patriarchal structures she encounters.

Moshe, Malka’s would-be lover, is the Hebrew name for the biblical Moses – though it is fact an Egyptian name, given to him by the princess who pulls him out of the Nile. Moses grows up in Pharaoh’s house, and then must flee when he kills a slave driver after identifying with the Hebrew slaves on whom their wealth was based.  So the name is bound up with saving, being saved, and the challenges of displacement and loss. My character is a Russian immigrant to Israel, who has come with his mother after the breakdown of their family, the effect of a tragic loss which Moshe believes he is implicated in. Like his namesake, water plays an important part in his story.

I can tell you’ve read the proof version of my novel, as the cat changes colour and becomes a smoky grey in the final version. Thereby hangs a tale. When my wife was pregnant with our second child, we went to a cottage in Suffolk for a few days to write. A black cat walked along the wall, and suddenly I had the image of a young girl pursuing this cat through the crowded food market in the Christian Quarter of the Old City in Jerusalem. My wonderful editor at Bluemoose, Lin Webb, is a cat lover, and realised that there wouldn’t be a black cat in Jerusalem. So something was gained in transplantation.

What can you tell me about how this book came to publication? I have to say a few things first. One (and I haven’t told Ariel this yet) I was already aware of the book through a piece drawn from its manuscript which appeared in ‘The Arab Israeli Book Review blog’ and two that my own third book will be published by Bluemoose in 2020 and so we will be in the same stable.

The journey of Raising Sparks to publication had some surprising twists. I wrote it as part of a PhD in Creative Writing at Roehampton, where I teach, supervised by the wonderful writer Leone Ross. Then I had lots of rejections by agents. I was just ready to give up and put it away in a drawer, when Leone posted on Facebook that there was a competition for debut novelists based on Pop Idol. Called Pulp Idol, it was run by Wowfest, based in Liverpool, and had heats in cities all over the country. The heats were all on Saturdays, which as an Observant Jew, meant I couldn’t attend one. Then I saw on their website that if you were not able to make the heats, you could record a short YouTube video instead, reading a few minutes of the opening chapter and answering a series of questions. My kids were not yet up, so I sat down, recorded the video, sent it, and forgot about it. A few weeks later, Wowfest got in touch to say that I’d been put through the heats and was one of the national finalists for the final in Liverpool. A was more than delighted. All ten finalists would have our first chapters edited and collected in a hard copy which would be sent around agents and publisher, so I already felt like a winner. The local Jewish community hosted me for meals, and the the Wowfest team led by Mike Morris made me feel at home. The final was in the Black-E, a converted church now a theatre space on the edge of Chinatown. We were each meant to read from our first chapters, before a panel of judges and a live audience. I read first, and Kevin Duffy, now my publisher, was one of the judges. I came runner-up out of the ten (writers, publishers, agents do check out the other finalists in Pulp Idol 2018, available as an ebook and in hard copy – they were all amazing). He liked what he heard, and asked me to send a hard copy to Lin, his editor. She liked it too, and on my birthday last year, Kevin wrote to say they were publishing me. I danced.

I love the rich evocative detail of the book. The pizza, water, tea, the cooking of fish, the doughnuts for the street boys and the layered sensual elements of the way in which you describe the bakery. Not just the smells, but the textures, processes, the pantry…Tell me about food in the book. Why there is so much emphasis on it? I was very taken with the glass of water which Moshe offers Malka so early on because it seemed so much more than the sum of its parts. With the bowl of peas remembered by Mahmoud that carries such resonance and recalls, for him, both beauty and intense pain. I’d quite like a recipe, too. How about something mentioned in the book?

Delighted that this sensory element speaks to you. One of the few written teachings of Isaac Luria is to do with raising sparks through cooking and eating, that this too can be a spiritual experience, which led to mystic pizza in my novel! I think cooking is an everyday kind of creativity, which we can do either mindfully or mindlessly. It feels very akin to writing in the way we combine ingredients which can become something more than the sum of their parts. Food encodes personal and cultural histories, and their mingling and development. Helen Goldrein, a friend of mine is a food blogger, and interviewed me about this element of the novel. At the risk of quoting myself, here is what I said:

“Food creates community. It’s a brilliant bridge builder. You can connect to other people through food because it resonates with everyone. In the book, the characters use food to communicate and open up to one another and forge relationships. A lot of that comes from my own experiences, here in the UK and also living in Israel.”

For more on food in the novel, see the full interview at: https://family-friends-food.com/raising-sparks-ariel-kahn/

I’m so glad you connected to the glass of water, and the “Middle Eastern Peas” in Mahmoud’s coming-out story. I think our relationship to food is symbolic of how we see ourselves, and is full of personal symbolism. Both of these very simple foods have layers of meaning, both for the characters, and hopefully, in the novel. Much of the first draft was written in notebooks while sitting in a garden hammock, overlooking the hills of Jerusalem, right next to the herb garden belonging to Yotam Ottolenghi’s parents.  I love his food and approach to cultural connection in his restaurants, set up with his Palestinian Business partner, Sami Tamimi. I’m hoping the reader of Raising Sparks will experience the way words and foods combine in my novel to similarly transformative effect.

