by Ewa Giera
Content warning: xenophobia, discrimination
The Day of the Duck, by Helen Stratford and Lawrence Bradby, takes form of neither a scripted play, nor a novel: intertwined with visual diagrams, elements of script and a simple, character-driven narrative, the book is a unique experience as opposed to a traditional novel. The story revolves around a Muscovy duck, the last of its species in a town heavily based on Ely in Cambridgeshire, whose goal is to discover why its brethren have all disappeared. The book is framed as a noir detective-style plot – the Muscovy duck takes on the role of the detective and asks all the uncomfortable questions to people whose names it’s not concerned with, which serves the aim of having the characters translate as everymen.Continue Reading
by Carmina Masoliver
On a recent trip to Mexico, I decided to take with me three books by authors of Latin American heritage, including two of Mexican background, and one Cuban. All were women. Aside from eating the most delicious chimichangas, learning about the ancient Mayan ruins, and climbing up the Ixmoja part of the Nohoch Mul, I spent a lot of my time reading these authors by the sea with a strawberry daiquiri. Within just one week I had nearly consumed them all and discovered a new love of Latin American writing.Continue Reading
by Hannah Rose
Your new book, Illegal, tells the story of your arrest and deportation from Ecuador and your consequent return over the Colombian border with the help of corrupt police. There’s also a love story which runs through it. Crime and love both sell books – was this thematic mix deliberate?
My original intent was to focus on borders and revolution but almost every person who read a draft, especially early on, wanted to know more about the love story. So I kept adding more with each new edit. We’ve all been in love so that shared experience makes it relatable and easier to digest. That common basis is a great launch pad to touch on everything else, too.Continue Reading
by Carmina Masoliver
Kate Tempest is well known for her work within the world of poetry and music, yet her latest venture sees her trying her hand at prose, using her original modern mythologies weaved into a different form. Although the points of move from character to character, Becky stands out to be the central character.
The first chapter made me think of the question uttered by both Shakespeare and Brecht about the role of art, suggesting to possibility for it to be both a mirror and hammer, when it comes to most peoples’ realities. Yet, at times it felt like the outlook was too cynical, too similar to the thoughts in the heads in this generation where we so often feel powerless to make change. It was almost too real, holding a truth too close to the bone.Continue Reading
by Liam Hawkes
Surreal. Beautiful. Terrifying. Adam Curtis’ newest documentary can be described in many ways. It bombards us with messages and narratives which seem to have emancipatory power by simply exposing the chains we all appear to wear. This mesmerising piece of film-making taps into the psyche of human consciousness, getting to the root of how we feel and why we feel it. Once again Curtis has created a terrifying exposé of the confusing and uncertain world we live in.
by Mike Carey
Continued from part one, published on The Norwich Radical two weeks ago.
I hate to rake up ancient history, but here’s another example from a little further back – dredged up because in this case it is a writer of literary novels (Edward Docx, in the Observer in 2010) who’s saying this, so the agenda is maybe a little more naked.
Even good genre… is by definition a constrained form of writing. There are conventions and these limit the material. That’s the way writing works and lots of people who don’t write novels don’t seem to get this: if you need a detective, if you need your hero to shoot the badass CIA chief, if you need faux-feminist shopping jokes, then great; but the correlative of these decisions is a curtailment in other areas. If you are following conventions, then a significant percentage of the thinking and imagining has been taken out of the exercise. Lots of decisions are already made.
Considering that Docx rails against “a fundamental dishonesty” in the way this subject is usually discussed, I’m going to pick my words with care.
by Mike Carey
The argument about the relative merits of literary and genre fictions just keeps running and running. There’ll be periods of decorous silence, and then it will break out again, usually in the form of some egregious statement in a broadsheet or magazine, and it will be like it never left.
One thing you tend to notice after a while, though: it’s almost never writers of genre fiction who are picking the fight. To be fair, it’s often not “literary” writers either – it’s academics taking up the cudgels on their behalf; considerately telling us which stories are worth serious consideration and which aren’t. And I guess we appreciate the help, right? Because it’s a bewildering fictional landscape out there and an innocent young seeker after truth could easily go astray.Continue Reading