Thursday, May 21, 2009

Save Salt - buy a book, or three

Sadly, my wonderful publishers, Salt, run by the astonishing and energetic Jen and Chris Hamilton-Emery, are struggling to keep afloat in these difficult times. Chris sent a message out on Facebook yesterday and so I am passing it on, trying to do my part:

As many of you will know, Jen and I have been struggling to keep Salt moving since June last year when the economic downturn began to affect our press. Our three year funding ends this year: we've £4,000 due from Arts Council England in a final payment, but cannot apply through Grants for the Arts for further funding for Salt's operations. Spring sales were down nearly 80% on the previous year, and despite April's much improved trading, the past twelve months has left us with a budget deficit of over £55,000. It's proving to be a very big hole and we're having to take some drastic measures to save our business.

Here's how you can help us to save Salt and all our work with hundreds of authors around the world.

JUST ONE BOOK

1. Please buy just one book, right now. We don't mind from where, you can buy it from us or from Amazon, your local shop or megastore, online or offline. If you buy just one book now, you'll help to save Salt. Timing is absolutely everything here. We need cash now to stay afloat. If you love literature, help keep it alive. All it takes is just one book sale. Go to our online store and help us keep going.

2. Share this. Tell your friends. If we can spread the word about our cash crisis, we can hopefully find more sales and save our literary publishing. Remember it's just one book, that's all it takes to save us. Please do it now.

With my best wishes to everyone
Chris
Director
Salt Publishing

If you are in the book-buying mood, now's the time! Here are just a few of the wonderful Salt titles that are available. Click on each cover for more information:



And these are just some of the short story collections, there is a wealth of wonderful poetry too. Now is the time - buy a book! You don't have to do it through Salt or Amazon. The Book Depository has free shipping worldwide. Current and future Salt authors thank you!

AND - don't forget you still have 6 days to enter to win a free signed copy of The White Road and Other Stories! See my guest post on How Publishing Really Works.

Wednesday, May 20, 2009

Short Story News

Well, several bits of good news to report! First, Riffing on Strings, the excellent anthology of creative writing inspired by String Theory, which contains short stories, plays, poetry and essays (among them my flash story, Secrets), has been awarded a Silver Medal in the Independent Publisher Book Awards. Very well deserved, this is a richly imaginative anthology, certainly not just for those who actually understand String Theory is (there are four people worldwide, I believe, not much of a market)! Get yourself a copy.



Second, another wonderful book. My blogger friend and writing colleague Nik Perring, together with photographer Katherine Elizabeth Lewis and 18 other authors - including me, Caroline Smailes, and Vanessa, who won Nik's blog competition - has produced this beautiful limited edition book of 20 stories, poems and haikus and the 20 photographs that inspired them - to raise money for the East Cheshire Branch of the Alzheimer's Society.

Enormous kudos to Nik for putting this book together in four weeks! It just shows what one person can do. I am extremely impressed and deeply honoured to be included. All the profits from the book, which costs £14 and is available from www.eastofnorth.comand www.nperring.com will go to the Alzheimer's Society.

Both these books were produced with love and dedication by just a few individuals - no large publishing houses, no agents, no "big names". Just great writing and beautiful books. Please support them. Thank you.

Monday, May 18, 2009

Just saying no

I said no to something. Today. Well, a few days ago, but seems there was a miscommunication so I had to do it again today, which was awkward. It's a writing-related something, which is why I'm blogging about it here. I just realised how hard it was to say I couldn't do it, because of that little voice at the back of my head saying "You must do everything, you've got to promote yourself, promote your book, can't say no, can't say no.

But.

But doing this thing would have been extremely stressful. Not because of the thing itself, but because of the timing. Due to events that have occurred and decisions that have been made since the possibility of this first came up. Things are not as they were a few months ago. And, given how unwell I have been, and how stress and being in public have exacerbated this, I finally made the decision to say no. No.

There is so much in my mental make-up that is trying to resist. So much guilt. Must do it, can't let anyone down. Must do it. It's writing! You'll love it.

No. I said no. I meant no. I had to do some tapping to get rid of the guilt. But this is good. It is good. Hard. But good.

Short Story Stuff

It's very hot here today, a sharav or hamsin, a hot desert wind, so I am staying in. I shall retreat to my cool cellar/workroom shortly, even though it means navigating the heat of the garden. Wish me luck. In the meantime, fellow Salt author and blogger Elizabeth Baines has an excellent article about the short story in the Writers Guild magazine:
...stories seem to me more like poetry than novels, and, having written both stories and novels, I’d also say that in this way they are harder (but also wonderfully satisfying) to write. And the experience of writing them is very different, I find. Writing a novel feels like an ongoing forwards rush (however non-linear the novel), but writing a story is like dropping a stone into water and watching the ripples as they form outwards in every direction.
Elizabeth ends on an optimistic note about the short story (and mentions me, thank you Elizabeth!). Read her article here.

A few more deadlines:
  1. I got an email this morning from the lovely folk at the City of Derby Competition, so I am assuming entries haven't been as plentiful as they had hoped. Here's your chance! £500, £250 and £150 for first, second and third places. Deadline is 31st May, word length 5000 words, previously unpublished stories only. £4 for the first entry, $3 for any subsequent entry, postal and online. International entries welcome!
  2. Also with a 31st May deadline is the VS Pritchett Memorial prize, offered by the Royal Society of Literature, which this year is in collaboration with Prospect magazine, and the winner will be announced at the Small Wonder short story festival in Charleston. Only open to citizens of the UK and Republic of Ireland, or those who have been resident for at least 3 years. Winner receives £1000, last year four runners-up were also announced. Entries must be unpublished and between 2000 and 5000 words. Postal entry only, £5 for each story, click here for the Entry Form (PDF).
  3. A competition to start writing a story for now is the Flatmancrooked short story competition, judged by the wondrous Aimee Bender. Word limit 7000 words, deadline Aug 15th, first prize $1000. The first 50 entrants receive a free copy of the magazine's Winter issue. Online entries only, $15 per entry. Entries must be "previously unpublished and unawarded, and not accepted by any other venue at time of submission or at any other point when the contest is open."
Also, writer service announcement: for those of you who entered the Binnacle Ultra-Short Competition, if you didn't get the email this morning, they are apologising for the delay and will have results by June 15th instead of May 15th. How kind of them to let us know, well-deserving of Vanessa's Courteous Editors Award!

Saturday, May 16, 2009

I am being surprised and delighted

When I started this new habit of announcing, to the day or whatever higher power, "Surprise and delight me!"as I got out of bed, I didn't really believe it would happen. At least not on a daily basis. But it has. Someone could argue that I am now noticing things more, or allowing myself to be delighted where I might not have been - but whatever the case, I am surprised and delighted pretty much on a daily basis! Today's surprise came in the form of a blog post over at the Emerging Writers Network. I had submitted a review to the EWN of Alexandra Chasin's short story collection, Kissed By... , as a guest post for Short Story Month, which was published on the blog two days ago. I thought that was it for my appearances over there.