You asked for a recipe, something mentioned in the book. How about this? A brief extract from Raising Sparks about Jerusalem Kugel, then my translation of a recipe for it from Sherry Ansky’s brilliant cookbook, Food, which we often use at home (my wife Noga is Israeli and a brilliant cook – how people feel about food is an indicator for me about how they are about people too, and she’s the biggest-hearted person I know).

‘What was your favourite food as a kid?’

‘Jerusalem Kugel,’ Malka said without hesitation. ‘I loved the contrast between sweet caramelised noodles and fiery black pepper. Everyone else bought theirs, but my mother made ours, every week. What’s that got to do with it?’

‘Well, kugel is the taste of home for you, isn’t it? I bet no-one here has ever eaten it.’

From Raising Sparks p.247 Copyright Bluemoose Books

Jerusalem Kugel from Sherry Ansky’s Food, Keter, Jerusalem 2003, p. 144

Translated by Ariel Kahn

Ansky always tells a personal story about each of her recipes. Here she writes:

One of my sweet childhood memories is the kugel which I would eat on Shabbat morning at synagogue. Close to the end of prayers, an Ultra-orthodox woman would appear at the corner of the road, pushing an old baby buggy at great speed, almost running. It contained aluminium pots full of giant kugel, covered in wool blankets, which she would distribute in the synagogues of the city. I would push through the congregants and watch in amazement how her giant pots were upended over trays, and with the help of string, cut into slices. The caramelised kugel was sweet and oily, but crucially, spicy.   In one hand I would hold Kugel, in the other a pickled cucumber, chewing, sweating from the pain of the spiciness, and from the pleasure of the taste. From the silence that prevailed in those sweet moments in the synagogue there arose only the cries of pleasure from the kugel devourers.

Recipe:

Serves 8-12

Ingredients:

½ Kg of straight egg noodles, 2mm thick

One cup of corn or sunflower oil

One cup sugar

6 eggs

Three teaspoons of ground black pepper

Salt

Baking parchment

Method:

  1. Cook the noodles in boiling salted water until they are soft, but not too soft, around 3-4 minutes.
  2. Heat the oil and sugar in a deep pot. Cook over a low heat, tipping the pot gently from side to side without stirring it, until the sugar melts and caramelises (around 10 minutes). Immediately, but with great care, add the cooked noodles and stir. Don’t worry if some of the caramelised sugar hardens into granules.
  3. Crack the eggs and add them, together with the black pepper, and stir until you see that the pepper has been fully mixed in. Taste, and add a little salt if necessary.
  4. Heat the oven to 90-100 C. Heat a little oil in a medium lidded pot which can go in the oven, pour the noodle mixture into it, flatten with the aid of a spoon, and cover with baking parchment cut into a circle at the mouth of the pot (without the parchment the kugel will dry out and burn). Pour a little oil onto the parchment, then cover the pot with its lid. It I advisable to wrap the pot in a large sheet of foil. Put in the preheated oven. Cook for 7-10 hours. If you think the kugel is too dry and getting burnt, add a little water to the pot. If you cover the pot properly, it won’t happen.  Eat with pickled cucumbers.

Tell me about the significance of the sea and of water more broadly in the book? Even the title of the restaurant where Malka comes to work is of the sea – ‘The Leviathan’ (which you can also comment on if you like!)

When I was studying to be a Rabbi I was in an all-male bubble six days a week, studying from early morning to late evening. So on Fridays, which is the day off in Israel, I would head for the Tel Aviv beach whenever I could. Only an hour away by bus from Jerusalem, but a different world. The contrast was eye-watering. Then I started to notice little rituals in this supposedly secular space, and thought that maybe Jerusalem and Tel-Aviv were not so far apart. I loved the sea, and found its rhythm, colour and scent magical. Malka longs for water – she’s grown up in arid Jerusalem – while Moshe, with his traumatic history involving the sea, fears it. Water is also a bridge between them – he offers her a glass of water when they first meet, and she uses an ice cube in a key scene in the novel too. The Leviathan is my adaptation of a real restaurant in Tel Aviv called Lilith (after the mythic story of Adam’s first wife – there are two creation stories in the Bible – in the first man and woman are created equal, in the second Eve is subservient. The first woman becomes Lilith in Jewish folklore, challenges Adam, and becomes a kind of femme fatale for the rabbinic tradition – the dangerous, empowered woman  –  this fed into Malka’s identity too)  which trains street kids of all faiths and ethnicities to work in the restaurant trade, a lot like Jamie Oliver’s place in Devon. I decided to combine this with my love of Ottolenghi – only flip it so I had a Palestinian chef and an Israeli backer. The Leviathan is of course the great sea beast mentioned in the Bible, and Malka has some striking experiences in and around the sea. It is also the medium through which Moshe confronts his fears. Water is an agent of “Tikkun” or healing in the novel.

Now, do you have anything you could share on specific stimuli for events in the text or inspiration for any of the characters? If you would like, do explain for readers the significance of the book’s inscription?

