Creatives in profile: interview with Paul Scraton

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Paul Scraton is a writer and editor who grew up in Lancashire in the north of England and now lives in Berlin, Germany. Among various projects, Paul is the Editor in Chief of Elsewhere: A Journal of Place and also contributes to Slow Travel Berlin, Caught by the River. The author of Ghosts on the Shore: Travels Along Germany’s Baltic Coast, his fiction debut is  Built on Sand (published by Influx Press), which paints a picture of Berlin through a series of interconnected short stories; and in this, we discover a city three decades on from the fall of the wall, and in many ways still coming to terms with that history.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

SCRATON

I am a British-born writer based in Berlin. I have been living in the German capital since 2002. I feel at home both in the north of England and in Germany, and I feel an outsider in both at the same time. As a writer, I don’t think it’s a bad place to be.

INTERVIEWER

Is writing your first love, or do you have another passion?

SCRATON

I have wanted to be a writer since I was about seventeen or eighteen, and although I have lots of interests, mainly involving getting outdoors, books and literature remain very important to me.

INTERVIEWER

Who inspires you, and why?

SCRATON

Family and friends, of course, and each of them in their own unique way. When it comes to writing, it changes frequently, depending on what I am reading! At the moment I am thinking a lot about how history shapes the present, and how the stories of the past, and our knowledge of them, are particularly important in the current political climate. In this I have been thinking a lot recently about the writings of Joseph Roth and Daša Drndić. When it comes to writing on place, a long-term inspiration is Jan Morris. Her writing combines an interest in others with sharp observation, two of the most important components, I think, in any successful literature of place.

INTERVIEWER

How has your time as editor of the Elsewhere: A Journal of Place, influenced the way you view the relationship between place and imagination? And how important a role does setting play in your own creative writing?

SCRATON

I think the fact that I was already interested in place and how the stories of a landscape and people can shape our understanding not only of that specific location but elsewhere is one of the main reasons that I founded the journal with Julia Stone. When it comes to my own writing, whether fiction, nonfiction or something in between, my main themes are history, memory and identity, and as such place is at the core of nearly everything I commit to paper.

INTERVIEWER

It has been said that events like the Brexit vote in the UK have brought to light the differences between so-called ‘anywhere’s’ and ‘somewhere’s – i.e. people who essentially view themselves as citizens of the world, with no particular attachment to their home town or country of origin, and those who view the world directly through the prism of their geographic origins. Do you subscribe to this as an accurate view? Or is this polarity too simplistic a view to take?

SCRATON

I think there is something going on here that needs to be understood, but I imagine it is more complex than a simple divide between citizens of ‘somewhere’ and Theresa May’s ‘citizens of nowhere.’ I think there is a certain sense of dislocation feeding dissatisfaction for many people, not only in the UK but elsewhere. There is a difference in the populist movements that can be observed in the US, the UK, Germany, Sweden, Hungary, Italy, Poland… but one common thread is a kind of nostalgia for a rooted sense of belonging that communities supposedly had in the past. And that globalisation and all that comes with it have broken the ties that bound a community together.

This is the danger of nostalgia, that it in turn creates a sense of ‘belonging’ and identity that is exclusive rather than inclusive. That it idealises a non-existent golden era that could be returned to. People call these movements new, but there is very little in them that we haven’t seen before. What is new is the role of the internet and the media, and how it allows dangerous ideas to spread and take hold. And whenever people are split, into somewhere and nowhere, us and them, it is always important to ask: in whose interest are we being divided? It is very rarely the people themselves.

On a personal level, I would like to think of myself as both a ‘citizen of everywhere’ and, as someone born in a different country to the one where I’ve made my home, a person committed to being a ‘citizen of somewhere’ in that I want to be part of my community and understand the stories and the history that brought us to where we are in Berlin and Germany today. I have no doubt that it is possible to be both, to be both internationalist and local in outlook.

INTERVIEWER

When writing, can you tell us a little about your creative process? How do you go from blank page to fully fledged story or novel?

SCRATON

I make a lot of notes. I think a lot. I go for a walk or a run. I spend a lot of time looking and feeling like I am not doing very much at all. But I have always been someone who likes to have a plan, have it fixed – whether in my head or on paper – what it is I am going to do. So it can take a while to get to the blank page (or computer screen) but then when I get there I tend to write quite quickly as I have worked most of the problems out already.

INTERVIEWER

How do you decide when a piece of writing is ‘finished’?

SCRATON

I think I have to get to a draft I am not totally unhappy with. That is usually after two or three goes at it. Then I give it to my partner Katrin, who is always my first reader and who has an excellent bullshit and pretension detector, and whose judgement I trust more than any other. Basically when she gives the green light I feel comfortable to send it off, to the editor or to post it on my blog or whatever. If she tells me its not working, I’ll probably argue with her for a bit, go quiet, and then return to my desk because deep down I know she was right after all.

INTERVIEWER

Your fiction debut Built on Sand will be published in April this year. What has the experience of firstly writing the book, and then seeing it published, been like?

SCRATON

This is the second book I have written for my publishers Influx Press, and so I knew how the practicalities would work. My editor, Gary Budden, is someone who I greatly respect both as a publisher but also as a writer. We share many common interests and outlook on the world and in particular how we write about it (although our styles are different). So when I came up with the idea of a collection of stories set in Berlin and the landscapes around, I felt that it would be a project he would be interested in and would be able to help me realise. What changed during the writing and the editing process was the realisation that what I had – what we had – was actually a novel, that although each story could stand alone, together they told a wider story.

The second time around (and the book is not out at the time of writing) it is interesting to see how much easier it has been to get people to notice the book. I don’t know if it is because it is the second book, if it is because it is a novel (and set in Berlin, which must surely help), or if it is because the publishers are a more established name themselves… most likely it is a combination of all of the above.

INTERVIEWER

What are your hopes for the book?

SCRATON

All the main hopes were in the writing and bringing it to publication, and they’ve been fulfilled. Of course, I hope people discover it and like what I have written. And I hope that some of the themes in the book will resonate, and will make people think about their own relationships to place, and how history and memory, both collective and personal, shape our understanding of the world around us.

INTERVIEWER

Do you feel any personal responsibility as a writer?

SCRATON

Only in that I am still trying to find the best way to say what it is I want to say, so my responsibility is to keep working on it.

INTERVIEWER

In an age of ‘abject’ incomes for authors and poets, how can aspiring creatives pursue their passions while also making ends meet?

SCRATON

I think we all have to accept that – with the exception of the very few – most of us will need to do other work to pay the bills. I do copywriting and other bits and pieces for travel companies and content agencies. I do walking tours on the streets of Berlin (which has certainly been good for honing the storytelling skills).  I don’t really have an answer because I still know that I am one of the lucky ones. I have time to write. I can make time to travel. I have a supportive partner. There are people with much more difficult circumstances than mine who create amazing things, and I am in awe of them. The deeper question is, why do we as society not value art and music and literature in a way that means that artists, musicians and writers can live from their work? Because the danger is that the majority of voices we will hear will increasingly come from a privileged minority, those who can afford, one way or the other, to “pursue their passions”. This will have the knock-on effect of only increasing the idea that the arts are for the few and not for the many.

INTERVIEWER

What’s next for you and your writing? Are there any exciting projects we should be looking out for?

SCRATON

I have started the next novel and have some loose ideas for nonfiction books, one set in the north of England and the other in the hills of Germany. All three books will no doubt continue to explore ideas of history, memory, identity and place. As I answered earlier: I am still trying to work out the best way to say what it is I want to say.