Then just now I got one of those most useful Google Alerts, I check out EWN, and there I am again - but this time I - or one of my short stories - am the subject! Dan Wickett is discussing On A Roll, one of the stories in The White Road and Other Stories. He discusses a particular aspect of the story, and I won't give it away here, pop over there and see what he has to say. He is most kind about my book, which is the delightful part! He asked me a question at the end and so I broke with protocol and left a comment to explain a little about how the story came about.

I would also like to mention here that it hasn't all been roses and delightful surprises in Tania's Writing World. I have received a number of rejections and failed to get anywhere in quite a few competitions. I don't normally mention these, but in the interests of not skewing the statistics, I thought it was time I did. These always bring about a short, sharp stab of disappointment, but this gets fainter over time, and I just start thinking about where next to send the stories. I'm always submitting stories - now only to paying markets, as I mentioned in an earlier post. I've submitted stories to places I never even considered - Tin House, Ploughshares, A Public Space - and am expecting rejections any day now! (Although also open to being surprised and delighted, of course, but a girl's gotta be realistic...)

So, another week starts and now that I have broken through the 1000-word barrier (I wrote a short story last week which is a mammoth 1200 words), I am expecting to push that a little further, and perhaps not write any flash stories for a while, to try and wean myself off the thrill of instant gratification. We will see how that goes.

Friday, May 15, 2009

In Appreciation of Swiftly-Responding Lit Mag Editors!

This morning's response to my "surprise and delight me" request was the new issue of online literary magazine Elimae. Yes, I knew it was coming, but I had forgotten it was today - so it is possible to be surprised and delighted by something that you knew about, if your memory is a little faulty! I want to take a moment to appreciate Coop Renner, Elimae's editor. There is often much grumbling between us writer-bloggers about the slothfulness of magazines' responses to our submissions. Grumbling turns into gnashing of teeth when months or even a year has passed with no response at all. Why can't they just send out an email? we wail. Just to let us know if... maybe... or a direct no. How hard can it be.

Coop Renner puts them all to shame. Not only does he send personal and gentle rejections, he replies within 48 hours, often within only a few hours. I don't know what sacrifice he has made in his life in order that he can do this, but I do know that it has elevated him to mythical status in the eyes of many of us. We feel appreciated, our needs understood, even if we are rejected and rejected and rejected again. And again.

I was one of these rejectees who felt almost apologetic, sending flash story after flash story and receiving swift but polite "This doesn't quite fit" emails. I kept on sending them, and was utterly astonished when, a few weeks ago, the prompt response was actually
"Let's do this for the May issue, which should post about the 15th of the month. It's almost a poem."
Shocked, surprised and delighted. Here it is, my almost-poem, Up Far and Everywhere (thanks Nik for the inspiration). The whole issue looks wonderful, some names I know, some I look forward to getting to know.

Submit to Elimae. Vote with your feet/short stories. Thanks, Coop.

Thursday, May 14, 2009

Source of lit: Local Writer Friends

It is not often I mention people on this blog from my offline life (!!). Here are two: My friend and writing group member, Nadia, has a flash story, Photographic Memory, up today at Every Day Fiction. This is her first published short story - so raise a glass and toast the newly-published writer! May this be the first of many, many more! (And do go and read the story, it's wonderful).

This picture below is me and my book, and my friend Yael and her book. Taken last night in a cafe after a reading we'd been to by American author Marita Golden. Afterwards, we went and discussed how great it was to go and listen to an author, while sitting there and thinking, I am an author too. Is there anything more thrilling? I don't think so.

Wednesday, May 13, 2009

57 Story Collections on Frank O'Connor Longlist 2009!

Well, what a day! The longlist for the Frank O'Connor International Short Story Award has just been announced - a record 57 short story collections! The White Road and Other Stories is among them - every eligible short story collection submitted by the publisher is longlisted, a wonderful boost for the short story. Visit The Short Review blog for the full longlist, it's a joy to read, with big names like Ali Smith and Mary Gaitskill alongside us small fry. Congratulations to all!

2nd in Trio of Posts about Publishing: Salt

Over at the How Publishing Really Works blog today is the second post in the set of three about my collection and how it came to happen. The first post last week was Yours Truly telling the story of The White Road and Other Stories, from book deal to book promotion. Now my wonderful publisher, Jen Hamilton-Emery of Salt, tells the story from her side, the struggles and joys of being a small press.
For a small press to survive and thrive, it has to find its niche. Forget trying to compete with the big guys; many of them happily sell shed-loads of books at a loss, aiming for quantity over profit and instead making their money on the selling of TV, film and translation rights. Small presses however have to think smart. They have to become known as the best in their chosen field, and some have done this extremely well, becoming the leading expert in areas such as welding (Woodhead Publishing) and autism (Jessica Kingsley Publishing). For literary publishers however, things are that bit tougher.
As Jen goes on to explain, it's so hard to compete for review space etc... with large publishers and their teams of publicists. But:
Despite this however, we remain positive. Positive that our sales will grow again, once people get over the fear of spending money and we won’t need to rely on those hard-to-get grants. And we continue to be proud of our publishing. Basically, we love our books. We love that we can publish work that we feel deserve to be shared with the world, without having to concern ourselves with whims and fads that the big players have to.
I am very proud to be published by Salt, they make beautiful books and they give opportunities to those of us who aren't "attractive" to the mainstream, for whatever reason. Read the rest of the blog post here, and don't forget that you can still enter the comp to win a free copy of The White Road and Other Stories, details at the bottom of the blog post!

Tuesday, May 12, 2009

Kreativ Blogger Award


How nice, Nuala(Women Rule Writer) has given me a Kreativ Blogger Award! Thank you N, and now I must fulfil the task the award requires. 7 things that I love:
  1. My partner, J (he'll be surprised he made number 1!)
  2. Our cats, Zac and Cleo
  3. Writing fiction
  4. Waking up in the morning to see the sun shining off the Jerusalem stone
  5. Finding a new favourite author
  6. Talking about the joys of short fiction
  7. Spaghetti with tomato sauce and very strong, extra mature cheddar

Now I am tasked with passing this on to 7 blogs that are certainly Kreativ that I love. Here goes:

  1. Nik Perring's Blog
  2. Sarah's Writing Journal
  3. Sue Guiney: Me and Others
  4. ASalted
  5. Thoughts from Botswana
  6. Forgetting the Time
  7. Debi Alper

Monday, May 11, 2009

Moving an editor with your words

Laura Van Den Berg, writer and assistant editor of the online journal Memorious, has writen an excellent essay about publishing in literary magazines, The Effort Pays Off, in The Review Review, an online review of literary journals (which is new to me but seems a wonderful resource that I must read more). Her essay spoke to me so much that I feel compelled to quote from it here.