Well, I’ve spoken about the black cat that inspired the opening sequence in the novel. After I had this image, I wanted to find out more about who this girl was. I was wrestling with the nature of Malka’s character and gifts. Growing up in a patriarchal family with four sisters, I was fascinated by the thought-experiment in Virginia Woolf’s A Room of One’s Own, in which she wonders what would have happened if Shakespeare had had a sister as talented as he was. While staying in my sister in law’s home in Nataf near Jerusalem, I had a dream in which I was Malka, in which she goes down to the Western Wall in Jerusalem, the holiest site in Judaism, now a bit of a political football. In the dream, all of the prayers which people write and press into the cracks between the stones started to pulse like hearts, or sea anemones, and cry aloud the words written on them.  Malka could hear them. She could hear the music behind speech, the longing that underpins it. She would understand the language of silence. I realised Malka would be a mystic, a kabbalist, someone who could release these charged presences to powerful effect.

As well as a space to question and explore a feminist spirituality, Raising Sparks is also an act of remembrance. When I trained to be a rabbi in Israel, I discovered a love of mystical texts such as the Zohar. I up a writing group in yeshiva (theological seminary) with Matt Eisenfeld, my chavruta (study partner – texts are learned together, through discussion, to tease out their multiplicity of voices). Matt and his Fiancé Sara Duker were tragically killed in a bus bombing during the first intifada. This tragedy had a traumatic effect on me, and made me realise I didn’t want to be a rabbi. I came back to the UK and looked for answers in literature instead, gradually growing towards a different kind of engagement with my faith, one which stressed the more universal, mystical elements, while seeing ritual as a kind of embodied poetry, waiting to be filled with personal meaning, a way of expanding my experience of the other. If each person or situation I encountered contained a spark of light, how might I liberate that? The ultimate other is the Divine, which means so many different things to each of us through our lives. I wanted to write a novel that explored the nature and meaning of faith in the modern world, from a range of perspectives, something I had often discussed with Matt. I was determined that the love and vision Matt and Sara shared would not perish with them. Their relationship is the seed of the love story in my novel. It was also behind the formation of the Arab Israeli Book Club, which I set up in London, on the basis thatthat fiction is an empathy machine, enabling us to experience all kinds of “Other” without fear or prejudice, and wanting readers to have the opportunity to go deeper than the headlines. The Guardian called it “a roaring success”. Brief plug: This book club is relaunching as The Middle Eastern Book Review at Daunt Books Hampstead on September 28th, when I will be interviewed about Raising Sparks by Ian Black, the Guardian Middle East Editor. All are welcome!

The epigraph, taken from Job, is all about the way these sparks sometimes seem like trouble and distress, but are often the inciting incident to a different, deeper life. Job is also a great questioner of God, like Abraham and Moses –which is why God calls him his true servant. Faith is never about certainty. It is about asking the right questions, challenging authority.

While the book does not shy away from pain, unpleasant events, intolerance, brutality and violence, please will you talk a little about the ways in which it is a resolutely hopeful book? I do believe it is. I’ve told you that at a difficult time in my life, I have personally found it consoling and inspiring.

That’s moving to hear. Books have always been a consolation and a tool for engaging more deeply with myself and others, for feeling the things which connect rather than divide us. Faith is all about doubt for me, not in a debilitating way, but in a way that constantly enlarges our frame of reference and understanding, something which good fiction and art in general do too. Malka is a deeply optimistic person, despite everything she goes through. She believes in a shared humanity, in the ways in which all of us are connected. She tries to use her gifts as a tool for positive change, standing up to the forces of oppression and domination which seek to limit and define her. She questions received truths, and suggests that it is precisely by listening to the silenced other within and around us that we become most fully ourselves. She is a wise person but at the same time extremely naïve due to her sheltered upbringing – the modern world crashes in on her full force, so she uses religious myth to critique and engage with it, and create a new, personal kind of fusion/integration between them in the process.

Hard one. Define magical realism. You’ve used it about your book so go on then…

I’ve always loved the kinds of book crammed in under this label, from Rushdie and Marquez to Borges and Bashevis Singer. For me, it means books that enclose multiple ways of seeing, from the mythic to the modern, side by side, and often show how congruent they are. We live by myths – the challenge is to make them the best ones we can, open, fluid and welcoming.

Do you – and I appreciate this might be hard because you made it – have a favourite part of the book?

That is a tough one. I like the hard-earned moment of rest Malka has on the beach in Jaffa-Tel Aviv. That quiet moment was one in which she reached a new self-understanding and accommodation. It feels like a turning point in the story, and the challenge for me, as for Malka, is to make these quieter moments speak as powerfully as the more dramatic ones. I hope I’ve succeeded.

Beyond the book: where next for Dr Ariel Kahn?

Well, I love teaching, cooking, and writing, so hoping to do more of all of those. I’ve got the seed of a new novel with a historical strand calling to me – looking forward to having the headspace to heed that call.

Independent presses have had a stunning few days, haven’t they? Three prizes for three brilliant authors. Might you comment on this in any way? 