 

 

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Book review: Slack-Tide by Elanor Dymott

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If you’ve ever wondered why you write, why you feel the need to create, why you feel everything constantly depends on what you are capable of creating, then you should read Elanor Dymott’s Slack-Tide.

Elizabeth is a novelist in her forties, who had a miscarriage that led her marriage to an end. When she’s set up on a blind date with Robert – who vaguely looks like Keanu Reeves and whose job is “designing cities” –  she feels it is the right time to start again, to be happy again.

From the very beginning of the book, we know this is a novel about an intense, even though only temporary, love story: at the end of the prologue, it is Elizabeth herself who says “by midsummer the thing between us was finished, and it was as if a storm had torn the roof from over me”.

Indeed, Sarah Moss’ quote on the back of the book anticipates this is “a compelling and beautiful account on the stories that hold us together and keep us apart”. Dymott’s hypnotic, sharp prose takes us on a journey where love and loss are indissolubly intertwined – and, despite already knowing it would finish, I couldn’t help it but keep on wishing that Elizabeth and Robert’s love story never ended.

It is Elizabeth’s clear voice that guides us: she is fierce, beautiful and tells her story as if she’s whispering it to a friend. The loss of her child haunts her. Flashbacks of a life that could have been and painful memories – her tears when the anaesthetist asks her to confirm she’s at the hospital for an abortion and the way Elizabeth screams “I’m not choosing this. I wanted my child. I wanted my baby. Do you understand?” – come back at her, neat and clear. These are constant reminders of how vulnerable she feels.

Robert is vulnerable, too. In his fifties, he has lived a life between the comforts of a wealthy family and a successful career as an architect, that brought him to travel around the globe. We get to know him when his marriage with Lea is already over, and he is torn between the social pressure of being a good father to Philippe and the need to share his daily life with a lover. “I want to be with someone,” he says, “When I come back from a trip, I want to have someone to talk about it […] About the stuff I see. I see so many things. I have so many things to say. […] Right before I met you, I was beginning to think I might burst with the things I’d seen.” As we read on, we begin to discover his acute selfishness. As a reader, you’ll find it impossible to feel indifferent to him: you’ll either love him or you’ll hate him.

Slack-tide is a book about love, about loss, about the details that make our lives unique. But what strikes most about this novel is Elizabeth’s attachment to the characters of her own books. She is loyal to them, and she’s firm in her decision of putting her writing first, come what may. When Robert tries to make her change her plans, claiming that there are other people involved, she explains “I have characters, waiting for me to tell them what to do. […] the only difference between my ‘other people’ and your ‘other people’ is that I have to make mine up. Every thought they think, every word they speak, and every single thing they do. You are lucky, Robert. You pack your case, get on a plane, and when you get off at the other end, your ‘people’ are waiting in arrivals, holding up a little sign with your name on.”

Elizabeth was not capable of giving birth. She was not able to create a new life. However, she is capable of bringing those characters to life, and she defends her work at every cost.

In this way, Slack-tide is, most of all, a book about the power of creating.

About the reviewer

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Anna Maria Colivicchi was born and raised in Rome. After a BA in Italian Literature, she is now pursuing a Master’s in Writing at the University of Warwick. In her writing, she seeks the extraordinary in the ordinary, focusing on the details of everyday life.

 

 

 

 

Consciousness collides as Will Eaves and Alex Pheby win literary prize

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The writers Will Eaves and Alex Pheby have been announced as the joint winners of the Republic of Consciousness prize, for their novels Murmur and Lucia.

Murmur, published by CB Editions, is inspired by the chemical castration of the Alan Turing – the father of Artificial Intelligence. Meanwhile, Lucia, published by Galley Beggar Press, is based on the troubled daughter of literary giant James Joyce.

Life, consciousness, and Artificial Intelligence

Taking its cue from the arrest and legally enforced chemical castration of the mathematician Alan Turing, Murmur is the account of a man who responds to intolerable physical and mental stress with love, honour and a rigorous, unsentimental curiosity about the ways in which we perceive ourselves and the world.

Formally audacious, daring in its intellectual inquiry and unwaveringly humane, Will Eaves’s new novel is a rare achievement. The opening section of Murmur was shortlisted for the 2017 BBC National Short Story Award – and it is currently also shortlisted for the £30,000 Wellcome prize for science-related writing.

In Nothing in the Rulebook’s review of Murmur, Professor Wu writes: “Life and consciousness are not logical (though they can of course be assessed and reviewed with logic). And this is one of the many things that Murmur does so well – it is, by its very nature, both an accurate representation of consciousness and human experience, as well as a thorough, logical analysis of these things. Through Alex Pryor, Eaves has developed a protagonist through which we may see these inherently complex ideas more simply.”

About the Republic of Consciousness

The Republic of Consciousness prize, which celebrates and supports small, independent presses in the UK and Ireland, specifies that works entered must have been published by presses with fewer than five full-time staff members, and which have a commitment to “hardcore literary fiction and gorgeous prose”.

Alongside Murmur and Lucia, the 2019 shortlist for the prize included the following titles:

This year’s double wins come in a year when small presses continue to outperform their larger competitors; all but two of the 13 titles longlisted for the Man Booker International prize come from independent publishers. The nature of the joint win also reflects the judge’s stance against sole winners, because “while the competitive dynamic of prizes points readers towards ‘the best books’, they also create a false hierarchy where ‘the best’ becomes a valid category”.

Creatives in profile: interview with Ben Armstrong

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Ben Armstrong is a poet from the West Midlands, UK, who specialises in surrealist, hyper-real and absurdist pieces. An alumnus of the renown Warwick University Writing Programme, his poem ‘The Year of the Apple’ was featured in The Apple Anthology (Nine Arches Press, 2013), shortlisted for Best Anthology in the Saboteur Awards. His debut collection Perennial is out now through Knives, Forks and Spoons Press, and has drawn praise from a number of right-on poets and publications, including Luke Kennard, George Ttoouli, and David Morley, as well as the magazines Eye Flash Poetry, and Here Comes Everyone (oh, and ourselves, of course).

In the large hadron collider that is Perennial, Armstrong challenges the reader to embrace unpredictability and recognise order within otherwise apparent disorder, in what is an extremely fun, engaging, witty and anarchic poetry collection. Given that we love witty anarchy as much as the next creative collective (it’s among the best kinds of anarchy if you ask us), we were thrilled to have the opportunity to interview Armstrong himself and add him to our community of creatives who have shared their stories and innermost secrets with us.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

ARMSTRONG

I was born in the Black Country, West Midlands, in the early 1990s and still live locally. We’re famous for our pork scratchings, ale, canals and the steel industry (amongst other things). I grew up in Stourbridge, which doesn’t have so much of an accent – people tend to find it hard to place me unless they’re familiar with the Midlands. I’ve just bought a house with my partner so my current lifestyle is mostly settling in there, working, keeping fit and writing for my next book.

INTERVIEWER

Is poetry your first love, or do you have another passion?

ARMSTRONG

Music is my biggest passion although I’m a much more perceptive listener than a musician. I was in a band for a few years recently and I spent so much time listening to our mixes, tweaking my EQ – focusing on the really minute details. I loved designing our album booklet and packaging. I guess a lot of people would find that stuff boring? For me, the beauty has always been in the detail. In this way, my love for poetry and music stem from the same place. They’re both very liberating mediums that I can really get stuck into them on a micro level, whilst still having a finished piece at the end of the process.

