Wednesday 6 November 2024

Apocalypse and Labyrinth by Paul May

The 2023 Carnegie winner was The Blue Book of Nebo by Manon Steffan Ros. This novel was originally written in Welsh and then 'adapted from the Welsh' by its author. When it won the Carnegie I saw it described as the first 'novel in translation' to have won the award, but that's not really accurate because, when she came to create an English language version of her story, Manon Steffan Ros found herself compelled to change important parts of the book. In an interview with Gary Raymond for Wales Art Review she describes why she had to do this. 




In the original, a mother and her son are isolated survivors in a post-apocalyptic world. Each of them records their thoughts on the blank pages of a book they find in an abandoned house, a book Dylan calls The Blue Book of Nebo. In the book Dylan, the son, records what he remembers of their life together since 'The End' and his mother, Rowenna, talks about the time before 'The End' and about her own experience since. They agree not to read each other's accounts.

Through these accounts we gradually piece together what has happened, how the bombs fell and how these two, and Rowenna's baby daughter Mona have survived, and in Mona's case how she came to be at all. I really wish I could read a direct translation from the Welsh, or indeed that I could read Welsh, and I'm a bit puzzled by the need for such radical changes, because if a different person had translated the work this wouldn't have happened. It's certainly a curious thing, but it's clearly the case that The Blue Book of Nebo, 'adapted from the Welsh' is not the same book as Llyfr Glas Nebo.

This is not a translation, then, and it's also not, as it has often been called, a dystopian novel. Post-apocalyptic, yes, but Rowenna and Dylan learn how to survive in their isolation. Dystopia implies a malfunctioning or unjust society, but here there is no society to be dystopian, just these two people and the baby Mona. It's a novel about survival and growth, about the things we really need and the things we can do without, and in this English version very much a book about language and identity. Here's Manon Steffan Ros:

 'I felt, okay, naturally, these characters would be writing in Welsh, they will be communicating in Welsh. But now they're not I need to come up with the reason they're writing in English. And that sort of became a theme that they're doing that because if anyone was to find it down the line this testimony will be more useful to people who would understand it if it was written in English. And why was that? Taking that theme of finding the Welsh language and trying to make these characters own their own mother tongue, that's a completely different theme in the English translation that simply isn't there in the original.'

That wide-ranging and very interesting interview is here. Remarkably Ros says she feels more free when writing for Young Adults than she does when writing adult fiction, which is in complete contrast to the things I've seen both Elizabeth Acevedo and Jason Reynolds say, both of them suggesting they were more careful of their younger readers. For a much more in-depth review of this book I refer you to Berlie Doherty's website.


And so to the most recent Carnegie winner, The Boy Lost in the Maze by Joseph Coelho. Way back in 1967 Alan Garner won the Carnegie with The Owl Service, a book in which a series of events from a story in The Mabinogion is lived out by successive generations in a remote Welsh valley. The Mabinogion makes its appearance in The Blue Book of Nebo, too, and Alan Garner felt the need to learn Welsh in order to write The Owl Service, but that's not why I mention him here. I think Joseph Coelho is probably the first winner since Garner to use myth in this way to structure and amplify a modern-day story, though Coelho's technique is very different from Garner's. As time went by Garner buried the mythic basis of his stories ever deeper, so that it would take a very switched-on reader indeed to  notice that the story of Tam Lin is the basis to Red Shift, the novel that eventually followed The Owl Service. 

In The Boy Lost in the Maze we have a modern-day teenager searching for his absent father through the mazes of the Internet and the streets of London, while at the same time creating a series of poems for a school project exploring the story of Theseus and the Minotaur. So the book is about how Theo relates to the myth, how the myth acts as a metaphor for his own search and how it helps him to understand himself.

I remember reading how, on being asked to illustrate The God Beneath the Sea, the 1970 Carnegie winner, Charles Keeping, was initially reluctant because he found the myths 'completely disgusting at first. Completely devoid of any love. This is all lust, rape, revenge and violence . . .' Keeping came around to the idea that there were some 'basic human passions' he could work with, and the illustrations he came up with were truly terrifying, but I've always felt the same way as he did about those Greek myths.

But Joseph Coelho changes the story of Theseus. Instead of simply slaying the bandits who are in his way Theseus, as Coelho says in his afterword, 'goes on a journey and changes and is changed by it. The bandits are not just targets to be mown down, they are flawed humans with their own histories and their own labyrinths to weave.'