With significant recognition like the Walter Scott Prize for Ben Myers outstanding The Gallows Pole, Bluemoose and the Indie scene are having a renaissance. They publish edgy and interesting things mainstream presses are wary of. They work together, in constructive groups like the Northern Alliance of publishers. Bluemoose have a close, nurturing relationship with their authors – Kevin talks about the Bluemoose family, (note from Anna: as you know, Ariel, my own third book, Saving Lucia, is going to be with Bluemoose and Kevin sent me a note when I signed my contract: it said, ‘Welcome to the Bluemoose family’: loved that) and it is more than a phrase, it is something I’ve experienced, with the way other authors within the imprint support one another. As a debut author, the care and attention to detail Bluemoose have lavished on my book, and my inclusion in every aspect of the process including choosing the cover have made this an empowering and pleasurable experience.

And finally…tell me about your reading. Any recently published books you’d particularly like to recommend, say? Or could you name a few favourite authors or books?

I love David Grossman. He’s been a huge inspiration, as a novelist and a deeply ethical person engaging with his own trauma, the loss of his son, while remaining present and powerful in his use of writing as an empathy machine. Given my love of trees and their significance, I’m thoroughly enjoying The Overstory by Richard Powers (Heinemann), which looks at humanity from the perspective of nature on a compelling and moving way. I love comics and graphic novels – the way they blend the visual and the verbal fees deeply true to my experience of the world, and stimulates my own prose, which often starts with a visual image. Recently, I’ve enjoyed two amazing graphic novels. Tumult by John Dunning and Michael Kennedy (Selfmade Hero) is a deeply unsettling noir about a woman with multiple personalities, beautifully rendered, subtle and teasing. My Favourite Thing is Monsters by Emil Ferris (Fantagraphics) is a tour de force – ostensibly a journal by a young girl who sees herself as a monster and investigate the strange death of an upstairs neighbour, it expands into a mediation on the saving power of art, human resilience in the face of tragedy, and the long shadow of World War Two. Finally, as I mentioned my wife writes YA. She introduced me to the amazing writer Philip Reeve, who writes Steampunk SF and is an incredible world-builder.  He writes strong feisty heroines which you root for, and a fascinating engagement with the meaning of technology and culture for our individual and collective identity. I’ve just finished his Railhead trilogy, a future where people travel between galaxies on sentient trains. It is also a moving love story and a meditation on difference and choice. The first novel in his Mortal Engines series is being released a film shortly and that should bring him tons of well-deserved new fans.

MOOSEKETEERS! Thank you Ariel, and I hope you take a good deal of pleasure in interacting with readers of your book over the coming weeks and months and good luck with Raising Sparks events.

Here are some first reviews. .

https://www.thejc.com/culture/books/book-review-raising-sparks-1.466439

http://www.skylightrain.com/book-review-raising-sparks-ariel-kahn/

And an event you might like to go to in August (launch was in Waterstones Islington)

https://www.waterstones.com/events/raising-sparks-book-launch-with-ariel-kahn/liverpool

This is the Daunt Books event Ariel mentioned above: https://www.dauntbooks.co.uk/product/ariel-kahn/

And you might like to read this, too. Ariel’s book is part of this survey.

https://www.irishtimes.com/culture/books/sneak-preview-independent-publishers-top-reads-for-2018-1.3357461

https://bluemoosebooks.com/

Follow Ariel Kahn on twitter http.//www.twitter.com/ArielKahn2 and the press http://www.twitter.com/ofmooseandmen

 

Six months of 2017 in books

Last year, I published a list of what I had read during the year. I thought that, this year, I’d get it down in two instalments. As before, I should love to know what others are reading. So do comment or talk to me! I don’t have time to review all these, but when I am done with the current fit of writing, I will try to post a few reviews, with a focus, I hope, on the independent presses. Also, I will update this list as I’ll likely forget something!

I read as much as I can and I read quickly. In snatched hours, in the bath, on the train, little bits of time carved out. But mainly, I go to bed earlier than I would naturally do purely so that I can read. I want to be frank about this. It’s how, as a child and growing up, I coped with anxiety and trauma. I went to bed and built a world. I do believe that with books, you can rebuild your mind and, to this day, it’s what I do.

Why?

Because every day is a conscious attempt to stay well and to manage, as best I can, my mental health: it has broken several times. Okay, many times. But I am back. Then there’s the pleasure of it all and the way my imagination is hotly stimulated. The way that reading, for me, leads on to discussion and friendship. As, I’ve discovered, does writing. Why did I ever think otherwise? And by the way, if you are feeling low or really, properly battling, I am not an expert, but I can tell you which books have soothed me, including the very few non-fiction texts I have read about mental health – though I have to preface that with, proceed with caution because, as I said, I’m no expert, but I CAN share. x

In no particular order, my reading over the past six months…

Dickens: The Mystery of Edwin Drood. Finally got round to it. Also, the second book of his Bleak House (a re-read). I also re-read A Christmas Carol because I was teaching it for GCSE. To support my older children I read Maggot Moon by Sally Gardner and  Frances Hardinge’s The Lie Tree. Now, this I found this an excellent read and was delighted to find a friend had been reading it, too. Cue – memorable and moving discussion en route to the hustings in Swindon, two days before the general election. WHICH REMINDS ME: the same person has left Paul Beatty’s The Sellout (still haven’t read) and C.E. Morgan’s The Sport of Kings. Summer reads, then. 