After talking about her despondency at the many rejections she received early on in her writing career, Laura says:
...when I began working for a notable literary magazine as a graduate student, it was still sobering to realize how utterly insignificant the individual submitter is. This is not to say the staff didn’t work hard to treat each submission with the basic level of respect that any reputable journal would, but when editors and readers are dealing with thousands upon thousands of submissions, each writer is, quite literally, just another number. After a few months of employment, I felt incredibly foolish for ever taking a rejection personally. I learned that rejection, as practically any editor will tell you, is rarely personal—because, in all likelihood, the editor simply has no idea who you are. I learned that I was a single fish in a sea of millions, a blip on the screen. I learned that no one cares whether I keep writing or not....
However, this didn't bring her down:
Such lessons were at first humbling, then a little depressing, and then oddly empowering. Empowering in that they made me work harder. ... I kept submitting, but I treated it like an office job—something I did a few hours a week, a completely separate entity from my fiction. I sent out stories knowing that my submission might get lost behind an editor’s filing cabinet, never to be seen again, or be rejected on sight because a reader just hated that first sentence I loved so much. As someone who has a tendency to spend too much time looking outwards for validation, I learned that if I kept relying on external praise to keep me motivated, my writing was bound to suffer terribly. I had to learn to look inward. I had to care enough, and believe in myself enough, to make up for all the people who didn’t
Many writers never learn this lesson, that rejection isn't personal, it is not an editor taking against you. It is that the editor has a sea, an ocean of submissions, of stories, of pages or screens full of words. And that you didn't catch this editor's eye, for whatever reason, on that day, at that time, for that issue, for the theme, the look the editor was going for.

But when it does happen, Laura sums it up beautifully, and, for me, very movingly:
If you are accepted, you’ll know that an editor has been moved, by the power of your words, to care. That you have gone from submission # 935 to a writer of interest and merit. That you have made a passionate connection with a single reader. That with publication, you will likely make more passionate connections with more readers.
Yes. That's it. And when it happens, once in every 30 rejections, 50 rejections, how wondrous and joyful it is, to know that you made that connection. That connection with that one editor for that one particular publication on that day. Not because of who you are, where you have published. But because of the words you arranged on the page, in a way that only you can do.

But - while publication brings you an audience, brings you readers, won't ever make up for your own sense of self-belief, of confidence in your own writing. It can help, but you gotta love yourself, you've got to do it because you love what you are doing, not in the hope that someone, somewhere, will love it for you. Read Laura's full essay here.

Sunday, May 10, 2009

May is Short Story Month at EWN

May has been declared Short Story Month over at the fabulous Emerging Writers Network blog always a lively place for a literary discussion and ideas for something great to read. Recent posts include Helen W. Mallon's review of Louise Erdrich's collection, The Red Convertible. Says Mallon:
I used the collection in my spring writing workshop, and the students pined when we moved to another author for a week or two. Erdrich is one writer whose language is accessible as popcorn--which makes her popular--yet wildly original in its beauty. Her plot twists are sometimes roll-on-the floor funny, but they never hammer you with the predictable. Her characters also slap you, when you least expect it, with the mystery and profundity of life.
EWN is posting a myriad of short-story related posts daily in May: check out what would be on short story "mix tapes" by Dawn Raffel and John Fox, John McNally on why anyone writes short stories, Gabriel Welsch on George Saunders' sublime Civilwarland in Bad Decline and Jonathan Baumbach on "fictions, short and long, that redefine possibilities".

This is just the tip of the short story iceberg, there is so much more that I am exhausted just thinking about it - visit the Emerging Writers Network and raise a glass for Short Story Month.!

Thursday, May 07, 2009

Wigleaf Top 50 and Upcoming Deadlines

I woke up this morning, back in Israel, with a heavy cold, and, inspired by a friend, said to the Universe: "Surprise and delight me!". And, what do you know? It did. I was utterly bowled over to discover that my flash story, Come Back Tomorrow, originally published in Dogzplot, has been selected by Darlin' Neal for Wigleaf's Top 50 Very Short Fictions of 2009 (stories under 1000 words published in 2008 in US-based journals are eligible).

I remember looking at their first Top 50 last year with great envy! What a nice thing to happen of a morning. I am in amazing company in the Top 50, and in the long shortlist of 200 from which the 50 was picked, including Sarah Hilary and Aimee Bender! This is not just an honour but these lists are a wonderful resource for flash writers, providing a wealth of literary journals to read and submit to. Do go and have a look.

On that note, here are some upcoming deadlines - always worth getting your entry in early (which I never manage to do but always aspire to!):

Only 4 more days! May 11th: Commonwealth Short Short Story competition: Commonwealth citizens only. No entry fee, up to 3 entries, 600 words. Prize is £2000 for the overall winner, and £500 each for regional winners. I can personally recommend this competition (!). Free entry, online!!

June 15th: BBC National Short Story Award 2009: UK citizens or residents only. Judged this year by singer-songwriter Will Young (!!), broadcaster and journalist Tom Sutcliffe (chair), author Dame Margaret Drabble, Orange Prize winner Helen Dunmore and BBC Radio 4’s Editor Di Speirs. No entry fee, 8000 words, must have publishing track record. Prize is £15000 for the overall winner, and £3000 for the runner up, £500 for three further shortlisted stories. Free entry, but postal only

June 30th: Bridport Prize: Judged this year by Ali Smith (Fiction) and Jackie Kay (Poetry). Entry fee £7 per story, £6 per poem as many as you want to enter, maximum 5000 words (no minimum), poetry 42 lines max. Prize is £5000 for the overall winner of either category, £1000 for 2nd place, £500 for third. Online or postal entry.

July 31st: Sean O'Faolain Short Story Prize: Judged this year by Philip Ó Ceallaigh. Entry fee €15, up to 3000 words. Prize is €1,500 for the overall winner, €500 each for the runner-up and €100 for four shortlisted stories. Online or postal entry.

August 9th: Happenstance Short Story Competition: Judged this year by Janice Galloway (Read Sara's review of her book here.). Entry fee £5 (£6 online entry), up to 2500 words. First prize: £150, Second prize: £75, Third prize: £50. Online or postal entry.

August 31st: Juked 2009 Fiction and Poetry Prizes: Judged this year by Dan Chaon (Fiction) and Dora Malech (Poetry). Entry fee $5 per story or oer 5 poems, no length requirement for fiction, ten pages max for poetry. First prize: $500. Online or postal entry.

Some paying lit mag submission deadlines:

May 31st: Going Down Swinging: Poetry, short fiction or non-fiction, flash, comic art, graphic art. GDS pays contributors AUS $75 per short poem / comic or graphic art; $100 per short story / poem / comic over 4 pages. These fees are subject to funding, and may change without notice.

August 15th:
Etchings: Theme: Love and Other Things. Fiction, personal & creative essays, poetry, art, and photography for issues 7 and 8. Payment AU$75.


Also: a new blog post on The Short Review blog about the recently-announced Edge Hill Prize for the Short Story shortlist and how it compares to last year.

