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

 

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Updating, writing, news and a scholarship

Follow me on twitter https://twitter.com/BookwormVaught 

Hello all.

I am just in the process of updating this site so that the rolling twitter feed is engaged and I will also be producing a newsletter. I’m gathering steam – so it’s about time.

I have just finished edits on my second book, novella, The Life of Almost. This will be out on August 31st with some events local to me. If you’d like to invite me further afield to do or share in an event, go ahead. That would be lovely. Also, if you would like to review the book, great.

You can order the book here, from the press website or buy through a lovely indie bookshop. If they don’t stock, they can order. It is available online at both Amazon and Waterstones, but the latter is still not stocking texts by this lovely little boutique press for – I asked a manager – ‘purely commercial reasons’. Well.

http://patricianpress.com/book/the-life-of-almost/ That’s boy Almost on the cover; he’s reading on the sand with a brace of mermaids…

The Life of Almost, by Anna VaughtPublished August 31st, 2018

 

 

This is a dark comedy set in Wales and a spectral reworking of Dickens’s Great Expectations. Almost is a boy, brought up by his sister, Perfection. He is shrouded by bereavement and surrounded by the hauntings of his family’s undead. He plays in the sea caves, visits graves, amongst mermaids, longing mermen, morticians, houses that respire and a poltergeist moss that grabs your foot. A cast of family and friends drawn from sea caves, the embalming table, the graveyard and the dark Clandestine House, which respires heavily and in which time has stopped. And like Pip, he sings into the sea and likes to tell stories – the key theme of the book which is the story of his life, his struggles and triumphs. He is thwarted in love but understands – the night he meets a ragged convict, for the convict is a merman, come on land – that he has deep and commanding powers. 

A substantial extract from the first chapter of the book is published on the 25th of May in New Welsh Reader. You can navigate to information on that from here:

https://www.newwelshreview.com/ Cover of NWR issue 116

Next month, two of my (short) short stories are published in volume two of The Shadow Booth, a great place to read weird and eeried fiction. Boom.

https://www.indiegogo.com/projects/the-shadow-booth-vol-2-books-horror#/

I have applied for a Gladstone’s Writer if Residence slot for next year because, reader, day job, three kids, assorted other folk to look after, books three and four to edit and A RESIDENTIAL LIBRARY OOOOOH. Fingers crossed for me?

I mean look at this place? https://gladstoneslibrary.org/events/writers-in-residence I am determined to book a stay there if I don’t manage a writer in residence slot – it is, I know, very competitive.

Also, my husband and I are sponsored a weekend ticket for The Literary Consultancy’s Get a Job in Publishing weekend course

https://literaryconsultancy.co.uk/2018/03/get-job-publishing-sponsors-showcase/

and I just did the same for the Bare Lit Festival and it has gone to a wonderful home: you know who you are! Have a wonderful time xxx

http://barelitfestival.com/

Sponsoring the ticket for TLC led me to write this blog post for them; it’s about writing a book when you have no time and managing self doubt as you do it. Here:

https://literaryconsultancy.co.uk/2018/04/managing-self-doubt-write-book-dont-time/

It begins…

am in my early days of my writing, so you are not looking at someone who is a seasoned professional.

I’ll tell you what I am.

I am a quick learner; I chat and make contact very quickly. I am acquisitive of information, always reading, thinking and noticing. In a way, I am always working. What I thought was not possible has turned out to be something rather different. Not easy exactly, but more accessible than I had managed. And I seem to have written a good deal.

In late summer 2014 I sat at the kitchen table and started typing a question. That question became the first line of an autobiographical novel. That first book was published in March 2016. I realise now that twenty months from first line to publication is a bit of a clip, but didn’t know it then because I was so naive. I do think, for what it’s worth, that naivety is underrated. My second book comes out this summer (2018), the third is placed for 2020, and the fourth is going straight to an agent and I want you to cross everything here. I am also pitching something non-fiction collaboratively with a much finer writer than I (if she reads this; don’t argue) and working on pre-publicity for the second book. At last count I have also published two poems, a very short memoir, reviews, features, guest blogs, short stories, and creative non-fiction. Flash fiction is on its way. I think in all I’ve published twenty or so pieces across journals and magazines, web and print. I’m quietly increasing my stock; my ‘profile’. No-one told me to do this. Again, it’s that naivety. I just thought, ‘Give it a go,’ rocked up and started pitching. And it worked. I also found time in that period for some rejections, lost manuscripts, and serious faffing about when second and third books were written to time for someone who then rejected them with a form letter and didn’t invite me to send further work. That set me back – time-wise, mood-wise – but I’m tougher now. And I realise the passion I felt for one of my rejected projects obscured the paucity of its quality. Or marketability. The fact I had no adequate platform. Cave scriptor.