At top speed, for GCSE teaching I re-read Dr Jekyll and Mr Hyde and The Woman in Black. Which led on to my re-reading of Henry James’s The Turn of the Screw in one bit, sitting on the floor, because it was next to The Woman in Black on my sitting room bookshelf. I discovered, through the new OCR English Language and Literature spec, the first poetry collection from Jacob Sam La Rose Breaking Silence (Bloodaxe), which led to some wonderful things. Some of his poems prompted me to revisit one of my favourite modern poets, Tony Harrison. There will have been assorted other reading in here too – going over GCSE (and IGCSE) literature and poetry anthologies and the like; reading for A levels in English Literature and English Language and Literature and the EPQ…but it was Jacob Sam La Rose who was my new discovery.

Edith Sitwell: Fanfare for Elizabeth

Ben Myers: The Gallows Pole and Beastings. Shout out for the independent presses – here, Bluemoose. These are wonderful books. Enormously atmospheric. He’s brilliant, I think, on landscape.

On the subject of indies, from And Other Stories (we have a couple of subscriptions at Bookworm Towers), I am currently reading The Gurugu Pledge by Juan Tomas Avila Laurel (translated by Jethro Soutar), which is stunning, and Joanna Walsh’s Worlds from the Word’s End, a series of sharp and funny stories which make me very jealous too: never have I managed to craft one as she does! I’ve just ordered Hold Tight by Jeffrey Boakye – that’s an Influx Press title. Oh, there are so many indpendent presses – but my favourites – that is, of the ones I’ve explored – The Linen Press, Patrician Press, Galley Beggar, And Other Stories, Influx, Comma Press and Bluemoose. I read from all over, but get some of my greatest pleasure from texts published by risk-taking independent presses. That’s not to say risks aren’t taken by bigger concerns. Why not read both?

Dipped into a favourite book on writing (and close reading), Francine Prose’s Reading Like a Writer. This precipitated both editing and reading (I hope she knows how useful she is!) – in this case, going back to Chekhov’s short stories.

I am about to read Jess Butterworth’s Running on the Roof of the World, Jo Barnard’s Hush Little Baby and Amit Chaudhuri’s Friend of my Youth. I love Chauduri’s books. Such restraint, so moving and unmistakeably his. I thought his last book, Odysseus Abroad gently broke a few rules (the rules you read about…) including ‘show don’t tell’ (bit bored with this): oh, he tells beautifully, and I felt the book was wonderfully episodic and that some of these epiosdes would have stood as short stories. More on which when I’ve got round to reading the latest one. Jo Barnard is a lovely lady. Very encouraging to others (including me) and a lean, spare writer at the literary end (what do I know? So kill me now if I have this market appraisal wrong!) of commercial fiction and cool in a hot and crowded market. That is a considerable achievement, in my view. I’d recommend her debut, Precocious. Unsettling and very well judged in tone. Jess is an old friend and I am very excited for her and cannot wait to see what she does in this, her debut, a MG set in India and Tibet, subjects close to her heart, as they are to mine.

For book groups I re-read A Tale of Two Cities, read PD James’s Innocent Blood – do you know, I had never read a P.D. James book – and Gilly McMillian’s What She Knew (which, by the way, is the same book as Burnt Paper Sky – hence the odd furious review by folks who bought the same book twice). Regarding the latter, generally speaking, I seem to fail with psychological thrillers. I read the Amazon reviews and those on Goodreads and generally feel like I haven’t read the same book, in that the ‘twists’ seem obvious to me – you know like in Of Mice and Men, when the foreshadowing smacks you round the face so hard – girl with the red dress/mouse/puppy/Candy’s old mutt/Curley’s wife…Lennie gets shot? Never saw that coming! It’s that kind of experience – and I don’t find them nail biting at all. I’ve been told that this sounds sneering, but it’s only my opinion and a statement of what works for me. Apologies if I’ve denigrated Of Mice and Men (quite like Cannery Row and The Grapes of Wrath, though…) but to me Steinbeck is a pygmy compared with giants like…Faulkner and Wolfe. Oh yes: I have an idea. Why not read – although you won’t sleep afterwards – Ali Land’s striking debut novel, Good Me Bad Me before or after Innocent Blood? Some of the same themes rise up. Criminality. The choices that children and young people make in extremis. (Ali was previously a children’s psychiatric nurse and that gave the book a certain heft for me.) What it might mean…not to feel, or to feel unusual things. I don’t want to give more away. Yes. Do that for a book group.

But back to Southern US literature and…

The Heart is a Lonely Hunter by Carson McCullers, which I will re-read in a little while (I want to write something about her), well, that is brilliant. Is all this meandering discussion awful, do you think?

Which brings to me to…

Of Time and the River and (currently reading) The Web and the Rock. Thomas Wolfe. In my view, a genius and we lost him so young.

Patrician Press launched its Anthology of Refugees and Peacekeepers and we had a lovely event at the Essex Book Festival; I read everything in it and that led me on to (two indies here) Refugee Tales from Comma Press.