Wednesday, May 06, 2009

Interview & Book Giveaway at How Publishing Really Works

As some eagle-eyed readers of this blog may have spotted, I am to be found this week discussing how my book came to be published and what happened next over at Jane Smith's excellent How Publishing Really Works blog. I have tried to give as honest an account as I could of the process to date. This is the second, I believe, in Jane's Trios series, where an author, a publisher and a bookseller discuss a book from their particular aspect. Jen Hamilton-Emery from Salt and Sara Crowley, short story champion at Waterstone's will be interviewed there shortly.

And... for all those of you who don't yet have it, I will be giving away a copy of The White Road and Other Stories to one lucky blog reader...What are you waiting for??

Tuesday, May 05, 2009

Of agents and other delights

Coming to the end of my very short trip to the UK, here is a quick round up and what I hope is interesting information from my experience of meeting two literary agents.

First, two of my flash stories were shortlisted for the FISH One Page short story competition, but alas once more it was not to be! Congratulations to the winners.

Second, it was my grandmother's 100th birthday yesterday (this is a pic of me and her a few years ago), and the party held in her nursing home, complete with cupcakes with her name on (!), felt like a truly historic event. There was the card from the Queen (no telegrams any more), and many family members, some I had never met. And my grandmother, Zara, beaming from her wheelchair. And this is book-related: My aunt and uncle had made Zara's dream come true by producing a beautiful, hardback book with extracts from the memoirs she has been working on almost as long as I've known her, complete with photos. Totally wonderful, I look forward to getting my copy - and was astonished to be summoned by some cousins and shown a photograph of my grandmother in 1927 which really did look like me. Genes, eh! When I get the book in digital format, I may post the photo here and see what you think. I don't really look strongly like either of my parents, so this was something quite lovely.

Agents. OK. Buoyed by the Orange Award commendation, which gave me the feeling that the world was open to me in a way that it hadn't been before, I had set up two meetings in London with agents who had been personally recommended to me. I was excited yet unsure: how would the meeting go? Who would speak first? What would I say? I realised I do have something for an agent to sell right now: the foreign rights to The White Road & Other Stories. But I have only small pieces of future projects, and I feel that some of what I am writing now is very different from the stories in my collection. How would it all work? I really feel the need now for someone to be waiting for me to produce something. My journalistic training means I thrive on deadlines, and I have had no deadlines for the past few years, no-one waiting for me to do anything. But how long would an agent wait?

So, the first meeting on Friday afternoon took place in a cafe near the agent's office, at her suggestion. She was lovely, very friendly, and when she immediately said she loved flash fiction, I was delighted! We talked about short stories, about my writing etc.., about ideas for future projects. But she had to go after less than an hour and as I walked back to the station I realised that I had been left with more questions than answers, quite possibly because I hadn't known what to ask. I also was unsure how it was left between us, a bit like a first date after which you wonder if they'll call you!

I was much better prepared for today's meeting with Agent 2, having made a list of questions. We met in her agency's offices, beautiful and book-filled, which created a great first impression. And although we met for the same amount of time as my first meeting, I felt that all my questions were answered and I got a very clear and good impression of what she and her agency do and could do for me, and what she would like from me in order to see if we could work together. (She gave me two short story collections to take home, which I won't name since that would give it all away, but which is always a way to my heart!) Bumping into a rather well-known author in the reception also made a great impression :) I would suggest that if possible, you always meet an agent at the office, just to get a sense of the atmosphere. And - do write a list of questions! I didn't do that for the first meeting, and that was a mistake.

So, we will see. If one of these agents really likes what I am working on now, then we could move ahead and I will have someone nudging me and spurring me on! Flying home tomorrow, back to work, back to writing and thinking. Will keep you updated.

Wednesday, April 29, 2009

Kazuo Ishiguro does short stories

Well, he sort of does short stories. His new book, Nocturnes, is a collection of five such "things". Ishiguru doesn't seem wholeheartedly comfortable with the idea that he has actually written a short story collection! He said to the Guardian's Decca Aitkinhead on Monday:

"Well I'm not quite sure what you're supposed to call it," he admits. "I've been resisting calling it a collection of short stories because sometimes novelists do publish collections of short stories, and they're basically a rag bag of stories they've had sitting around for the last 30 years. Whereas this book I actually sat down and wrote from start to finish.

Yes, true, from the author interviews on the Short Review, only a few authors seem to have done it this way, having a collection in mind and writing it.
"I don't know what proper short story writers would think of this, but I've gone about this in the way a novelist would. I don't claim to be a short story writer, and I have no idea if I'm doing it properly; I'm just writing this almost like a novelist. It sounds very pretentious, but you know some music forms, like sonatas, you get five what seem like totally separate pieces of music but they go together."
I have added the Bold - proper short story writers? I found this fascinating. He's written five short stories, yet still doesn't claim to be a short story writer. He seems to see himself as a novelist stumbling into foreign territory. But surely, the definition of a short story writer is just... someone who writes short stories. Or is it not? Aitkenhead tries to clarify:

So it definitely isn't a novel? "No, it isn't a novel. I didn't want the stories to interweave as they would in a novel. So yes, they're short stories. But I've always said I don't want them published separately, I don't want them split up. I think that's a bit unreasonable of me because they would probably work alone, but I personally always thought of them as a single book. It's just a fictional book that happens to be divided into these five movements." He pauses for a moment to reconsider, and smiles apologetically. "I don't like these musical analogies, because it sounds wildly pretentious. Maybe it's better to say it's more like an album, and you don't sometimes want a track released as a single."

Food for thought - when is a set of short stories not a short story collection? Is Elizabeth Strout's Olive Kittredge, recent winner of the Pullitzer for Fiction, a short story collection or a novel-in-stories, and what exactly is a novel-in-stories but a short story collection?

For me, the criteria is this: could you read just one and be satisfied, not have that bemused feeling when you turn the page and discover the story has ended? Does each story stand alone? Of course, this throws up the next dilemma: if they don't stand alone then are they, actually, chapters? Perhaps not the orthodox definition of chapters, but I for one, as I struggle with the idea of a Longer Thing that seems not to be a traditional novel yet is not a short story collection, like the idea of the semi-stand-alone-chapter-entity. A catchier name is needed, yes, but perhaps there should be a new definition. Not to divide; just to clarify. So that Ishiguru doesn't have to explain and defend.

In the meantime, I say we claim him. When asked about the short story market, he told Aitkenhead:
"Well it's certainly a much smaller market, there's no doubt about it. I did ask people beforehand - because I was curious, I wanted to know, in a slightly mercenary way. I said what is the short story market compared to the novel market? And in America I was told it's between a third to a half of what I would sell as a novelist. Here in this country more like a quarter." And that didn't put him off? "Well no, because I've always wanted to have a short story collection."
"I've always wanted to have a short story collection". Well said, Mr Ishiguru. Now you do. Read the full interview.