None of this is my day job.

Now, you may have seen elsewhere on this blog that I have a bursary called The Fabian Bursary. Do you think you might to like to apply for it for this September. Read this, but just something to note: I have removed all age restrictions. My background is largely secondary teaching, but I do see that as I move along with my writing, I could be supporting a broader demographic. Also, it needles me that there are age limits on things, such as literary prizes and funds. Because so many people come to writing – or study – later. Because of lack of confidence, physical and mental health problems, caring responsibilities, prejudice or poverty. So this is a gift. It’s hopefully the gift that no-one gave to me when I was younger. You could use it for a GCSE, an A level or any creative writing project, say! xxx

https://annavaughtwrites.com/the-fabian-bursary-announcing/

Right: what else have I done. Creepy memoir – NOTE MEMOIR: ARE YOU GLAD THIS AIN’T YOU RA HA??? ‘The Shadow Babies’

http://www.theshadowbooth.com/2018/01/memoir-shadow-babies.html

Also, the few reviews I’ve done in the past few months:

http://review31.co.uk/essay/view/50/diversity-risk-taking-and-community-a-celebration-of-2017%E2%80%99s-small-press-anthologies This is about small press anthologies.

http://review31.co.uk/article/view/542/laughter-in-the-dark This is about Takeaway, by Tommy Hazard at Morbid Books.

https://thecontemporarysmallpress.com/2018/02/16/he-built-a-house-and-next-to-it-a-church/ This is my review of As a God Might Be, by Neil Griffiths. This was my book of 2017.

And here my review of the late Naseem Khan’s memoir, Everywhere is Somewhere. https://thecontemporarysmallpress.com/2017/12/01/everywhere-is-somewhere/

And did some co-editing on this https://thecontemporarysmallpress.com/?s=my+europe Currently waiting for commissions for the next anthology from this press, Tempest, which I’ll help to edit and for which I will write a foreword. You’ll be able to follow it here: https://patricianpress.com/books/ And aren’t they pretty books? Such strong artwork.

And finally, I have a July deadline for my fourth book, The Revelations of Celia Masters (news on which will follow, when I can) and my third book, Saving Lucia – which is about the last days of the Honourable Violet Gibson who shot Mussolini in 1928 – oh and her co-patient in Northampton Infirmary, Lucia Joyce, daughter of James Joyce. Bluemoose is a wonderful press and it’s so lovely to see it in the sun for works by Ben Myers and Harriet Paige, and the work the press is doing as part of the Northern Fiction alliance. Here: https://bluemoosebooks.com/ and go and buy the book below now?

Anyway, head down now with finishing fourth book and teaching (and my own eldest is doing GCSE at the moment so it’s all go) BUT I am having a little two day holiday in London, when I get to go to the launch of this little beauty: RAISING SPARKSThere’s a launch at Waterstones Islington on June 21st and it’s pubished by Bluemoose. I was lucky enough to read a proof copy ahead of time and thoroughly recommend it to you. Here: this is a synopsis from the website of Foyles:

