April 28, 2015
It’s always a pleasure to hear from fellow literary explorers. Since I began my year of reading the world in January 2012, I have come into contact with a large number of people who have embarked on projects to read more widely and discover what stories from other places have to offer.
I’ve heard from people reading their way around continents and language groups, as well as others armchair travelling through time, sampling one text from each year. By far the most popular notion, however, seems to be the idea of travelling the world through children’s books. To date, I know of at least five people who are doing or plan to do this and I’m sure there are many more out there.
So when I heard that author and translator Helen Wang (one of the many kind people who shared their expertise with me while I was researching my book) had translated a children’s story by the Chinese author Cao Wenxuan, I was intrigued to read it.
My interest grew when I read a little more about Cao and the story, Bronze and Sunflower, in the notes at the back of the book. According to them, Cao is often described as China’s Hans Christian Andersen. What’s more, the story was inspired by the childhood experience of a friend of his during the Cultural Revolution, but didn’t fall into place for a long time until Cao had a vision of the Chinese characters for ‘Bronze’ and ‘Sunflower’ one Chinese New Year.
The result is a moving account of two children brought together by loneliness, and bound to each other through familial affection and the determination to survive. Sunflower is the daughter of an artist banished to do hard labour at a rural cadre school and Bronze is the mute son of impoverished villagers who live nearby. After Sunflower’s father dies, Bronze persuades his parents to take her in and the family devotes itself to giving her a decent life in the face of extreme hardship that threatens repeatedly to destroy them.
Bleak though the premise may sound, the book is in fact extraordinarily beautiful. In addition to the touching affection Cao creates between the children and the other family members, his (and Wang’s) vivid, lyrical and sometimes startling descriptions shimmer from the page. From the way Sunflower’s father’s ‘cardboard folder flapped like the wings of a giant bird and released his paintings to the sky’ to the plague of locusts ‘swirling and thrashing like an army of screaming black demons, their mouths gaping, their tongues flicking’, the book is a masterclass in the pictures words can paint.
The story is engrossing too. With Bronze and Sunflower battling to survive and thrive, the stakes could not be higher. As a result, Cao is able to weave in some sophisticated observations about the realities of poverty. He also powerfully portrays the experience of living in a place where services like health care and education are seen as privileges and not rights – thought-provoking stuff for children in many parts of the English-speaking world, who may be more used to grumbling about than begging to go to school.
Gender roles are a little problematic in the book: although Sunflower is full of gumption, she almost always blunders and has to be rescued from her scrapes by the more ingenious Bronze. The situation is rarely reversed, although Sunflower does teach Bronze to read and write, making for one of the most triumphant moments of the book, when Bronze silences the sneers of a crowd by stepping forward and painting his name on a wall.
In addition, it is slightly difficult to know what age range of children would get most out of the book. The publisher, Walker Books, recommends it for children aged nine and over, and says that it can be read independently by confident readers or read aloud by parents, but certain aspects of it feel better suited to children of other ages. While the narrative’s somewhat graphic descriptions of violence and suffering, and sophisticated vocabulary would test most nine-year-olds, the somewhat naive, innocent tone of the story makes it feel more appropriate for younger children.
From conversations I’ve had with Wang, I understand that this is a common challenge when it comes to bringing Chinese children’s literature into English – an interesting insight, perhaps, into the different expectations of childhood in Chinese and Western culture.
All the same, this is an absorbing and beguiling book. Despite being nearly 25 years outside the target readership age, I found myself gripped by many of its episodes and moved by its clear, elegant and often beautiful descriptions. However old you are, this book will expand your horizons – whether you’re engaged in a reading quest or not.
Bronze and Sunflower by Cao Wenxuan, translated from the Chinese by Helen Wang (Walker Books, 2015)
April 22, 2015
Excitement is building in my little south London flat. It’s now less than two weeks until the publication of The World Between Two Covers: Reading the Globe, the US edition of my book inspired by my year-long journey through a book from every country.