Saturday, April 25, 2009

Nothing to do with writing... or maybe it does

OK, this hasn't got much to do with the writing life - but I just watched Say Anything, that superb John Cusack film from 1989, and well the years have not diminished its greatness. What I noticed this time around was that while in some ways it's the traditional guy-meets-girl-loses-girl-gets-girl, there is something non-traditional and very real about it that makes it so watchable. The dialogue is fantastic, nothing happens quite in the way you think it will. This is apart from JC himself, of course. Or entirely because of him. Yes, this is just me trying to justify watching a John Cusack film on faux-writerly grounds! I'll stop now.

Back to the writing life, I am delighted to report that after many, many rejections I have finally succeeded in gaining acceptance into Elimae, a wonderful ELectronic LIterary MAgazine (hence the name). My very short piece, which editor Coop Renner called "almost a poem" will be in the May issue. I seem to be writing quite a lot of "almost poems", and enjoying the process. It doesn't matter what's it's called, what shelf it fits on, does it?

My psychologically-helpful Progress Bar to the right is rather static, but that's ok too. No rush. Quantity is not my driving force. I'm enjoying myself. Have a great rest of your weekend.

Tuesday, April 21, 2009

The Short Review April 2009

A short interlude from the existential identity discussions - and back to short stories! I have just posted/published/made my eyes screwy to upload April 2009 Issue of The Short Review. Here is a little about what we have this month:

In Memoriam: The Short Review is deeply saddened by the death of J G Ballard, the author of 22 short story collections and 19 novels. For a taste of Ballardian wonders, read our review of the The Complete Short Stories.





Congratulations!
To Elizabeth Strout, winner of this year's Pullitzer Prize for Fiction for Olive Kittredge, a collection of interlinked short stories.

We bring you reviews of ten more this month, from Babylon to big worlds, creatures of the earth, eclipses and unlucky lucky days which are nothing like an ocean, to last night, where our story begins, with a little Javanese and some gay romance.


And, of course, as many author interviews as we can muster - Mary Miller, Jim Tomlinson, Alix Ohlin, Daniel Grandbois, Kiril Bozhinov and Andre Mangeot, ! Happy reading

Sunday, April 19, 2009

Immigrant Writer's Identity Crisis

I went to see the film Defiance last night, which is excellent, I found it very moving. I find most Holocaust-themed works moving, very personal. It's most definitely worth seeing. But before that I sat in the cinema's cafe, having something to eat, and was struck by a kind of revelation which is both quite upsetting and also makes so much sense. I will try and describe it:

I emigrated to Israel from England in 1994. I was 24, had just finished university (including two graduate degrees). I wasn't someone who had grown up in a Jewish family that was very attached to Israel; we were secular, not that interested. But I came here during the summer of 1993 and knew when I touched down that I wanted to move here. It felt like a kind of calling, a gut feeling.

Why? I couldn't have told you at the time, couldn't have explained it. But looking back, I was searching for something, a sense of community, a belonging that I didn't feel in London. And I found it here. For years I was thrilled every morning waking up in Jerusalem. I learned the language quickly, I found work as a science and technology journalist, and I loved my job. I went around the country and interviewed entrepreneurs who had set up little technology start-ups, amazing technologies, excited interviewees who were delighted to speak to me. It was fun! And I was good at it, I loved being freelance, I learned how to make contacts, to get my articles in magazines around the world.

But. But. After a few years that little nagging voice in my head: what about short stories? what about fiction? And slowly I started getting back to it, including a nine-month stint in England to do an MA in Creative Writing which turned me from wannabe writer into pretty-serious-about-this writer. For a long time I tried to do both: journalism and short stories. But then, a week-long Arvon short story course in England with one of my favourite writers, and she says what you always hope an idol will say: You can do this. You're a writer. Give up journalism and do this full time.

Scary. I was terrified. Stepping off into the abyss. It took a year, and then I did it. A few months later (very very quickly!) Salt offered to publish The White Road and Other Stories, and things have never been the same since.

What I realised yesterday was that when I stopped being a journalist, I started withdrawing from the society around me. There was no more reason professionally for me to be "out there", no-one to meet in order to write fiction. It is just me, in my little room. And as I withdrew from society, as this major shift occurred, my "absorption", the word Israelis use for the process a new immigrant goes through, has been slowly reversing. Until the point where I am sitting in a cafe, 15 years later, and I am unsure of my Hebrew. I was fluent. I was totally happy in the language. I felt Israeli. Now I sit here, surrounded by Hebrew-speakers and I feel different. I feel other. I don't feel like I fit in anymore.

I feel like I have re-Britishized myself. After years of trying desperately to be as Israeli as I could - I'm English again. All that effort: gone. And this is a condition particular to someone in a situation like mine: writing in English in a non-English speaking country, without a community of fellow English-speaking authors around me. Hence: immigrant writer's identity crisis.

No wonder I have been anxious. When they say "crisis", it really can be a crisis. Realising what was happening makes me terribly sad. I so wanted to be here, to be part of this society. But something stronger was at work. And I can't write in Hebrew. That's not who I am.

I don't believe that this is the writer's lot wherever she or he is. If I was in an English-speaking country, I would be "out" as a writer as well as "in". I would be out at readings, out teaching fiction, out meeting other writers, others doing what I do.

How ironic that coming here in a search for community has led me, 15 years later, almost right back to where I started, culturally-speaking. I am certainly not going backwards, I am in an entirely different place personally, professionally, in all respects. But I feel as though I have passed through something and have come out the other end and I am not where I expected to be.

Wednesday, April 15, 2009

Reviews: Don't take them for granted

For an author, getting reviewed is not something to be taken for granted. Perhaps if you are published by a big-name publisher and have a great agent - but even then, review space is tight. If you write short stories, if you're published by a small press, unless you do the legwork you may not be reviewed at all, one of the reasons I set up The Short Review. So I am always thrilled when someone chooses to review my book, as Matt Bell and Sally Zigmond have done in the past two weeks. I know how much time it takes to read a book, think about it and then formulate your thoughts into something coherent, so the least I can do is give them a shout here.

What is also wonderful about reviews, as I am learning, is that everyone likes something different. For example, Matt Bell says:
"it's in the longer stories that Hershman's very fine gifts as a storyteller are most obvious. There are certainly exceptions to this observation--one of the strongest stories in the collection is the two-page "Exchange Rate," about a woman only a few pounds of flesh away from what she wants most--but too often the shorter pieces felt like they lacked the length to consistently rise about the admitted cleverness of their concepts."

Sally Zigmond, on the other hand, in a blog post entitled "A Series of Blinding Flashes," says:
"As I now read more novels than short stories, I had expected to prefer the longer stories in this collection to the flash fiction (as some reviewers have) but to me the longer ones were either too long or too short--not quite right for this Goldilocks. The flash fiction, on the other hand, I loved for its brevity, its inventiveness and its poetic quality."