Malka grows up in the Old City of Jerusalem in the confines of the Ultra-orthodox Jewish community. Meandering through the narrow streets she finds herself at the door of one of the city’s most renowned and reclusive mystics and discovers her father’s top rabbinical student, Russian immigrant Moshe studying forbidden Kabbalistic texts. She has a disturbing vision of a tree of prayers growing up inside the house, and the prayers all seem to be talking to her. The prayers become a giant bird, and chase her from the house. Malka has unwittingly uncovered a great mystical gift. Kabbalists believe that since the world was spoken into existence, if they can hear and understand that original Divine language, they can use it themselves, to shape and manipulate reality. Once in a millennia, a kabbalist is born with this ability. It turns out that Malka is one of them. After a disastrous first date with Moshe, Malka flees Jerusalem for Safed where she is drawn into a cult called Mystical Encounters, run by charismatic cult leader Avner Marcus. Avner is unsettled by Malka’s authenticity, and she is not allowed to attend classes. Her only friends are former night club singer Shira, and traumatised ex-soldier Evven. Malka sets up her own mystical retreat in the woods, at an abandoned construction site. When she reveals this to Avner, he forces her to take him there and tries to rape her. Malka manages to evade him, and then burns down the cult after manipulating the Modern Hebrew word for Electricity, Chashmal

Malka heads for Tel Avi, and sleeps rough on the beaches of the mixed Arab-Jewish city of Jaffa. Here she is discovered by legendary Arab chef Rukh Baraka, who is seeking to rekindle his career by training Arab and Israeli street children to create extraordinary food for his new restaurant, the Leviathan. Malka bonds with fellow runaway Mahmoud, who is escaping the wrath of his Imam father at his “deviant” sexuality. Mahmoud reveals the city behind the city, the hidden Palestinian history of which Malka has been ignorant. Moshe has been trying to find Malka and is forced to confront some of his own demons, including the disappearance of his younger sister when she was in his care. Moshe swears that he will not lose another girl he loves.]

And that’s it for now!

Anna xx

 

 

Writing updates from Anna Vaught

Hello. I am in the process of transferring my data over so I have a whizzier and more interactive site – with my social media links working properly – but come and say hello. I do post at https://www.facebook.com/annavaughtwrites/ but really, it’s twitter I like.

https://twitter.com/BookwormVaught/status/956086015105564672

Here is what I am up to! The first thing, which has made me extremely happy, is that my third book, Saving Lucia (mentioned below) will be published by Bluemoose Books in 2020. I’ve also started to write weird fiction and horror. More on this as I work, but my non-fiction, ‘Shadow Babies’ will be published soon on The Shadow Booth website, with two short stories, ‘Feasting; fasting’ and ‘Cave Venus et Stellas’, appearing in the next print anthology of the same. It’s a new, crowdfunded anthology. Do look! Here’s the current edition of the print and a website link:

http://www.theshadowbooth.com/p/store.html#!/The-Shadow-Booth-Vol-1-Paperback/p/97253611/category=0

http://www.theshadowbooth.com/

dollhouse-creepy-stars-hd-1080P-wallpaper-middle-size

I am currently submitting a piece on the theme of disease for the second edition of the new Lune Journal, so we shall see.

00: DISORDER

Although I can’t say much about this, I am in the process of working on a fourth book, a Southern Gothic novel called The Hollows. This is influenced very much by books I love and pieces of research I’ve been doing. I was fired up, also, by David Hackett Fischer’s Albion’s Seed, a wonderful piece of scholarship, detailing the folkways of four distinct groups of people who went from ‘Albion’ to America and what was transplanted with them in terms of culture, worship, food…do read it; such a fascinating book. My book is an account of very early settlers from the West Country…but it goes dark, very dark. My own Tidewater ‘Tess’ (do you see a clue to her origins there?) is a complex character and, in building a new life, begins to hold court. She is charismatic, brilliant, well read and to look at her…as you will hear, it is like looking into the sun. Except you should not. You should not look; or attend. Do not visit her in The Hollows of Appalachia. Yes, yes, I know: what’s a British writer, with a language that’s inflected by Welsh family and influence, even thinking of doing here? How on earth is she going to pull off the language? How will she have a ear? Well, for a start we are in the mid to late 17-th century, a favourite period of mine in British literature, history and culture and we have very early settlers, for whom there is little record of language spoken or adopted while in America, but a wealth from their recent ‘Albion’. Even so, mistakes will be all my own, but in case you think I am appropriating something, let me say that this is a region I love and I am married to a Georgian. More on which another time.

I have begun, having been asked by a heroine of mine, to draft with her a pitch for a collection of essays on a theme which I shall be able to detail soon.