Now, for my own current book, Saving Lucia (or even Passerines – depending on who nabs it…), I’ve been re-reading Joyce, so I’ve had Finnegans Wake and Ulysses to hand. Also lesser known Joyce works – Pomes Penyeach. I’ve been reading up on Joyce, Beckett, Mussolini, the history of psychiatric care (I listed some of this stuff in last year’s post and also it’s in my bibliography at the end of Saving Lucia – one for the future, if you be interested); I read Annabel Abbs’s The Joyce Girl and continued to dip into Frances Stonnor Saunders’s exemplary account of Violet Gibson: The Woman Who Shot Mussolini and Carol Loeb Shloss’s Lucia Joyce. To Dance in the Wake. I’ve been reading articles in The Lancet, articles on Queen of the Hysterics, Blanche Wittmann and accounts of Bertha Pappenheim (there’s a need for a bigger study and, I would say, what exists needs to be translated from the German because she is fascinating!); I also looked (in German) at Bertha’s book of prayers – Gebete and found an English translation of her short stories, The Junk Shop and Other Stories and finally read Florence Nightingale’s posthumously published Cassandra – which Virginia Woolf said was more like screaming than writing. I concur. Also, religious texts, archive work (letters and documents) and miscellaneous articles.

And I think we are there!

Two other things on reading and writing. How good it was to see the Authors for Grenfell auction raise so much and I was pleased to be a tiny part of it. I’ve a tea party coming up – and also a tour of Pembrokeshire, visiting all the settings in my second book, The Life of Almost, which comes out in autumn, 2018 with Patrician Press. Also, in September, for the first time, I have a work experience student and I am so excited. I am still a newbie fiction writer (I put pen to paper in mid July 2014, although I’d been a freelance author before and writing is not my day job) and this kind of thing makes it feel…real. We are going to get a writing project off the ground; she’s going to submit work for publication. She may also help me with editing of and suggestions on two anthologies of which I am co-editor and editor, respectively. Said student (she’s in the upper sixth) is reading the manuscript of my third book – which led to her mum reading it too…which led into a date to discuss it. and, I hope, a super-clever new beta reader. Yay.

I’m sorted on my reading for the next few weeks, the manuscript of Saving Lucia goes out again on the 20th of July  – and in the meantime I wait to hear if others are biting…it is a long process and probably a good education for me, seeing as I rush at everything like it’s my last day. (In my defence, it could be: I’ve had a lot of people die on me, some of them very suddenly: another story – some of which is in my first book Killing Hapless Ally, if you are not freaked out by very dark humour. If you are, don’t read the bits of The Life of Almost concerning a love story in a funeral parlour…)

Other booky things: my two Grenfell offers to fulfil in summer and autumn and archive work in St Andrew’s psychiatric hospital, Northampton.

And reading Horrible Histories in bed when stressed or sad. Oh forgot: I had norovirus so badly I was hospitalised. During that period I read Gren Jenner’s (he’s part of the Horrible Histories telly team) A Million Years in a Day. A jolly diverting read.

AND FINALLY

Quibbles and possible spelling errors spotted in some of the books, above (English teacher forevaaa):

prophesise (prophesy) as verb

disinterested (to mean uninterested) – feel free to argue

past (for passed)

Thursday’s…Friday’s…for simple plurals, not possession

it’s when you mean its (ugh!)

passer bys

me/I/myself I won’t blather on about that because I sound like a twat. BUT in a top selling book for which I’ve shelled out, say, £12, it niggles to see a chapter starting (names changed) “Me and Andrew left France…”

I have been spelling fuchsia wrong my whole life. And cardamom. So I’m a fine one to talk. In my Killing Hapless Ally, Myfanwy twice appeared without the first y. My fault. And I swear as if my life depended on it.

Love,

Anna xxxxx

Passerines: some epigraphs for a new book

I find I vary how I write. With this book – Passerines, a series of interlinked stories about Violet Gibson, Lucia Joyce, Marie (‘Blanche’) Wittmann and Bertha (‘Anna O’) Pappenheim  and of psychiatry – I have tinkered with the beginning because it began life as a short story – and have now lunged into what is sometimes known as the ‘Frankendraft’! So I have 50,000 words to write and I will not read the book back now until it is all done. Then I will attack it with some vehemence.

BUT I have allowed myself two things to help me think. (In addition to the ongoing reading for research).

Although I have a rough plan sketched out, I have decided to write a proper synopsis, even if this is chucked out later – inspiration invariably striking not before but while one is writing. And also, it helps me to look at other books. That is, dipping into things, beyond what I might read for pleasure or research. I read all the time…but it is like magic.

There are lots of books in our house; the house is heaving with them; only yesterday, a cat was almost squished by a tumbling tower of books yet to shelve (or rather as we are waiting for Pete The Shelves to come and shelve for us). But as I was saying, I have been reading Thomas Wolfe’s Look Homeward, Angel. It is magnificent; its beauty makes me cry – and this rarely happens – that I will find a book so affecting. And there it was: the description of boy Eugene, who is Wolfe himself, bounded in by his imagination, knowingly so, and living lonely in its country. And projecting what is required onto the world. I copied it. This is a key theme in Passerines. When you are someone else’s subject or subject to someone else, what might happen to your interior life?