In nine days’ time, Steve and I will be getting on a plane bound for New York, ready for publication day on May 4. It’ll be the first time I’ve been back to the city since January 2012, when the photo at the top of this blog was taken on Steeplechase pier, Coney Island (I wish I could remember which book I was reading then).
While we’re in New York, I’ll be meeting many of the team at Liveright/Norton who’ve been working so hard to bring my writing to the US. I’ll also be doing a couple of events: one at WORD in Brooklyn on Saturday May 2 at 1.30pm (the store will be celebrating Independent Bookstore Day, so there’ll be lots of things going on) and one at Book Culture in Manhattan on Tuesday May 5 (time TBC).
If you’re in New York that week, it’d be lovely to see you there. In the meantime, you can find the US version of my author film, explaining some of the ideas behind the book, above. Not long to go now…
Film by vloop.
April 15, 2015
London Book Fair has a special place in my heart. Three years ago, when I was in the thick of my year of reading the world, I took a day off from work and ventured there clutching a long list of countries that I had yet to find books from.
I had no idea what to expect and I’m sure I must have seemed like a crank to many of those I spoke to that day (the people at the Sultanate of Oman’s stand certainly weren’t impressed). Nevertheless, bumbling from stall to stall on the trail of national literary associations, publishers and agencies who might be able to help, I did make some useful connections. These included a fascinating discussion with Justin Cox from the African Books Collective, who ended up pointing me in the direction of several of my reads for the project. I came away from that day tired but happy, and clutching an armful of books.
The great thing about the Book Fair, as I discovered that day, is that it is vast and diverse enough to have something to offer all comers (well, certainly all those who like books). If you want to spend the day finding out about threats to writers in authoritarian regimes, you can do that. Interested in the latest gizmos and reading accessories? Look no further. Passionate about Mexico? You’ve come to the right place (particularly as that’s the focus country for this year). Keen to find out how you can best self-publish and market your novel? Check.
As a result, everyone does come, from the most tentative of aspiring newbies to great literary stars, and from one-woman back-room publishing outfits to the biggest names in the game. You’ll see them all: agents, authors, bloggers, editors, publicists, readers, translators and even a few lost tourists milling around under the great arched roofs of Kensington Olympia, holding meetings, sealing deals, helping themselves to sweets from little bowls on the end of counters, trying to work out where they are on the floor plan (see below), and generally talking, reading and thinking about books.
This year, as I wasn’t on the trail of titles from particular nations, I decided to focus my attention on the packed programme of talks and events. So I spent yesterday flitting between small areas of seating with names like the English PEN Literary Salon, Author HQ and the Literary Translation Centre to catch as many things as I could.
I covered a lot of ground. I watched interviews with leading Mexican writer Elena Poniatowska (who told me afterwards as she was signing my copy of her novel Leonora that she had been very nervous about speaking in English – it didn’t show) and bestselling British debut novelist Emma Healey. And I listened to a fascinating talk on whether television drama is the new literature – apparently not, I was relieved to hear, although the more fluid way that people consume stories these days (from short-form snippets to binges on box sets) has opened up the possibility for metanarratives that dwarf even the chunkiest Victorian novels. In extreme cases, these pose the risk that writers committing years of their lives to creating the screenplays for certain shows might burn out, a scenario that sounds almost Kafkaesque.
I also caught a discussion on crime and thriller novels. According to critic Jake Kerridge ‘discussability’ is key to many such books’ success. And, by the way, if you have a crime novel or thriller on your computer that you think should be published, Harper Collins’ Killer Reads imprint is accepting unsolicited manuscripts until this Friday.
However, as I’ve found in previous years, the most interesting Book Fair events had to do with translation and the way books travel across borders (or don’t). I was intrigued by a discussion about ‘What Not To Translate’. The participants seemed to agree that while translators should not censor or control which works travel according to their personal political views, time pressures inevitably mean that they are more likely to accept commissions for books with which they feel a degree of sympathy.