Nothing could be greater for a short story writer, in my opinion, than reviewers who disagree. If everyone agreed that they liked some stories and others were, well... not enjoyable... then a writer might start trying to change what they write based on this, which is dangerous. If everyone finds something they respond to, and each responds to something different, this is exactly as it should be.

Of course, I musn't, as I have been cautioned, take reviews with more than a few pinches of salt. And the more there are, the easier that is to do. Also, the more I am immersed in current projects, the easier it is to simply appreciate the fact of being reviewed and be grateful. So thank you, Matt (whose own collection, How The Broken Lead the Blind, has just begun shipping) and Sally, both of whom regularly review books. We greatly appreciate what you do.

Monday, April 13, 2009

Making it longer

I've become pretty good at "short". Not just short stories, very very short stories. When I begin writing, because I have trained myself in flash, which means the process as well as the end product, I already have in mind that I will finish, will wrap up in this session. After 20 minutes, I will have a complete story in under 500 words.

This kind of writing trains you not to send out tendrils of plot in directions that you don't want to go in. It trains you to start closing in almost as you begin to open. There are few characters, there are no digressessions. This doesn't mean - as I wrote in my essay on flash writing for the Salt Guide to Writing the Short Story, which Vanessa Gebbie is editing and which is due for publication in August and should be fabulous - that a flash story has no depth, no plot, no description. Great flash somehow does manage to do all that in a tiny space. Just read Vestal Review, Elimae, Wigleaf, Pank magazine for excellent examples of how it's done.

But... something longer? I need to re-train myself. It's been two years or so since I've written a "full-length" short story, whatever that really means. I guess, over 2000 words. I'm out of the habit of creating those tendrils, of opening out instead of closing in. And I'd like to get that back. I'd like to be able to do that, because I miss the process of writing something longer - writing a section at a time, stopping, knowing not to push it, knowing that the next section will come when it is ready, in hours, days or weeks. Trusting that your character will tell you what happens next. Revising. Reworking. Thinking about structure.

After all the agent talk, I was inspired by a writing friend's comment (thank you, Joel!) to think about whether I might be able to go for 50,000 words instead of 500. I don't want to use the word "novel", because to me that implies something about one main arc of narrative, one large plot, and I don't right now have that kind of thing bubbling up in me. But a book-length work that is not separate stories? Some kind of set of pieces that connect, that overlap? Not stories that are forced to link, but something written as a non-traditional kind of longer work. Why not? I can still champion the short story even if I write long, right?

There is something I've been working on, a character I am intrigued by that I have been "following around", for the purposes, so I thought til a few days ago, of writing a screenplay. I can't write a screenplay from scratch, I don't plot. So I thought I'd get to know my character in a way I do know how to do, and find out what happens. But turns out that I rather like what is happening, the tone of the narrator that has turned up, the meanderings, and we are 2500 words in.... Now, the idea of a novel about my character is very very daunting. But somehow Joel's comment made me see how I can send out tendrils, expanding it story-wise without losing what I love about the short story: nothing unnecessary, no padding.

I started some of that wandering off the path this morning, and wrote 307 words. For me - that's a lot! To write 307 new words without finishing something. So, a while to go from 2800 to 50,000. But the door has been opened, the possibilities are there.

Friday, April 10, 2009

Coming back down to earth + some deadlines

I'm still floating, still grinning to myself, scaring the cats, still wondering what on earth this all means, how to integrate it into my life. I have asked some trusted advisers for their advice, regarding an agent for example. This makes me more attractive, right? (In publishing-speak only!). Even if I am that dreaded short-story-writer-no-not-planning-to-write-a-novel! But I would like to have an agent, someone interested in my writing, someone nudging me a little every now and then, someone who knows what the next steps might be. There is so much here that is a mystery to me. When I tell people I studied physics, they look at me with wonder, as if it is another planet whose language is known only to the select few. Well, I feel that way about the publishing industry: I don't know the culture, don't know the signs and symbols. A great agent is a translator, explaining what certain gestures mean, what the words and phrases stand for. I would be very happy to have that in my life. Will keep you updated.

Update: OK, that was quick, the universe works in scary ways: just got a message from my lovely publisher, Jen, that an "agent scout" has been in touch to ask for my book. Exciting! Something about "if she writes a novel...". Ah yes. No comment!

In the meantime, a few deadlines for you:

Comps

Extended to April 30th: Short FICTION Third Annual New Writer competition: Prize is £300 plus publication in Issue 3 of Short FICTION (due out September 2009). Writers without fiction book publication (of novel or short stories) are eligible. Entries must be of previously unpublished work (in magazine or online). Submitted stories must be under 5000 words. There is no theme restriction.

May 11th: Commonwealth Short Short Story competition: Commonwealth citizens only. No entry fee, up to 3 entries, 600 words. Prize is £2000 for the overall winner, and £500 each for regional winners. I can personally recommend this competition (!). Free entry!!

Some paying lit mag submission deadlines (coincidentally, both are Australian!):

April 15th:
Etchings: Theme: From Dusk til Dawn. Fiction, personal & creative essays, poetry, art, and photography for issues 7 and 8. Payment AU$75.

May 31st: Going Down Swinging: Poetry, short fiction or non-fiction, flash, comic art, graphic art. GDS pays contributors AUS $75 per short poem / comic or graphic art; $100 per short story / poem / comic over 4 pages. These fees are subject to funding, and may change without notice.


And thanks to Tom for this, in honour of National Poetry month. Love it.

Tuesday, April 07, 2009

Addendum Number 2

Now that I am not shaking anymore, just grinning so hard my jaw aches, I am happy to report that today's fab news seems to have had a direct impact on sales: my Amazon UK ranking, which had been plummeting steadily, jumped from 197,000 this morning to 10,150, number 77 in the Bestselling story collections list (that dastardly clock radio is off the charts, ha!). So, in conclusion, these awards do something. Something shifted. Very very nice, although nothing beats those judges' remarks. I am off to grin privately at my cats. It's bound to scare them.

I Was All Set to Write And Then...

I was feeling great this morning, woke up chirpy, checked email, switched on the fiction-only laptop (yeah, yeah) and was about to get some work done before 10am, which is rare for me. Then I got a Google alert for my name (everyone does those, right?). I click on the link. And it's this...

Orange Award For New Writers Announces 2009 Shortlist

No, I'm not on the shortlist (luckily, I think I would have had a heart attack), but...

She continues," We would also like to commend two other authors, Tania Hershman and CE Morgan, whose work stood out for its remarkable quality. We look forward to seeing more of their writing in the future."
And now my heart is beating wildly, I am trembling. And I can't write. Nope. Can't write right now. Not at all. I may have to go shopping instead. If I can breathe. Feeling a bit sick. Oops.

PS Yes, everything's backwards today, but massive congratulations to the shortlist! Are you all breathing right now?