There are other changes, too, that address that deficit which Keeping observed in the myths—the lack of love. But even so this novel is fairly dark in tone. Theo has a hard time, and though he is persistent in his search for his father and he is a terrific and totally believable character, I never quite felt for him the same buzz I felt with Elizabeth Acevedo's poet, Xiomara. Also, I found that I did need to refer to Robert Graves's The Greek Myths a few times, just to keep track of what was going on.

 Carnegie winners with mythic structure are rare, but Carnegie winning novels written in verse seem to be becoming common. This is the third verse novel in recent years to win the Carnegie and I've enjoyed all of them. 

I notice that the covers of these two most recent winners are very quiet. I was in Foyles bookshop the other day and I felt I needed dark glasses on when I walked into the children's book section. On the display tables every book cover seemed to be a dazzling confusion of primary colours. I couldn't help wondering, looking at these two latest Carnegie winners, whether their downbeat, low-key covers are meant to mark them out as 'serious' fiction for young people. 

And that's it. I've read them all now. Have I learnt anything? Well, maybe. I’ll let you know next time.



Sunday 3 November 2024

Animation Day by Sharon Tregenza

 


I did a day's course on animation for writers today. Of course in such a short time we could only learn the absolute basics but I've been thinking about how it may have helped with my writing process generally. Here's what I came up with.


Visual storytelling:

It made me think about how scenes could come alive not only with dialogue but with movement too.


Marketing:

It's no secret that book trailers etc can help sell books and as a children's author, animation seems like the obvious choice to grab  attention in an interesting way.


Character Development:

It was also interesting to think about visual cues to character like body language, facial expressions and even colour.


Collaboration:

Most writers work alone so needing someone else to help with relevant software, placing and creating the end product was a useful experience.


Learning new skills:

Always a good thing to do something outside your comfort zone. I can't draw so this was a challenge but knowing that simplicity is often the key helped.




Conclusion:

It was a good experience. Stretching ideas and using a totally different format to create a micro story was thought provoking. It is a whole different way of looking at story and this was just a small taster of the potential. I may well take a online course to extend the tiny bit of knowledge I gained and, at the very least, it was fun. :)


www.sharontregenza.com

sharontregenza@gmail.com






Saturday 2 November 2024

Follow the Instructions? By Steve Way

 It occurred to me this week (probably it’s something you’ve realised for years) how odd, if not silly to have the phone number to call if you lose, or have stolen from you, on the back of the actual credit card.

“… Oh no, I’ve lost my card… or someone’s stolen it… I must call the emergency number… ah…”

Now, I know some of you will have wisely copied it down…

“… don’t worry, I’ve a copy of it in my notebook… which is at home … and we’re two days into a holiday abroad… ah…”

Of course, others of you will have an answer to that…

“… no need to panic, I put the number in my phone… (Sound of hands patting all available pockets*)… ah… it looks like my phone might have been stolen as well…”

And if all else fails…

“… we just need to find the number on the internet… er… can you get a signal here?”

It’s harsh to say but instructions are equally useless on a fire extinguisher and worse a defibrillator.

“Now then… so, you attach this electrode here… ok… ah, mustn’t forget to remove the protective cover apparently… then this one goes about here it seems… I think that’s about it… then…”

It’s brilliant that there are so many defibrillators everywhere but clearly you either know how to use them or you don’t. Even if the instructions are as simple as for constructing an IKEA wardrobe***, you’re surely not going to follow them calmly and precisely in an emergency situation, unless you’re clued up in what to do in such a serious situation are you? This is where we need some good old fashioned public information films. A lot of them. Please.

When it comes to extinguishers the pompiers here in France insist that you call them first before attempting to use an extinguisher as so many fires have got out of control due to people trying put them out themselves beforehand and no doubt meanwhile learning how an extinguisher works (or not) for the first time.

Just to finish with my favourite ever instruction. It makes me smile every time I think about it. Seeking to avoid any chance of litigation the manufacturers of a pushchair in the USA advised parents to, “Remove baby before folding.”

~~~~~

*Men will repeat this procedure several times over. We are optimists and sub-consciously believe in magic. Just watch us looking for a rarely used kitchen utensil in a row of drawers. We will look in the same drawer at least three times, still expecting the device that wasn’t there before to miraculously appear.**

**This behaviour persists because once in a blue moon this tactic actually works because we didn’t look properly the first time.

***I keep hearing about people who decide to put up IKEA furniture without following the instructions. Given that these instructions have been carefully prepared by experts and are so simple a trained ant could follow them, how stubborn do you need to be not to follow them? Also the success rate of those who try to do this appears to tend towards 0%.