INTERVIEWER

Who inspires you, and why?

ARMSTRONG

On the whole, people who really dedicate themselves to their art. I find that highly commendable, especially in the modern world where money doesn’t exactly come easily for most artists. I’m inspired also by people who have a very strong artistic vision and stick to it, especially across a collection of pieces. We live in quite a quick-fire culture but I still really value full-length collections, records, etc. that tell a story or carry a vibe across a substantial body of work. You can spot these people a mile away and they tend to have long, varied and diverse careers in art.

INTERVIEWER

The structure of your poems is often experimental, while the content blurs vibrant, intricate language with both pop culture references and classical analogy. How do you see the balance or relationship between modern and classical? Are we living in a world of post-post modernism? Or have we simply run out of the terms to adequately express and describe our contemporary cultural trends and styles?

ARMSTRONG

We’re living in an age of pastiche. This is the first time that our entire existence as human beings has become self-referential. It feels like we’re finally letting go of the concept of ‘time’ – the whole thing has just become delineated. Courtesy of technology, the recent past may as well be right now. The distant past is as accessible as what I did last week. People are always creating new art, but the leading trend seems to be recontextualisation. We’re a race of curators, of remixers and remodellers. I think that my poetry and Perennial especially speaks to that. My aim is to make sense of the chaos, somehow.

INTERVIEWER

When writing poetry, can you tell us a little about your creative process? How do you go from blank page to fully fledged poem?

ARMSTRONG

Nearly always, a line or phrase will just drop into my mind. If I choose to pursue it, I can feel the tangents pulling off from the original seed and urging me to get to a computer or pick up a pen. From there, I write quickly to capture as much as possible and edit as I go. I tend not to move on until I’m happy with a line although if I end up at a dead end, I’ll consider some radical changes to the structure to jump-start the process. I favour using a computer because I can get a better ‘feel’ for the visual element of the poem.

INTERVIEWER

How do you decide when a poem is ‘finished’?

ARMSTRONG

This one is down to intuition. Mostly it’ll be when it feels right, visually. I really champion the visual aspect of the poem on the page – it really steers my decision making throughout the entire writing process. Certain ideas just need to ‘look’ a certain way. Some need to slink down, some appear to me as very horizontal and aggressive, others flutter like a burst bag of feathers. I’m not entirely sure why I feel the need to act on these but I do and it’s a big part of why I love writing poetry. I suppose I’d compare it to how a chef arranges a plate. Certain choices are dictated by things other than logic. Why does the onion need to sit just so? It just does.

INTERVIEWER

You’ve recently published your debut collection, Perennial. Can you tell us a little about the work, and the experience of putting it together? How did you first conceive of the idea, and how did it evolve?

ARMSTRONG

Perennial has been in the works for a very long time now. I started writing poems for it in around 2012 on a coach to visit my uncle in Scotland. It was never intended to be my first collection – it is actually a spin-off to a bigger, larger story – but it just so happened that I finished it first. The collection is a diary of sorts written by an unnamed character who finds himself lost on a strange island. In a narrative sense it functions as a backstory for the character, but it’s a real book within this fictional world, too. Characters from my other poems have read Perennial. The interesting part for me is that due to a complete lack of contextual information, a first-time reader is going to be pretty baffled by it. I wanted to create this underlying sense that its part of something bigger but never really state that outright. The next book will unlock a lot of the secrets in this one.

INTERVIEWER

We live in a time when language is deliberately misused and manipulated – frequently for malicious purposes – to serve and support those in power. This is a time of ‘alt-facts’, an Orwellian landscape in which language is a tool of deception and demagoguery. What role do you see poetry playing in an age of ‘fake news’ and social media trolling?

ARMSTRONG

The reliability and ‘usefulness’ of poetry is always going to be a grey area. I frequently misuse and manipulate language for different purposes. The difference, I suppose, is that I don’t have an agenda. I’m not trying to make you think or feel a certain way, politically or socially speaking. I think modern poetry will continue as it has done for a while – to inspire the few and confuse the many.

INTERVIEWER

Since Percy Bysshe Shelley was moved to pen poetic verse in protest at the Peterloo massacre, poetry has been used as a tool to provide a voice for the powerless and inspire movements and action against the powerful. What are your thoughts on the idea of ‘poetry as protest’?

ARMSTRONG

I think poetry can be used as a tool for those purposes – It’s probably one of the better mediums for it. Of course, it depends entirely on the person writing it, their motivations and the reader’s own interpretation. Performance poetry isn’t really my thing but it’s undeniably effective at bringing together communities and giving people a voice.

INTERVIEWER

Do you feel any personal responsibility as a poet?

ARMSTRONG

Not as a poet so much as a person writing poetry. We’re all personally responsible for the impact we make on the world.  I write primarily for myself and to do justice to the story I’m telling with each collection I put out. My main responsibility is to let the poems go wherever they want to. In spite of this, I do try and promote the things I think are important through my work, too.

INTERVIEWER

In an age of ‘abject’ incomes for authors and poets, how can aspiring creatives pursue their passions while also making ends meet?

ARMSTRONG

I’d say just do it and keep doing it and keep finding ways to continue to do it. I find it easiest to keep my passions and sources of income separate, but mutually beneficial. I do a lot of writing for my day job, and this keeps me sharp for my poetry.

INTERVIEWER

What’s next for you and your poetry? Are there any exciting projects we should be looking out for?

ARMSTRONG

As I mentioned earlier, Perennial, is getting a companion collection which should be finished towards the end of Summer. I’m really proud of what I have so far for it; it’s a lot more playful and experimental than Perennial was. Euripides is the biggest influence on it as a whole. I have an incredible artist working with me on the cover design and some internal illustrations too. We’re currently just working on some initial ideas but I can’t wait to pull everything together. 

Quick fire round!

INTERVIEWER

Favourite poem?

ARMSTRONG

It would have to be The Wasteland by T.S. Eliot.

INTERVIEWER

Curl up with a book or head to the movies?

ARMSTRONG

Mood dependant! I don’t really read to relax so probably the movie more often than not.

INTERVIEWER

Critically acclaimed or cult classic?

ARMSTRONG

Cult classic

INTERVIEWER

Most underrated poet?

ARMSTRONG

David Morley. I’m biased because he was my tutor, but in my mind, David stands up against the great pastoral poets of the past. Calling him underrated might be selling him short, but he should definitely be even more known than he is.

INTERVIEWER

Most overrated poet?

ARMSTRONG

Because of how widely he’s taught, probably Shakespeare. Not all of his work has aged gracefully and I never had him down as a particularly great poet.

INTERVIEWER

Who is someone you think people should know more about?

ARMSTRONG

This is a really tough question, given that so many poets are unknown in the greater scheme of things. I’d probably say Jonty Tiplady. I love Zam Bonk Dip, his debut collection. I’m not aware of what he’s done since, but this has inspired me to revisit him! Outside of the poetry world, I recommend that people check out the ambient musician Tim Hecker. His sonic landscapes are just so expressive.

INTERVIEWER

Do you have any hidden talents?

ARMSTRONG

I’m really good at recalling the specific release years of records. I can also recite Pi up to 50 digits after me and a friend decided to see who could learn it to more decimal places. I’m not even sure why I can still remember it – that was fifteen years ago.

INTERVIEWER

Could you write us a story in 6 words?

ARMSTRONG

“Thank you”

“Thank you?”

“Thank you.”