A talk on the role of literary agents in connecting continents was similarly fascinating, particularly as agents are still a relatively new concept outside the English-speaking world.
The final event of the day was among my favourites. Bringing together translators Daniel Hahn, Deborah Smith and Ruth Ahmedzai Kemp, and Syrian author and illustrator Nadine Kaadan, it picked out the titles they had worked on for Reading the Way, a project by Outside In World to find, translate and try out children’s books from around the world with UK audiences.
I was particularly taken with the sound of El cuento fantasma, a Costa Rican story that Hahn translated about a book in a library that is afraid of being read. They also passed round a French/Arabic version of Elle et les autres by Nahla Ghandour, which, as you can see from the picture of the title page below, is read from right to left – an added challenge when you’re translating illustrated books from languages like Arabic and Hebrew into English because it means the illustrations may have to be altered too.
But perhaps the best thing about the day was the number of friends and acquaintances I bumped into. From fellow writers and bloggers to people I’ve met through events and those who helped me read my way around the world, it seemed I could barely turn a corner without seeing someone I knew.
It was a far cry from the experience of three years ago, when I wandered nervously around the stands, plucking up the courage to introduce myself. As I stood on the gallery of the main hall, looking down at the Bloomsbury stand and imagining what it will be like to see my novel Beside Myself there next year, it struck me once more how far this journey has taken me.
March 31, 2015
It’s been a month of great reading. Funnily enough, through no deliberate intention, many of my favourite reads of the past few weeks have been novels about women in different parts of the planet. From Chantel Acevedo’s scintillating evocation of Cuba’s past in The Distant Marvels to Rabih Alameddine’s An Unnecessary Woman – an engrossing exploration of the consequences of a lifetime’s bibliophilia in contemporary Beirut – I have found myself wowed by stories revealing the world through women’s eyes. I also took a detour into 20th-century writing to spend a few hours pinioned to my sofa by Shirley Jackson’s The Haunting of Hill House – a chilling masterclass in how to construct a gripping plot.
Those in the UK keen to get their hands on a good read might find it easier to choose one of the titles mentioned above as, although March’s book of the month is published in the US, it isn’t out in the UK – yet – (although you can get it online). In fact, my copy of A Season for Martyrs was sent to me from Karachi by the author herself.
As you can see from the photo above, it came in an envelope covered in stamps. Inside was the beautifully colourful book, signed with a personal message from Bina Shah, who was one of the Pakistani writers readers recommended to me back in 2012. The novel’s vibrant jacket wasn’t the only striking thing about it: the edges of the pages were rough from where the paper had been cut to make the copy (see below).
The pages of my edition may be rough, but the same is certainly not true of the novel. At the heart of the book is ambitious student-cum-TV-news-researcher Ali, who is caught up in covering the controversial return to Pakistan of exiled former prime minister Benazir Bhutto in 2007. As he struggles to reconcile his liberal political beliefs and secret relationship with his Hindu girlfriend with his feudal Sindhi family’s views and fraught history, we see something of the national tussle for control and identity played out on the personal level. With myths and episodes from Sindh province’s long, rich and turbulent past interspersing the narrative, what emerges is a powerful and complex picture of contemporary Pakistan.
Shah’s tone is one of the first things that draw you in. Whether she is portraying the health gripes of a British Empire functionary, capturing the patter of a bus conductor in Islamabad, or describing the travails of tenth century Sufi saints – ‘even if you were regarded as the guardian of all waterways […] you could tire of riding a palla fish’ – her prose is engaging, funny, direct and refreshing. It makes her well-equipped to unmask and send up the ‘etiquette of hypocrisy’ that influences much of what goes on in the novel.
Yet satire is just one element in this novel. There are flashes of beauty in Shah’s writing and succinct insights that leave you marvelling at her skill for wrapping human emotions in words. When Ali contemplates his dysfunctional home life, for example, Shah finds a powerful simile in the buildings where he grew up:
How many other houses in their sedate neighborhood, with its old houses built in the seventies, its overgrown trees lining the zigzag streets that flooded during every monsoon season, were like theirs: genteel on the outside, wasting away from neglect on the inside? How many other families lived like fractured glass, cracked but still holding up within the constraints of their frames?