~~~~~

“Hugh McPearson Ten of Spades Detective”

Despite not being competent enough to be an Ace Detective and, as it happens, an ostrich, Hugh somehow manages to solve numerous inconsequential but unusual cases.

Paperback  ISBN: 979-8860393295

Hardback ISBN: 979-8860663824

ASIN: B0CHBKJ475

Thursday 31 October 2024

NOVEMBER - and time with TOSH'S ISLAND by Linda Sargent. Review by Penny Dolan

November greetings! I hope last night’s spookiness didn’t get to you, that only celebration fireworks light up your skies, and that the many festivals of light bring you joy.

However, between 11- 15th November, comes a less cosy event - Anti-Bullying Week - so this post focuses on a recently published graphic novel whose imaginative storytelling can remind the young reader about subtler,quieter forms of bullying and the problem of being socially excluded or victimized through disability.

TOSH’S ISLAND, created by Linda Sargent and Joe Brady, has been described by Jacqueline Wilson as ‘a book to remember for years . . . truthful and moving.” Originally a serial in David Fickling’s The Phoenix comic, this unusual story is about hope and daydreams, disability and determination, and based on real life experience.

                                         Tosh's Island | Slings & Arrows

On the cover, the artist Leo Marcell shows Tosh as a young girl, happily daydreaming on a grassy hill, her mind on a magical island, a beautiful mermaid, and on a mysterious boy’s face. Marcell also shows that, despite her smile, Tosh needs the support of a stick, a wooden crutch. Like the author Linda Sargent, the main character Tosh suffers from painful childhood arthritis, known as Still’s disease.

During the early chapters, set in a recent past, Tosh and her parents lead a fairly happy life on a Kentish hop-farm, close to the sea. That countryside gives Tosh plenty of space to run, climb, and play, usually with her best friend Millie. However, one day, Tosh meets an artistic French boy on the beach at Oyster Flats. The two sit by the sea, and after making up adventures about a treasure island, mermaids and an underwater kingdom, they promise to write to each other.

But real life interrupts Tosh’s fantasy world. Having started secondary school, her constant tiredness and so-called ‘imaginary’ pains get much worse. She cannot keep up with her favourite school activities, or join in socially with a more ‘sophisticated’ friendship group. Nastily teased, isolated and in pain, Tosh turns away from everyone, even from sympathetic medical staff, knowing difficulties lie ahead. Can Tosh’s fantasies even help her now she is alone? How can she believe Millie, or trust in promises and friendship? What still matters to her now? Gradually, all the pieces come together for Tosh, and a mystery is resolved, though there is no complete answer.

Tosh’s Island would be an interesting addition to any school library, as well as being a strong addition to empathy reading bookshelves. While the speech-bubble script carries one layer of the story, Leo Marcell’s artwork tellingly shows the nuances within the scenes. We can ‘read’ the body language he gives to the various characters: the shrug, the glance, the reluctance or reaction, and feel both the words said and not said. Readers of any age are granted a chance to think not just Tosh’s life, but about other children with medical conditions who might feel excluded by the patterns and pressures of their own school’s life.

Though the story within Tosh’s Island is lightened and complicated by the heroine’s fantasy, the content feels very realistic when contrasted with older, famous novels about children and disability. Books like What Katie Did, Pollyanna and The Secret Garden seem to suggest that physical problems might be ‘corrected’ by the passing of time and even by better behaviour.

Impulsive Katy becomes thoughtful, Pollyanna tests the ‘Glad Game’ herself, and even rude, reclusive invalid Colin has to respond to the world outside. Though these titles were much loved, they now seem like rather cruel fairy stories for any young person coping with long-term illness or disability. Thank goodness there are better books, like Tosh’s Island, available now.

Linda Sargent, the author and originator of Tosh’s Island, is still someone who enjoys escaping into books and story. She studied economic history at the University of Sussex, worked in education, art and reminiscence, and gained a Masters in Creative Writing and Personal Development. She is also a publisher’s reader, disability adviser and a writer herself. 