Then…my hand brushed against William Empson’s Collected Poems. I’m sorry if this makes me sound like an utter tosser (‘Ooooh – my hand brushed against a book and it was the very book I needed…’), but this is exactly what happened. I was getting Some Varieties of Pastoral down because I need it for an A Level class on genre. And I suddenly thought of ‘Reflections on Anita Loos’ and its startling pairing of the girl who ‘can’t go on laughing all the time’ with the image of the tortured Christ after this mischievous villanelle. And you see, Passerines has both spirited girls and women and those same people encaged by madness and circumstance – in two cases incarcerated for life and in one almost erased from records  – and a study of both faith and imagination. It begins with Violet Gibson, the Irish aristocrat who shot Mussolini, was almost lynched, then pardoned by Mussolini (who himself drew his life as if it were the Passion of Christ and spoke of the prefuguration of his death) and then sent to St Andrew’s Asylum (as it would have been known) until the end of her life. The one picture we have there of Violet is unbearably touching: in her greatcoat in the grounds, feeding the birds, her stance reminding us of Giotto’s St Francis.

So, I realise this will not make total sense. Bear with me. I am fleshing things out. I know this is a rather a WTF sort of post. (Very literary, along with ‘tosser’: apologies.)

As I write, I’m still doing bits and pieces on mental health connected with my first novel, Killing Hapless Ally, and that has only been out eight months. I have sent my second book, a novella, The Life of Almost, out on subs to a small selection of presses and agents. Has it had rejections? Well, of course. Interest? Oh yeah. So I am a bit tense. And while this is happening, I am writing a third book, a novel, using the ‘Prolifiko’ app and setting my target to 3,000 words a day. I am told this is a lot, but if I don’t make it, the app is at least a prompt and very encouraging: a little cheerleader for me. In other news, I am thinking about applying to pitch at the London Book Fair (dependent on what happens in the next week or so, I think – as deadline’s approaching), I’ve applied for Womentoring  ( a fine free mentoring service, where an established author guides one at an earlier stage) and asked for Antonia Honeywell (am I allowed to say that?) because I feel passionately that I will find nurturing in such a project and she seems utterly delightful, a wonderful writer and frankly, I thought she might ‘get’ me, also managing a large family! Does that sound odd? And up ahead, Essex Book Festival in March to read my work in Refugees and Peacekeepers (a Patrician Press Anthology) and there’s a Birkbeck day I’d like to go to in May…

Back to the epigraphs. Synopsis follows soon: did you know there’s good money in Mills and Boon? More on which another day…I write well on hospitals, sex, Horlicks from the trolley and death. You’d be amazed at the categories extant in M&B!

‘The prison walls of self had closed entirely round him; he was walled completely by the esymplastic power of his imagination – he had learned by now to project mechanically, before the world, an acceptable counterfeit of himself which would protect him from intrusion.’

Thomas Wolfe, Look Homeward Angel, 1929, chapter fifteen.

‘Love rules the world but is it rude, or slime?

All nasty things are sure to be disgraced.

A girl can’t go on laughing all the time.

Christ stinks of torture, who was slaked in lime.

No star he aimed at is entirely waste.

No man is sure he does not need to climb.’

From William Empson, ‘Reflections on Anita Loos’, 1937.

‘The bird could also be seen as a symbol of the Resurrection of Christ. A non-Biblical legend popular in the Middle Ages related how the child Jesus, when playing with some clay birds that his friends had given to him, bought them to life. Medieval theologians saw this as an allegory of his own coming back from the dead. In another legend, when Christ was carrying the cross to Calvary a small bird – sometimes a goldfinch, sometimes a robin – flew down and plucked one of the thorns from the crown around his head. Some of Christ’s blood splashed onto the bird as it drew the thorn out, and to this day goldfinches and robins have spots of red on their plumage. Like the cross that Christ wears around his neck, therefore, the goldfinch might be read as a prefiguration of his Passion.’

From ‘The Goldfinch.Signs and Symbols’, notes in web text from the Ftizwilliam Museum, Cambridge.

A New Writers’ Group (Bath area) NOTE NEW DATE!

A NEW WRITERS’ GROUP!

Okay then. New Writers’ group – meeting at Vaught Towers initially. Bath area and DM me for details!

Friday the 17th of February,
7.30.

Do you write or want to write fiction? It may be that you have already had a book or books published; it may be that you are just starting out and aiming to work towards publication. And by publication, I mean with a publisher, agented with a publisher or working as a self publisher. The aim of this group is that, in a supportive environment, we share ideas on one anothers’ work, offer constructive criticism and help each other along.You’d need, I think, to be happy to read your work aloud and to circulate it and to have the confidence (or fake it; I do) to offer comment and to receive it. And you’d need a ms in its initial stages or a slew of ideas for the best use of everyone’s time. I’m not thinking that there is any particular genre for us, but that this group might be best suited to writers of fiction for adults, as opposed to early readers, MG and YA.

Would you like to come along? Might be just the prompt you need to carry on carrying on and I am sure it would help me. Although I have been doing the odd bit of freelance journalism for some years, I didn’t start writing full length fiction until 2014 and then my first novel was published by a small press in March of last year. My second novel is currently under consideration with an agent (I think I may be a hybrid author) and I have begun my third (and fourth: I do know this sounds a bit mad) in addition to a poetry pamphlet and a non fiction book; I’ve also published various articles and poems over the past ten months. I am just starting out and gradually getting over feeling like an imposter. Writing is not my day job! Here’s what I read over 2016, too.

https://annavaughtwrites.com/…/…/01/my-2016-in-books-so-far/

Tea; cake; cosy chairs: writing, sharing information and opinion and encouraging each other in what can be a lonely pursuit sometimes.