INTERVIEWER

Could you give your top 10 tips for aspiring poets?

ARMSTRONG

Don’t be afraid to write bad poetry, just write something. It can take years to finish a poem. It can take one minute to finish a different poem. Avoid saying things that have already been said because you think you should say them. Try to write without using any similes. Put effort into your book cover. Remember to title your documents. Performing live doesn’t have to be the goal if you don’t want it to be. Revel in your rejection letters. Aim high.

 

 

Book review: Perennial, by Ben Armstrong

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In science fiction, space and time warps are a commonplace. They are used for rapid journeys around the galaxy, or for travel through time. But there is an integer at which fact and fiction collide – where the relativity of space-time comes into play – and it at this point, the writer suggests, we might find poetry.

Ben Armstrong’s searing debut poetry collection, Perennial, is laced with this relativity; a sense of warped perspectives as different narrative voices walk us through different places and different times – with different poems separated within themselves and sometimes from each other by a clear sense of distance. Distance between one object and another; between one lover and another; between the past and present; between a remembered thought and feeling and a prediction of a future life.

Yet while the idea of the space (either physical or fourth dimensional) between two set points helps drive the core narrative of the collection, Armstrong’s poetry stridently ignores rules of Euclidean geometry – embracing instead the science fiction (or fact – as Hawkin and Einstein would insist) of space-time warps and jumps. Shifts in tense, and perspectives, blur lines, all the while experimental formal structures breakdown boundaries and conventions, helping the reader rearrange language in unique and surprising ways.

And by jove does this surprise you. From the greeting that opens the poem to the sad vision of a remembered goodbye, Perennial takes us on a ride infused both with comedy and tragedy, seeped with allusions and allegory that are literary, modern, classical, punk, political and pop-culture, using faux-satirical homages to classical literary figures and Homeric journeys, as well as very specific moments in scenes that collide together like atoms in a collapsing neutron star.

Take, for example, the shift in tone and style between ‘old bar’ and ‘Coca Cola Focus Group’. The former: a rather beautiful meditation on loneliness and the risks of being consumed by one’s memories. The latter: an extremely fun, engaging, and wry skit on the failings of modern capitalism. Both are excellent – but what the hell are they doing beside one another? In the large hadron collider that is Perennial, Armstrong challenges the reader to embrace the unpredictability and recognise the order within the otherwise apparent disorder. As Dr Ian Malcolm would say in sci-fi classic Jurassic Park, “it doesn’t obey set patterns or rules […] it’s chaos” (to be clear: in Perennial, the chaos is very much a good thing – not one likely to involve the risk of being eaten by dinosaurs, though probably best never to rule that option out completely).

In short, Perennial sets the highest of high bars as a debut collection and firmly marks Armstrong out as a poet to keep an eye on. Not least because his work reminds us just how damn fun poetry can be.

Nothing in the Rulebook joins judging panel for Adventure Writers Competition

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Adventure is out there as Nothing in the Rulebook joins forces with Adventure Writer’s competition. Photo credit: Mike Dodson/Vagabond Images

Creative collective Nothing in the Rulebook will this year join the judging panel of the annual Adventure Writer’s writing competition, a contest widely known for being the only pure adventure writing competition available to writers today.

With a US$1,000 prize up for grabs, writers have until the 30 April 2019 to submit their work to the contest, before the founders of Nothing in the Rulebook will join the Adventure Writers judging panel to sift through entries and pick out a winner, who will be announced on 5 October at the Clive Cussler Collector’s Society convention.

Announcing the news, Nothing in the Rulebook’s Professor Wu said: “we’re delighted to be teaming up with the fabulous team behind the Adventure Writers competition and looking forward to seeking out some exciting new writing talent.”

“It’s never easy for aspiring creative writers to get their work out there and recognised, and the idea of sending your prized work with all your innermost secrets and emotions to complete strangers can seem a daunting prospect. But there’s a thrill to it, too – an opportunity to experience your own writing adventures simply by being brave enough to send your story out into the world. To quote a well-known animated movie, adventure is out there!” You just have to go for it.”

Peter Greene, Director of the Adventure Writers Competition said:  “We are extremely excited about the team from Nothing in the Rule Book joining our judging panel.  Both groups have a common goal: to help aspiring writers receive recognition, feedback and validation of their talents and efforts. Having a distinguished judges panel allows entrants to obtain valuable advice and encouragement to aid in their creative writing and careers. Let the judging begin!”

 

Creatives in profile: interview with Joana Ramiro

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Joana Ramiro

Joana Ramiro is a journalist, writer and political commentator.

Born in Lisbon, in 2006 she moved to London, and in 2010 she became one of the founders of the National Campaign Against Fees and Cuts, as well as its Chief Press Officer. Since then, she has covered the occupation of Tahir Square in Cairo during the 2011 ‘Arab Spring’, as well as the 2015 Greek elections and the Calais refugee camp, among numerous other pieces of foreign correspondence.

Domestically, she was the first reporter to cover the fight of Focus E15, a group of London single mothers campaigning to be rehoused, after being evicted from a hostel by Newham Council in 2014. She has reported from a series of mass demonstrations, occupations, deportations and strikes, focusing on the effects of austerity policies in British society.

As a political commentator, Ramiro has been featured on Channel 4 News, BBC and LBC radio, as well as debates against fellow pundits Peter Oborne, Michael White and Peter Hitchens.

At a time when the truth is under attack – when journalists are attacked and maligned by those in power and those online, while Silicon Valley siphons off advertising revenue and amplifies untruths for profit – supporting, and hearing from, independent journalists is increasingly important. So Nothing in the Rulebook were incredibly pleased to catch up with Ramiro to bring you this following interview.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle
RAMIRO
 

Hi, my name is Joana Ramiro and I’m a freelance journalist and writer based in London. I carry a Portuguese passport and was educated in a German school. My dad’s Angolan. It was all a big melting pot back at home and I try to keep it so in my adult life too (not hard, given that I live in the capital of melting pots).

INTERVIEWER

Is journalism your first love, or do you have another passion?
RAMIRO
 

It wasn’t my first love but it should have been. As a child I wanted to be an actor but when I hit puberty my ambitions got thwarted by the usual patriarchally-instilled insecurities about my looks, weight, and general lack of self-worth. I then went and studied advertising but it wasn’t very satisfying as I needed something a little more academic at that point. So, to compensate the lack of enthusiasm for my degree, I started doing a political blog and getting involved with campaigns I always felt an affinity for. Things like justice for Palestinians and an anti-cuts campaign at my university. That then grew into the student movement of 2010/11 where I was the founder and press officer for one of the main campaigns (National Campaign Against Fees and Cuts). I went back to uni in 2010, did a postgrad programme in politics and then a masters in Middle East politics, went to Palestine and Egypt (during the occupation of Tahrir Square) and a few years later got a full time job as a journalist at a small daily called the Morning Star. A week in I thought: “Goddamn! Why haven’t I been doing this all along?!”

INTERVIEWER
Who inspires you, and why? 
RAMIRO

Great journalism inspires me and I think of the greats of old and sometimes wonder if it’s still possible to do that kind of work. Journalists of past and present like Martha Gelhorn, Ryszard Kapuściński, Svetlana Alexievitch, Clare Hollingworth and Paul Mason inspire me every day to speak truth to power.

INTERVIEWER

What is the role of journalists today, in an era of ‘fake news’ and accusations of media bias? 