In addition, the novel contains some extraordinarily gripping episodes. From the account of Jeandal Shah’s fight to the death with a cheetah in 1827 and the night-long chess tournament between the young jailer Ahmed and a condemned Pir hours before the overlord’s execution in 1943, to the violent protest that leads to Ali to witness the injustice of the police firsthand, the book brims with urgent and troubling events.
Very occasionally there is a slight self-consciousness to the telling as Shah seems to try to explain historical context or 21st-century Pakistani politics – perhaps to English-language readers in other parts of the world. Now and then, as a character steps forward with a suspiciously slick explanation of events or a chunk of exposition bobs to the surface of the narrative, it is as though the author and her protagonist glance towards the camera, briefly breaking the spell.
(That said, the issue of how much cultural knowledge to assume in readers who may be far removed from the events described is a fine balancing act. Had Shah, who is well-versed in writing about Pakistan for readers elsewhere through her journalism for publications such as The New York Times and The Guardian, included less overt explanation she may well have run the risk of leaving people behind.)
Quibbles aside, though, this is a powerful and engrossing book. It has drama, beauty, wit, characters to care about and important things to say. It is, as Ali puts it himself, a story about what it’s like ‘to be lost and adrift and struggling at sea, and then, finally, to see the shore and begin swimming toward it with all one’s might’.
Now that it’s reached the US, I very much hope a British publisher picks it up so that A Season for Martyrs makes it to the shores of the UK soon too.
A Season for Martyrs by Bina Shah (Delphinium Books, 2014)
March 20, 2015
Book signings are funny things. You do your talk and read your extract, and then you sit at a table, crossing your fingers that someone will have liked what you said enough to actually buy your book.
Sometimes you can wait a while. Other times, as happened when I gave a talk at a bookshop in south London recently, you are surrounded by so many people asking questions and wanting to talk about books that the signing itself is a bit of a scramble – I think several people went home with rather eccentric variations on my signature that day!
What always makes the experience better, though, is when people I know through the project are there. After my Around the World in 10 Books event with Scott Pack at the Bath Literary Festival a couple of weeks back, I was delighted to be joined at the signing table by Robin Patterson, one of the volunteers who translated a book for me to read from São Tomé and Príncipe. Scott and I had discussed Our Musseque, the Angolan novel by José Luandino Vieira that Robin had translated, and it was great to see Robin signing copies of that book.
Of course, it’s not possible for many of those who I’ve met virtually on my reading adventures to get to events in the UK. People who follow this blog are spread all over the world. My stats show that it has been viewed by folk in well over 200 territories, including in many places like Mayotte, New Caledonia and the Northern Mariana Islands that didn’t feature on the UN list I worked from for my quest. So the chances are that many of you won’t be in Covent Garden at 6.30pm next Tuesday evening.
But if by some miraculous chance you are in London that day, I’d love it if you’d join me for an event I’m doing at the wonderful Stanfords bookshop on Long Acre in Covent Garden. If you come along, you’ll get to hear me speaking about the project, how it started, some of the amazing stories and people we encountered along the way and how the book developed – and ask any questions you want (within reason…).
And if you haven’t been to Stanfords before, you’ll discover one of the world’s best travel bookshops into the bargain.
Hope to see you there…
Reading the World – an evening with Ann Morgan, Tuesday 24th March, 6.30pm at Stanfords, 12-14 Long Acre, London WC2E 9LP. Tickets £3 (redeemable against the cost of Reading the World) available here
March 19, 2015
Last night Steve and I had the honour of being guests at Index on Censorship’s gala award ceremony at the Barbican Centre in London. Set up in 2000, the Freedom of Expression Awards celebrate some of the bravest and most creative champions of free speech around the planet, and highlight the sinister efforts of numerous regimes and other organisations to censor and silence dissent – an issue I encountered many times during my Year of Reading the World.