A book I’ve co-edited is out this March. My Europe by Patrician Press.

http://patricianpress.com/book/my-europe-a-patrician-press-anthology/

My Europe – A Patrician Press Anthology, by Anna Johnson and Anna Vaught, editors

My second book, a novella called The Life of Almost, will be published by Patrician Press this October. Here: ‘This is a dark comedy set in Wales and a spectral reworking of Dickens’s Great Expectations. Almost is a boy, brought up by his sister, Perfection. He is shrouded by bereavement and surrounded by the hauntings of his family’s undead. He plays in the sea caves, visits graves, amongst mermaids, longing mermen, morticians, houses that respire and a poltergeist moss that grabs your foot. A cast of family and friends drawn from sea caves, the embalming table, the graveyard and the dark Clandestine House, which respires heavily and in which time has stopped. And like Pip, he sings into the sea and likes to tell stories – the key theme of the book which is the story of his life, his struggles and triumphs. He is thwarted in love but understands – the night he meets a ragged convict, for the convict is a merman, come on land – that he has deep and commanding powers.’

Almost is a bard boy, you know. And what is more, how can he be there when the eprigraph tells you that he was, some time ago, drowned at sea with his beloved Seren, of Clandestine House on the Cleddau? I’ve sprinkled the novella with original poems, too; all about landscape, love, sea-worlds, magic and longing; that word hiraeth, in Welsh.

http://patricianpress.com/book/the-life-of-almost/

The Life of Almost, by Anna Vaught

Oh yes, if you do look at the Patrician Press site (link above), here’s my first book:

kha

‘This is a black comedy in which Alison conceived in childhood an alter ego called ‘Hapless Ally’ to present a different, more palatable version of herself to her family and to the world beyond. Ominously, the alter ego began to develop autonomy. Alison deals with this helped by a varied catalogue of imaginary friends. The book is about serious matters: fear, confusion, dark days of depression and breakdowns. It carries a timely message to anyone pole-axed by depression or associated problems — or any reader interested in such things: you can, like Alison, survive and prevail. Ah, if you had to survive — would you kill for it? Now that is an interesting question.’

It’s an autobiographical novel.

My third book, Saving Lucia will be published by Bluemoose Books in 2020…I mentioned this above. I really do feel that this press is one of the finest in the British Isles and I am so delighted that they have accepted my book. Here are its central characters. The Honourable Violet Gibson, who tried to assassinate Mussolini in 1926, and her fellow hospital patient, Lucia Joyce, daughter of the novelist James Joyce.

Image result for violet gibson

Image result for lucia joyce

Knock yourself out. Go shopping on the Bluemoose site or at an independent bookshop near you. I am about to read Harriet Paige’s Man with a Seagull on his Head.

https://bluemoosebooks.com/books

 

 

Here are the other pieces I’ve had published since mid December.

http://losslit.com/feature/give-sorrow-words/ ‘Give Sorrow Words’ – narrative non-fiction

https://thecontemporarysmallpress.com/2017/11/24/an-indie-press-christmas/ a piece about buying Christmas presents from the indie presses

AND

https://thecontemporarysmallpress.com/2017/12/01/everywhere-is-somewhere/ – a review of the memoir of cultural pioneer, Naseem Khan

the contemporary small press

A site for small presses, writers, poets & readers

 

http://review31.co.uk/essay/view/50/diversity-risk-taking-and-community-a-celebration-of-2017%E2%80%99s-small-press-anthologies  An account of my favourite mixed form indie anthologies of 2017 in Review31

Image result for know your place dead ink

Refugees and Peacekeepers – A Patrician Press Anthology, by Anna Johnson, Editor    

And https://visualverse.org/submissions/the-christmas-chrysalid/ one hour to write a piece stimulated by this month’s image…

Coming next, reviews of Neil Griffiths’ As a God Might Be (Dodo Ink),Image result for as a god might be griffiths

Tommy Hazard’s Takeaway (Morbid Fiction) Image result for takeaway tommy hazard

…and Gary Budden’s Hollow Shores (Dead Ink)Image result for lost shores gary budden

None of this is my day job and yet…

Anna xxx

 

 

 

 

 

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