Francesca Kay - An Equal Stillness (Weidenfeld & Nicolson)

Nami Mun - Miles From Nowhere (Virago)

Ann Weisgarber - The Personal History of Rachel DuPree (Macmillan New Writing)


Addendum
: Now I have had time to gather my thoughts, I see that I am the only short story writer among novelists here, and the only small-press-published author, so a lovely boost for short stories and small presses, yay!

Monday, April 06, 2009

Getting sent a book

How great is it when a friend gives you a copy of a book they love and want you to read? This morning I was delighted to receive Welding with Children by Tim Gautreaux, sent by my friend Lisa in the US. I had sent her a signed copy of The White Road & Other Stories, and instead of payment asked if she'd send me a book she loves. This is what she chose. I'd read the title story a few years ago in a short story workshop and been blown away. I am so thrilled to have the book! I get sent review copies all the time, I occasionally buy short story collections myself, but to have a recommendation turn up in my mailbox is the ultimate pleasure.

I will savour it - I have a lot of reading time on my hands now, J has just gone away and I'll be alone for the better (or worse) part of two months. I am open to any other amusements... Of course, I could just get down to some serious writing (should writing be that serious)? There is always the fantasy that if I could be with my characters without mental interruption 24/7, I'd write the magum opus. Right now I am writing poetry, very very short poems, or what I think might be poems. The opposite of quantity. We will see what happens as the time ticks by.

Saturday, April 04, 2009

JD Salinger shows us how to do it

From the Guardian:

JD Salinger still isn't talking. The famously reclusive author wasn't persuaded to break his silence by a reporter from the Spectator, who made it as far as Salinger's doorstep in Cornish, New Hampshire before being turned away.

The journalist, Tom Leonard, said he heard the author shout "something that sounds like 'Oh, no!'" when told by his wife who was ringing his doorbell, and then saw "a tall but stooped figure in a blue tanktop" sidle "crab-like" out of his kitchen without meeting his eyes. It's hardly surprising: Salinger withdrew from public life in the 1950s, overwhelmed by the success of The Catcher in the Rye, and hasn't spoken to the media since, apart from a brief conversation with a New York Times reporter in 1974 when he said there was "a marvellous peace in not publishing ... I'm known as a strange, aloof kind of man. But all I'm trying to do is protect myself and my work."

No new fiction has appeared from Salinger since the novella Hapworth 16, 1924 was published in 1965; although he is thought to have stacks of manuscripts in his New Hampshire home, his published works amount to short stories, including the 1961 novella Franny and Zooey, and 1953's Nine Stories as well as his single iconic novel. "I like to write. I love to write. But I write just for myself and my own pleasure," he said in 1974.

(The rest of the article is here.)

This is taking to the extreme the feeling that I have had and I know others have too: that when you have a book, even though one that is nothing like as successful as Catcher in the Rye, nowhere near, you are suddenly exposed to the public in a way that I hadn't imagined and hadn't desired. And that can cause problems.

I am glad to say that I seem to have cured the anxiety and agoraphobia that have been making my life pretty difficult for the past few months, using a technique called EFT. I was getting quite desperate, I tried it, and there was an instant shift. Two days later, and it seems to have stayed. I don't know how it worked, why it worked, but it did. The world, which has been in black-and-white, or mostly grey, since December, is now in full technicolour. I feel blessed. I know that soon I'll be taking it for granted, but right now I am basking in the joy of spring!

Thursday, April 02, 2009

Questions of Space and Time: Sue Guiney talks about Tangled Roots

I love physics. You say "physics" to me and I get a thrill. It's not that I want to do physics - I tried that, it didn't work. But I think the endeavour of physicists is magical, they are asking the biggest "What if...?" questions in the universe, of the universe: "What if 90% of the universe was made of stuff we can't see?" (dark matter). "What if fundamentally we are all made of tiny vibrating strings?" (string theory). Physicists are creative, imaginative, seeing the world in ways no-one else has seen it before, and dreaming up experiments to test their theories. Thrilling!

So when I heard that someone called Sue Guiney was writing a novel with a main character who was a physicist (and who might just resemble John Cusack), I couldn't wait to read it. Novels I'd read with scientists in the title role had generally been written by scientists, who are not necessarily writers. Let's leave it at that. The ultimate book of "science-inspired fiction" for me is Einstein's Dreams, by Alan Lightman, who is a scientist, a collection of beautiful and moving fictions imagining what Einstein might have dreamed about while coming up with his theory of relativity.

Sue Guiney, an American poet, playwright and novelist living in London now for almost twenty years, has done what I've been waiting for , combining science and fiction, integrate physics into her writing smoothly and effortless, so that it is a part of the plot and not a "gimmick" in any way.

John, the 40-something single physicist, tells half the story, alternating with his late mother, Grace. The two stories, the two people, are entangled in a similar way to the idea of "quantum entanglement", which, very simplistically, says that a pair of particles are split apart are still related, can still have an effect on each other over a distance. And, in John and Grace's case, over time as well as space. Tangled Roots (published by Bluechrome and now out in paperback) is a very fitting title. This wonderful book, which reveals more layers with each reading, deals with so many themes and topics: parenthood, childhood, tragedy, disappointment, depression, infidelity, the question of happiness, and the nature of reality itself.

I'm delighted to be the Middle East stop on Sue's Space-Time Virtual Book Tour. Welcome, Sue!
Here is my first question: John is a wonderful and well-rounded character, a physicist and a man. You step into his shoes and into his head, showing us how physics informs his view of the world as well as his work. How did you, a non-scientist, do this?

To be honest, I haven’t spent a great deal of time around scientists, but I’ve always had a vague notion of what it might be like to have a mind filled with numbers rather than words. The first step in my research was (very luckily) to be able to take out to dinner a rather remarkable, insightful, brilliant and maverick young physicist called Joao Magueijo, who wrote a booked called “Faster than the Speed of Light.” He allowed me to probe into his world for several hours which was incredibly helpful. But after that, and after reading and re-reading a great deal of “physics for laymen” texts by people like Brian Greene, Richard Feynman and Stephen Hawking, my imagination was able to take over and the personality of John became more and more real to me. But that’s one of the wonders of doing this sort of writing, isn’t it? These moments of insight, of “metaphorical clarity”, just happen, somehow coalescing from the myriad of images, thoughts, ideas that jumble around in your head. It’s the magic of it, really, I think!

I have read Faster Than the Speed of Light, in which Magueijo discusses his pretty controversial theory and is not too polite about academia. Did you pick him because he was quite controversial? Is he (as well as John Cusack!) a model for John? And what did you learn about the way a physicist thinks, the way they see the world, from talking to Joao?