RAMIRO
 

The role of a journalist at any time is to speak truth to power. To me that means looking at the balance of forces and asking yourself “Who is being exploited, oppressed, or used in this situation?” and then write about it. Much is said about media bias vs unbiased journalism and in the end, you’ll find, the judgement is always in favour of whoever is in control of the narrative. There’s always a bias in journalism because there’s always a bias in our societies. A good journalist asks herself in who’s favour is that bias and writes about what the effects of such bias might be. Who benefits and who suffers under X state policies? Who benefits and who suffers under Y ideology? From there, a journalist’s role is to shine a light on what is in the dark. 

INTERVIEWER

When covering complex political issues and discourse, how do you navigate the challenge between communicating an issue or subject clearly and effectively, while also bringing the necessary balance and nuance and critical thought required to ensure the piece has real genuine value? 

RAMIRO

Good prose is written simply but at length. Unfortunately, it seems that while writing simply is still cherished in our media landscape, length is going increasingly out of style. A dangerous precedent if you ask me. You can’t explain the complexities of war in a 250 word article or in a 2.30min piece. You can’t explore the nuances of the Venezuelan political conundrum in a series of Tweets. We need to start investing in long-form journalism, not only in the case of what is usually called “long reads” but as a matter of journalistic norm. If people will deadscroll through 5min inspirational videos they will watch a 5min piece about Cape Town’s Day Zero. 

INTERVIEWER

Do you feel any personal responsibility as a journalist? 
RAMIRO
 

Of course. That’s why I refuse to work for xenophobic and migrant-bashing publications (we all know who they are). I wouldn’t go as far as condemning all that do – many colleagues work wherever work is available because they’ve got bills to pay – but given the choice I’d rather not write than enable or legitimise far-right opinions and rhetoric.

INTERVIEWER

To what extent has current political discourse and debate sidelined other important issues facing the world; such as catastrophic climate breakdown?

RAMIRO

I don’t think it has. Not least because the current political discourse might include disgusting people like Viktor Orban and Tommy Robinson, but also includes inspiring voices like Alexandria Ocasio-Cortez (who does speak aplenty about climate and a Green New Deal).

INTERVIEWER

In an age of increasingly low incomes for journalists, and with funding models of traditional media corporations often favouring the large, Murdoch-owned papers over other independent news outlets, how can aspiring journalists break onto the scene while maintaining their journalistic integrity and any moral standards they may need? 

RAMIRO

Alas, it often seems nearly impossible and all the more so for young journalists who aren’t white middle class men  living in London. It’s good that places like the Guardian have programmes targeting this but more needs to be done. I suspect media reform is the way to go in order to tackle all these problems. Not to be too on the nose, but the Labour Party’s proposals on media reform announced last year would be a pretty decent start. 

INTERVIEWER

What’s your analysis of the state of both politics and journalism today? Where are we heading?

RAMIRO
 

God, I’d be a millionaire if I had the answer to that question. Can you imagine what the City would pay me for that sort of consultancy?! 

INTERVIEWER

What’s next for you personally? Any exciting projects we should know about? 
RAMIRO
 

I’m doing a lot of exciting things this year, but one of those I’m having a lot of fun at is my show Red Hacks. It’s a series of conversations with renowned journalists about being a leftwing journalist in a neoliberal world and it’s hosted by the Politics Theory Other podcast. The latest episode is with New Statesman deputy editor George Eaton. Do give it a listen 🙂

Quick fire round! 

INTERVIEWER
Vehicle of choice: Brexit battle bus or Corbyn bicycle? 
RAMIRO
 
Bicycle always! I have my own and it’s called Belinda.
INTERVIEWER
Curl up with a book or head to the movies? 
RAMIRO
 

Going to the movies in London is extortionate (unless you go to Peckhamplex in Peckham – £4.99 any ticket any day), so I’m gonna say curl up with a book. That would probably be my default choice anyway.

INTERVIEWER

Critically acclaimed or cult classic? 
RAMIRO
 

Always the classics. Casablanca is a masterpiece in far more ways than it’s known for. Same could be said about To Have and Have Not (I’m not just stanning for Humphrey Bogart, I promise).

INTERVIEWER

Who is someone you think people should know more about? 
RAMIRO
 

Erika Lust. She’s a feminist porn film maker and a champion of talking about women’s desire openly and outside of the liberal-cisgendered axis. Plus her stuff is simply beautiful to look at. I’ll be interviewing her soon. 

INTERVIEWER

Do you have any hidden talents?
RAMIRO

I can sleep anywhere under any circumstances, which is very handy for a journalist. Also, in a better world I would have spent more time singing in a more professional way. My brother (who’s an actual musician) and I have a few amateurish projects but I never seem to have enough time to invest in it properly or as much as I’d like to.

INTERVIEWER

Could you write us a story in 6 words?
RAMIRO
 
Fuckbois. That’s why she was single.
INTERVIEWER
Could you give your top 10 tips for aspiring journalists?
RAMIRO
 
  1. Go to the place, talk to the people. Don’t just write a story from whatever you saw on Twitter or whatever an expert commented on.
  2. Always carry a recorder (most phones will have one nowadays) and don’t forget the batteries (or keeping your phone charged).
  3. When taking pictures in a controversial or dangerous situation always carry two memory cards for your camera. Fill one of them with faff/tourist pictures of the place. Carry the one with the journalistic pictures in your sock or bra. Don’t cross checkpoints or police lines with a camera full of “incriminating” material. 
  4. Always carry cigarettes. Even if you don’t smoke. They’re incredibly handy appeasers, bargaining chips, conversation starters, bonding props. Odd, I know. But it works. 
  5. Learn the art of conversation. Everyone will get the same quotes if they ask the obvious questions. Make it your business to be more than a question machine. Offer something back, even if just a shown interest in what your subject has to say. 
  6. Advice I was given (part I): Start writing your piece as if following the sentence: “Guys, guess what?…”
  7. Advice I was given (part II): Read what you wrote out loud at least once. It really helps you catch otherwise unnoticed typos, grammar errors, generally weird sentences and such.
  8. Invest in a transcription programme (I hate hate hate transcribing). 
  9. Read! Read fiction. Read old books. Read theory. Read as widely as you can. Follow it up by listening to music or watching movies on the same theme (in my family we call this “a festival”). Learn the joys of immersing yourself in something other than what is labelled journalism. Good journalism is done with knowledge wider than that. 
  10. Journalism is team work. George Orwell relied on many many people he never mentioned in his books (true story – not just using this as a metaphor for the case in point). Acknowledge that and use it. Help others and ask for help. Reject the idea that journalism is a rat race. Reject the idea that work is a rat race for that matter. Revel in cooperation. It will make you a better journalist, if not even a better person. 

Creatives in profile: interview with Martina Devlin

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Martina Devlin Columnist - Image (2).jpg

Back in January, Nothing in the Rule Book had the chance to review Martina Devlin’s tenth book, a collection of short stories, entitled ‘Truth and Dare’. The stories follow eleven pioneering women from Irish history, pulling moments from their lives and reimagining them in fiction. Each story is an invitation into the life of a historical figure but we wanted to know more about the woman behind the book: Martina herself.

A former Fleet Street journalist, Martina was born in Omagh and now lives in Dublin. She writes for the Irish Independent and was named National Newspapers of Ireland Columnist of the Year. Her fiction is ambitious and covers a wide range of genres and themes. From About Sisterland, a dystopian novel set in the near-future, to The House Where It Happened, historical fiction based on the Irish witch trials of 1711, her writing is ambitious and creative, steeped in dedicated research.