The evening combined a number of wonderful experiences. It was the first time we had ever been in the Barbican’s cinema and lush garden room, where we relished sipping something bubbly and looking at the artwork Index has commissioned from cartoonists around the world in the wake of the Charlie Hebdo attack. I particularly liked the picture by Burkinabé cartoonist Damien Glez, which showed a small boy with one tiny, squashed speech bubble next to a massive, bloated and suited bureaucrat or politician, whose robust pronouncements filled the rest of the page.
It was also the first time I had seen comedian Shappi Khorsandi perform live. She was hosting the event and spoke with great wit and humour about her family’s experience of fleeing Iran after her father published a satirical poem. ‘A fatwa is the Iranian equivalent of an Oscar,’ she quipped.
But by far the most powerful experience of the night was hearing about the nominees in each of the four categories – Journalism, Campaigning, Digital Activism and Arts –and listening to the winners’ speeches. From Kenyan women’s rights activist Amran Aboundi, who dedicated her award not only to those she has helped on the Somali border but also to the people who have threatened her because of her work, to Moroccan rapper El Haqed, who has been imprisoned three times and finished his speech with a performance of one of his hits, the people honoured were an extraordinarily inspiring bunch.
We heard from Saudi documentary maker Safa Al Ahmad – who defied the laws restricting women’s movements to make the film Saudi’s Secret Uprising – about the preciousness of facts in a society where the media is the mouthpiece of the state (you can watch her film below). Meanwhile Angolan journalist and activist Rafael Marques de Morais spoke bravely about the court action he must face in his home country, where he is being sued by numerous powerful figures whom his work has exposed. The experience would only empower him further he said.
Closer to home, Hungarian journalist Tamás Bodoky, founder of Atlatszo.hu, talked about the need for investigative journalists to ‘position ourselves outside the mainstream media’ because most outlets have come to ‘represent the interests of local oligarchs’. In addition, exiled Azeri journalist Idrak Abbasov won a special award in recognition of the dangers that he and many of his colleagues face under the vicious crackdown on free expression in Azerbaijan, where several journalists have been murdered in recent years.
By the time actor Simon Callow stepped on stage to end the evening by speaking about his long-term support for Index and to appeal for donations, no one was in any doubt as to the huge amount of work that has to be done to win and safeguard freedom of expression in every society.
After all, there are plenty of places where even writing a blog post like this is a risky business. And the distance between those places and those of us living in so-called ‘free’ societies is smaller than we might like to think.
Photo by Steve Lennon
March 16, 2015
As those of you who have followed this project for a while know, I was a writer long before I was a blogger. For the last seven years I have paid my bills by writing and subediting on a freelance basis for a variety of publications and organisations. In fact, for the first seven months or so of my Year of Reading the World, I was working five days a week at the Guardian newspaper in London and juggling shifts and commissions for several other clients. It made fitting in roughly six to eight hours of reading, blogging and researching a day quite a challenge!
What you may not know is that I was also a writer long before anyone paid me to do it. I made my first attempt at a novel when I was seven (a fantasy story set in an old castle with a bookcase that revealed a hidden world – it owed a lot to The Chronicles of Narnia) and throughout my childhood and teenage years I filled notebooks with scraps of stories and splinters of poems and half-formed things.
When I graduated from my creative writing master’s course and had to face the reality of earning my keep, I made a deal with myself: wherever I was working and whatever I was doing, I would always get up early and spend an hour or so on my own writing before I left to go and work for someone else.
For the next few years, through a series of varied and sometimes rather strange jobs (administrator, campaigns officer for a charity, invigilator for school exams, assessor of doctors’ surgeries, freelance choral singer, professional mourner – don’t ask), I stuck to my bargain. Give or take the odd duvet day, I got up at around 6am, sat at my desk and wrote.
I produced a lot of nonsense. Still, when I became a professional writer, I carried on with my regime. Before commuting into London to edit articles on planning applications for Building Design or write about the latest opportunities for international students for the British Council, I would spend an hour or so on my own (usually not very promising) projects.