In a word, yes— I did pick him because he was controversial and because I had an inkling he might be open-minded enough to talk honestly to an unknown novelist about his work and his world (and also because he lives in London!). But I don’t think the character of John is based on Joao. I don’t know Joao nearly well enough to make such a presumption. But he was able to tell me everything from the most banal facts about how many students he teaches, how long are his lectures, what are these professional conferences like, to the more interesting ideas such as what it is like to see the world via numbers rather than words, what are some of the problems with string theory as it stands and what are some important areas of future research, the importance of computers in his work, a scientist’s approach to questions of religion and spirituality. How does a scientist react to ideas that can not be proven? What does “proof” mean anyway? Plus, he led me to further reading, and filled me in on what research is happening Russia, the Lebdev Institue, Moscow University etc and so helped me plot out my research trip to Moscow. He then was also kind enough to flip through a draft to see whether any of the science was terribly off. Once he saw that the science was used mainly metaphorically, he said he got the picture and thought it would be fine. So, his help was really invaluable.

That is so interesting! You are obviously a person who soaks up new knowledge, curious about the world, as are so many writers. It must have been fascinating to look at the world through both your characters' eyes, a man and a woman, a single physicist and a woman dealing with motherhood and marital issues. I feel I learn from my characters whenever I write a story, that I certainly don't "write what I know". What did you learn from your characters?

Now this is a hard one, not because I didn’t (or don’t) learn, but because I don’t know where to start. By inhabiting the mind of a scientist, I learned about a new world. I grew to recognize the beauty of numbers and see that mathematics is actually just another language — and I have always been a bit math phobic. Also, as a mother, I would have ordinarily found it difficult to understand how a mother can emotionally detach herself from her children. But Grace opened my eyes to the origins and consequences of depression and to the way that love can be expressed and experienced in many different and surprising ways.

If you could ask someone who has read your book one question, what would it be? And if you had the chance to ask an author whose book you loved one question, what would that be?

Again, terrific though difficult! From the reader, I suppose I might want to know which specific event described was the most moving. On an emotional level, there are certain chapters that were especially difficult for me to write, but these may not be what readers felt moved by. I’d be interested to know how a reader reacts to the most intensely emotionally or psychologically difficult episodes, but I suspect each reader may have his/her own specific answer. And I suppose that’s a good thing! And for the author: I’d love to go back to Victorian times and have a good old chin wag with Anthony Trollope. I have loved his books — especially the Barchester ones — he has a way of inhabiting the voices of his characters while still retaining his own avuncular narrative tone. I believe every word his narrator says. As someone who finds herself, even against her own wishes, continually writing in 1st person, I’d love to know how he does that. Not to mention, how he found the energy to work such a time-consuming job and write something like 47 novels!

And now, I’d love to have you take me to your favourite Jerusalem tea shop, maybe for a bit of halvah as well, or even.....a rum baba. I’ve been thinking about those since I had them when I was 18 in Natanya. I’ve never found anything like it anywhere else!

Sue and I are off for a slice of halvah and a cup of mint tea. Feel free to ask questions and we'll pop back later to check in. Visit Sue's blog to find out more about the Space-Time virtual book tour. For more about science-inspired fiction, visit the Fiction and Science page of my website.


Wednesday, April 01, 2009

Source of Lit & National Poetry Month

One of the things that helps me when I am feeling anxious*, as I seem to be a lot these days, is reading. Reading fiction, or non-fiction, immersing myself in someone else's world. And the effect lasts after I stop reading, it is most definitely a calmative, so I thought I would bring you a couple of things I have been enjoying reading lately.

National Poetry Month begins today in the US and I've been thinking a lot about poetry lately - reading it and writing it so I'll start with some of that:

A Brief History of Time
is Shaindel Beers' new collection (published by Salt), and this woman is a poet after my own heart, combining science with the human condition in original, surprising, wryly amusing and exquisitely painful ways. From the title poem:
I’m sure it’s an electrical impulse that travels
our most twisted neurons, axons, and dendrites — or
why would we fall into the trap of doing the same thing
the same way and expect different results, which is
one definition of insanity ? This would explain why my father is
still married to my mother, even after she tried to knife him
just days after coming home from jail
for two other attempted murders.
Shaindel is currently doing a virtual book tour, On the Hood of a Cutlass. The interviews are fascinating, illuminating. Check it out.

Ink, sweat and years is the online poetryand prose journal Ink, Sweat and Tears' first annual print anthology and I am delighted to be included with my first ever poem. Apart from that, it's a wonderful read, with excellent contributions from my writer colleagues Frances Gapper, Sarah Hilary, Alex Keegan and Nuala Ní Chonchúir.

Alex Irvine's story, The Truth About Ninjas, in Barrelhouse's latest issue, issue 7, with its eye-catching red and black cover, just blew me away - both utterly mad and completely sane, a philosophical treatise. With ninjas. Brilliant!

Pank magazine's annual print edition, Pank No.3, looks so gorgeous, it's a little hard not to be dazzled, but the writing is just as dazzling. A combination of poetry and prose, it includes such gems as Ten Things I've Told People About Daschunds Sure They Cared, by Cristin O'Keefe Aptowicz and Because Magicicadas Have No Eyes by Rosanne Griffiths. I have only just started reading it, am restraining myself so I can savour it slowly.

Thirty Years of Prosperity for Every Fifteen Years of Hard Work by Matthew Derby was published in Columbia: A Journal of Literature and Art, Issue 45, which arrived in my mailbox a few weeks ago, along with issue 46, a bonus for entering (and definitely not winning) their short story contest! I had never read the Columbia journal before, but when I saw that the contest was being judged by Diane Williams, whose collection, Excitability, I am reading and loving its experimental and often surreal prose, I knew this mag was for me. Matthew's story bore that out, both odd and poignant, or perhaps oddly poignant. Once again, am trying to read these slowly... so much to read, so little time.

I have been dipping my toes into the waters of science fiction and fantasy with a subscription to Interzone, the UK's SF&F magazine, and have found a lot to love in the issues I've received so far. A story that stands out from the April 2009 issue is A Clown Escapes from Circus Town by Will McIntosh, which once again challenged my shameful preconceptions about what SF&F is. Moving, surprisng, and highly imaginative. This is just great writing, no matter what genre shelf it is shoved onto.

On the non-fiction front, Slightly Foxed arrived this week, what an interesting journal. It is comprised of articles which are sort of book reviews, but are actually much more than that. Slightly Foxed is, in their own words: "a rather unusual kind of book review, informal and independent-minded, and its readers tend to be independent-minded too –people who don’t want to read only what the big publishers are hyping and the newspapers are reviewing. Each issue contains 96 pages of personal recommendations for books of lasting interest, old and new, both fiction and non-fiction – books that have inspired, amused, and sometimes even changed the lives of the people who write about them." I am really enjoying it.

And finally - tomorrow I have the honour of hosting Sue Guiney's Space-Time Virtual Book Tour to celebrate the paperback release of her excellent novel Tangled Roots, which gets better every time I read it. We will be talking physics, physicists, fiction and what we can learn from the characters we create. Prepare your questions please, and come back same time tomorrow. Thank you.




*If you are a writer and anxiety is something you are familiar with, there is a new private Facebook group for people like us to discuss it. Message me through FB for more info.