Her work has won or been shortlisted for several prestigious several prizes, including the 1996 Hennessy Literary Award and the Royal Society of Literature’s VS Pritchett Prize. We were lucky enough to be able to catch up with Martina a second time, to find out more about her background, her inspiration and her writing.

INTERVIEWER

Tell us about your background.

DEVLIN

I’m a child of the Troubles. I grew up in Omagh, Co Tyrone when civil war for a prolonged period was our normal – random bomb attacks, heavily armed soldiers on the streets, roadblocks, no-go areas, dawn raids on houses by security forces, helicopters buzzing overhead and civilians treated as collateral damage in large scale violence. My parents protected us from it as much as possible but violence was a fact of everyday life.

INTERVIEWER

Is writing your first love?

DEVLIN

Storytelling certainly is. I regard myself as a storyteller whether I’m engaged in journalism or creative non-fiction or fiction. As a little girl I was always telling stories to told my family and writing them down in copybooks. I also illustrated my stories, rather badly but with an enthusiastic use of colour. I still have one of my notebooks – it shows no early signs of genius but, rather, a fascination with what my characters were having for tea. Enid Blyton was able to carry that off with picnics and all sorts of foodie high jinks but I wasn’t. However, I realised that research mattered and I used to go to Mrs Quinn’s sweetshop near our house and write down the names of various goodies. Although the shop no longer exists, I can’t pass the building without thinking of all those chocolate animals and jelly shapes I used to buy with a few small coins.

INTERVIEWER

What would you be if not a writer?

DEVLIN

A politician because politics can effect change. The Good Friday Agreement is proof of that. But the whip system is exerted too ruthlessly and I know I’d struggle with that – for me, conscience would always trump how any party leadership decided to vote on an issue. So I expect that eventually I’d be expelled from whichever party I joined. I’ve never belonged to any political party. I’m too much of an outsider, an observer. But I do see that politics is a powerful way of driving change and making a difference in people’s lives.

INTERVIEWER

Who were your early teachers?

DEVLIN

My parents. My father, in particular, had a great respect for reading, learning and storytelling – the power of the story – and he shared that love with me. I remember long car journeys as a child, going from our home in Omagh to my mother’s place of birth in Co Limerick, and both parents passed the journey for us with stories. The oral tradition was strong in our family.

My father never felt hard done by, he had a gentle nature, but there’s no doubt he was a clever man unable to get on in life because of the unjust political situation in Northern Ireland which denied him opportunities. He wasn’t able to vote until he was in his mid-thirties, for example – you had to be a householder but housing was in the control of the ruling majority which didn’t believe in sharing. That’s why the civil rights movement started in 1968. My mother lost the right to vote when she moved to Omagh. Isn’t that extraordinary? Both Dublin and London looked the other way for many decades of Northern Ireland’s existence.

My father had to leave school at the age of 12 to work as a message boy – Grandad was more or less an invalid and the family needed my father’s wage to help them survive. By the time I came along, he was a bus driver and worked very hard to raise seven children – as did my mother in the home – and if I have a work ethic I inherited it from them.

INTERVIEWER

Where do you find inspiration?

DEVLIN

If I knew the answer to that I’d bottle it and keep it on my desk. I honestly don’t know. Reading, thinking, looking, thinking some more?

INTERVIEWER

You describe the women featured in ‘Truth and Dare’ as your heroes. Is there some shared quality that earns them this distinction?

DEVLIN

Their vision and persistence. They recognised injustice and struggled to overturn it. They believed they could bring about change and wanted to make it happen not just for their own benefit but for others. They collaborated to achieve their goals, chipping away at enormous obstacles – both from the system, or the community at large, and their own families. It’s always hard to challenge the status quo but they did. Often, they were demonised for their behaviour but they knew they were right and kept faith.

INTERVIEWER

Is there one woman from the book whose life you find particularly moving or instructive? If so, why?

DEVLIN

Mary Ann McCracken because she was loyal and courageous and believed in the strength of her convictions. In 1798, she walked with her brother Henry Joy McCracken to the gallows – now that required pluck – and took responsibility for his natural daughter after his death, insisting the little girl should be recognised by the family. Also she believed in doing what was right in other ways, for example refusing to eat sugar because of the slave trade. She was a successful businesswoman and ran a muslin manufacturing business with her sister to give employment to poor Belfast people, and the pair of them absorbed the losses during slack periods rather than lay workers off. She wanted children to be educated and helped to support a school, she was part of a campaign to stop boys being used as chimney sweeps and she spoke out about cruelty to animals. Her empathy and energy ranged far and wide. This woman was a rock of decency: Protestantism at its most ethical.

INTERVIEWER

Who did you feel you were writing the book for?

DEVLIN

People who didn’t know much about the women I chose to include in the collection, people for whom they were only names, if that – but who might be intrigued and go off and learn more about them. There’s magic in fiction. I hoped the stories would help to breathe life into extraordinary figures who have shaped the world we live in. Women have pockets in our clothes because of the Rational Dress Movement. We can vote because of the suffrage movement. Let’s not take it all for granted.

INTERVIEWER

Feminism has changed so much since the time of the women in your book – 2018 saw the Irish Abortion Referendum. How does being a woman in Ireland now compare to the lives of women a hundred years ago?

DEVLIN

I’m convinced women from a hundred years ago would be disappointed by the slow pace of change, although there have been improvements in recent years – quotas have increased the number of women TDs. But there are still only four female Cabinet ministers out of 15. As it happens, I brought Countess Markievicz back from the dead in one of my stories (What Would The Countess Say?)  to cast a cold eye over the state of politics today. She’s aghast to discover there’s been no female Taoiseach in the history of the Irish State. It doesn’t look imminent, either, with no female leader of Fianna Fáil or Fine Gael in the history of either party. When you consider that she was the second Cabinet minister in the world and the first in Europe (back as 1919), we can see the trailblazing ground to a halt. Women of enormous talent, with a real contribution to make, weren’t given a look in.

Incidentally, Countess Markievicz has taken on a life of her own apart from the short story collection and a play based on the story is being debuted at Dalkey Heritage Centre in Dublin on April 2nd – the centenary, to the day, of her appointment as Minister for Labour.

INTERVIEWER

How does writing a collection of short stories compare to writing a novel?

DEVLIN

It’s less of a long haul – I liked the variety of working on short stories rather than the concentrated focus of a novel. Sometimes you can feel overwhelmed by a novel.

INTERVIEWER

Were any of the stories in the collection particularly difficult to write? If so, why?

DEVLIN

The really difficult one was the story about Nano Nagle, who founded the Presentation order, because I struggled to imagine myself as a nun. But I hope I did justice to her and her selfless work for the poor of Cork. The stories are all first person or close third so I had to feel an empathy with those I wrote about. One or two women didn’t make the final cut because I didn’t manage that act of ventriloquism. I was nearly there but the clock was against me deadline wise. Perhaps another time.

INTERVIEWER

What makes you angry?

DEVLIN

The risk from Brexit of a hard border undermining peace in Ireland. I can’t say any more, I might burst a blood vessel. Oh, all right, I’ll just say this. Project Fear was the most perfidious phrase to put into people’s hands by the Leave campaign…it allowed them to avoid dealing with inconvenient facts.

INTERVIEWER

What makes you hopeful?