Then, about four or five years ago, a glimmer of an idea came to me. I found myself gripped by the thought of a pair of identical twins swapping places in a childhood game and then one of them refusing to swap back.
It was the merest flicker of a concept, but it wouldn’t let me go. Over the months and years that followed, my mind returned to it again and again, full of questions. What would cause one child to refuse to swap back? What might it do to someone to grow up with the wrong life? What kind of family wouldn’t notice the change?
A few times, I was on the point of sitting down to start writing the story, but something always held me back. Somehow, it wasn’t ready for me (or perhaps I wasn’t ready for it).
Then A Year of Reading the World came along and for the first time in my adult life, I gave my precious early-morning writing slots over to something else, and filled them with reading and blogging.
What with everything that happened with the project and the book deal, it wasn’t until March 2013 that I got back into the swing of the old writing pattern. Having submitted my first draft of Reading the World to Harvill Secker, I found I had brainspace to focus on other things.
That was when the twins came and tugged at my sleeve once more. And this time I felt ready to take them on.
Over the 18 months that followed, in between long stints re-writing and editing Reading the World, I wrote my twins manuscript. Perhaps it was because I was in the rhythm of writing from the blogging and non-fiction book, but I found the story came to me easily and I wrote with excitement to find out what would happen next.
In autumn 2014, after several drafts, I gave the manuscript to my other half, Steve, and to my novelist friend, Emily Bullock, to read. I worked their feedback into my draft and shared it with a few more people. And then, when my lovely agent Caroline returned from maternity leave towards the end of the year, I sent it to her.
I envisaged that there would be a long process of re-writing and polishing, but when Caroline had finished reading the manuscript she told me she was very excited and that – with a little bit of tweaking – she thought it was ready to sell.
I spent about a week working on Caroline’s edits. Then, on the day that Reading the World: Confessions of a Literary Explorer was published in the UK, Caroline sent my novel, Beside Myself, out to editors.
We soon heard that several publishers were interested. I met with them and, after a few weeks of negotiation, I’m delighted to announce that Beside Myself has been bought by Bloomsbury and will be published worldwide in English by them next year. It means my book will be produced by the same team looking after the works of writers such as Margaret Atwood, Khaled Hosseini, Donna Tartt, William Boyd and JK Rowling.
My seven-year-old self wouldn’t have known about Harry Potter when she was scribbling my first novel back in the late 1980s, but I think she would have approved.
February 27, 2015
A rather lovely email arrived in this morning. The message was from Rafidah, the generous stranger who, four days after I first asked the planet’s booklovers to help me read the world, left a message offering to go to her local English-language bookshop in Kuala Lumpur and choose and post me my Malaysian book.
Rafidah’s kindness was a great inspiration for me at the start of this project and so, when Reading the World: Confessions of a Literary Explorer was published earlier this month, I emailed her to ask if I could send her a copy in return for the books she once sent me.
The photograph above shows my book and the card I enclosed in Rafidah’s apartment, where my parcel has just arrived. More than three years after her act of generosity kickstarted my quest, the book that it led to has found its way to her. I’m so pleased.
February 24, 2015
February’s book of the month has special significance for me. It was translated by Robin Patterson, one of the nine volunteers who came to my rescue to convert Olinda Beja’s A casa do pastor into English when I was unable to find anything I could read from São Tomé and Príncipe back in 2012. At the time, Robin was just starting out as a translator, so it is wonderful to see his efforts come to fruition in this lovely edition of Our Musseque by Angolan writer José Luandino Vieira.
In fact, I am doubly pleased to see this novel because, as I found with São Tomé and Príncipe, translations of literary works from Portuguese-speaking African nations are still very rare. So when Dedalus Books sent me a copy, I lost no time diving in.