Like to come? We could aim for once a month or so.
Anna.
@bookwormvaught on twitter
annavaughttuition@gmail.com

(PS – the pink and purple picture: insprired by Flickr and Instagram I once colour-coordinated my books – and there are thousands of them. Don’t do it. Led to a very ugly mutiny in our household and I couldn’t find a thing.)

Mentoring

https://womentoringproject.co.uk/

This is the link to a mentoring project about which I have heard many wonderful things. Its idea is to link women at the beginning of their writing with more established writers and also agents – and a good number of women give their time to it. It is a free programme.

And I was thinking about it earlier as I suppose I feel like I need the company and the guidance. The fire is there, alright. But I see I need to talk about my writing!

I started writing my first novel (by which I mean, the first word of the first draft) in July of 2014 and it was published in March this year; by any standards, I understand that to be a quick turnaround. Between December 2015 and very recently, I was also writing a second novel; that novel is currently out on submission. It has only been seen by a few people (in addition to some beta readers), but it has been requested in full – and I cannot, I think, write about that in detail, but I will say that it is somewhat nailbiting and yet…I continue to think about it: what might be wrong, what right. I am sure this is a funny period for anyone. Do you start a new book? Take a break?

I started a new book and have begun a third novel. I am actually about a third of the way through the first draft because I really, really want to do this. I’ve met a lot of setbacks and disappointments already, but I won’t go into those because, of course, the key is to keep writing. And if, after such things, you want to carry on, well now – doesn’t that show that it is important; this this is you: what you want?

I avoided writing for so long; or rather, I avoided submitting fiction for so long and then, one day, I took myself by surprise and just started. So, since July 2014, I have written two and a half novels (with the first published), been included in two poetry anthologies and had three national features on me; I’ve written articles for national publications on literature and mental health and I made a  (very frank) film for AXA about managing anxiety that has a huge reach. I started a collection of short stories, two of which I submitted to big competitions (don’t know how I got on yet!) and I am still raring to go.

I read all the time; that’s my greatest teacher. I run a business, tutor and mentor young people, I’m a secondary English teacher from time to time and I have three young sons, with no support from any extended family (I am saying this from a purely factual point of view – keep reading) and I struggle every day – yep; every day – with the legacy of complex trauma and mental health problems. Don’t always win, of course. I also hold down three volunteer posts, two of which I can’t write about here, and one of which is as a volunteer creative writing teacher for adults who have had long term mental health problems. So, these things on board, you see that I have proved to myself that I am able to write in pockets; to think even if there is a small chap tugging at my arm because he wants a snack or the other two chaps are punching each other. I am not going to have peace and quiet to write, but I’ve discovered that I can have a pop anyway.

I have found such rewards in corresponding with writers on social media – twitter in particular. It may not seem so from the outside, when, frankly, most of the time you are going to get rejected and, on sad days, you may have to avoid social media altogether because (well I know I do this and it is truly a bit pathetic!) you get to thinking, “They can do it!” as someone gets a splendid publishing deal or something like that…and then you think, “Oh – but not me. No – I am an outsider. I will never manage that!” But, you know, you have to get over that sort of thing. Do you want to do this, or not? Get in training, then. And what I was saying about writers: I have found great encouragement. I’ve asked questions; written to people when I have particularly enjoyed their books; had some great support and feedback and advice. I mean from both new and thoroughly established writers. And so today I was thinking.

Thinking this.

I see, through the work I do, in schools, through my company and my volunteer work, that mentoring can be extraordinary for young people. When I look back to my younger years, I know I only survived- in my health, or my floundering school work – which floundered because of the distress I was in, unspoken and scared – because there were some possibilities suggested by kind people around me who could nudge me towards the insight to carry on. A good class teacher may be a mentor, but I know from twenty years in and around teaching that the best mentor may also be a class tutor, or an older pupil and that you need to look around; eyes open. For do you know who I turned to, as a kid? A dinner lady called Evelyn who, today, is still one of the people I love most in the world. She’s 87; I met her when I was 4.

And so I am quietly looking around: mentoring for me. I don’t mean for my mental health (it is only that my extensive experience in this area shows me the power of an insightful person) but for my writing: for this career which is inextricably bound up with my deepest sentiment, values and fears. No way round that, I think! Still, I am not sure I can do this alone, as I am. Okay – moreorless alone. I feel a need a period with a guide, a teacher, a mentor. It isn’t, with a large family, a job and multiple commitments, plausible that I could do an MA in creative writing or one of the exciting-sounding courses run by, say, Curtis Brown, but I do want to see what I can do to find that mentor as I go forward with this. Eyes open, then.

Perhaps this will surprise me. Perhaps, with this second book, I will naturally meet this person as part of the process. We shall see.

Love to anyone reading this and…keep reading; keep writing. Bon courage.