DEVLIN

The shameless self-interest of our cat Chekhov. When he wants something, he weaves figures of eight between your legs, tripping you up. When he can’t be bothered with you, if you try to stroke him he slinks down almost to his (considerable) belly to avoid your hand. It’s all on his terms. Why does that make me hopeful? Nature gives most of us the tools we need to survive. With cats, it’s winning ways – when it suits them. I admire their indifference to us.

INTERVIEWER

Are there any writers you envy?

DEVLIN

No, everyone who gets published is lucky, regardless of how well or otherwise a book does. I know I’m fortunate and I don’t take it for granted.

INTERVIEWER

To what extent do you feel stories should be morally instructive?

DEVLIN

Ouch! You have to sneak in the moral if you’re bent on having one, and I confess I often am. The minute it’s obvious, though, you and your moral are toast.

INTERVIEWER

If you could go back, what advice would you give yourself as you started out on your writing career?

DEVLIN

Listen carefully to all the conflicting advice you’re given, mull it over and make up your own mind.

INTERVIEWER

What frustrates you about writing?

DEVLIN

The days when nothing comes. The days when I start to doubt a story I’m working on. If I don’t believe in them, who will?

INTERVIEWER

What is the best thing about writing?

DEVLIN

I love the characters who spring from my fingertips. I know this makes me sound like a hapless channel for some external intelligence producing the work. But honestly, sometimes – on a good day – characters just muscle in unexpectedly. And I say to myself, well who are you?

INTERVIEWER

What are you working on next?

DEVLIN

A novel about Edith Somerville of Somerville and Ross fame – they were Victorian ladies who charted the demise of their Ascendancy class even as it was happening. I find them interesting for at least five reasons, if not more. But I’ll spare you the dissertation and stop at five. Number one, because Ross was a unionist while Somerville developed a nationalist position. Number two, because they worked in partnership (dual voices combining to create one memorable voice). Number three because they understood the value of authentic dialect. Number four because of their humour. And number five because they insisted they were professional writers, not dilettantes, had one of the first literary agents and demanded to be treated with respect.

 

 

 

 

Mud, books, and Greek mythology: interview with David Henningham

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dedalus-foiling-action.jpg

David Henningham 

When we first caught up with David and Ping Henningham, of Henningham Family Press, they had just been commissioned to make a major public arts contribution to the Central Hall of Artists in Moscow.

Fast forward a couple of years, and the duo behind this dynamic printing press are once again deep into an exciting new creative project – and getting knee deep in mud to do so.

‘Mud’ is the new book by Chris McCabe, which follows his debut novel, Dedalus, also published by Henningham Family Press (HFP).

The couple have been raising funds to support the publication of the book through a recently launched Kickstarter project. And yet, in typical HFP fashion, this is no ordinary printed book – but rather one that blurs the boundary between art and writing.

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‘Mud’ – the new book by Chris McCabe, published by Henningham Family Press

Described by the creative duo as ‘an Artists’ Book in exquisite handmade and paperback versions’, Nothing in the Rulebook caught up with David Henningham to find out more about the project.

INTERVIEWER

Tell us about Chris McCabe’s new book ‘Mud’ – and what you’re planning on doing with it.

HENNINGHAM

Mud is a story re-imagining Orpheus & Eurydice in contemporary London. Borak and Karissa must find a bubble buried in mud, somewhere. Along their way into the Underworld beneath Hampstead Heath, to scour the 24 types of mud, they are followed by their film crew and its odious Director. As they chance upon bones, bricks and talking Moles, they must restrain themselves from throttling each other. And falling in love all over again.

We have begun a quest with Chris McCabe parallel to that of his characters underground; an addition to the conventional editing process. We’ve been collecting different types of London mud to use as pigments and salvaging a half-brick, involved in a car crash, to use as our printing block (the perfect metaphor for Borak and Kar’s relationship). We used the faces of the brick to cast Orphic shapes resembling thresholds, mounds and tunnels of the Underworld.

This process will produce three versions of the book that use the same printed pages:

  • High-quality Paperback
  • Deluxe Hardback, representing a mud type with unique limited edition print
  • Deluxe Hardback, representing a mud type, in solander box with unique sculpture

INTERVIEWER

Why Mud?

HENNINGHAM

I can’t answer that, except to say that the notion there are 24 types of mud has totally changed the way I see the world. I keep spotting muds with extraordinary colour or texture and thinking ‘we missed that one!’ I suspect that somewhere in there, this sensation that language variegates experience of the world is “why Mud”.

INTERVIEWER

In an era of digital publishing, amid the rise of e-books and audiobooks; how important is it, do you think, that as readers we return to the physical value books have and invest in printed copies? Do you see your production of hand-made books to be a revolt against artifice or digitalisation?

HENNINGHAM

No, digital technology makes book production and selling cleaner, quicker, cheaper and easier at every stage, which is the most important aspect to us. Our handmade books are enabled by digital technology.

Ebooks are just a copyright thing, they prevent creative opportunity in my experience, but audiobooks are interesting to us. We love moving texts into different creative forms. I like the fact that our books will be among the best someone will handle, and that there’s something you can only get from the book because that means it is a book that has fully exploited the form. But I’m not interested in dominating anything. If someone thinks books aren’t important to them, I’ll wave them on their merry way. If they don’t like stories, I refer them to a special watch list at the Dept of Culture, Media, Sport, Shopping and Lawnmowers.

INTERVIEWER

In your Kickstarter project, you say you believe artist-Writers shouldn’t just be producing radical words; but also radical means of production and distribution. Can you expand on this – is there a Marxist element to your publishing ethos?

HENNINGHAM

Not Marxist, although I’m sympathetic to the Socialist publishing aspirations of B.S. Johnson you can find in Jonathan Coe’s biography, and admire Marxist friends who find a way to navigate the book Market.

What I mean by it is that, instead of approaching the current system of commissioning and selling books and trying to publish books that will change the world, the system itself must be changed in the process. Take diversity. Rooms full of privileged people are saying “how can we publish more diverse writers?” I suspect it isn’t working because the system is token operated. Not only are the people in the room almost all privileged, they begin by saying “how can we help these people?” The Hogarth Press had a fantastic record on publishing women writers. Because of what it was, not because of any policy. So if you want to make a Press that publishes X kind of writing, you need to make a Press the shape that will produce that writing. Not a mini-Corporate.

INTERVIEWER

How can aspiring artists and writers – or newly established publishing houses – reclaim the means of production and distribution from the corporate behemoths who dominate the publishing (and indeed wider media) landscape?

HENNINGHAM

The difference is between big organisations and partnerships of smaller organisations. Become a member of a group of smaller organisations and work together cooperatively if you want to take on the corporates.

If you simply want to make a few things and get them out there, you just need to find the right printer (production) and attend DIY book or arts fairs (distribution).

INTERVIEWER

Can you talk us through the sensation of crafting one of your books – is there a connection, do you think, between publisher and physical book that goes beyond a desire to sell copies? And where does the line between art and writing collide and/or blur?

HENNINGHAM

When I’m binding I’m very much thinking with my hands. I’m sort of aware of language, and thoughts apparently located in my head, but mostly it’s my hands working almost independently. I also stopped thinking ahead much, I seem to know what to do next without planning.

Afterwards, for me, it’s about getting the fruits of that process as close to readers as possible, but I suspect most publishers aren’t approaching it this way. They have babies, while I’m more of a midwife. Or a sorcerer.

INTERVIEWER

In many ways, the focus your project places on words influencing the physical design of the book – as well as the structure and form – makes this a thoroughly modernist piece of art and writing; yet the source material for the novel is from Ancient Greek mythology. What is the relationship, do you think, between the classical and the modern? And how important are the works of literary figures like James Joyce to informing any such debate on this topic?