First published more than 40 years after Luandino Vieira wrote it in prison, the novel captures the experience of growing up in a musseque (shanty town) on the outskirts of Luanda. Thronged with vibrant characters, from the prostitute Albertina to the delinquent Zito and the alcoholic inventor manqué Mr Augusto, the book bustles with individual stories that surge and jostle against one another as the narrative builds towards its narrator’s – and the nation’s – coming of age when Angola’s War of Independence looms.
As in Juan Tomás Ávila Laurel’s By Night the Mountain Burns, the oral tradition informs and shapes the text, filling each page with a clamour of voices. We quickly learn that the story is a collective endeavour with accounts perpetually contradicted, augmented and challenged by conflicting descriptions or subsequent events. Consequently, the question of truth-telling and the way stories are presented for different audiences are recurring themes, because, as the narrator concedes, ‘no one can tell where the truth ends and the lies begin’.
This is deliciously illustrated when the ebullient boy Zeca tries to reinvent the story of ‘Little Red Riding Hood’ for a local audience. In response to accusations from his peers that he is ‘messing it all up’ by changing the details they were taught in school, he makes an eloquent case for his use of artistic licence:
‘If I tell a story about a girl in a red hood being eaten by a wolf and all that, nobody’s going to be able to make head nor tail of it, now are they? Are there any girls like that here in this country? No. Are there any wolves in the bush here? Of course not! But we’ve got leopards instead and that’s why I tell it like this.’
This sense that stories are fluid, mutable things operates on all levels of the narrative. While the tone of the interconnected stories veers from lyrical to earthy – occasionally within a single paragraph – the chronology of events is complex, with the narration doubling back to fill in a gap or dodging ahead to something years in the future.
According to Patterson’s Translator’s Note, Luandino Vieira took a similar approach to fact and fiction and even language itself in the novel. His childhood memories informed the book – the parish priest Father Neves, who appears in the story, really existed – and the original language of the narrative wove together Portuguese and Kimbundu to represent the way people spoke in Luanda’s shanty towns. Although Patterson decided not to attempt to recreate this blend in English, his melding of registers echoes that hybrid feel cleverly, capturing the disparate experiences and social situations in which the characters must present themselves.
The result is a rich and involving piece of work that takes readers into the heart of the community it portrays. While those of us used to the conventions of the Anglo-European novel may find the fluid chronology and crowd of characters bewildering at points – we meet six in the first paragraph alone – the overall effect when you surrender yourself to the narrative is surprising, delightful and often profoundly moving. By the end of the book, we are nostalgic for a place we have never been.
Our Musseque (Nosso musseque) by José Luandino Vieira, translated from the Portuguese by Robin Patterson (Dedalus, 2015).
February 12, 2015
One of the lovely things to come out of this project is the fact that I’m often invited to go and speak to people about reading and the world. From standing on stage at International Translation Day talking to a packed audience of translators (eek! – actually they were lovely) to speaking to a handful of booklovers in a yurt at the Wise Words Festival in Canterbury last September, I’ve been privileged to share these adventures with many people and I’ve met some fascinating bibliophiles along the way.
I have to confess, however, to being particularly excited about an invitation that I’ll be taking up soon: in March I’ll be flying out to Geneva to talk at a TEDx event organised by Procter & Gamble.
As anyone familiar with the TED format will know, this involves speaking to an audience (in my case of about 300 people) while being filmed by several cameras. The film is then edited together and shared free online.
It’s a fantastic opportunity and a great honour to be asked, but it’s not a little daunting too. As a result, I am spending a lot of time preparing and will be watching many TED talks in the coming weeks.
I’ve shared my favourite above – the Nigerian novelist Chimamanda Ngozi Adichie’s talk on ‘The Danger of a Single Story’, which she delivered at TEDGlobal in 2009. This was a big inspiration for me throughout my project and kept me conscious of trying to avoid falling into the trap of thinking that one book can stand for a nation.
But I’d be really interested to hear your recommendations. Are there any TED talks that have stood out for you? If so, what was it about them that made them particularly powerful?
Any thoughts would be very much appreciated. Thanks!