 Linda has found inspiration in the work and attitude of another author, Rosemary Sutcliffe, who had Still’s disease, but whose strongly active historical novels for young adults, such as ‘The Eagle of The Ninth’, ‘Sword at Sunset’, ‘The Lantern Bearers’ and others were widely read in secondary schools.

One well-known children’s story, however, does echo through Tosh’s Island. The story is Hans Christian Andersen’s original tale, The Little Mermaid, which is used to emphasise the changes in Tosh’s condition and its treatment, and show how the heroine’s playful weightlessness in water becomes pain and disability  when on dry land. 

And while, in the original, the poor mermaid sadly surrenders her voice, in this unique graphic novel, aided by Josh Brady and artist Leo Marcell, the voice, story and imagination of Linda Sargent rings out very clearly indeed. 

                                                    Writers Review: Guest review by Linda Sargent: THE BURIED GIANT by ...

 

By Penny Dolan

@pennydolan1






































Tuesday 29 October 2024

Slump Time

Strange.

I've no desire to write fiction at the moment. I might tell myself I'm going to, but then the moment comes and all I end up doing is sitting staring at the screen. Or the pen and the paper.

But... I can sit down and bang out a mini-review of a book I've enjoyed without any problems at all. They're almost always first drafts and don't take much more than 15 minutes apiece. And I enjoy writing them.

So the writing drive hasn't vanished. It's the type of writing. I'm curious as to when the phase will pass.

I'll close by offering links to my three most recent endeavours.



https://thenickgarlickbookblog.blogspot.com/2024/10/melissa-and-rick.html





https://thenickgarlickbookblog.blogspot.com/2024/10/the-talisman.html

 

 

 https://thenickgarlickbookblog.blogspot.com/2024/10/small-mercies.html

Sunday 27 October 2024

Happy New Year! by Claire Fayers

The old Welsh tradition of Halloween, Nos Calan Gaeaf, marks the end of the harvest and the beginning of the new season of winter, so it seems appropriate (to me at least) to be beginning new things at this time of year.

I'm heavily involved in the Abergavenny Writers' Festival and ever since the last one, people have been asking me if there's a local writers' group they can join. Then a local restaurant advertised, saying they wanted to use their upstairs space for community groups and were particularly interested in author events.

I've been in writers' groups before, but I've never run one so I was hesitant because of the commitment and the potential for a lot of extra work. But what could be the worst that would happen? I find it's too much to manage and I stop doing it and maybe a few people are disappointed.

After a few chats with the events co-ordinator  at the restaurant, I set a date and created the all-important Facebook group.

Very soon, I received an email from someone who used to run a drop-in session for writers in the town. No commitment, turn up as and when you like for some writing and chat on a writing-related topic. It sounded ideal.

We've had two meetings so far, with around 15 people at each, and the Facebook group is currently at 36 people. We have a good mix of people from beginners to published authors writing across a whole range of genres. After the first meeting, where we set some ground rules, we decided to meet fortnightly, with most people aiming to come once a month. The first hour is for writing and I was assuming we'd just get on with whatever we were working on, but it turned out people wanted prompts so I've been looking up exercises and recycling some of the Folly Farm workshops.




From my experience so far, some tips:

Make sure the venue knows you're coming. Both weeks so far, the events person forgot to tell anyone we'd booked the space and so there was a bit of a scramble to get tables together. I talked the manager yesterday and we have our space confirmed from now on (I hope!)

Arrive early. In case there are any problems with the venue (see above), and in case anyone turns up early. It's nice to order and drink and settle in before the troops arrive in any case.

Make a plan and set expectations up front. That way, people can plan their evening, and it minimises the potential for one person to take over the whole group - something I'd been warned about.

Be flexible. We have a few people who sit with headphones on and just write. Others who want to chat. I suspect we'll  end up with one end of the table being for silent writers and the other for people who wants prompts, exercises and discussion.

Keep your expectations low. Not as in 'this will be terrible', but going in without any assumptions.

Be clear what you, personally, want. I decided before the first meeting that I wanted to use the time to try out new ideas and play, writing by hand. Maybe something I write will find its way into a book, but I'm there to have fun.

If anyone has run a group, how did it go? And if anyone has any tips for writing prompts and discussion topics, please do let me know.