HENNINGHAM

Well as you suggest, Ulysses took myth as its structure and embedded it in modernity. We don’t get equally influenced by all world mythologies, though. Some ancient stories are simply bizarre to us. It’s not just that we’re used to Greek myths, there’s something recognisable about the people and gods in them, and the themes, such as metamorphosis, we carry with us.

In the Penelope section at the end of Dedalus (his sequel to Ulysses), I suspect Chris McCabe wrote a kind of manifesto for himself, about writing myth. If so, he’s delivered in spades with Mud.

INTERVIEWER

Can anything ever be truly ‘new’, ‘modern’, or ‘unique’?

HENNINGHAM

It’s interesting to push it to the other extreme; to try making something the opposite of unique. It will always have this stubborn singularity.

INTERVIEWER

What’s been your experience of using Kickstarter to support your project? What role do crowdfunding models have to play in the current publishing and artistic sectors?

HENNINGHAM

We have been able to share our excitement around a project while we are still genuinely excited about it. Marketing afterwards is fun, but it’s more about sustaining that excitement and sharing a finished product. Involving people in the process and having a way of updating them as we make things for the book changes it too. The rewards structure has obliterated the barrier between our trade and handmade versions.  

Quick fire round!

INTERVIEWER

Modernism or post-modernism?

HENNINGHAM

Modernism

INTERVIEWER

Curl up with a book or head to an art gallery?

HENNINGHAM

Book

INTERVIEWER

Critically acclaimed or cult classic?

HENNINGHAM

Cult classic

INTERVIEWER

Most underrated writer/artist?

HENNINGHAM

Such a contested field! Agota Kristoff? Or I’d like to see Darker With The Lights On by David Hayden (which was acclaimed in the small press world) accepted wholeheartedly by mainstream booksellers and readers.

INTERVIEWER

Most overrated writer/artist?

HENNINGHAM

Again, such a contested field! J.K Rowling. So slow and clunky. Magic for people who don’t like to be surprised. Why bother. Ctrl+v Diana Wynne-Jones.

INTERVIEWER

Who is someone you think people should know more about?

HENNINGHAM

British Viceroy Robert Bulwer-Lytton was a famous poet and responsible for the deaths of between 6 and 13 million Indian subjects in the Late Victorian period.

INTERVIEWER

Could you write us a story in 6 words?

HENNINGHAM

Drawing road-markings made Doug’s handwriting taller.

INTERVIEWER

What 5-10 pieces of advice can you give to people thinking of exploring crowdfunding as a means of getting their writing or artwork out there?

HENNINGHAM

  • Get advice and key questions from their representatives or online knowledge base and do everything they tell you to. They’ve done it a million times.
  • Contact 30 committed supporters and get them ready to pledge in the first 48 hours.
  • Involve people in a process. Make sure you are doing something for the project other than talking about money in that 30 days and make daily updates of the work in progress.
  • Have a theme derived from your project and apply it to all your reward names and updates.
  • Make a video. If it’s just you, a selfie stick and windows movie maker, that’s fine. Without it nobody really knows you.
  • Look out for trolls. If someone spends big, have a look at their identity before announcing you’ve hit your target and raise it with Kickstarter if you think they look suspicious.
  • There will also be spam.

 

To find out more about Chris McCabe’s new novel, and to pledge your support for this fantastic project, please visit the Kickstarter page. 

 

15 excellent short stories you can read for free right now

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Book and Stones

Are you a literature addict looking for that sweet hit of literary ecstasy that comes from reading well-told stories? Are you also – like so many of us slaving away with ever-increasing work demands – short on time? Fortunately, we have just the thing for you that can satiate your craving for well-told, expertly-crafted fiction; bringing you tightly controlled beginnings, middles and endings in the time it takes to eat your lunch or smoke a cigarette (there’s a reason flash fiction used to be called smoke-long stories, after all).

We’re talking, of course, of some of the finest short stories that you can read for free thanks to the wonders of the interwebs. There are untold thousands – probably millions (if not billions) of these pieces floating around in the digital ether, but to get you started we’ve compiled 15 of our favourites, mixing together writing from new and aspiring artists with established literary titans.

Once you’ve had your fix, fear not! We also have many other collections of short stories you can read for free from legendary writers including J.M. Coetzee, Philip Roth and Alice Munro among others.

And if you need even more literary satisfaction; we’re pretty sure you’ll find it thanks to some of these fantastic places you can read tens of thousands of literary texts completely legally and completely for free.

Back to the matter at hand: check out these brilliantly crafted short tales from magazines around the world below.

‘Black Moons’ by Robert Wyatt Dunn

Black Moons

“There were some things you could only do in New York.”

Read the story in Litro.

‘The Semplica Girl Diaries’ by George Saunders

“Work, work, work. Stupid work. Am so tired of work.”

Read the story in The New Yorker. 

‘Bullet in the Brain’ by Tobias Wolff

“The bullet is already in the brain; it won’t be outrun forever, or charmed to a halt. In the end it will do its work and leave the troubled skull behind, dragging its comet’s tail of memory and hope and talent and love into the marble hall of commerce. That can’t be helped.”

Read for free online.

‘Broads’ by Roxane Gay

“Jimmy Nolan has a thing for broads—loud, brassy women who sit with their legs open and drink beer straight from the bottle—women who always say exactly what they’re thinking and for better or worse, mean what they say.”

Read it via Guernica.

‘Ganymede’ by Chelsea Harris

“Tonight I am Venus. We’re sitting on top of the kitchen counters. Daddy hasn’t been back in days but I’m not worried.”

Read it via Okay Donkey. 

‘Tell-tale heart’ by Edgar Allen Poe

“It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night.”

Read it courtesy of Project Gutenberg.

‘That was back before, of course’ by Samuel Dodson

“She never knew what Maxine wanted. But it started the moment Mark Dean emerged from all the rust. Then it ended with a knife and the sound of something scraping against metal, some sound almost like an animal.”

Read the story for free courtesy of The TSS. 

‘Goose’ by Chelsea Grasso

“It’s okay, my goose. She will come back.”

Read the story via Carve Magazine

‘Girls at play’ by Celeste Ng

“This is how we play the game: pink means kissing; red means tongue. Green means up your shirt; blue means down his pants. Purple means in your mouth. Black means all the way.”

Read the story thanks to Bellevue Literary Review

‘Anatomy of a burning thing’ by Monica Robinson

“He was falling in on himself.”

Read via Blanket Sea Magazine 

‘Hills like White Elephants’ by Ernest Hemingway

“I said the mountains looked like white elephants. Wasn’t that bright?’”

Read for free online. 

‘Fitting’ by Molly McConnell

“I left a relationship because it was too tight. But once I was out, I wanted back in.”

Read the story in Rabid Oak

‘The lady with the dog’ by Anton Chekhov

“It was said that a new person had appeared on the sea-front: a lady with a little dog.”

Read courtesy of Project Gutenberg.

‘Five baked beans’ by Katy Thornton

“I had started wearing earrings again, after the break-up. Not that I hadn’t worn earrings because of him – I’m sure we never had a conversation about it. I guess at some point I’d grown out of wearing my green-skin inducing costume jewellery and decided only to wear jewellery with sentimental value.”

Read thanks to Porridge Magazine

‘The Veldt’ by Ray Bradbury

“‘Nothing’s too good for our children,’ George had said.”

Read for free online