Nos Calan Gaeaf hapus! / Happy Halloween.


www.clairefayers.com



Saturday 26 October 2024

Books - by Sue Purkiss

About a year ago, I started volunteering in the library at Wells Cathedral. This is no ordinary library. It dates from the fifteenth century, when, in 1424, Bishop Bubwith left money in his will for a library, to be built above the East Cloister. The library opened in 1458.

There were already books at the cathedral before this. Wells was what is called, rather oddly, a 'secular' cathedral: that is, it had no monastery or abbey attached, so there was no scriptorium where monks laboured to produce the exquisite illuminated volumes of which, I imagine, we are all aware. But there was a school, and there was a community of clerics, and they needed books to study. So the books came from elsewhere - they were not produced in the cathedral itself.


The west front of Wells Cathedral. My totally unbiased view is that it is one of the most beautiful cathedrals in the world.

These volumes were large, heavy, and valuable. They were kept safely locked away in wooden boxes - they were certainly not readily available to all. But by the fifteenth century, the collections of books - in cathedrals and in the two universities - had grown, and more space was needed both to store them and to study them. And so people saw the need for libraries.

As it was built above a cloister - a passageway on one side of a quadrangle - Bishop Bubwith's library is long and realatively narrow. About a third of it is devoted to books dating from 1800 on. The older books are looked tantalisingly away behind an iron gate: you can gaze, but you can't touch! (Though you can go on a special tour, when you can see these wonderful volumes at close hand. It's fascinating, and worth every penny.) You will see that the books on the shelves closest to you are chained to the shelves, which may remind many of you of the library at the Unseen University in Terry Pratchett's Discworld books - presided over by an orang-utan, and home to books so dangerous that they have to be chained. Libraries began to use shelves and bookcases as the numbers of books increased - which they did particularly with the invention of printing (in about 1455, by Gutenberg in Germany).

The Chained Library

These books were chained because they were precious. But paradoxically, although they were chained to the shelves, this made them actually more accessible: clerics could come to the library, take down the books and look at them on the shelf provided - which was a distinct improvement on having to persuade someone to let you into a locked chest to consult a particular volume.

The books which are in the Chained Library now are not the books which were there originally. Unfortunately, during the reign of the arch-vandal Henry VIII, his enforcer, Thomas Cromwell, was the lay Dean at Wells. If he hadn't been, the library may well have been left alone - cathedrals generally didn't suffer the same fate as monasteries and abbeys - but as he was, he was aware of the collection, and he confiscated the lot on the grounds that they were Catholic texts. They left Wells, never to return, and the collection had to be built up again from scratch. Many books were given or bequeathed to the library over the years by a variety of benefactors - and as a result, the collection is very varied - it doesn't just consist of theological works.

I'm very gradually learning more about the library and the books within it. And that strange thing is happening - whereby when you start to take notice of a particular topic, the universe helps you out, and draws to your attention all sorts of relevant things. So, for instance, the other day I began to read a book I'd had for some time, called The Bookseller's Tale, by Martin Latham. It mentions one Christine de Pizan, a contemporary of our Bishop Bubwith. She was Venetion by birth, but lived at the French court - and she worked there: she was a professional writer - with surely a strong claim to have been the first professional woman of letters in Europe. Absolutely fascinating - and lo and behold, the next day, Lucy Worsley put up a post on Facebook about her - and about an exhibition at the British Library, called Mediaeval Women, starting today and running till March - which features an actual book of Christine's.

I also read this week about another centuries-old book. This one is a bejewelled prayer book, which was featured in a portrait by Holbein of  Thomas Cromwell - that same Cromwell who pinched all our books. This prayer book - the actual same one! - has recently been unearthed in a forgotten corner of a Cambridge University library.

Holbein's portrait of Cromwell, with the recently rediscovered prayer book.

Which brings me to my final point. A few days ago, I went to a talk by Professor Adam Smyth, of Balliol College, Oxford. It was about his new book, The Bookmakers, which tells the story of printing through eighteen lives - and not necessarily the most obvious lives. It was absolutely fascinating, and I'm very much looking forward to reading the book. Someone asked him what he thought about digitally produced books. He said he didn't himself own a Kindle, but - diplomatically - that he could see circumstances in which one would be very useful. But, he pointed out: it's 600 years since Gutenberg first printed a copy of the Bible - and copies of that Bible still exist. You can touch them, smell them - read them. Will the same be said of books published on Kindle in 600 years' time?


Adam Smyth and his book.

A remarkable thing, the book.